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DIGITAL IMAGE AND TEXT EDITING KNOWLEDGE

The training material was realized under the "Mobile development with the application

of an innovative information technology knowledge,"

the code of the project TMOP-2.2.4-11/1-2012-0055 .

1. Introduction

It may seem to be a far away approach if firstly I try speak about the visual stimulus in

connection with a subject such as the mobile phone, which was made to present the visual

design of these hopefully popular applications . However, I encourage the reader to linger a few

ideas up around this topic. During the last sixty years we have experienced that the structure of

the human thought has changed at the same time with the perception of the visual perspective.

The human visual perception as a primary source of information of the environment, is a natural

sight (and by that we can even understand the pristine nature)which reception has at least the

same number of abstract visual stimuli, that is, the image decoding facility. We can interpret the

original three-dimensional image of objects without difficulty, and we can confidently orient in

the plane between the objects of our daily lives - most significantly in front of a monitor. If all

this seems to be too obvious we have to think that it was not always that way. We know

experiments in which researchers have tested the natural nations relationship with images. It isan interesting experiment that the people socialized in tribal culture, in many cases; they could

not identify themselves or their peers with the recording shown on Polaroid figure. They shot the

photo around was, smelled it, but since neither the size nor the shape, not even the material did

not like the 'original' sight, they did not connected with it. All this happened because they were

not required to change their lives reflexively with visuals Sikkim abstraction. With us it would

also be a similar disorder: imagine the chaos that would result in, for example, if the entire

world's traffic tables because of a higher command it would be changed coordinately and at once.

From one moment to another we meet with unusual shapes, symbols and color coding, what

would not be based on international conventions, forms and colors. Of course, the use of the

right hand rule and related concepts would be helpful in the previous experience, but you also

have unforeseen problems with orientation in an unfamiliar city. Something similar happened in

human thinking with the proliferation of personal computers and the Internet. Who wanted to

orient correctly on the informationsuperhighway had to master in a relatively short period of

time a new system, and it turned out that in this new system the images and visuals played an

important role. After these probably will not be a surprise if I have to draw the conclusion that a

lot has happened since the design of the first website till the editing of today's smart surfaces of

the mobile platform. Virtually everything has radically changed in the computing field, the field

of opportunities offered by the web as well as in the field of mobile telecommunications and, of

course, all of these graphic design, presentation and display areas.In this book in connection with the editing of the mobile phones graphical interface I concretely

write about the aesthetic principles that are useful in all cases, and in some situations we have to


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bare them in mind. There is no mention about programming knowledge. I'd like to make it seen

that the design of the most appropriate content or the appearance is not secondary or negligible,

and I hope that this text is considered useful to help the reader to develop a visual and content-

harmony.

2. The Asset Base

Nearly a quarter century passed before the first commercial computer appeared in 1975, till the

appearance of the personal computer Altair 8800, what was manufactured and marketed

specifically for personal use. Two years later the Tandy Corporation started to produce- with

keyboard and CRT monitor- Tandy TRS -80 Model I., which has been programmed in BASIC

language, what was easy to learn, in addition to the computer could be connected to a cassette

tape on which information can be stored. In the same year, 1977, in the United States the

legendary Apple II appeared. Of course, the hardwares popularity was growing in synchrony

with this the software developers -in addition to various data processing softwarehave created

programs for data visualization, or digital drawing, and image editing. A process has started with

this- until the present, a self-reinforcing process - in which the options and the users needs effect

on each other operates very efficiently.

In the 80s with the development of the staff - especially the window menu, the graphical

interface is gaining ground - it is noticed that the keyboard previously used almost exclusively it


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was necessary less and less, however, the mouse has become a necessity to surface navigation

purposes. This leads to the need that instead of the often uncomfortable Appendix treated

peripheral devices; we should use an interactive display interface that is able to perform data

entry and visual display functions as well. We had to wait a relatively long time for a touch-

screen device; the first developments began almost simultaneously with the development of the

personal computers. The first touch screens, what could be operated with light pen touch, were

made in the fifties and sixties for air traffic control, and in 1983 Hewlett Packard HP -150 types,

touch-screen computer with infrared sensors, appeared on the PC market. They can not spread

out widely, perhaps because of the high price and the low stage of the technology. The first multi

touch screen was developed in 1984 by AT & T Bell Labs, but the real PDAs have appeared only

in the nineties. First, Apple has introduced 93 models in the Newton PDA a bit later; the IBM

also came up with a phone called Simon personal, which has already contained a small touch

screen. This device combined firstly the touch screen technology and mobile phone, but the real

breakthrough came in 2007 due to the launch of iPhone. Nokia much earlier, in 2003, launched

Nokia 3108, touch screen phone. The first time to get a touch screen mobile in Hungary was in2004, and it was Nokia 7710 mobile. N800 and N810 around the same time with iPhone, in form

of a tablet were available. In 2006, Samsung introduced the first touch-screen smart phone called

Omnia.


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In case of the phones the function of the touch is currently playing a leading role, but customers

also demand of traditional push-button versions, and there are some costumers who insist on the

full QWERTY keyboard. As mobile technology can be seen as one of the most spectacularly

developing industry, technological innovations are expected from almost every other component.

The major products of top companies are no longer a rarity, not even the four, or even eight-core

processor, Samsung has unveiled unbreakable, flexible LCD display and in recent years,

significant results were achieved in the field of speech recognition as well. At the time of thiswriting the most recent innovation may be the introduction of the Eye Scroll and Eye Pause

system, based on interviews with experts the smart phone can detect automatically the user's eye

movements and due to this it scrolls the menu bar, and stop surfing when the eye movement

wanders from the screen. These undoubtedly will result in significant changes on the field of the

mobile phones in the near future.

Computer and mobile industry together with digital cameras and camcorders are also developing

rapidly. As in computing without the primitive data saving - the magnetic recording was the

premise, the digital photography would not exist without the appearance of video technology.

Unlike the conventional camera, the video tape does not record frames, but secured encrypted

signals which can decode and display picture again as a VCR. In other words, firstly the digital

photography had to invent a system where analog sight is encoded to data quantity and an

additional, condition that the same code is necessary to reconstruct the original image. The CCD

(charge - coupled device or charge - coupled device) is the keyword of the technology what

replaces the celluloid film.


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In 1969 at AT & T Bell Labs the first CCD has seen the light of day, and this experience was

used in 1975 by Eastman Kodak engineer, Steve Sasson, who first made a test camera, which

had light sensor chips instead of film. It had quite modest abilities, which allowed them 100

100 pixel resolution; the image was encoded into digital data and it was recorded on cassette

tape. The first commercially available digital camera, called the Sony Mavica, was manufactured

in 1981. This machine had interchangeable lens, a special card reader to make the images

watchable it was inserted on the television, because at the time personal computers were still

incapable of displaying the photos. We had to wait until 1988 to get a digital camera what can

capture a removable memory card images. At that time Fuji presented DS-1P camera type and inthe same year the JPEG compression was born, which was a new milestone in the development

of digital imaging. From here, the technology has spread rapidly; leading to the mass production

launch, this camera has been very hefty price, available for the amateur user.

3. Contemporary Visual Culture

Status and changes in the critical sense of the pictures

The previous paragraphs have shortly outlined the development of daily technology, which

played an important role in the change of the social status and judgment of the visual stimulidefined as image. Today, almost every modern household (even moderately equipped) is

equipped with modern computer, an Internet connection a personal computer, a mobile phone


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and camera at the same time. We may analyze some segments of this tool park so that the

computer can be a desktop computer - among them IBM or Macintosh system - or laptop. You

can choose a mobile phone according to their functions, such as conventional or smart phone,

and the latter, iOS , Android , Symbian and Windows Phone is based on the platform. Depending

on the user's intent and wallet a camera can be SLR camera, DSLR, Compact or Bridge camera,

we can enjoy the captured images on different types of computer monitors, TV, digital picture

frame projector or tablet as well. As the outdated appliances are replaced with new ones, it is

observed that the LCD or LED display technology imperceptibly enmeshed in our daily life,

because almost every household has this electric machine and we could find one in almost all the

rooms of our home. But leaving our homes, on the street, in the car or on public transport we

perceive useful or useless information. This huge display conveys lot of images for us and our

brain gets used to process such data. We select the uninteresting pictures without much focus on

communicating information, and we store useful ones in our photographic memories. This is not

only vegetative, but also played a direct process, and has become reflexive for humans of the

modern age. We often experience that the phone's built- shoot camera, timetable plastered ad orother text information are recorded by someone. The same phenomenon is increasingly common

in school performances, when the students take photo on the projected frame - instead of taking

notes - considering this more important. This is surprising at first, but it is perfectly reasonable

gesture because as opposed to a notebook and writing utensil the cell phone is reliable and

always at hand. The communication devices with cameras in addition to the photo sharing social

networking sites can directly transmit the photograph , so that the data can be shared as quickly

as possible available to others . Sounds unbelievable, but true , that the photographs is made is

almost 20 % of Facebook, and this ratio is quite significant when you consider that the number

on Facebook filled images for 2012 is much higher than has been the 140 billion. This amount is

rightly called the world's largest photo archive. It is also interesting to note that the preparation

of the images being transmitted to inspire you to upload your photo, will be shared . Most of the

pictures here recorded for an event, and the nature of the document - for at least the creator - the

picture is more important than any other value, which underpin the interpretation of the image

data as a hypothesis.

The image as information

The earliest photograph is not 200 years old yet. If we try to express the number of all the imageswhich have been ever made, in particular, we should


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quantify the number of the analog inputs of all the images. Of course, it is difficult to make an

estimate about the initial era, but before the estimation we have to clarify what is considered to

be a photo in those days. We can declare that the number of photos was not more than one

million, before the introduction of the Kodak Brownie in the market, in 1901. We can use the

reasonable estimates of the Kodak statistics from then on. First the photo was mass-market,

public goods, from 1984 based on the estimates published by the Silver Institute and PMIA we

know the number of physical files taken on the world each year. Year after year, the numbers

have been growing, as more and more people have been taking more and more photos, the 20th

century was the golden age of analog photography, which reached its highest point in 2000. At

that time, an incredible number of 85 billion physical, tangible picture was taken. Estimated by

the number of cameras we can calculate that 2500 images were taken every second in the world.

These numbers show an incredible dimension, but they serve only as a modest introduction to

imagine the size of the digital times. At present, it is almost impossible to prepare a summary

about the number of the cameras and other devices of photo taking existing in the world today

even with the help of the number based on the data provided by the manufacturers. However, in2011, it can be stated based on the approximate numbers that more than 2.5 billion pieces of

camera devices are in use around the world. When we look at an average person shooting habits

the statistical data shows that 150 photos are taken in a year, by the end of 2011, there are 375

billion photos in the world. The trend continues to grow exponentially, and based on the figures

mentioned before, it was calculated that humanity has exceeded 3.5 trillion photos1.

Did we have time to develop a critical attitude in this image floatation? Did the aesthetic senses

co- evolve with the ability of reception these the large amount of image information or the

perception of the images has changed functionally? This pretty much means that we do not deal

with them in the classical sense as an image or picture, but as a coded surface. One explanation

may be that the digital image is a set data in all cases, and even people are aware of this fact that

did not have the forced experience to make the analog -to-digital conversion. With this in mind it

may be easier to accept the inherent roots of image data as data storage data, and they can be

considered less original (and therefore often associated with the uniqueness assumption of

unrepeatability) images. Hopefully we will get an answer to the question what is the difference

between them.

The digital graphics

We can talk about computer graphics since 1963, when Ivan Edward Sutherland developed the

1source: http://tizidesign.com (08.02.2013.)


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American scientist program called Sketchpad, which was essentially the first real graphics

program. He founded the general spread of object-oriented programming and use of graphical

interfaces. Thus began the human-computer interaction thinking and this provided an opportunity

to computer graphics to be used for technical and artistic purposes can. Computer technology has

developed parallel with the evolution of computer graphics, and it united and applied almost

immediately the classical art form genres (eg. street art and public art) and the characteristics of

other art areas. It has become one of the most intensively evolving artistic areas that has made its

effects felt in painting, photography, graffiti, graphics, individual or applied graphics, animation

and cinematic genres and so on. Indeed, the use of computer graphics is very diverse from the

field of individual art to the field of applied art.

The number of artists who do not use computer in their work is very little. Perhaps as the most

obvious example could be mentioned the territory of photography in which the original image

can be corrected instantly and can be manipulated using a suitable software. On a color image

can be created countless variations just by changing the color channels or contrast, but obviously

it's not an accident that such software offers rich options of effects and in this way from the raw aworkof art " should be created. Painters also commonly use a computer -prepared digital

projector to outline the projected screen, and after that they copy it on the surface. The graphical

can create a lined drawing by using some effects what is in negative; can be similar to the excited

graphics, so he can plan to see more before making the strut. The former practice of animation,

the traditional stop-motion technology was forgotten immediately by the spread of software

options. Previously, the illusion of movement was hatched by the movement between two key

frames phases of paper, they drew and photographed them extensively on the film strip. It was

time-consuming and required a coordinated work of several people; it was long work that is now

by the use of digital environment can be done alone in a few minutes. The artists used different

tools (eg. magnifying frame or camera obscura) at work, so we do not have to think that the

computer as a tool reduces the artistic value of a work of art. In addition to the two- dimensional

works it is not uncommon now, that a sculptor does a digital work. The 3D modeling allows him

to virtually make models on plastic, and with the use of the available technology he can print the

work on a 3D printer. Currently, it has limitations in size, but in practice it works so a public

sculpture should be assembled from smaller components as well. Computer graphics is important

not only for art consumption but also for practical applications. In fact, an industrial designer can

make the model of car bodywork; an architecture can design the complex model of a building


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(a good example is the mock-up of Buda Castle Hill 25 years development)2

or a mechanical

engineercan use it to build prototype of a complex industrial part similar to the sculptures

method. All of these are specially developed for use in the field of professional graphics

programs. Each of these programs have their own development process, taking into account the

needs of the users and dozens of engineers are working on the development of the ideal software.

One of the most famous image of the editing software, Photoshop, by Adobe Systems which was

introduced in 1990.

We see that the current trend in computer graphics is defined by the current state ofcomputer technology what is widely available and it is influenced by the perception of art as

well. We have to note that only the available technology can determine the style, as it is well

known that much of the research is likely to go ahead than the computing devices sold on the

market on available price. The trend is formed by casual users; the tester of the new

achievements can hardly shape it (although their task is not to create a new form of world).

2http://epiteszforum.hu/25-ev-fejlesztese-25-het-alatt-1-1000-ben (04.07.2013.)


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jpeg ny02 (2004)

The German photographer, Thomas Ruff, created a series of jpeg images and it reveals the

compression characteristics. This low-resolution image was found on the Internet, and it was

enlarged into huge size (269 364 cm) and it was decomposed into a mosaic grid when we view

it up close.

4. Compositional Principles

I can say that the reader of these lines is certainly have prepared countless compositions, even if

they have not thought to do so. Composition can be either arranged on a bookshelf or preparing

and serving a meal even in the case where the artistic intent is not controlled by its creator. If youwish to define, during the composition we can understand an action created by humans. The

word comes from the Latin componen, that means the verb compose. These include the size of

specific objects, range consisting of composition components, such as the traditional Japanese

flower arrangement, the ikebana preoccupations, but composition is referred to an abstract

concept from - in this example the note from - consisting of orientation as well as a score, whichthe composer composes various musical instruments and parts. The letters, texts can be edited


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into compositions about this we will discuss in a later section about typography.

The basic units of composition

Roy Lichtenstein: Girl with tear III. (1977, oil

canvas, 117 101, 5 cm)

If we look carefully a graphic composition, we find that - in terms of visual basic unitsit is

divided into points, lines and spots. Among them, the smallest unit is obviously the point andseries of dots form the line. Set of points or grid of lines form the spot. It seems to be strange, but

this simple symbol builds a broad universe of dazzling works of art, at least in terms of two-

dimensional works. If the point is not interpreted as a unit of autonomous artistic composition,

but as part of the printing technology, we should imagine the grid point. In case of the offsetprinting technology the spot image appears as divided into small grid points. The print detail in

the unit area (square centimeter) depends on the number of the first grid point. The same features

characterize the image of the grid graphic or pixel graphic, but in this case the resolution is

interpreted with dpi (dot per inch) identifier, where the number of dots per inch is given. Thevector graphics uses curves and polygons instead of the orderly arrangement of imaging points of

straight lines, which are called geometric primitives.


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Rate Systems and the Visual Dynamics

The composition of the artworks is one of the most important features and also one of the

fundamental dilemmas of the creative arts. It has internal discipline within the piece of art,editorial principles, which constitute the visible surface of the items placed there and arranged bythe artist. Meanwhile, taking note of the lines, spots, their tone, the proportions, shapes and

colors of light and shadow effects, rhythm, contrast, the facture and various image plane some

cases beyond the sight we pay attention on the associated tone or temporality as well. Besidethese, we have to take into consideration certain rules (for example, the perspective shortening)

which also contain the primary function of the composition to convey the artist's thoughts, or

express something. The composition is not only well designed, if it creates peace in the viewer,

but also the seemingly tangled, disheveled , disorganized file structures can convey moods.

Piet Mondrian: Composition with red, yellow and blue (1937-42, oilcanvas, 72.5 69 cm) and Jackson Pollock: Number 1 (1950, oil canvas, 221 x 300 cm)

A different era in art history has its own characteristic compositional schemata, which can be

typified according to the characteristics of a mainline. In ancient Egypt the stonecutters edited

and depicted the events in lines, but this editorial principle was also dominant in the time of the

Romanesque. The Gothic church art favored the symmetrical triangle layout, from which the

Renaissance evolved its suggestive harmonious triangular arrangement of space; this was

followed by thebaroques highly dynamic diagonal compositions. The asymmetrical framing

system of Classicism and Romanticism were replaced by the abstract schemas of the isms from

the 20 century, and compositions can be discovered especially in complex dynamic situations.Even where there is no hierarchical relationship between the elements, there is not a main motive

and the background of the machined surface is equivalent so it would be difficult to draw the


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dynamic power lines.

It is also a common image editing principle when at first glance in a harmonious integrated

interface we can discover something, something out of the ordinary only after a deep

investigation. This is one of the typical surrealist paintings editorial principles, and it tests our

associative ability, but this free association gives us the experience of discovery, and this may be

one of the adequate forms.


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Ren Magritte's La Reproduction Interdite

(1937, oil canvas, 81 65 cm 3)

Optical Phenomena

I have already indicated the concept of a complex composition but by no means to all of them,

since by composition we can understand the relationship between the things, and therefore it is

very suitable for the practice of contrasts assignment. We can give as example a rustic, rough

surface and a smooth and silky one. The juxtaposition of the quality of the two materials creates

a particular tension; it gives the composition a perceptible dynamism. The same principle is of

course not only working for bipolar opposition but also for similar surfaces. For example,

association between the images hides specific potentials. We can speak about a photo of a leafmade in opposite light, where as quite sensitive line network the sense of the plant and all this is

combined with the feeling of a polished, cold, marble pattern stone. Similar examples could be

listed as well.

It is a special challenge to present the special effect inside a plain composition. It can be used for

a variety of instruments, such as a wipeout. The objects and shapes which are in the foreground

uncover a part of the background, so a range of body position in space can be determined as a

pack of card. The illusion should be improved further by applying the rules of perspective in

which case the distant figures appear smaller and / or parallel lines converge into one point. A

well- known, identifiable object with the use of shadow, can also serve for the illustration of

distance in the composition. Objects, such as a matchbox or a coin are often used to present this,because their size is known by everybody, so the size of the other unknown dimensional shapes

next to them can be presented but at the same time if we use them indirectly we can create funny

composition or it can make us think about it. Certainly it is familiar to everybody when a relative

uses this perspective to prevent the inclination of the Leaning Tower of Pisa and he is

photographed for the sake of a joke. Another popular example is the glass pyramid at the Louvre

in Paris, there postaments have been specifically designed for the sake of the tourists who were

standing on them with their palm-down imitating that in the distance behind the tip they are

touching thepyramid on the square. It depends on the photographers compositional skills how

to use the spatial distance and the scale differences together.

For the artistic perception of the distance it is a solution in two dimensions as well, and that is the

use of air perspective. We can observe, in particular, in case of rangy landscapes, in rural areas


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that the high mountains which are in the distance have a gray-blue color, while the color of the

nearer mountains seems to be lighter. A similar effect can be achieved if we manipulate the

viewer with the richness of detail and its gradual dimming in the function of the distance. If we

do not want to demonstrate such a great perspective, but a minor depression or protrusion it can

be easily solved with the help of light and shadow. We can find different type of key imitations

in the menus of computer programs where the graphic designers used this effect. Each of these

buttons also indicate interactivity, in many cases we reach this by lowering or embossing them,

because our sight is designed so it is paying attention on the distinct spots. We used different

optical effects to highlight the essence but the emphasis also implies the subordination order as

well. In painting we present the irrelevant details as shaded or obscured, we blur the outlines, the

tone is faintly indicated, and the artist avoids the contrasting parts. In this way the artist can

achieve to drive the views attention to those details, which he considers necessary to receive the

message of the image. Some artists show the outline or contour, they use sharp discrimination or

isolation from other forms or from the background to make emphasize.

Caravaggio: David and Goliath (1600, Oil canvas, 110 x 91 cm) Matisse and Henry L. N.

Delakorskaya portrait (1947, oil canvas, 64.5 x 49, 5 cm)

Optical Illusions

We have to know the optical illusion in the editing of a composition because we may want to


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avoid or to take advantage of them. The most obvious eye spoofing is when in the reality two

objects have the same length but they seem to be different, or when we put dark squares on a

light background on the lattice points of it seems to appear a dark gray stain, which of course

does not exist. The positive and negative spots which are in sharp contrast almost offer the

chance to play with forms, but the artists can paint more complicated illusions than the form of

vases, which display the profile of a mirror-image face.

M. C. Escher: Sky & Water I (1938, woodcut, 44 x 44 cm) and Regular Division of the Plane III.

(1957-1958, woodcut, 37 x 26.5 cm)


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Salvador Dal: Slave Market disappearing bust of Voltaire (1940, oil on canvas, 46.7 x 65.9 cm)

Jesus Rafael Soto: Estructura Cinetic (1967, silkscreen, acrylic, metal rods, 34 34 18 cm)

Applications display on mobile phone is form of compositional arrangement that is why we

should take into account some important points in their design. Firstly we have to decide if the

elements of the application would appear on display in portrait or in landscape position. We have

to keep in mind that many phones are already equipped with the automatic position option, and

turning the device the available information on the screen will be either in landscape or portrait


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orientation. Therefore, the components shall be arranged so that neither of the positions that may

occur should overlap, we have to make sure at the initial stage of the designing process that we

apply the appropriate bays. The composition will be good if by interchanging parts, colors, ratio

the balance what it otherwise suggests would capsize. If we think that the positioning of the

components is random, the proportions to each may be relative, their positions are

interchangeable the composition is certainly wrong. If we choose the main point incorrectly we

may feel that the image swings or capsizes so its dynamic was not developed well.

We should take into consideration the role of the bays when we determine the shapes and

positions of the items, because the negative relationship between the spot with the main shapes is

not negligible. Their ratio will determine that simple question whether the interface is congested

or highly visible. If the space is tight, the important elements appear to be too close to each other,

two different elements may seem to be connected on the other hand if the space is too large the

main elements may become unstressed. If we choose the ratio of the negative spot correctly it

helps the eye to wander the composition, to interpret it or to emphasize on the main shapes. In

case of details of the surface, we must be able to recognize the important details, like an activearea immediately. If the surface is crowded it is difficult to find the information what we need.

This may be a further navigation zone or a link. Similarly be misleading , for example, is an

excerpt seems to be active , but actually inactive , that is, the emphasis misses the target in this

case. It is confusing when a part appears to be active but it is inactive, in this case the

highlighting is misleading. If some parts of the surface tend to be similar it may cause misleading

and confusion. The user are tired by such mistakes who whenever he can, probably will avoid the

use of this application.


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An optical illusion street art plant.

5. Color Study

General color theory

The ability of color vision is very important evolutionary outcome, due to this we can distinguish

different regions, animate and inanimate objects. Basically, for the formation of the color

impression three components are needed, such as source of light, an object to be detected, and of

course, the observer himself. The examination of light and color has a long history; the

researches can be dated back to ancient times. The originally Persian, Muslim/Arab scientist, Ibn

Al- Hazen (965-1040) is well-known as the first scientist, due to the posterity of the scientific

method; he is respected as a pioneer of experimental physics. His extant study, the Opticare

Thesaurus Case occurred around 1000 B.C. In this study he summarized the long -known

phenomena of optics and also revolutionized the science, with the understanding that the light is

built from rays to illustrate this he made the camera obscura as well. He was among the first ones

who made experiment with the separation of the white light. Much later, in 1672, Isaac Newton

published in his study,Light and Color Theory, the optical phenomenon of refraction, according

to that by introducing a prism we can break white light in different spectrums and by insertinganother prism we can reset the white light again. Newton also observed that, contrary to previous

assumptions the reflection of light is not changed, and the various colors can not be made by


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objects. We perceive the color of the objects because of the reflected light rays. In 1810 Goethe

published his writings of the three stages and in the polemical part he questioned the accuracy of

Newton's theory of color. In the famous debate it was represented the physical optics approach

by Newton and Goethe's color aesthetic approach. Thomas Youngs trichromatic theory, English

physician and physicist refuted Newton's theory (and therefore Goethe was justified). His idea -

which was published in 1802 - was that the colors perceived by photoreceptors what are located

in the eye, a separate tap for the red, green and blue -violet color. With all this it is proved that

any other color can be created from these three basic colors. Hermann Ludwig von Helmholtz

amended Young 's theory fifty years after its announcement, of so it became known as the

Young- Helmholtz theory according to this theory if we tease the substrate with other colors than

the basic ones all of the receptor groups should be actuated simultaneously. As it used to be in

case of a scientific study, this theory also had many opponents. The opponent color theory - by

Ewald Herling, reviewed in 1874 - the essence of this theory is the following, hat color vision is

basically the perception of contrast colors. Herling enrolled t red, green and blue as primary

colors but he added yellow to this list, and just as red and green, the blue and yellow is oppositecolors, and they are not apparent at the same time. We do not know yellowish or greenish blue

shades of red. Only in the 1970s - mostly relying on Edwin Lands research results, who is the

inventor of Polaroid photography the three color theory and the opposite color theory are not

contradictory, but complementary theories. The first models the eye operation, while the latter

explains the basics psychic of vision.


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Located color LED wall matrix

Color Matches

We know from Newton's theory that from the primary colors of the spectrum what contains

white, the rest can be obtained. This is called combination or additive color mixing. This

principle works on the television screen, a computer display or the mobile phone's color display,

as well as in the case of digital cameras, video cameras and scanners receptor unit.

An extraction and subtractive color mixing will happen if we remove colors from the white light.This phenomenon occurs, for example, with the stained-glass windows, where a portion of the

sunlight is filtering through (to a certain wavelength ranges) it is absorbed by the stained glass,

and the interior of the church is decorated with colorful lights. If an analog photographic work or

print images (color mixing for printing) does not have its own light source, the primary colors

will be cyan, magenta, and yellow.


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The name of t he color code is CMYK (cyan, magenta, yellow, and K as key), where the black

color is represented as a key. We do not get a perfect black with the printing on each other of the

three primary colors, so it is necessary to use a fourth color (black) too.

A glass window in Cologne Cathedral (1848)

The color wheel


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It is well known that the role of emotion in art is more important than the rationally determined

things. However, there are some areas where the constructive approach meets with knowledge

gained through experience. The constructive color theory is such an area. In order to understand

this we prepare the twelve -view color wheel, to do so the three primary colors, yellow, red and

blue serve as a basis. Interestingly, the perfect musical pitch is very rare, every healthy people

can have the absolute color vision. In other words, basically we can establish if a blue color is

pure blue or blue-green, or with reddish tinge. We can also observe if the yellow color changes

into bluish or reddish - yellow, and if the red color contains yellowish or bluish tones. We place

three primary colors in an equilateral triangle, in the following order: yellow on top, red at lower

right and at blue lower left. Place this triangle in a circle and construct a regular hexagon, each

vertex has to touch the circle. We fill the resulting triangles with color mixed from the three

basic colors. The mixing of blue and yellow will be green, from yellow and red will result orange

and from red and blue we get violet. It is important that these three mixed color must contain the

two main colors from which they are made in equal proportion. We draw around the circle which

contains the hexagon a larger circle, and then we divide it in 12 equal pies. We colorcorresponding points of the hexagon to the already established colors, and we color the rest to

the tones created by mixing the primary and secondary colors. As a result, we get a color wheel

with 12 colors and their place is unchangeable.

Newton was the first, who drew color circle, but its color range is actually a curved linear

spectrum, the red and violet was located on the ends. Newton added the magenta spectrum that

was mixed from red and violet in equal proportions, in this way the color wheel is not refracted

and the two colors can form a transition. The color wheel became complete with this

intervention. Goethe did not regard Newton's color circle complete, when he created his own

color circle - instead of using a linear spectrumhe paid attention on the continuum transitions.

Newton's color circle


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A 12-view color wheel

Color Contrast

Maybe it is a surprise but a color itself is a hardly perceptible quality. Its vision or mental


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efficiency is always complete if another color or colors are assigned next to it; we perceive it bytheir relationship to each other. We speak about contrast when we notice a conspicuously marked

difference between the two colors. For example, imagine that you see a crowded car park from

the balcony of a high floor. If there is only gray and silver cars parked, and among them only onered can be discovered, it is likely that will be the first spot what we observe. The opposite case is

also true from a lot of brightly colored car we must firstly perceive the grayish tone. But naturecan produce similar effects, we are familiar with the patterns of the brightly colored poison arrowfrog. These small amphibians indicate with different colors as their he natural surroundings that

they do not want to play the role of a prey.

The lack of contrast can be observed in other species of poison dart frog, for example the toad

what can not produce such a powerful poison so they rather wear hidden colors. Peopleconsciously apply the same. We use this for construction, transport, or other public locations,

they are marked with black and yellow stripes danger because the two colors together have the

most attention-grabbing effect. However, the defense industry generally applies the gray-green

khaki camouflage colors and the organic alignment of different shades of ocher and green.

Johannes Itten, the Swiss painter and art theorist - who was one of the most important teachers of

Bauhaus school - said about the effect of colors: " A color is only awarded for its value if it


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comes in contact with a non -color , such as black, white gray, or one or more other colors . The

perception of color contrast is not a physic- chemical reality but a psychophysical of reality"3.

Itten testified, and with the examples above, I also wanted to draw attention to this, a color can

only be awarded for its value if it is placed next to another color. Let's see how to create a color

contrast when we know that the different colors psychophysical reality simultaneously have a

different effect.

1 Contrast between Light and Shadow

The easiest way to make contrast is with black and white or with shades of gray, but this does not

mean that the light and shadow contrast can not be created by using different color fields. To

determine each level of gray depends on the acuity of the human eye, but external factors - eg.

light - can affect it. It is interesting that when, for example in a bath with white milk even one

hint of black Indian ink goers, the result is already grayscale even if there is no human eye which

perceive this insignificant change. Not only the gray monochrome (the presence of the blackcolors only cause percentage), but also other " gray color " exists, they contain, in addition to

black and white other colors as well. The colored shades of gray can create a pleasant neutral

surface what can be used as a background color. The toughest contrast can be created by using

only black and white, but we should be careful with its use, as it can easily cause annoying

flicker on the surface of the eye if it is tired. To avoid this, it would be a successful approach to

use a few percent of the gray - white and 90-95 % gray instead of black.

2. Individual Color Contrast

To prepare this it is required to use at least three different markedly distinguishable color. It can

be further enhanced if next to the homogeneous basic colors we insert even a black or white

field. The effect of the individual color contrast is strong and it draws awareness, therefore, its

excessive use can be roar. On such an intensive surface it can be difficult to follow the cursors

movement and the positioning of text can cause readability problems. In order to release this

strong we should effectively use other colors than the main ones.

3Johannes Itten: The Art of the Colors, Budapest, Goncol Press, 2000, 1 page 9 (translated by Gabor Kartson)


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3 Hot-cold Contrast

On the right side of the color wheel the cold colors are located while on the left hand side, wecan find the warm colors. We know that colors can affect our sense of heat, which affects the

ability to concentrate as well. Various attempts have been made to detect this. Horse racingstables are divided into two parts, one part is red and the other singer is blue. After the race, theblue room calms the horses down a lot sooner than, the red one, there the horses are longer tense.

It has been observed that on the red side there were an unusual number of flies, while on the blue

side there were not flies. The shades of orange-red evoke higher thermal comfort because they

have been associated with fire and glow. However, the greenish-blue tones have been associatedwith ice, freezing coupled, so we think that they have a lower temperature but actually blue has a

higher temperature. We think that Saturn red is the hottest color between yellow, yellow-orange,

orange, orange-red, red and reddish purple colors. Among yellow-green, green, teal, blue and

blue-violet colors the coldest blue-green color is the manganese oxide. The cold-hot contrastcreates a strong distinction what is highly expressive, its use is draws awareness and it is well

suited to distinguish different territories. Moreover, the blue colors seem to be optically distant,while the red colors seem to be closer.


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4 Complementary contrast

If we watch a red form for a long time, then we close our eyes, we will see green in the sameform. We can do this practice with any other color; the after-image in each case will be their

complementary color. We can reach a shiny, decorative effect if we put two complementary

colors next to each other using a good proportion. The complementary are opposite to each other

on the color circle and so they form pairs. One color has only one complementary pair that one

which is diagonally across to it. When we mix these two complementary light colors, the result is

a visible white light or if a green object is illuminated with red, black will appear. If the two

colors what we want to blend is not light, but a pigment, finally we get an almost neutral gray,

(with the exception of the green and red pair of complementary mix, which results in gray

instead of brown).

5. Simultaneous Contrast


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The phenomenon of simultaneous contrast is also related to the complementary pairs. According

to Itten in the law of color harmony he also includes the complementary - law. We can speak

about simultaneous contrast when a color is detected; the eye automatically assigns its

complementary pair, even if it is not present. The simultaneously created color perception may

not even exist, but it is generated in our eyes. The simultaneous effect in many cases diverts

attention what becomes tedious, and it can be confusing. Therefore, we should know how to

avoid it. The easiest way, if instead of a natural gray we use a colored gray, we mix into it some

of the basic colors. If the base color of gray is added from a complementary color, the effect is

simultaneously amplified. Another method to reduce the danger is if we use different color

brightness scale.

6. Qualitative Contrast

This is sometimes referred as saturation contrast, because of the clear, saturated colors and thejuxtaposition of their softer version. The degree of saturation of each color determines the color

quality. If we added to a color pure white it will be brighter, it becomes darker if we add black to

it. If we add white and black at the same time, it is attenuated the colors brilliance, but also by

adding the complementary pair a curved gray dimming can be performed. By neutralizing the

color loses its expressive power and vividness, optically it seems further away than it. A muted

version of the color can be used as a background or as an inactive surface, and on this we can

locate its spot can be a good modality to highlight something.

7. Quantitative Contrast

Quantitative contrast, as the name may be inferred, appears when the spots of different colors in

different size are compared. In order to avoid excessive vibration on a surface and to radiate

harmony rather than suspense, we have to find the good proportions of the color spots. Account

should be taken of the fact that an optical spot of color determines the size and strength of

lighting as well. For example, on a starry sky where the large, homogeneous surfaces are quite

dark, due to the small, proportionally insignificant points of light we may have the impression

that it is bigger than the real spot size. This example shows that the intensity of colors and their

effect is different. Goethe expressed approximately correct the equilibrium percentage point in

numbers of different colors :


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Yellow: Orange : Red : Violet : blue : green light has the ratio of

9 : 8 : 6 : 3: 4 : 6

The complementary color pairs ratio is the following:

Yellow : Violet 9 = 3 = 3: 1

Orange : Blue = 8 : 4 = 1: 2

red : green = 6 : 6 = 1: 1

If we want to create a harmonious surface, we have to apply the inverse of these values. For

example, the vivid yellow must occupy one-third than its complement what is considerably

fainter, the violet.

6. Typography

At the beginning of this book I wrote about the phenomenon that we tend to consider the images

as an original source of information, in opposition with their multiple functions what is primarilyan aesthetic one. I do not think that the civilization of the pictures could take the role of the

written text or Internet can replace the printed book. If we look around, we can see the

unavoidably presence and forms of typography in our daily lives. Any kind of writing or even a

letter placed on a surface - even without a conscious editing - belongs to the field of typography

and it is the main source of communication for a long time.

The Greek word typo means an engraved or minted figure; the word graft is equivalent with a

write word. This word combination is used from the 16 century. At that time it referred to the

preparation of books with the demand of an artistic method. In other words, it required the

selection of letters that best fits to the content of the text, the aesthetic layout of the articles,

illustrations, headings on the page. The books were printed by hand the text were printed line by

line using cast letters. The personal computer or the spread of digital technology has radically

changed the nature of typology, because now every user creates text on daily basis, and we

organize it at some level. Nowadays it generally accepted that the most important means of

cultural dissemination is the book, but we can see this as an anachronism because on the internet

we can find an incredible amount of written material, and the popularity of e -book, audio books

is growing. However, reading and writing will always be an essential factor, because without this

knowledge we can not deal with the computer. In order to edit a text it is useful - in addition to

reading comprehension and correct language usage- to study and understand the typological

rules. It is not enough to use of the rules dogmatically, it is a necessity to have sense of beauty,

general sense of composition routine, a fine eye for the proportions and to apply the rule of

thumb. A good typographer is able to use exact knowledge and he can also apply subjective


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considerations as well.

The Development of Writing

The necessity of verbal communication is as old as humanity itself, the writingaccording to

Umberto Ecocan be regarded as an extension of the hand, and in this sense it can be seen

almost as biological phenomenon. Writing - continues Ecois communication technology what

is directly linked to the body. Once we discovered it, we are no longer able to live without it4.

The first evidence of human drawings can not be defined as writing, but its development was

definitely needed. The graphical forms of communication evolved from a pictographic script

(pictography), which marked concrete concepts. Later some pictographic signs appeared that did

not refer to depictable concepts. The easy line art was not suitable to capture the concepts, so in

order to expression correlations the concept of writing was developed (Ideographs). After the

introduction of the ideograms the next stage was the development of converting notes to writtensymbols, and the appearance of sound writing was a turning point in the history of writing, after

which only the formal changes were developed.

4Jean-Claude Carrire - Umberto Eco: Do not expect to get rid of books. Routledge,

Budapest, 2010. Translated by Thomas Sajo (21)


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We know that writing was preceded by the drawing as the recording of the first ideas and the

transmission of the activities. The ancient man already felt the urge to preserve his message, thistendency can be traced in cave drawings, which were formed by sharp stones, bones, wood,

branches, or simply by their hands and fingers. The oldest of these findings is around 9000 BC.Just about 5-6000 years ago, we can speak about image writing. They used hundreds of mark,

but they were only able to capture the essence of the thing to be communicated, not the whole

remark. We can speak about pure picture writing in case of the Egyptian hieroglyphics andChinese characters. In Egypt, the image writing existed in sophisticated form so they

distinguished the nouns from verbs, but they subordinated the entire writing system to aesthetics,

and they did not use spaces. Just about the same time with the formation of hieroglyphs inMesopotamia the cuneiform writing was developed. Among them the oldest is the Sumerian

writing, its structural rules correspond to the Egyptian writing, though formally we can observesignificant differences. In the beginning they also used pictographs and then switched to syllabic

references, they used wedge -shaped symbols. The Babylonians adopted the late Sumerian

writing, but instead of its long horizontal rows they wrote their units from left to right direction.The image applying nations soon faced with the problem that the drawn or etched line drawings

were not suitable for communicating abstract concepts. Therefore, among the signs of

pictographs appeared signs that did not draw concepts, and soon they applied the hieratic writing(taken from the Greek word priestly writing group) they no longer set it in stone, but they wrote

mostly with brushes on papyrus, tiles or fabrics. Its great advantage was that it could be done

faster, because they did not have to use a complex hieroglyphic system of images. The hieratic

writing was followed by the demotic (popular). The name derives from the fact that it mainlyserved to record their private affairs. It was developed in the 8-7. Century B.C. and the last

known demotic inscription could be dated from 452 B.C. It was developing continuously during

a long period of time and three stages can be distinguished: the archaic, the Ptolemaic era and thelate period. With the spread of Christianity the demotic writing was used by the Gentiles, and it

soon disappeared, and the use of the Greek alphabet became general. The writing could be

connected to the Phoenician merchant ships, which first used abstract symbols instead of images,

or characters in modern sense. They changed the signs of the cuneiform and they formed them ina way that they can write them on papyrus, its development can be dated about the same time

with the development of the Greek alphabet, around 1050 B.C. The Phoenician and the Greek

alphabets letter contained only 22 consonants, so the missing vowels and the words of the texthad been concluded from the context. The letters of both alphabets were named, the difference is

that the Phoenicians wrote from right to left, the Greek vice versa. At first they did not use space,

then they marked it with fine points.


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Mesa stele is a Moabite stone. The black basalt stone was found in 1868 at the Dead Sea, by a

German priest. This is the most significant memory of ancient Hebrew writing, as it contains the

longest known Hebrew text (34 lines).


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The Greek alphabet formed from the ancient Greek was the first in which both the vowels and

the consonants had special punctuation. At first, in the Greek alphabet also was featured several

versions at once, and with the Ionian writing has been widely accepted. The direction of the

writing changed ultimately, which can be seen as a transition to the initial right-to -left writing in

alternate rows (this is the boustrophedon line guidance, what was called as " ox- plowing "

writing) was followed and eventually switched to the left to the right holder. In southern Italy,

the Greek tribes first interacted with Etruscans who also took the science of Greek writing, and

with their interventions - either with Phoenician or Greek influenceit was developed in the 3rd

Century B.C. the Latin alphabet which has 19 -letters. After several changes in the 1.Century

B.C. it was developed the present, 23-letters swollen form. Several nations adopted this alphabet

as a result of Roman conquests and trade relations.

Font

The variety of eye-catching font families were developed a long time ago and their development

were determined by the sort of material by they were made and by the material they were

written, but in the case of the digital vector font editing can be observed that it has similar

characteristics. In addition to the traditional typefaces it appeared - in parallel - font sets which

were based on the characteristics of the handwriting, letters which imitated the characteristics of

electronic displays, raster characteristics of street art, airbrush feature or the retro style of the

eroded letters. Because of this development process we have the possibility of editing three -

dimensional subtitles, the tool is the computer, whiteboard, and the surface is the monitor instead

of the stone tablets and parchment.

The first version of the classical Roman writings were rectangular, square (caps quadrata), hard -

line letters, which stems from the fact that it were only carved in stone, and the shape of a letter

made the job a bit easier. It contained only capital letters (maiscula), the spaces were designated

by points. On the papyrus and parchment was written a later version (rustica) which had finer

lines than its predecessor, it was more appropriate for handwriting. On the wax -coated pressed

wooden boards it was etched its cursive version. As the papyrus used for writing it was almost

exclusively produced in Egypt because of its high cost and long time of purchase - and also

because the Egyptian king feared the knowledge he banned the delivery to the city of Pergamon -

after a while the scribes began to use animal skins. The term was originally used only for the

untanned parchment of goat or sheepskins, bleached sheets, then for all the writing on so called

skin membrane. The finest parchment was the skin of stillborn calf what was called vellum. The

transition from papyrus to parchment had two major consequences, the first was the use of the


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quill, the other was appearance and spread of the codex. The codex copying task required

meticulous, careful and painstaking work, and for a very long time, from the 2nd century A.D. to

1440 the invention of Gutenberg printing no other method was in practice. Although in the 8th

century, in China engraved wooden board has been used to high pressure strutter for book

reproduction but in Europe, this technology was not widespread. In China even before Gutenberg

the removable sample letters were invented in the 11th century. In China they printed on paper,

they were probably already familiar with the method of preparation of the paper before the time

too. The first paper mill was built on the Arab - China trade route, Samarkand, so that the

method of manufacture may have spread to the Muslim world, and only in the 8th century it

came to Europe, through Arabia and North Africa.

A page from Diamond Sutra, a wood cut board book, from China in 868.

In 1962, the Canadian scholar Marshall McLuhan published his book the Gutenberg Galaxy inwhich he presented the cultural history of mankind, the importance of the role of the printed

book. According to his theory the release of phonetic alphabet was essential for the invention of


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the printing press5. He describes how the monks copied the codex saying it out loud, this process

was based on the auditory - tactile sensation, while the typographic effect upon our interpretation

of the text has visual characteristic. It is instructive that the word Gutenberg galaxy itself will

become general when it comes to paper-based publishing what is at risk because of the internet.

Another interesting thing is that McLuhan also predicted the emergence of the Internet; he used

the expression of global village 30 years before its creation.

The fonts currently in use can be divided into ten categories by their common graphical

principles, they are:

1. Renaissance antique

2. Baroque antique

3. Neo-classical antique

4. Antique (Egyptian)

5. Sans serif linear antique (grotesque)

6. Other antiques7. Handwriting imitating fonts

8. Ornamental and advertising letters

9. Fractional generous letters (Fraktur types)

10. Foreign Fonts

1. Renaissance Antiqua

It was formed in the 15-16th century it has block fonts, it is also called humanist. It is dating

back to the form quadrants from the ancient Roman world. It emerged from the Roman capital

majuscule and Carolingian minuscule. The typeface of the letters has different thicknesses it may

give the impression that it was drawn by a pen or a brush, but there is no big difference between

the baseline and guides thickness. It mimics the rhythm of handwriting, perfect for long text. It

can be characterized by the fine attention to details, in case of the serif and closing lines we can

observe the rounding and round shapes have the tendency to inclined alignment. Two groups can

be distinguished, the Venetian Renaissance and French Renaissance antiques. The difference is

barely noticeable, the oblique lines of letter "e" in the Venetian antique is transverse, while the

French version is horizontal. This group includes for example the Garamond, Palatino and the

5McLuhan, Marshall, The Gutenberg Galaxy. The creation of typographic. Deposit Book and Newspaper Publishing,

Budapest, 2001trans. by: Kristof Istvn Nagy.


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Centaur font family.

2. Antique baroque

it can be characterized with the A 17-18th century block font feature. In 1695, Louis Simoneau

worked it out because of the commission of XIV. Louis, based on his Mathematical Principles,

later Pierre Simon Fournier revised the slightly stiff letters. He changed the font width ratio so he

formed final version of the Antique Baroque. Thus, this font also became capable of reading

longer texts. Fournier was also the one who worked out the typographic measurement system

what is still in use. We have to distinguish from the Renaissance antique it is a difference in the

thickness of the auxiliary and the main lines, the rim and the closing lines are less round, in case

of the axis of the round forms is less oblique, it also can be vertical in some font families. The

roman baroque Times and Baskerville font families are well known and often used.

3. Neo-classical antiquities

It was released at the end of the 17.century it is a block font type. The design of the earlier forms

what imitated the handwriting was no longer in use, and instead of a pen scriber, a marking

needle was used according to the fashion an attractive thin line font editor was introduced. As a

significant difference, thereby a high contrast effect can be observed between the thicknesses of

font stems. This allows it to present highlighted parts, for example, picking the titles of books

and newspapers, but the continuous reading of the text would be confusing, and so it is not in use

for this. The rounding of the letters stand is low or not even exists; the circular sensitive axis is

always vertical. The Bodoni and Zapf font families are examples for neo-classical antique.


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Renaissance (Garamond), Baroque (Baskerville) and classical (Bodoni) antique. The change in

rates is clearly visible in the relative thickness of the letter stems.

4. Antique

It was a significant font family at the end of the19th Century and at the beginning of the 20th

century. It is also called as Egyptian it can be dated at the time of the formation of Napoleon's

Egyptian campaign when in England it was intense interest in Egyptian art. Another theory is

that the letter was appointed directly by the vessel named Egyptienne, which supplied the

Rosetta stone in England. The Egyptienne first appeared in print on a poster made by Vincent

Figgins. This font can be distinguished because of its straight lines, regular, geometric shapes,

and powerful rim. The letter stems have equal thickness and the thickness of the rounding rims

associated with them is the same. Firstly it was designed for advertising purposes, and for this is

the most appropriate, but in rare cases it can be applied as stuffing letter. In case of the circular

letters the axis is completely vertical. The Courier, Rockwell and Memphis are examples for this

type.

5. Linear Sans Serif Antiqua

Its development is largely at the same time with antique, the end of the 19th century, but in the

early 20th century it was a popular model as well. In 1803, Robert Thorne, a letter-cutter and

mold master made the first version. The earlier antique possessed rims, so the letters stand for the

non- standard language called grotesque, and this nickname is still maintained. The American

savage letter was described as Gothics. The first sans serif letters were prepared for blind people

to read with their fingers, the serif should not be a distraction. It is interesting that many antique

linear grotesque font families still do not have a cursive version, the italic letters are usually

created by decision of the letters. It is characterized by equally thick letter stems and vertical

axis. The best known versions of this type are: Arial, Futura and Helvetica.

6. Other Antique


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Theses are typical fonts of the 20th century, which are mostly converted from traditional,

historical fonts. Varia is also known as this type. They are determined by light, unique and

individual characteristics. These fonts are already digitally edited, but the designers have tried to

maintain the features of cut the tip pens. Minion, Palatino, Optima and Catullo are mostly known

as this type.

7. Imitating Handwriting Fonts

Imitating the handwriting fonts carry effect of uniqueness, immediacy. Its application in all cases

results in a product of personal tone, it reflects the free world of feeling of the creator. This type

is the most vulnerable to the style of fashion. The writing instruments are different in every

period, but the script itself is dynamic, it changes almost with every generation. If we compare

the handwriting of our grandparents with ours, it is easy to understand why. It can be well used

generally with other fonts, but it is not used in text but for headings. Its common types areVivaldi and Mistral.

8. Ornamental and Advertising Letters

The most significant characteristic is that this font is the easiest to read, but, as their name may

suggest, they are used for headings, they are the fonts of the awareness boards, so on. Their use

should be treated with caution because it may seem to be part of the decoration. It is difficult to

group the letters based on their substances or character, and it is not any requirement about the

writing of the letters. Its construction was based on the Renaissance, Baroque or Classical

antique, the linear antique is rarely used, but it was not uncommon to design unique letters

required by the content of the text. Examples of this kind include Chisel, Impact, Stencil, Wide

Latin.


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9. Fractional generous letters (Fracture font)

In the 11th century, it was primarily used to write the codex, they used pen to write this thick-

tipped, slant range letter. It was known as Gothic letters because of the spread of Gothic

architecture; it started to widespread from France and Flanders. We can speak about several

developmental stages before it won the final form; it is closely linked to the evolution of book

writing and illustration.

Gutenberg also used Fraktur

letters when he printed his forty-

two-line Bible in 1456. Thecharacteristics of the off-line

letters are that it is difficult to

read, because the dens vertical

form creates the grid effect.

Quoting the archaic knowledge

of codexin mostly German-

speaking countriesit is often

used as the headlines of the daily newspapers. Such fonts are Saxony, Tudor, London or Old

English.

10. Foreign Fonts

All the letters from every foreign alphabet families can be grouped here. The Greek and Cyrillicletters has played a major role for several years related to Hungary, but it has lost much of its

importance with the end of the compulsory Russian language learning. The knowledge of the


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Greek characters, however, continued to be important owing to the conventional physical and

mathematical marks. The fonts of Arabic, Hebrew, Chinese, Japanese, etc. are part of the foreign

fonts, but some letters from the Slavic languages, French and German alphabet contains special

marks. The Hungarian long accents cause difficulties when in the usage of a font set.

The fonts based on their form can be painless, thin (condensed or narrow), Normal, Wide (wide)

or cursive (italic or italic) letters, according to thickness of the letter stem: light (light), normal

(regular), bold (semi bold) and fat (bold) form. The fonts that are similar to the typewriter letters,

fonts with the same width (such as Courier) are called monospace.

Text Editing Principles

As I mentioned before, to form a text it is not enough to know the basic rules, but it requires

some subjective senses to a coherent interpretation of the text what should not be tedious for the

reader. In addition of forming the text, the placement of the highlighted text, explanatory

diagrams and other illustrations can be part of the job. In other words, we create a composition

whose elements are emphasized in a series of letters and lines composed from stain effect. Based

on our previous compositional knowledge we can rely on it to design a text -enabled sites, but in

this case we should not forget about the readability, the rhythm of articulation can be determined

by the content of the text. It is significant for example where we insert a diagram into the text

and it is also important what kind of text image does the different length sections show.

The text is composed by paragraphs, paragraphs are composed by sentences, and the phrases by

words but the letter is the smallest unit of the text. First consideration to take into account whenwe start editing a text is the length and the number of other components such tables, pictures,

diagrams and other components associate with the text. The length defines the structure of the

surface, and based on this knowledge we can determine what kind of decorative accessories can

be seen on the edit page. The length of the text in most cases determines the font and its size. The

font, if no other is privileged, is determined in most of the text, by the mood we want to edit, the

material, content, or the target audience (in most cell phones are basically used sans serif font). It

is good if the image fits with its style to the message of the text, but readability is the first.

Taking readability into consideration, we need to select the font size, we must take into account

if footnotes are necessary which font size is with one or two points less than in the main text, the

main and subheads, motto, special sentences are denoted with bigger font size. The same is valid

for the correct spacing, and even for the letter spacing as well. The overcrowding is a mistake


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that ruins the interpretation and readability.

We should be careful with the mixing of fonts, not all letters can bear the appearance of other

types on the same surface. The text bears the association of different fonts when we speak about

the headings and filling lines. The graphics uses a variety of colors, different font size and

Documents

1 introductory.docx