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苹果复兴_类型复兴的故事：来自Type West的经验教训

發(fā)布時(shí)間：2023/12/10 编程问答 42 豆豆

生活随笔收集整理的這篇文章主要介紹了苹果复兴_类型复兴的故事：来自Type West的经验教训小編覺(jué)得挺不錯(cuò)的,現(xiàn)在分享給大家,幫大家做個(gè)參考.

蘋(píng)果復(fù)興

Last Fall, I began the

去年秋天，我開(kāi)始

在舊金山的Type West program at the Letterform檔案庫(kù)中Letterform Archive in San Francisco. For those of you who don’t know, the Letterform Archive is creative heaven — a type nerd’s letter art collection turned graphic design museum.鍵入West程序。對(duì)于不認(rèn)識(shí)的人來(lái)說(shuō)，Letterform檔案館是充滿創(chuàng)造力的天堂-一個(gè)書(shū)呆子的字母藝術(shù)收藏轉(zhuǎn)變?yōu)槠矫嬖O(shè)計(jì)博物館。

I had been considering applying to this type design program for a while. Despite having practiced design and lettering for several years, I still felt like my work was missing a level of finesse, specifically in the realm of typography. I wanted to command type beyond placing them in layout, in ways that were unique, exciting, experimental.

我已經(jīng)考慮申請(qǐng)這種類型的設(shè)計(jì)程序一段時(shí)間了。盡管已經(jīng)從事設(shè)計(jì)和刻字多年，但我仍然覺(jué)得自己的工作缺乏技巧，尤其是在版式領(lǐng)域。我想以獨(dú)特，激動(dòng)人心，實(shí)驗(yàn)性的方式命令類型，而不是將它們放置在布局中。

I don’t see myself making fonts for a living, but Type West seemed like a program that would uplevel my graphic design skills. Every time I visit the Archive, I leave completely over-inspired from seeing art history classics like illuminated manuscripts and psychedelic posters, to new discoveries (for me) like Letraset and Mid-Century brand manuals. Finally, I decided to bite the bullet and applied. Shortly after getting admitted into the program, I was given the first major assignment: revive a typeface.

我看不到自己以謀生為生，但是Type West似乎像一個(gè)程序，可以提高我的圖形設(shè)計(jì)技能。每次訪問(wèn)檔案館時(shí)，我都會(huì)完全被啟發(fā)過(guò)，從看到藝術(shù)史經(jīng)典作品(例如帶燈的手稿和迷幻的海報(bào))到新發(fā)現(xiàn)(對(duì)我而言)，例如利特雷瑟(Letraset)和中世紀(jì)品牌手冊(cè)。最后，我決定硬著頭皮申請(qǐng)。進(jìn)入程序后不久，我得到了第一個(gè)主要任務(wù)：改寫(xiě)字體。

Metal-casted type. Photo by Kristian Strand on Unsplash.金屬鑄造型。克里斯蒂安·斯特蘭德 ( Kristian Strand)在Unsplash上的照片。

A very brief history of type design. Digital type, or “fonts” as most of us know it, has only been around for the past four decades or so. Up until the 1960s, all letterforms were handcrafted by casting metal or carving wood. So to start the project, we had to find a pre-1950 book and create a digital version of its body copy.

字體設(shè)計(jì)的簡(jiǎn)短歷史。我們大多數(shù)人都知道的數(shù)字字體，也就是“字體”，僅在過(guò)去的四十年左右才出現(xiàn)。直到1960年代，所有的字母都通過(guò)鑄造金屬或雕刻木材手工制作而成。因此，要開(kāi)始該項(xiàng)目，我們必須找到一本1950年前的書(shū)，并創(chuàng)建其正文的數(shù)字版本。

尋找來(lái)源 (Finding the Source)

On a single shelf of old books at my local used book store, there were a plethora of incredible covers with gorgeous Victorian lettering. But when I opened them up, the interior was filled with what seemed to be the same damn Times New Roman-looking type! I was fooled! After 40 or so books, one stood out from the rest. It had a Didot-like typeface with exaggerated contrast and elongated letters. It was Rococo yet Vogue. Cardi B meets Kate Middleton. Sassy, but classy. I did not understand a single word in this little French book, titled Le Mont Saint-Michel, but I instantly knew this was the one.

在我當(dāng)?shù)氐亩謺?shū)店的一堆舊書(shū)上，堆滿了許多令人難以置信的封面，上面有華麗的維多利亞時(shí)代字母。但是當(dāng)我打開(kāi)它們時(shí)，內(nèi)部充滿了看起來(lái)像該死的時(shí)代新羅馬風(fēng)格的東西！我上當(dāng)了！讀了40本書(shū)之后，其余的書(shū)脫穎而出。它有一個(gè)類似Didot的字體，帶有夸張的對(duì)比度和細(xì)長(zhǎng)的字母。那是洛可可式的但時(shí)尚。 Cardi B與Kate Middleton相遇。時(shí)髦，但優(yōu)雅。在這本名為《圣米歇爾山》的法語(yǔ)小書(shū)中，我聽(tīng)不懂一個(gè)字，但我立即知道這是一個(gè)。

The title-less ornate book cover and its rustic interior.無(wú)標(biāo)題的華麗書(shū)套及其質(zhì)樸的內(nèi)飾。

The following week, we gathered high-resolution digital scans to collect characters: A–Z, lowercase, uppercase, numbers, and punctuation. I scanned way too many spreads, not realizing you can find a solid amount of characters after a few pages. Though, it did help me notice that letters deviated throughout the book. Some pages were light with faded ink, while others were so heavily printed that you could see the leftover imprints of the metal letters on the flip side of the page. The inconsistencies were so charmingly human.

接下來(lái)的一周，我們收集了高分辨率的數(shù)字掃描以收集字符：AZ，小寫(xiě)字母，大寫(xiě)字母，數(shù)字和標(biāo)點(diǎn)符號(hào)。我掃描了太多的點(diǎn)差，但沒(méi)有意識(shí)到您可以在幾頁(yè)之后找到大量的字符。但是，這確實(shí)幫助我注意到了整本書(shū)中字母的偏離。有些頁(yè)面的油墨淺淡，褪色，而另一些頁(yè)面的印刷量太大，以至于您可以在頁(yè)面的背面看到金屬字母的剩余印記。不一致之處是如此迷人。

先后先后 (First after First after First)

The initial set of letters that we designed were “OHno”, then “pavgDVER”. We began with these letters because they form the foundation for the rest of the character set. The H and n for their angularity. The O for its roundness. For this class, we used RoboFont. Since I’d gotten comfortable with the pen tool in Adobe Illustrator, it wasn’t too hard to pick up this new software.

我們?cè)O(shè)計(jì)的最初字母是“ OHno”，然后是“ pavgDVER”。我們從這些字母開(kāi)始，因?yàn)樗鼈儤?gòu)成了其余字符集的基礎(chǔ)。 H和n表示角度。 O為圓度。對(duì)于此類，我們使用了RoboFont。由于我對(duì)Adobe Illustrator中的鋼筆工具已經(jīng)很滿意，因此選擇此新軟件并不難。

Tracing over the scans with the pen tool, I finished drawing these twelve letters in only a couple of hours. I stood back and thought to myself, “Well that was easy. If the rest of the class is like this, I’ll be making fonts in no time!” The first critique was a rude awakening.

使用鋼筆工具跟蹤掃描，我僅用幾個(gè)小時(shí)就完成了這十二個(gè)字母的繪制。我退后一步，心想：“那很容易。如果班上的其他同學(xué)都是這樣，我將立即制作字體！” 第一個(gè)批評(píng)是粗魯?shù)挠X(jué)醒。

My instructors, James Edmondson, Graham Bradley, and Tommi Sharp went to town. Immediately, they pointed out that the stroke weights were inconsistent. Spacing sucked. Some letters didn’t make sense. Also instantly, I bombarded them with a ton of questions. What’s the “a” supposed to look like? Why do the serifs look so weird? What kind of terminals are these? My book’s inconsistent printing made it hard to tell if the blobs were the design or a result of the printing. I thanked my critics for their advice as I walked away with a paper filled with red marks and an itch to get back to drawing.

我的老師James Edmondson ， Graham Bradley和Tommi Sharp到了鎮(zhèn)上。他們立即指出，行程的權(quán)重不一致。間隔很爛。一些字母沒(méi)有意義。瞬間，我用大量問(wèn)題轟炸了他們。什么是“A” 應(yīng)該是什么樣子的？為什么襯線看起來(lái)很奇怪？這些是哪種終端？我的書(shū)的印刷不一致，因此很難分辨出斑點(diǎn)是印刷的設(shè)計(jì)還是印刷的結(jié)果。我感謝批評(píng)家們的建議，因?yàn)槲易唛_(kāi)了，上面寫(xiě)滿了紅色標(biāo)記的文件和一頭渴望回到圖紙上的癢癢。

Instructor markups on my first printed proofs.我在第一個(gè)印刷樣張上的教練加價(jià)。

1.添加香料 (1. Add your spice)

I reworked my original set, then moved on to add more characters in the next several rounds. Next, “Hamburgefontsiv.” Then, A through Z, numbers, and finally punctuation. As I got deeper into the design process, more questions would arise. It felt like the more I think I’d grow, the less I seemed to know. I spent 4 weeks squinting my eyes at the book trying to dissect every single stroke.

我重新制作了原來(lái)的劇集，然后在接下來(lái)的幾輪中繼續(xù)添加更多角色。接下來(lái)是“ Hamburgefontsiv”。然后，從A到Z，數(shù)字，最后是標(biāo)點(diǎn)符號(hào)。隨著我深入設(shè)計(jì)過(guò)程，將會(huì)出現(xiàn)更多問(wèn)題。我覺(jué)得自己成長(zhǎng)的越多，似乎所知道的就越少。我花了4周的時(shí)間著眼睛看這本書(shū)，試圖剖析每一個(gè)筆畫(huà)。

Finally, my instructors urged me and the rest of my classmates to “STOP LOOKING AT THE SOURCE MATERIAL.” They reassured us that we’ve gotten familiar enough with our typeface by now and encouraged us to make our own aesthetic judgments. Armed with that mindset, I looked away from Le Mont Saint-Michel and turned the teardrop terminals into ball terminals in version 5. Then on a last-ditch effort to make the serifs look less weird, I bracketed them in version 6. Everything suddenly looked right.

最后，我的老師敦促我和我的其他同學(xué)“不要再尋找源材料”。他們向我們保證，到目前為止我們對(duì)字體已經(jīng)足夠熟悉，并鼓勵(lì)我們做出自己的美學(xué)判斷。懷著這種想法，我將視線從圣米歇爾山(Le Mont-Michel)移開(kāi)，將淚珠末端變成了版本5中的球形末端。然后，為使襯線看起來(lái)不那么怪異，我竭盡全力，在版本6中將它們括起來(lái)。看起來(lái)不錯(cuò)。

More and more instructor markups with each version.每個(gè)版本都有越來(lái)越多的講師標(biāo)記。

2.感官設(shè)計(jì) (2. Design with your senses)

Throughout the entire process, I consistently had issues with inconsistent stroke weights. A classmate helped me discover the ruler tool and I began obsessively monitoring all the stroke measurements. Things still looked off. But the numbers matched up! What’s going on?!

在整個(gè)過(guò)程中，我始終遇到?jīng)_程重量不一致的問(wèn)題。一位同學(xué)幫助我發(fā)現(xiàn)了標(biāo)尺工具，然后我開(kāi)始沉迷于監(jiān)視所有筆劃的測(cè)量。事情依舊。但是數(shù)字匹配！這是怎么回事？！

One day during our study hours, I stumbled upon a book in our class library that taught me how to see. It was Type Tricks by Sofie Beier. You see, type design is pretty much optical sorcery. Numbers and logic will only get you so far, but to get through the final stretch, you must activate your senses.

在上課時(shí)間的一天，我偶然發(fā)現(xiàn)班級(jí)圖書(shū)館的一本書(shū)教我如何看書(shū)。這是Sofie Beier的Type Tricks 。您會(huì)看到，字體設(shè)計(jì)幾乎就是光學(xué)魔術(shù)。數(shù)字和邏輯只會(huì)使您步入正軌，但要走到最后一步，您必須激活自己的感官。

For you designerds, here are three game-changing type tricks I found while conjuring this typeface.

對(duì)于您的設(shè)計(jì)人員來(lái)說(shuō)，這是我在構(gòu)想此字體時(shí)發(fā)現(xiàn)的三種改變游戲規(guī)則的技巧。

改變游戲規(guī)則的技巧 (Game-changing type tricks)

1 / Contrast your strokesHorizontal strokes appear heavier than vertical strokes. There needs to be a slight contrast for them to appear identical. For example, the horizontal stem of an H should be slightly less thick than the vertical stems.

1 /對(duì)比筆觸水平筆觸比垂直筆觸重。為了使它們看起來(lái)相同，需要稍加對(duì)比。例如，H的水平莖的厚度應(yīng)略小于垂直莖的厚度。

The middle column shows a slight variation in the horizontal strokes.中間一欄顯示水平筆劃略有變化。 Horizontal strokes need to metrically be lower than vertical strokes.水平筆劃必須在度量上低于垂直筆劃。

2 / Overshoot your pointsSay you have a square, circle, and triangle. For them to optically appear the same size, the circle curves must go beyond the height of the square, and the apex of the triangle even more so. It’s because at these points, they spend less time on the edge, so we perceive them as having less volume. This applies to letters O, A, V, and the joints of n and h for example.

2 /超調(diào)點(diǎn)假設(shè)您有一個(gè)正方形，一個(gè)圓形和一個(gè)三角形。為了使它們視覺(jué)上顯示相同的大小，圓形曲線必須超過(guò)正方形的高度，而三角形的頂點(diǎn)則更大。這是因?yàn)樵谶@些時(shí)候，它們?cè)谶吘壣匣ㄙM(fèi)的時(shí)間更少，因此我們認(rèn)為它們的體積較小。例如，這適用于字母O，A，V以及n和h的關(guān)節(jié)。

Top row: same height, but not optically balanced. Bottom row: visually balanced with overshoots.第一排：高度相同，但光學(xué)上不平衡。下排：視覺(jué)上與過(guò)沖保持平衡。 Overshoot in the O extends beyond the height of the H.O中的超調(diào)超出H的高度。

3 / Soften the anglesIf a point looks like it’ll hurt you, it’ll hurt your design. Pointy acute angles are visually unappealing and look digital. Instead, they should always be slightly cut off or rounded.

3 /柔化角度如果某個(gè)點(diǎn)看起來(lái)會(huì)傷害您，則會(huì)傷害您的設(shè)計(jì)。尖銳的銳角在視覺(jué)上不吸引人，看起來(lái)很數(shù)字。取而代之的是，應(yīng)始終將它們略微切掉或弄圓。

How to handle pointy acute angles如何處理尖銳的銳角

Bonus! Drawing sad frogs (I mean, smooth curves)One thing that I’ve always struggled in my lettering work is drawing perfect curves. There are lots of nuances that go into it, but our instructors put it in an amusing and memorable way. Draw sad frogs: if anchor points are the eyes, they should be evenly spaced so that the curve they create is a perfect frown.

獎(jiǎng)金！ 繪制悲傷的青蛙(我的意思是，平滑的曲線)我在刻字工作中一直掙扎的一件事就是繪制完美的曲線。它包含許多細(xì)微差別，但我們的講師以有趣且令人難忘的方式進(jìn)行介紹。繪制悲傷的青蛙：如果錨點(diǎn)是眼睛，則它們應(yīng)均勻分布，以使它們產(chǎn)生的曲線完美皺眉。

A very sad frog一只非常悲傷的青蛙

3.有一個(gè)學(xué)徒的心態(tài) (3. Have an apprentice mindset)

I thought I knew typography, having taken a couple of type classes and working in the design space. But it seems we’ve only been acquaintances. You don’t know typography until you draw it letter by letter. My all-French source material did not have a single K or W because apparently, the French don’t use K’s and W’s! It surprised me that I couldn’t recall what a lowercase k looked like when I drew its arm extended to the cap height.

我以為我知道印刷術(shù)，參加過(guò)幾次類型訓(xùn)練并在設(shè)計(jì)領(lǐng)域工作。但是似乎我們只是相識(shí)。在不逐字母繪制之前，您不知道字體。我的全法國(guó)原始資料沒(méi)有一個(gè)K或W，因?yàn)轱@然，法國(guó)人不使用K和W！令我驚訝的是，當(dāng)我將其小臂k拉到帽高時(shí)，我不記得小寫(xiě)的k是什么樣子。

When in doubt, learn from others who have succeeded. Anytime I found myself stumped by a letter, I looked to the classics like Baskerville and Bodoni. I went as far as firing up open-source fonts in Robofont to deconstruct and analyze their inner workings. I pictured myself as an apprentice to Firmin Didot. Ten weeks into the program, I was practically besties with typography.

如有疑問(wèn)，請(qǐng)向其他成功的人學(xué)習(xí)。每當(dāng)我發(fā)現(xiàn)自己被一封信困擾時(shí)，我都會(huì)去看看巴斯克維爾和博多尼這樣的經(jīng)典作品。我甚至嘗試在Robofont中啟動(dòng)開(kāi)源字體來(lái)解構(gòu)和分析其內(nèi)部工作原理。我把自己想象成是Firmin Didot的學(xué)徒。進(jìn)入課程十周后，我?guī)缀跏桥虐娣矫娴馁摺?

Final character set.最終字符集。 Comparison to the original text.與原文比較。

Done is better than perfect. With that mantra in mind, I wrapped up the final character set and at last, gave it a name, Rustique. I found this word on page 34 and felt that it embodied its antiquarian yet dazzlingly modern charm. Sitting back and taking in Rustique, I realized that I’ve gained a whole new appreciation for serifs. Having mainly worked in the tech industry, my world up until this point had been saturated with sans-serifs. I thought they were the best font choice because they were modern, strong, and “clean” — we designers like to say. But creating Rustique has taught me that serifs bring a burst of personality that sans is sometimes well… sans. Serifs can have so many angles, layers, and expressions.

做完比求完美強(qiáng)。考慮到這一口頭禪，我整理了最后的字符集，最后給它起了個(gè)名字Rustique。我在第34頁(yè)上找到了這個(gè)詞，并感到它體現(xiàn)了其古物，卻具有令人眼花modern亂的現(xiàn)代魅力。坐下來(lái)接受Rustique，我意識(shí)到我對(duì)襯線有了全新的欣賞。在主要從事科技行業(yè)工作之前，直到現(xiàn)在，我的世界都充滿了無(wú)襯線字體。我認(rèn)為它們是最好的字體選擇，因?yàn)樗鼈儸F(xiàn)代，結(jié)實(shí)且“干凈”(我們的設(shè)計(jì)師喜歡說(shuō))。但是創(chuàng)建Rustique告訴我，襯線帶給人的突然爆發(fā)的感覺(jué)有時(shí)很好，沒(méi)有。襯線可以具有許多角度，層和表達(dá)式。

Showing the font in use.顯示正在使用的字體。

I’m a different designer after this experience. This intensive program pushed me beyond my comfort zone to the land of ‘a(chǎn)ha’s. James and Graham showed me the importance of trusting my aesthetic flair. Put in another way: you can always make a classic recipe unique by adding your spice. Type Tricks taught me to design with my senses, not just my logical brain. Being a beginner reminded me to learn from the masters as a modern-day apprentice.

經(jīng)歷之后，我是一名不同的設(shè)計(jì)師。這項(xiàng)密集的課程將我?guī)С隽宋业氖孢m地帶，來(lái)到了“啊哈”的土地。詹姆斯和格雷厄姆向我展示了相信我的審美才能的重要性。換句話說(shuō)，您總是可以通過(guò)添加香料來(lái)制作經(jīng)典食譜。 Type Tricks教我用感官進(jìn)行設(shè)計(jì)，而不僅僅是我的邏輯大腦。作為一個(gè)初學(xué)者，我想向現(xiàn)代大師學(xué)習(xí)。

In this hyper-connected digital world we live in, there’s already so much design content that when I was a younger designer, I was afraid of making anything that looked remotely like something else. I had this burning desire to be original, but that only made me fear being unoriginal. This, in turn, stopped me from trying new things. But, in order to grow and become a better creator, you must first learn from good examples before you can set your examples.

在我們生活的這個(gè)高度連接的數(shù)字世界中，已經(jīng)有太多的設(shè)計(jì)內(nèi)容，以至于我還是年輕的設(shè)計(jì)師時(shí)，我就害怕制作出看起來(lái)像其他東西的東西。我渴望成為原始人，但那讓我擔(dān)心自己不是原始人。反過(guò)來(lái)，這阻止了我嘗試新事物。但是，為了成長(zhǎng)并成為更好的創(chuàng)造者，您必須首先從好的榜樣中學(xué)習(xí)，然后才能樹(shù)立榜樣。

So instead of letting digital connectivity be a barrier, I will use it as an educational resource so I can craft type like Frere-Jones, design like Paula Scher, or photograph like Annie Leibovitz — until I find my house style.

因此，我不會(huì)把數(shù)字連接作為障礙，而是將其用作教育資源，這樣我就可以制作Frere-Jones之類的字體，Paula Scher之類的設(shè)計(jì)或Annie Leibovitz之類的照片-直到找到自己的家庭風(fēng)格為止。

Now to make an original typeface next term…

現(xiàn)在要在下個(gè)學(xué)期做一個(gè)原始字體…

翻譯自: https://uxdesign.cc/a-type-revival-story-lessons-from-type-west-6ddff94c54db