Saturation & Width of Fonts with their Use in Design

Saturation & Width of Fonts with their Use in Design
  • Saturation

We notice the boldness (Weight) of the modern fonts first of all and in any conditions. The main types of saturation: are light, normal and bold. Normal drawings (Regular) are emotionally neutral, they are least affected by optical distortions or poor image clarity. The graphene is recognized best, so normal saturation is ideal for reading. Light and bold drawings convey a gamut of feelings from timid delicacy to persistent roughness.

Thin drawings (Thin, Light) are nice to consider as line drawings. Such an inscription will not attract attention, if you do not want it yourself, it can be “turned off” simply by looking away. Hence the feeling of delicacy and care. It’s no wonder that such patterns are common in the cosmetics industry and in everything close to the body, from underwear to wearable gadgets.

Semi-bold drawings (Semibold) contain maximum uniqueness of form, preserve readability and add significance to the text. Therefore, they are used for highlighting in text, as well as in logos.

Bold drawings are created to draw attention to short inscriptions. They are not very comfortable to read, but you have no choice. ) After paying a lot of attention to the subject, your brain learns as much as possible about it.

Bold fonts (Black) create a sense of heaviness, and power and strengthen the font’s own qualities, which were not enough weight to convey with a more neutral drawing. Such drawings provoke a quick emotional response, so they are often used: in games, advertising, and show business.

2. Width

The width (Width) of the font characters, as well as saturation, differs instantly and greatly affects the readability and visibility of the inscription. Drawings of normal width are optimal for reading, and other options: narrow and wide are very specific and have a distinct emotional colour.

Slightly narrowed drawings can also be readable. Compact versions of text fonts are used where a lot of text needs to fit into a small line. But this technique creates a slight feeling of tightness and economy.
Ultra-narrow drawings have more interesting features. It is very easy to pay attention to them because of the vertical lines that begin to dominate the inscription. It seems that someone tall has climbed onto the podium and is inciting the crowd. Due to the low legibility of narrow letters, such a font can convey only short words of exceptional importance. Therefore, ultra-narrow fonts look organic where a stop effect is needed: in announcements, newspaper headlines, and campaigning.

Wide and ultra-wide strokes greatly change the perception of the text. In wide commercial fonts, the shape of the letters changes, and more horizontal lines appear. Even a short word begins to be read slowly, becomes important and is remembered for a long time. Everything around the inscription seems abundant and significant. Wide drawings are perfectly readable at an angle or during high-speed movement because the perspective normalizes the proportions. Therefore, such fonts are often used by manufacturers of cars, aeroplanes and sporting goods.