有襯線字體 無襯線字體

When Google unveiled its new logo in 2015, many were aghast at the exclusion of one particular element — those funny little things at the end of letter strokes known as serifs. The internet quickly divided into two camps, team serif and team sans-serif.

當Google在2015年推出其新徽標時，許多人對一種特殊元素的排斥感到震驚-那些在襯線結尾處有趣的小東西，稱為襯線。 互聯網Swift分成了兩個陣營：襯線隊和無襯線隊。

As with most internet discussions, the average internet user probably didn’t give a second thought to this new logo that now greeted them when they searched for the nearest McDonald’s. But for those who cared, they cared a lot.

與大多數互聯網討論一樣，普通互聯網用戶可能不會再想想這個新徽標，當他們搜索最近的麥當勞徽標時，這個新徽標已經引起了他們的歡迎。 但是對于那些關心的人，他們非常關心。

While some celebrated it as a move into the 21st century, some decried this new look as a submission to modern, Apple-like design trends and a desertion of their roots. For these folks, the serif was a bastion of sophistication amongst a sea of wannabe minimalist design.

盡管有人慶祝它邁入21世紀，但有人譴責這種新外觀是對現代，類似Apple的設計趨勢的一種奉獻，而其根源卻被拋棄了。 對于這些人來說，襯線是想成為極簡主義設計海中精巧的堡壘。

Furthermore, its removal was a signal that classical design sensibilities were now dead.

此外，將其刪除是一個信號，表明經典設計的敏感性已經消失。

Does this still ring true though? Not quite. As evidenced by the font that you’re reading right now, it’s clear that serifs still have a place in the modern design language. What this story of public reception means, however, is that the delineation of serif and sans-serif fonts is not a trivial one. People can have strong, albeit misplaced, feelings about the kinds of fonts they interact with across the web.

這是否仍然正確？ 不完全的。 正如您現在正在閱讀的字體所證明的那樣，很明顯，襯線在現代設計語言中仍然占有一席之地。 但是，這個公眾接受的故事意味著，襯線字體和無襯線字體的描述并不是一件容易的事。 人們可能會對自己在網絡上與之交互的字體有強烈的感覺，盡管放錯了地方。

Even as designers, we can have misplaced ideas about how fonts should be used. We often can get comfortable following the pack and forget that font selection and choosing between serif and sans-serif fonts can have a tangible impact on our design and our users.

即使作為設計師，我們對于如何使用字體也可能有錯誤的想法。 我們經常可以放心使用，而忘記選擇字體以及在襯線字體和無襯線字體之間進行選擇會對我們的設計和用戶產生切實的影響。

字體選擇是一個設計決策 (Font Selection is a Design Decision)

Over the years, I’ve heard designers say that if we’re trying to achieve a “modern” look, we should look solely to sans-serif fonts. This may be due to a strict interpretation of minimalism or just the rise in popularity of Wes Anderson films, but this ignores a wide variety of fonts just because they possess those pesky little tails.

多年以來，我聽說設計師說過，如果我們要實現“現代”外觀，就應該只使用無襯線字體。 這可能是由于對極簡主義的嚴格解釋，或者僅僅是由于韋斯·安德森(Wes Anderson)電影的流行，但這只是因為它們擁有那些討厭的小尾巴而忽略了各種各樣的字體。

What we need to do is understand that a font selection is in fact a design decision. This means that design principles like contrast, hierarchy, and visibility require consideration amongst the other elements present in the design.

我們需要做的是了解字體選擇實際上是一個設計決定。 這意味著需要在設計中存在的其他元素中考慮諸如對比，層次和可見性之類的設計原理。

All that is to say, how is the font being utilized?

就是說，如何利用字體？

• Is the font being used in conjunction with other fonts?
  該字體是否與其他字體一起使用？
• Are you trying to promote a certain visual hierarchy?
  您是否要促進某種視覺等級？
• Are you trying to emphasize a particular word or phrase?
  您是否要強調某個單詞或短語？
• Is it being used in prose and for extended reading?
  它是否用于散文和擴展閱讀中？
• What is the overall aesthetic you are trying to communicate?
  您要傳達的整體美感是什么？

These are all questions that should be answered before you ever eliminate one kind of font outright.

在徹底消除一種字體之前，這些都是應該回答的問題。

挑戰假設 (Challenge Assumptions)

As designers, we should always be challenging our own assumptions of how we implement certain principles. This will help us stay current with how people are interacting with technology and help us leave antiquated practices behind.

作為設計師，我們應該始終挑戰自己對如何實現某些原則的假設。 這將幫助我們了解人們與技術交互的最新方式，并幫助我們摒棄過時的做法。

When it comes to fonts, we can easily get in a rut of using only a handful of fonts for a handful of specific purposes. I like Helvetica and Avenir just as much as the next guy, but challenging why we’re reaching for those fonts and identifying if there are more effective ones out there is key for innovation in our work and in the industry.

在字體方面，我們可以輕松地僅出于少數特定目的而僅使用少數幾種字體。 我和下一個家伙一樣喜歡Helvetica和Avenir，但是挑戰我們為什么要購買這些字體并確定是否有更有效的字體是我們工作和行業創新的關鍵。

For instance, for those who think serif fonts aren’t modern, they might be surprised to see how they have evolved and modernized over the centuries.

例如，對于那些認為襯線字體不是現代字體的人，他們可能會驚訝地看到它們在過去的幾個世紀中是如何演變和現代化的。

字體的演變 (The Evolution of Typefaces)

Take a look at some of the first fonts ever used, starting with Blackletter, created by Johannes Guttenburg in the 1400s who modeled them after the writings of the scribes at the time.

看一下曾經使用過的一些最初的字體，從約翰內斯·古騰堡(Johannes Guttenburg)在1400年代創造的Blackletter開始，當時他們根據抄寫員的作品對它們進行建模。

Blackletter (1400), Jenson (1470), Caslon (1720)Blackletter(1400)，Jenson(1470)，Caslon(1720) Baskerville (1750), Didot (1780), Bodoni (1800)巴斯克維爾(1750)，迪多(1780)，博多尼(1800)

Despite all retaining some of the fundamentals of the handwritten Blackletter, these fonts evolved so significantly over the years that they had their classifications based upon their divergence from previous styles.

盡管所有這些都保留了手寫Blackletter的一些基本原理，但這些字體多年來發展得如此顯著，以至于它們根據與以前樣式的差異進行分類。

Old Style: thick serifs, low contrast between thick and thin strokes (Caslon)

舊樣式：粗襯線，粗筆和細筆之間的對比度較低(Caslon)

Transitional: thinner serifs, lower contrast between thick and thin strokes (Baskerville)

過渡性的：襯線更細，粗筆和細筆之間的對比度較低(Baskerville)

Modern: very thin serifs, extreme contrast between thick and thin strokes (Didot, Bodoni)

現代：非常細的襯線，粗細筆畫之間的極端對比(Didot，Bodoni)

What we may see as classical or traditional is actually as modern as it can get. Modern serif fonts such as Didot are exaggerated in their form and draw the eye rather than the thicker, more compact Blackletter.

我們可能會看到的古典或傳統實際上已經達到了現代。 諸如Didot之類的現代襯線字體在形式上被夸大并引人注目，而不是更厚，更緊湊的Blackletter。

Let’s then compare this definition of “modern” serif typefaces with the set of geometrics sans fonts that we’re currently so enamored with.

然后，讓我們將這種“現代”襯線字體的定義與我們當前如此著迷的幾何無字體集合進行比較。

Futura (1927), Avenir (1988), Century Gothic (1991)Futura(1927)，Avenir(1988)，Century Gothic(1991)

The extreme contrast that was so modern in serif fonts suddenly has little relevance in serif fonts. Modernity in geometric sans fonts is all about balance, symmetrical shapes, and thicker strokes. No longer do fonts care to imitate the handwritten strokes that are formed with an ink-dipped quill. Ironically enough, it is these aspects of geometric sans fonts that made Blackletter and Caslon “old-style” to designers at the time.

襯線字體如此現代的極端對比突然與襯線字體沒有太大關系。 幾何sans字體的現代性全在于平衡，對稱形狀和較粗的筆觸。 字體不再需要模仿用蘸墨水的筆芯形成的手寫筆劃。 頗具諷刺意味的是，正是幾何sans字體的這些方面使Blackletter和Caslon成為當時的設計師“老派”。

What this means is that modernity is irrevocably tied to context.

這意味著現代性與環境有著不可撤銷的聯系。

Just because you’re using a sans-serif doesn’t mean it is automatically going to give your design the modern looks it requires. Some of the most modern typefaces implementations I’ve seen have used serif fonts while some of the cheesiest and outdated have used sans-serif fonts. By understanding the context in which the font is being used, you can unlock new design opportunities, enabling yourself to create more impactful and distinct designs.

僅僅因為您使用的是Sans-Serif，并不意味著它會自動為您的設計提供所需的現代外觀。 我見過的一些最現代的字體實現都使用了襯線字體，而一些最陳舊和過時的字體使用了sans-serif字體。 通過了解使用字體的上下文，您可以釋放新的設計機會，從而使自己能夠創建更具影響力和獨特的設計。

實驗 (Experiment)

Just as the typeface creators experimented with the contrast of stroke width, you can experiment with the implementation of the 1000’s of fonts available to us today. New fonts are being created every day and the ability to create your own typeface is easier than ever.

就像字體創作者嘗試筆觸寬度的對比一樣，您也可以嘗試實現今天提供給我們的1000多種字體。 每天都在創建新字體， 創建自己的字體的能力比以往任何時候都容易。

Experimenting might just mean using that font that everyone has forgotten about and bringing to it new life and new meaning. Juxtaposing the new, the old and the weird is one of the simplest ways to start seeing how fonts can interact with each other and help tell your design story.

做實驗可能只是意味著使用每個人都已忘記的字體，并賦予它新的生命和新的含義。 將新的，舊的和怪異的并置是開始了解字體如何相互交互并幫助講述設計故事的最簡單方法之一。

PinterestPinterest

So, next time you pick between serif and sans-serif fonts, think twice.

因此，下次您選擇襯線字體和無襯線字體時，請三思。

• Why did you choose that font?

  為什么選擇該字體？

• How is that font being utilized?

  該字體如何利用？

• Am I making assumptions about this font?

  我是否對此字體做出假設？

• Can I do something new?

  我可以做點新的嗎？

For more on the history of Typography

有關印刷歷史的更多信息

演示地址

Bay Area Black Designers: a professional development community for Black people who are digital designers and researchers in the San Francisco Bay Area. By joining together in community, members share inspiration, connection, peer mentorship, professional development, resources, feedback, support, and resilience. Silence against systemic racism is not an option. Build the design community you believe in.海灣地區黑人設計師 ：一個專業的黑人開發社區，他們是舊金山灣區的數字設計師和研究人員。 通過在社區中團結起來，成員可以共享靈感，聯系，同伴指導，專業發展，資源，反饋，支持和韌性。 對系統性種族主義保持沉默是不可行的。 建立您相信的設計社區。

翻譯自: https://uxdesign.cc/to-serif-or-not-to-serif-5446b8b54f4a

有襯線字體 無襯線字體

總結

以上是生活随笔為你收集整理的有衬线字体 无衬线字体_衬线或不衬线的全部內容，希望文章能夠幫你解決所遇到的問題。

如果覺得生活随笔網站內容還不錯，歡迎將生活随笔推薦給好友。