令人细思极恐的小故事_“＆”号的令人惊讶的故事

令人细思极恐的小故事

An ampersand is an invitation to imagine what will come next. It is a continuation of a conversation or story, but without the context of knowing what went before you can choose where you would like it to go. When the symbol stands alone it is still communicating a huge amount of information from its form and its shapes; is it hand-written, is it old-fashioned and traditional, is it minimalist and modern? Every typeface tells a story independently of the words it spells out.

“＆”号是想像接下来会发生什么的邀请。 它是对话或故事的延续，但是没有上下文知道要去什么，您可以选择要去的地方。 当该符号单独存在时，它仍在从其形式和形状中传达大量信息。 它是手写的吗？是老式的和传统的吗？是否是极简的和现代的？ 每个字体都讲述一个故事，而与它讲出的单词无关。

The ampersand is sometimes considered to be the 27th letter of the Latin alphabet. It comes from the letters ‘et’, Latin for ‘and’. It’s a character that there is wide affection for and it gives a glimpse of the personality of a typeface without committing to be a particular letter. The ampersand takes a wide range of shapes and forms, and it is the skill of the human brain that enables us to recognise that each of these still says ‘and’.

有时，“＆”号是拉丁字母的第27个字母。 它来自字母“ et”，拉丁语为“ and”。 这是一个受到广泛影响的字符，它使人一眼就能看出字体的个性，而不必承诺要成为一个特定的字母。 “＆”号具有各种各样的形状和形式，正是人类大脑的技巧使我们能够认识到，每个“和”号仍表示“和”。

The combination of two letters to create a new, single character is known as a ligature. This is something that can be seen in the handwriting of scribes who would combine frequently used letter combinations to speed up the writing process. With the advent of printing, the use of ligatures continued because it made the printing process more efficient — one single printing block could be used instead of two, speeding up the laborious process of setting every letter by hand. Some ligatures, for example the ‘fi’ ligature, create beautiful new combinations where the individual letterforms might sit next to each other less comfortably.

两个字母的组合可以创建一个新的单个字符，称为连字。 这是在抄写员的笔迹中可以看到的，他们可以结合常用的字母组合来加快书写过程。 随着印刷的出现，连字的使用一直在继续，因为它使印刷过程更加有效-可以使用一个印刷块代替两个印刷块，从而加快了手动设置每个字母的繁琐过程。 一些连字，例如'fi'连字，创建了漂亮的新组合，其中各个字母可能不太舒适地彼此相邻。

Every typeface has a personality that we are able to recognise instinctively. We learn about a typeface’s personality every time we see it used, from the context we see it used in. For example traditional, serif style type has been around since the 1400s when books were expensive and the domain of scholars. As a result we might associate these styles with knowledge, wisdom and timelessness.

每一种字体都有我们可以本能识别的个性。 每次使用字体时，我们都会从使用的上下文中了解该字体的个性。例如，自1400年代起，传统的衬线风格字体就出现了，当时书籍价格昂贵，是学者们的专长。 结果，我们可能会将这些样式与知识，智慧和永恒联系在一起。

The personality of a typeface creates a first impression of the words we are about to read. This tells us the style in which to read them, and might clue us into whether we can trust them or how urgent it is that we act on them now. This is a form of non-verbal communication similar to the clothes a person wears, their body language and their tone of voice.

字体的个性给我们即将阅读的单词带来第一印象。 这告诉我们阅读它们的方式，并可能提示我们是否可以信任它们，或者我们现在对它们采取行动有多紧急。 这是一种非语言交流形式，类似于人的衣服，肢体语言和语调。

An ampersand offers a glimpse of a typeface’s personality, distilling it down to a simple and graphic icon.

“＆”号使您可以一眼看出字体的个性，并将其提炼为简单的图形图标。

Sarah Hyndman, author of the bestselling ‘Why Fonts Matter’ created the Type Tasting Font Census survey, which enables her to profile the personalities of a range of typefaces. Each has received between 250 and 350 responses, mostly from the UK and the US.

畅销书《为什么字体很重要》的作者莎拉·汉德曼(Sarah Hyndman)发起了“字体品尝字体普查”调查，这使她能够描述各种字体的个性。 每个国家/地区都收到了250至350个回复，其中大部分来自英国和美国。

Although these two typefaces were designed four centuries apart, both ligatures are true to the origins and the ‘e’ and the ‘t’ can be clearly seen. For other typefaces the ampersands become more stylised and take on a new form of their own.

尽管这两种字体的设计相距四个世纪，但两种连字都符合原产地，并且可以清楚地看到“ e”和“ t”。 对于其他字体，“＆”号变得更风格化，并采用自己的新形式。

The italic form of Garamond mirrors the cursive, handwritten scripts of the Renaissance. This ampersand takes centre stage as it announces the combining of two parties with an ornate flourish, (you can easily imagine the hand-gesture that would accompany it). Type Tasting Font Census results show Garamond Italic is rated as “artistic, a performer, classic, arty”

Garamond的斜体形式反映了文艺复兴时期草书的手写体。 这个“＆”号占据了中心位置，它宣布了两党在华丽的繁荣中的结合(您可以轻松想象伴随它的手势)。 类型品尝字体普查结果显示Garamond Italic被评为“艺术，表演，经典，附庸风雅”

The more practical and minimalist appearance of the conjunction in Trebuchet contrasts with Garamond Italic. Type Tasting Font Census results show Trebuchet is considered to be “an everyman, practical, and honest”

Trebuchet中的连接词更实用，更简约，与Garamond Italic形成对比。 类型品尝字体普查结果显示Trebuchet被认为是“每个人，实用和诚实”

The typeface Trajan is inspired by the carvings on the Trajan’s column in Rome, which dates back to around 110 AD. The combination of its classic shapes and its recurring use in situations of ‘epic’ status such as movie posters (the titles for many epic Roman movies are set in Trajan) convey the personality traits of a leader, a thinker who is classic and formal.

Trajan字体的灵感来自罗马的Trajan柱上的雕刻，其历史可追溯到公元110年左右。 它的经典形状和在诸如电影海报(许多史诗般的罗马电影的标题都设在图拉真)等“史诗般”状态下的反复使用，传达了领导者的个性特质，他是一位古典而正式的思想家。

In contrast to the timeless, flowing curves of Trajan, Cinema Italic is a typeface constructed from angles that gives the impression it is made by, or for, machines. It is described as having the personality of a commander, a doer, somebody who is self-controlled and logical. To me its ampersand looks like a figure out of a sci fi movie.

与Trajan历久弥新的曲线形成鲜明对比的是，Cinema Italic是一种从角度构造的字体，可以给人以机器创造或为机器创造的印象。 它被描述为具有指挥官，行动者和自我控制且合乎逻辑的人的个性。 在我看来，它的“＆”符号就像是科幻电影中的人物。

Bauhaus is a typeface that many graphic designers associate with the influential art school of the same name; of Herbert Bayer’s universal alphabet experiments and an ideology that inspired Modernist design and architecture. Imagine my surprise when the Type Tasting Font Census survey results started to come back describing it as a jester, friendly, silly and a clown? I realised that its inclusion in the default Microsoft font menu has separated it from its history, leaving it to be judged purely on its stylised shapes. The typeface is based on geometry and this is perfectly represented by its ampersand.

包豪斯(Bauhaus)是许多图形设计师与有影响力的同名艺术学校联系的字体。 赫伯特·拜耳(Herbert Bayer)的通用字母实验和启发现代主义设计与建筑的意识形态。 试想一下，当Type Tasting Font Census调查结果开始出现来描述它是一个小丑，友好，愚蠢和小丑时，我感到惊讶吗？ 我意识到它包含在默认的Microsoft字体菜单中已使其脱离了历史记录，仅凭其样式即可对其进行判断。 字体基于几何形状，并且由“＆”号完美地表示。

Comic Sans is the typeface everybody loves to hate and the cause of many font faux pas. For example when CERN announced the discovery of the Higgs Boson particle ‘Comic Sans’ trended on Twitter higher than the discovery itself. It’s often chosen as the closest option to everyday handwriting in situations when choosing a more formal font might feel like overdressing. It has a personality that conveys qualities of a comedian, an everyman, it is considered a novelty and comfortable. I think the slightly lop-sided and hand drawn ampersand represents this well.

Comic Sans是每个人都讨厌的字体，也是许多字体虚假的原因。 例如，欧洲核子研究组织宣布在推特上发现希格斯玻色子粒子“ Comic Sans”的趋势要高于发现本身。 当选择更正式的字体可能感觉像是过度修饰时，通常将其选择为最接近日常手写的选项。 它具有传达喜剧演员，每个人的特质的个性，被认为是新颖而舒适的。 我认为稍微偏斜的侧面＆符号代表了这一点。

Typefaces like Didot first appeared in the late 1700s. Their fine serifs and hairlines were made possible by advances in both printing technology and paper quality; it would not have been possible to print these on the coarse textured paper of earlier times. They have been seen on the mastheads of fashion magazines such as Vogue and Harpers Bazaar and this has given them associations with fashion and elegance. The personality of Didot is well represented by the ampersand, it is considered to be sophisticated, polished, and intellectual.

像Didot这样的字体在1700年代后期首次出现。 打印技术和纸张质量的进步使它们的细衬线和发际线成为可能。 不可能将它们打印在较早的粗糙纹理纸上。 在Vogue和Harpers Bazaar等时尚杂志的刊头上都可以看到它们，这使它们与时尚和优雅联系在一起。 “＆”号很好地代表了Didot的个性，被认为是精致，精致和有知识的。

A new advertising industry was born out of the Industrial Revolution in England, which required the delicate typefaces previously used on the pages of books to be used at a new and huge size that could be seen from a distance on a poster or an advert. Type designers took the delicate Didot-style typefaces of the day and expanded them to create Fat Face fonts such as Bodoni Poster. These have a larger-than-live personality that comes across as a performer, someone who is confident and dramatic.

英格兰的工业革命催生了一个新的广告行业，该行业要求以前在书页上使用的精美字体要以新的巨大尺寸使用，可以从海报或广告的远处看到。 字体设计师采用当天精致的Didot风格字体，并将其扩展以创建Fat Face字体，例如Bodoni Poster。 他们具有比表演者更大的个性，充满自信和戏剧性。

William Caslon created typefaces in London in the 1700s which travelled the world and settled in the colonies and trading posts of the British Empire: Caslon was used for the first Declaration of Independence and appeared on the Presidential Seal in the White House. Its serifs and letterforms, which nod to the hand-written origins of typefaces, convey a personality that is trustworthy, informed, knowledgeable and traditional.

威廉·卡斯隆(William Caslon)于1700年代在伦敦创作了字体，该字体环游世界，并定居于大英帝国的殖民地和贸易站：卡斯隆被用于首次独立宣言，并出现在白宫的总统印章中。 它的衬线和字母形式向字体的手写来源致敬，传达出一种值得信赖，知情，知识渊博和传统的个性。

Futura is a geometric typeface and its style is reflected in its well-balanced ampersand. It was designed in Germany in the 1920s and at the time it was intended to reflect efficiency and forward thinking. Now, almost a century on, it still has associations with modernity and it makes a regular appearance in sci fi movies. The Type Tasting Font Census survey reveals it conveys the personality of a leader and an idealist who is modern, capable and practical. The personalities of many typefaces evolve over time as they gather new associations or become linked with the past, but it seems Futura has stayed true to its origins.

Futura是一种几何字体，其样式反映在其均衡的＆符中。 它是1920年代在德国设计的，当时旨在反映效率和前瞻性思维。 现在，近一个世纪以来，它仍然与现代联系在一起，并在科幻电影中定期出现。 “字体品尝字体普查”调查表明，它传达了现代，精干和实用的领导者和理想主义者的个性。 随着许多字体集聚新的联想或与过去联系起来，它们的个性随着时间的推移而发展，但Futura似乎忠于其起源。

Sarah Hyndman is the author of the bestselling ‘Why Fonts Matter’ and the founder of Type Tasting. She can be found on Twitter and Instagram.

萨拉·亨德曼(Sarah Hyndman)是畅销书《为什么字体很重要》的作者，也是Type Tasting的创始人。 她可以在Twitter和Instagram上找到。

翻译自: https://medium.com/swlh/the-surprising-story-of-the-ampersand-9faf0558f292

令人细思极恐的小故事