西文字体设计基础.docx
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西文字体设计基础.docx
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西文字体设计基础
越来越多的接触英文,许多设计现在都离不开英文字体的设计,所以很有必要介绍一下一些英文设计的基础。
也有很多人问,但是我也不是专业做英文字体,刚好看到这篇文章介绍的比较实用而且基础,最重要有图,直观,就翻译来,大家分了……,翻完一看都凌晨了,呵呵,忘情了O(∩_∩)O~哈哈,久了脑子有点蒙,有什么翻译不好的,大家看原作吧,呵呵。
希望对你有帮助吧!
提供一个西文字体术语的pdf供大家下载!
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100% practical. Sketches have been made to explain some basic issues in type design during the workshops.
They get used to point out some problems which raise while creating a new typeface.
Only some foundations are shown, no deep sophisticated details.
100%实用。
在工作室做字体设计的案例时,手绘可以帮助我们解释一些基本的事情。
在设计新字体时,手绘可以帮助我们指出一些问题所在。
这里,我们就用手绘这种方式来谈一些关于字体的很基础的东西,不深谈。
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第一部分:
视觉平衡
Same size for all!
To optically align all characters on a line, they cannot not have exactly the same mathematical height. For example
the triangle on this drawing has to be higher than the rectangle. If this is not the case, the triangle will for sure look smaller than the
rectangle.While creating a typeface, you want all the letters to have the same height.
视觉平衡!
我们把所有字母在视觉上保持水平对齐,但是我们发现他们并没有绝对意义上的相同高度。
比如,这个三角形比矩形要高,否则,三角形肯定会看上去比矩形要小。
而创造一种字体,你当然想要所有的字母
Also round forms have to exceed the baseline to be optically the same. If the circle would have exactly the same mathematical height
as the rectangle, it would look smaller than the square. This doesn't only count for basic forms like triangles, circles and squares.
It's essential in type design, because they apply to every single character in a typeface. Then it even doesn't matter if you're designing
a latin, cyrillic or greek font. It's a basic principle for any kind of shape.
同样,圆形也需要超出基准线而达到视觉上的对齐。
如果圆形和矩形高度相同,那肯定会看起来比矩形小。
这不仅适用于三角形、圆形、矩形这些基本行状,而是可以应用在字体设计中的每一个字母,是很重要的一条法则。
甚至你设计拉丁文、希腊文都可以应用。
这是一条适用于任何形状的基本法则。
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第二部分:
术语。
Type terminology. Communication during the design process is much easier when using basic terminology of type.
Here are a couple important ones, which will help to bring the conversation a bit further than 'yeah, that
there, that little black thing.'
Ascender:
上伸部
Baseline:
基准线
X-height:
小写字母x高度
Arm:
字臂
Shoulder:
字肩
Contrast:
粗细对比
Stem:
主干
Serif:
衬线
Terminal:
尾部
Counter:
字谷(内部空间)
Bowl:
字碗
descender:
下伸部
字体术语。
在字体设计过程中使用一些字体术语更有益于交流。
这里有12个重要的字体术语,这些会让你在交流中不用使用含糊不清的“对,这里”“那个小的黑的东西”的代词。
这里我加一段:
在英文字体的设计中(主要指小写),一个字体的高度体包含三部份,以基准线 (baseline) 为中央,以上称之为上部 (ascender area),基准线内称之为x高度(X-height),基准线以下称之为下部 (descender area)。
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第三部分:
流线型
Fluent shapes. Designing type is like driving a car. If you drive a car, you always take the curve in a
natural way. If you draw a curve (of a character) on paper, this is exactly the same. The curve starts
smoothly, never out of a sudden. While driving a car, you don't start turning the wheel when you are already
in the beginning of the curve. A while before you arrive in the curve you anticipate by leading your car
gently in the right direction. Think about driving a car when you are sketching type on a paper.
流线。
设计字体就像开车。
当你开车的时候,你肯定会走自然的曲线。
这跟你在纸上画字体的曲线是一样的。
曲线流畅的展开,绝不会突然卡住。
当你开车的时候,肯定不会一进弯就打方向盘,而是慢慢的沿着右侧曲线通过。
在纸上手绘字体的时候,你想着开车就好了。
呵呵。
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第四部分:
书法渊源
Calligraphic origin. The characters on the top line have a different construction than the characters on the
bottom line. They have a different calligraphic origin. It doesn't matter if a typeface has serifs (like
Times New Roman) or not (like Arial). It's about the original way they where constructed.
书法渊源。
上下两种字母结构不同,源于他们不同的书写方式。
不论字体是否分为衬线体或者无衬线体,他们都是根据不同的书写方式而来。
The characters in the top line are constructed with a pointed pen (calligraphic tool). The contrast is caused
by changing the pressure on the pen, not because of the form of the pen. Bodoni is one example of this,
but also sans serif faces like Helvetica have this origin. The thickest part will be (mostly) totally
vertical. From this perspective there is no difference between Bodoni and Helvetica. They both have the same
construction. Only the contrast varies.
上面的字母是通过尖笔书写的,其中的对比是通过改变笔的不同压力,而不是因为笔的形状。
Bodoni就是一个例子,但是无衬线体Helvetica也属于这种。
最宽的部分基本都是垂直的,从这点来说Bodoni和Helvetica没什么不同。
他们有着同样的结构,只是对比不同而已。
The characters in the bottom line have a origin which is derived from the broad nib. The calligraphic pen
itself has a thick and a thin part. The contrast in the type is made because of the form of the pen, not
because of the pressure. You slant the pen with an angle of 30 degrees on the paper. In that way your thickest
part of a character will not be on a vertical direction, but will be on an angle. Also the thinnest part will
not be on the most horizontal parts. Typefaces like Garamond and Minion have this kind of construction. But
also sans serif faces like Gill Sans have a construction which is originally derived from the broad nib.
下面的字母则是起源于瘪头笔。
笔本身就有宽和窄的部分。
这种字体的粗细对比来自于笔的形状而不是笔的压力。
把笔倾斜30°,这样字母最宽的部分就不是垂直方向了,而是你倾斜的那个角度。
同样,最窄的部分也不是水平的部分。
Garamond和 Minion就是这样的字体,但是无衬线体Gill Sans也是来源于这种书写方式。
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第五部分:
空间
Spacing. Some words about spacing type. Much more important than the shapes of the characters, is the rhythm
of the type. A typeface with beautiful characters which are badly spaced is extremely hard to read. However,
if the shapes of the letters are not that good, but when they are all perfectly spaced, the type will be fairly
easy to read. Defining the rhythm is more important than defining the shapes.
空间。
首先,明白一个概念,文字是用来阅读的。
比字体的外形更重要的是字体的韵律。
有着优美字母但是字距糟糕的字体阅读性肯定很差。
然而,如果字母没有那么完美,但是他们有良好的字距,那字体也会很容易阅读。
设计韵律远比外形重要得多。
The white spaces inside and in between letters are defining the rhythm, much more than the black shapes of
the letters. When you manage to create a good rhythm in your line of text, your type gets more readable and
gives a balanced end result. While creating the black shapes, you have to take the white spaces into
consideration. Because the white spaces are more important than the black shapes. However, white cannot exist
without black. Changing a white shape, inevitable will have an influence on the black shape. From that
perspective, one colour cannot be more important than the other.
字体的韵律由字母内部的空间以及字母与字母的间距决定,这些空白的部分远比黑的部分重要。
一段文字如果有一个良好的韵律,那么他就更具可读性也会有很好的视觉效果。
当你设计黑的部分时,空白的部分你不得不考虑。
留白虽然重要,但是也需要黑的部分相互依存。
改变白的部分,必然会对黑的部分有影响。
从这点来看,两者 同样重要。
For example, there has to be a relation between the space inside an 'n' and the space between the 'i' and
the 'n' (see drawing). In the top row you can see the space inside the 'n' is much much bigger than the
space in between the 'n' and the 'i'. In the bottom row they are much more equal, and in this way you'll
get a much better rhythm and more harmony in your line of text.
比如,“n”的内部空间和“i”与“n”之间的空间有着必然的关系。
上面一行,“n”的内部空间比“i”与“n”之间的空间要大很多,而下面一行是则基本相同的,下面一行明显有着更好的可读性。
The same goes for the inner form of the 'a' and the 'e' for example. There is a big relation between these
two forms. If they have (optically) the same amount of white inside the character (=counter), your type will
have a better rhythm as well.
同样的道理一样适用于“a”和“e”的内部空间。
这两者之间有着很大的关系。
如果字母内部空白的部分视觉上达到平衡,那字体就有着良好的韵律。
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第六部分:
黑与白
Black vs. white. Designing type is nothing more and nothing less than harmonizing black and white shapes.
Black can't exist without white, and white can't exist without black. Black, the shape of a letter. White,
the space in or in between letters. The amount of white inside a character defines the amount of white in
between two characters.
黑与白。
设计字体无非就是协调黑和白。
黑和白唇齿相依。
黑,字体的外形。
白,字体内部以及字体与字体之间的部分。
字母内部的白决定了字母与字母之间的白。
As it is impossible to create a very black character with a big (white) counter form, a black typeface will
always have smaller counters than a light typeface. Hence it follows that there is less space in between the
characters (see drawing). A light typeface has much bigger counters. The space in between two letters has to
be in proportion. As a consequence there is more white space in between light letters than in between black
letters.
黑的部分多,白的部分就少,创造一种黑多白多的字体是不可能的,一种黑体白的部分肯定比细体白的部分少。
(绕口令一样!
)一种细体有更大的空白部分。
内部以及之间的空间要均衡。
因此,细体比黑体有更多白的空间。
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第七部分:
意大利体与手写体
Italic vs. cursive. A roman font can be slanted (having an angle) and a cursive font can be upright (totally
vertical like a roman). Urgh!
意大利体与手写体。
罗马体可以倾斜体,手写体可以有垂直体。
The angle doesn't decide if a character is a 'roman' character or an 'cursive' character. This depends on the
construction. To make it a bit more clear, take a look at the four big n's. As you would expect, the first
letter is a roman character. But the second one as well. Although it's not totally vertical, it still has the
same construction as the first 'n'. This is called a slanted roman. The third 'n' looks like an cursive, but
also this one is not a real cursive. Basicly there is no difference between the second and third 'n', only
some parts of the serifs have been cut off.
角度不能决定字体属于罗马体还是手写体。
这取决于结构。
看一下这4个大“n”,就会很明白了。
对,第一个字母是罗马体,但是第二个同样是,虽然他没有完全垂直,但他和第一个有相同的结构。
这叫做斜罗马体。
第三个“n”看起来像手写体,但他并不是真正的手写体。
基本上第二个和第三个没什么区别,只是衬线不同而已。
Compare the first three letters with the last 'n'. That's a real cursive. The big difference with the
previous three i
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