如何像专业设计师一样理解排版

Typography is so overwhelmingly ever-present we hardly notice it there anymore. As elemental as it is to our culture, it’s actually bizarre to think it has a history at all. This article will serve as a condensed education on the basics of typography, including typographic terms, proper usage of fonts, unusual characters, and history.

印刷术是如此压倒性永远存在的，我们难以察觉它的存在了。 尽管它对我们的文化至关重要，但实际上认为它具有悠久的历史却很奇怪。 本文将作为印刷基础知识的简要介绍，包括印刷术语，正确使用字体，不寻常字符和历史记录。

We’ve become so accustomed to communicating with type that most of us do not notice what it is doing, let alone any of the agonizing design decisions that were a part of their creation. Practically any major typeface has a long history and richness important to how the font communicates about the content it bears. At least, any font that wasn’t created by somebody named “Pizzadude.”

我们已经习惯了与类型进行通信，以至于我们大多数人都不知道它在做什么，更不用说任何折磨人的设计决策了。 实际上，任何主要字体都有悠久的历史和丰富的经验，对于字体如何传达其所承载的内容至关重要。 至少，任何不是由“ Pizzadude ”创建的字体。

类型简史 (A Brief History of Type)

The tradition of Western-style type began with scribes and hand-written copies of books. All written material was done by hand, tediously and slowly, often taking years to produce a single copy of a book. The idea of a “typeface” or “font” was unknown, although most scribes throughout the Western world had their own stylistic hallmarks.

西式字体的传统始于抄写员和手写书籍。 所有书面材料都是手工完成的，乏味且缓慢，通常需要数年才能制作出一本书的副本。 尽管整个西方世界的大多数抄写员都有自己的风格特征，但“字体”或“字体”的概念尚不清楚。

When German printer Johannes Gutenberg invented the first western movable type printing press, he and his apprentices hand-carved wooden type in the style of the handwritten Blackletter fonts. By doing this, Gutenberg not only created the engine behind a massive explosion of literacy, but also the first honest-to-goodness “font” in the reusable form we understand them in today.

当德国印刷商约翰内斯·古腾堡(Johannes Gutenberg)发明了第一台西方可移动式印刷机时，他和他的徒弟们以手写Blackletter字体的样式手工雕刻了木版。 通过这样做，古腾堡不仅创造了大规模扫盲背后的引擎，而且创造了我们今天所理解的可重用形式的第一个诚实到善的“字体”。

Even more so than the history of literature, the history of typography is synonymous with the history of literacy. Type designers of the Renaissance and Baroque periods took inspiration from Gutenberg and the other first movable type printers, but also looked to Classical (Roman) typography. Combining the Roman Majuscules with the naturalistic Minuscules found in ancient texts that inspired the Blackletter fonts, these typographers eventually crafted fonts and alphabets like the ones we use today. Handcarving the individual and lovingly designed pieces of type, the early typographers were effectively creating a critical piece of the language in which we all communicate.

印刷史远比文学史更是识字史的代名词。 文艺复兴时期和巴洛克时期的字体设计师从古腾堡(Gutenberg)和其他第一批可移动字体打印机中汲取了灵感，但他们也使用了古典(罗马)字体。 这些印刷术者将罗马教皇与古代文本中发现的自然主义小名词结合在一起，启发了Blackletter字体，最终他们像我们今天使用的那样制作出了字体和字母。 手工雕刻个性化和精心设计的字体，早期的印刷者实际上是在创造一种至关重要的语言，使我们所有人都能交流。

For years, “fonts” were these simple, movable pieces of wood (or metal, in later, more industrialized years), placed backwards, inked and run over a substrate, e.g., paper. Because this kind of relief-style printing leaves a mirror image, typesetters had to learn to read characters backwards and place them backwards on their presses. Learning to place Glyphs by reading them backwards, typesetters were often warned to “Mind their p’s and q’s” as the lowercase p and lowercase q look nearly identical.

多年来，“字体”是这些简单，可移动的木头(或金属，在后来的更工业化的年代)，它们向后放置，着墨并在诸如纸的基材上运行。 因为这种浮雕风格的印刷留下了镜像，所以排版人员必须学会向后阅读字符，并将字符向后放在印刷机上。 学会了通过向后阅读来放置字形，打字员经常被警告要“记住他们的p和q”，因为小写的p和小写的q看起来几乎相同。

These fonts were agonizingly designed around the core principle of legibility. The designer had the challenge to create each letter unique enough to be distinguished from the rest of the alphabet, while keeping a marked style throughout the set. Legibility is a separate concept entirely from the concept of readability, which is the ability to be read when copy is set in large blocks. The design decisions in a font as common today as Helvetica or Garamond reflect a long tradition completely unknown to most modern computer users, and likely many designers.

这些字体是围绕易读性的核心原则设计的。 设计师面临的挑战是创建每个字母都足以与其他字母区分开来，同时在整个集合中保持明显风格。 易读性是与可读性概念完全不同的概念， 可读性是在将副本设置为大块时可以读取的功能。 如今，像Helvetica或Garamond这样常见的字体的设计决策反映了大多数现代计算机用户甚至许多设计师都完全不了解的悠久传统。

In one of the most important modern books on type, The Elements of Typographic Style, Robert Bringhurst briefly discusses on the life of Jean Jannon, the so-called “greatest type designer of the French Baroque.” He describes Jannon as a Protestant that was Religiously persecuted for the majority of his life, and that his experiences caused him to create typefaces that were “elegant but nonconformist.” Jannon’s fonts are often lumped together with Garamond, even to this day. This is the sort of history to be found behind every major typeface and Bringhurst lets us know it. It is with this sort of understanding a great designer can marry subtle, invisible style to simple body copy.

罗伯特·布林赫斯特(Robert Bringhurst)在最重要的现代字体书籍之一中， 《印刷风格的元素》(The Elements of Typographic Style)简要讨论了所谓的“法国巴洛克式风格的最大型设计师”让·詹农(Jean Jannon)的生活。 他将詹农描述为新教徒，一生中大部分时间都受到宗教的迫害，而且他的经历使他创作出“优雅但不符合传统的字体”。 直到今天，Jannon的字体经常与Garamond混在一起。 每种主要字体背后都有这样的历史，Bringhurst让我们知道了。 正是基于这种理解，伟大的设计师可以将微妙的，无形的风格与简单的车身仿制相结合。

“Typography exists to honor content.” Bringhurst says. And all art is, in part, about the artist. The art of typography says something about the typographer’s personal style. Jannon was a nonconformist Frenchman who designed immaculate typefaces. When you set your body copy in Jannon faces, what are you saying about the content of those words? Are you speaking of the French flair of the author? Of his iconoclasm? Of his suffering and persecution? It is this level of richness, history and craftsmanship knowledgeable designers like Bringhurst use when approaching a design problem. Every face says something, even if it is not obvious.

“字体是为了纪念内容。” 布林赫斯特说。 所有艺术在某种程度上都是关于艺术家的。 排版艺术说明了排版者的个人风格。 Jannon是一位不守规矩的法国人，设计了完美的字体。 当您将身体复制品放在Jannon的脸上时，您对这些单词的内容说什么？ 您是说作者的法国风情吗？ 他的偶像崇拜？ 对他的痛苦和迫害？ 像Bringhurst这样富有知识，丰富经验和精湛Craft.io的设计师在解决设计问题时会使用这种水平。 即使不是很明显，每个人的脸都会说些什么。

Digital fonts were, more or less, an inevitable consequence of this history as design steps into the computer age. In order to appeal to designers and typographers, companies like Apple and Adobe researched the fonts  printed years ago by master type craftsmen, bringing the painstaking work of a lifetime of design down to a file size of a few miniscule KB. While digital fonts have had a huge impact on making design more accessible to the world, there has been a reaction to this treatment of beloved handcrafted fonts. Many designers have decided to incorporate these “obsolete” methods into their designs, intentionally ignoring the sleekness of design for tools and machines even Gutenberg might recognize.

随着设计进入计算机时代，数字字体或多或少是这种历史的必然结果。 为了吸引设计者和印刷者， 苹果和Adobe等公司研究了多年前由大师型工匠印制的字体，将一生的艰苦工作减少到几KB的文件大小。 尽管数字字体在使设计更易于访问的世界中产生了巨大的影响，但对这种受欢迎的手工字体的处理却产生了React。 许多设计师决定将这些“过时的”方法纳入他们的设计中，有意忽略甚至古腾堡(Gutenberg)可能意识到的工具和机器设计的时尚性。

Not to say that this is the quote-unquote “proper” way to design. Many fields of design, including web page design, are ill suited to printing with blocks of wood. But it is with this understanding of typographic history that a good designer must start with before he decides to take that carefully crafted Futura, Gill Sans, or Jean Jannon-designed font and do unspeakable, downright rude things to it that a design may call for.

并不是说这是无引用的“ 适当 ”设计方式。 许多设计领域，包括网页设计，都不适合用木块印刷。 但是，正是对印刷历史的理解才是一个好的设计师，在决定采用精心制作的Futura，Gill Sans或Jean Jannon设计的字体，并对其做出无法言喻，彻头彻尾的粗鲁行为之后，他才必须开始设计。 。

您应该知道的印刷术语 (Typographic Terms You Should Know)

• Body Copy: Large blocks of type set to be read with the greatest of possible ease. Body copy should all be set in the same font, with shared point sizes for the face and leading.

  正文复制 ：尽可能容易地读取大类型的块。 正文应全部设置为相同的字体，面部和前导的共享点大小应相同。

• Majuscule: Otherwise known as Uppercase letters. Most of our alphabet borrows its Majuscules from the Latin, or Classical letterforms.

  Majuscule ：也称为大写字母。 我们的大多数字母都从拉丁语或古典字母形式借用其Majuscules。

• Minuscule: Counterpart to Majuscule, Minuscules are our lower-case, copied and modified throughout the years to better fit their Classical letterform counterparts.

  Minuscule ：与Majuscule相对，Minuscules是我们的小写字母，多年来经过复制和修改，以更好地适应其古典字母形式。

• X-Height: In a miniscule set of a font, the so called “height” is the space between the baseline and the mid-point, which is often the height of the lowercase letter x.

  X-Height ：在最小的字体集中，所谓的“高度”是基线和中点之间的空间，通常是小写字母x的高度。

• Baseline: The invisible line where the fonts “rest.” Descenders can dip below this line, but have a resting point that sits on it.

  基准线 ：字体“静止”的不可见线。 后代可以跌破这条线，但是有一个静止点。

• Ascender: In the set of Minuscules, the Ascender is the part of the font that goes beyond the X-height, approaching the Capital letter height. Letters with ascenders are those like l, b, f, or k.

  Ascender ：在Minuscules的集合中，Ascender是字体的超出X高度的部分，接近大写字母的高度。 带升序的字母是l，b，f或k。

• Descender: Also in the Minscules, the Descender is the part that dips below the Baseline. Letters that have descenders are p, q, y and, in some faces, f.

  下降器 ：同样在Minscules中，下降器是浸入基线以下的部分。 具有降序的字母为p，q，y，在某些情况下为f。

• Ligatures: Sometimes lowercase letters collide within words and create tangent points and bizarre shapes that can cause a reader to stumble without realizing why. Typographers artfully combine letters like “fi”, “ti”, “ffi” in ways that are easy on the eye and are often undetectable as separate characters. Many quality fonts include these Ligatures among their Glyphs.

  连字 ：有时小写字母在单词中碰撞并产生切点和奇异的形状，这可能会使读者迷失方向，却不知道为什么。 印刷者巧妙地将诸如“ fi”，“ ti”，“ ffi”之类的字母组合在一起，这种方式在眼睛上很容易看到，并且通常无法将其识别为单独的字符。 许多高质量的字体在其字形中都包括这些连字。

• Bowl: Enclosed round space within letters like the “o” and “p” or “B”.

  碗形 ：在诸如“ o”和“ p”或“ B”之类的字母内围成的圆形空间。

• Counter or Counterform: Open rounded space within letters like the “c”, “G” or “U.” The lowercase “e” has a bowl and a counterform.

  Counter或Counterform ：在“ c”，“ G”或“ U”之类的字母内打开舍入空间。 小写的“ e”有一个碗和一个柜台。

• Letterspace: The most literal typographic term, Letterspacing is adding blank space between individual letters. It is only adding space and is not to be confused with Kerning. Some fonts are easer to read Letterspaced, while some are harder.

  Letterspace ：最字面的印刷术语，Letterspacing在各个字母之间添加空格。 它只是在增加空间，不要与紧缩相混淆。 有些字体更容易阅读Letterspaced，而有些则更难。

• Kerning: Letters are Kerned when the spaces between letters are closed up, bringing them closer together. Some letter combinations like “AV” often need Kerning to not look awkward and filled with excess space. Most kerning in modern computerized type is done automatically by the software, but may need personalized attention depending on the font or the situation.

  字距 ：字母Kerned时，字母之间的空间被封闭起来，使他们走得更近。 某些字母组合(例如“ AV”)通常需要紧缩，以免显得笨拙并充满多余的空间。 现代计算机化类型的大多数字距调整都是由软件自动完成的，但根据字体或情况的不同，可能需要个性化注意。

• Lead or Leading: Lead is the space between baselines of text in body copy. For instance, “double-spacing” your research paper in Word is increasing the Leading. Leading is set in points and is normally set at the same point as the font or slightly higher. This is pronounced “Lead” as in the heavy metal substance in the case of “Lead” and “Leading.”

  Lead或Leading ：Lead是正文中文本基线之间的空间。 例如，在Word中对研究论文进行“双重间隔”正在增加“领导”。 前导以磅为单位设置，通常设置为与字体相同或稍高一点。 在“铅”和“铅”的情况下，这在重金属物质中被称为“铅”。

• Serif: Serifs are traditional flourishes, points, and shapes on the ends of the strokes of letters. These are hallmarks of older style fonts with roots in Roman, Italian, and German scripts. These were originally part of naturalistic pen strokes and became part of the first sets of fonts. It took longer than you might think for the first fonts without Serifs to be created and and widely used.

  衬线 ： 衬线是字母笔画末尾的传统繁荣，点和形状。 这些是较旧样式字体的标志，其字体分别以罗马，意大利和德国文字书写。 这些最初是自然主义笔触的一部分，并成为第一批字体的一部分。 创建和广泛使用没有衬线的第一种字体所需的时间比您想象的要长。

• Type Nerd: Exactly what it sounds like, Type Nerds relish pointing out when somebody uses Faux Bold or a Double Prime instead of true quotes. Typography is an art form created by sticklers, and so creates a lot of Type Nerds.

  类型书呆子 ：听起来确实很像，类型书呆子津津乐道指出有人使用Fold Bold或Double Prime代替真引号。 印刷术是由粘笔匠创造的一种艺术形式，因此会产生很多Type Nerds。

字体的基本类型 (Basic Types of Fonts)

Serif: What has become the standard of standards, Serif fonts have those flourishes, points, and shapes on the ends of their strokes. Serif fonts are often considered “Traditional,” and are often used for more to say something about this tradition in more conservative, old-fashioned designs. Body copy set in Serif fonts is often very readable. Common Serifs are Times, Georgia, Garamond, Minion, and Baskerville.

衬线字体：衬线字体已经成为标准，衬线字体在其笔划的末端具有那些繁华，尖锐的形状。 衬线字体通常被认为是“传统”字体，在更保守，更老式的设计中经常被用来表达更多关于这种传统的信息。 使用Serif字体设置的正文通常很容易阅读。 常见的衬线是时代，乔治亚，加拉蒙德，小黄人和巴斯克维尔。

Sans Serif: When the first Sans Serif fonts were created, people called them “Grotesque.” This name still exists today as one of the first generation of Sans Serif fonts. Sans are the more modern hipster cousins to Serif fonts. Much of typographic design today uses Sans fonts. Common Sans are Helvetica, Impact, Futura, Frutiger, Myriad, or Tahoma.

Sans Serif ：创建第一个Sans Serif字体时，人们将其称为“怪诞”。 今天，该名称仍然是第一代Sans Serif字体之一。 Sans是Serif字体的更现代的表亲。 如今，许多印刷设计都使用Sans字体。 常见的Sans是Helvetica，Impact，Futura，Frutiger，Myriad或Tahoma。

Slab Serif: A Serif font popularized in the 19th century when the Western world was developing a keen interest in the history of Egypt. Slab Serifs have blocky slabs of serifs as opposed to the pointed or flourished ones that hallmark the Serif fonts based on humanistic, handwritten letterforms. Common Slab serifs are Rockwell and Courier, the typewriter font.

平板衬线字体：一种衬线字体在19世纪流行，当时西方世界对埃及历史产生了浓厚的兴趣。 Slab Serifs具有块状的Serif，而不是基于人文的手写字母形式的Serif字体的尖或蓬勃的衬线。 常见的Slab衬线是Rockwell和Courier(打字机字体)。

Blackletter: Unfortunately, these are often called “Old English” fonts. Blackletters were the first fonts to be printed by movable type, and were therefore the first font in the repeatable, modern sense. They are based on a caligraphic tradition and were first used by Gutenberg to print the famous Gutenberg Bible. A common Blackletter is Fraktur.

Blackletter ：不幸的是，这些字体通常被称为“ Old English”字体。 Blackletters是第一种使用活字印刷的字体，因此是可重复的现代意义上的第一种字体。 它们基于书法传统，首先被古腾堡(Gutenberg)用来印刷著名的古腾堡圣经。 常见的Blackletter是Fraktur。

Dingbat: Decorative, non letterform Glyphs used for various decorative purposes. Common Dingbat fonts are Zapf Dingbats and Wingdings.

Dingbat ：装饰性非字母字形，用于各种装饰目的。 常见的Dingbat字体是Zapf Dingbats和Wingdings。

Display font: Fonts designed specifically for short, eye-catching text. Posters, advertisements, and web design headers are best done in Display fonts.

显示字体 ：专为引人注目的简短文本而设计的字体。 海报，广告和网页设计标题最好以Display字体完成。

Body Font: Fonts designed to set large sections of body copy. Books, newspapers, and the content of blog posts should all be set in appropriate body fonts.

正文字体 ：旨在设置正文大部分内容的字体。 书籍，报纸和博客文章的内容均应设置为适当的字体。

Calligraphic or Script Font: Fonts designed based on a person’s handwriting or designed to look like handwriting. These can be as elaborate as Edwardian Script or as simple as the humble yet loathed Comic Sans MS.

书法或脚本字体 ：基于一个人的笔迹而设计或看起来像笔迹的字体。 这些可以像爱德华七世时代的脚本一样详尽，也可以像谦虚但厌恶的Comic Sans MS一样简单。

Novelty Font: Digital typography has allowed designers to create all manner of bizarre, but oddly good-looking fonts. These can range from useful to useless, from copying a movie title font, to borrowing the style of Graffiti artists. Novelty is sort of my own umbrella term. I use it to illustrate the difference between the modern trend of font design versus the long, established history and undisputed types of fonts.

新奇字体 ：数字字体设计使设计师能够创建各种形式的奇异但好看的字体。 这些范围从有用到无用，从复制电影标题字体到借用涂鸦艺术家的风格。 新奇是我自己的总称。 我用它来说明现代字体设计趋势与悠久的既定历史和无可争议的字体类型之间的区别。

更好的排版技巧 (Tips for Better Typography)

• Whenever applicable, respect the history of your typeface.
  在适用时，请遵守字体的历史记录。
• Understand it might not have been designed to stretch, bend, or be distorted.
  了解它可能不是设计为拉伸，弯曲或变形的。
• Design for readability and legibility. Type is supposed to be read.
  具有可读性和易读性的设计。 类型应该被读取。
• Consider what your font was designed for when choosing it. Don’t write your memos in Impact. Sending emails sent in Funstuff makes you look goofy.
  选择字体时，请考虑其字体设计的目的。 不要在Impact中写备忘录。 发送以Funstuff发送的电子邮件会让您看起来很傻。
• Many fonts are designed to be set in Upper and Lower case. Script fonts are an example of this and are nigh-illegible in all caps.
  许多字体被设计为设置为大写和小写。 脚本字体就是一个例子，大写字母几乎无法辨认。
• Blackletter fonts are another example. There is an aesthetic associated with all-caps Blackletter fonts, but they aren’t necessarily designed for reading that way.
  Blackletter字体是另一个示例。 全大写Blackletter字体具有美感，但不一定设计为以这种方式阅读。
• When your primary purpose is communicating the content, simpler is often better.
  当您的主要目的是传达内容时，越简单越好。
• Use as few fonts and point sizes in those fonts as possible on a single design.
  在单个设计中，请使用尽可能少的字体和磅号。
• If you use a different font or point size in that font in a design, make sure you have a reason.
  如果在设计中使用不同的字体或该字体的磅值，请确保有理由。
• Make sure they are different enough that the difference is noticed.
  确保它们足够不同，以至于注意到差异。

• If you ignore any of the so called “rules of design,” have a good reason, and do it extremely well.

  如果您忽略任何所谓的“设计规则”，则有充分的理由，并且必须做得很好 。

Special thanks and credit to the WikiProject Typography. Your articles have helped me brush up on my atrophied type knowledge. Image captured from the Elements of Typographic Style by Robert Bringhurst assumed fair use. All other typography is assumed to be public domain under the Threshold of Originality. And for the record, I have much love for Pizzadude.

特别感谢和感谢 WikiProject Typography 。 您的文章帮助我复习了萎缩型知识。 罗伯特·布林赫斯特(Robert Bringhurst)从“印刷风格元素”中捕获的图像被认为是合理使用。 在创意阈值下，所有其他版式均假定为公共领域。 根据记录，我非常喜欢Pizzadude 。

翻译自: https://www.howtogeek.com/howto/30065/how-to-understand-typography-like-a-professional-designer/