工业设计专业英语(第三版)第二十二课Do-typefaces-really-matter？复习过程.ppt

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1、工业设计专业英语(第三版)第二十二课Do-typefaces-really-matter？ENGLISHFORINDUSTRIALDESIGNSimple,Powerful and freenWhen Avatar,the biggest grossing movie of all time was released,one section of the audience was immediately outraged.nGraphic designers hated it.Why?They didnt like the font that director James Cameron ha

2、d chosen for the subtitles.nI hated it on the posters and then threw up a little in my mouth when I realised I would have to read that ugly font throughout the film in the subtitles,one blogger commented.nAfter the hundreds of millions of dollars spent on CG effects,did he just run out of money for

3、a decent graphic designer?And yet fonts are not just for geeks.Otherwise why would organisations around the world spend so much time and money changing their typeface?n当阿凡达这部卖座率最高的电影上映时，一部分的观众立刻被激怒了。n平面设计师讨厌它。为什么呢？他们不喜欢的导演詹姆斯卡梅隆选择字幕的字体。n“我讨厌它的海报上，然后扔了一点点在我嘴里时，我意识到我要在整个电影中都看到那个丑陋的字体组成的字幕，”一位博客的评论。n“花

4、费数百万美元在CG特效上，他就不能支出一点钱去找一个有名的平面设计师？”然而，不仅仅是那些“怪咖”才关注字体。否则世界各地的组织为什么会花那么多时间和金钱去改变他们的字体？“Avatar”ENGLISHFORINDUSTRIALDESIGNSimple,Powerful and freenIn April,the Mail on Sunday reported that the Foreign and Commonwealth Office spent 80,000 changing its typeface to one that was almost identical.nLast mon

5、th Gatwick Airport unveiled a new logo,replacing a rather austere style with a custom-made,handwritten script.A spokeswoman said the change was an attempt to emphasise the airports personal touch.nAnd in the past week the BBC website has taken on a new look,replacing Verdana font with Arial(on PCs)a

6、nd Neue Helvetica(on Macs).But can different shaped letterforms really convey those values?n今年四月，星期日邮报报道英国外交及联邦事务部花了80,000改变它们几乎相同的字体之一。n盖特威克机场上个月推出了一个新的标志，用一个特制的、手写笔迹风格的标志替换了简朴风格的标志。一位发言人表示，这一变化是试图强调机场的“个人风格”。n在过去的一周，在BBC网站上以崭新的面貌，用Arial（PC）和NeueHelvetica字体（在Mac上）更换Verdana字体。但是，不同形状的字体形式真的可以传达所要体现的

7、价值观吗？A new lookThe old Gatwick logo,in Frutiger,was said to be uncompromising.but under new ownership it embraced a more personal styleENGLISHFORINDUSTRIALDESIGNSimple,Powerful and freeThe power of the font goes back to the Greeks,says Julie Strawson,director of Monotype Imaging,an international typ

8、e-design company.The Greeks created handwriting and thats one of the most personal ways of communicating.“A typeface may never quite be able to replicate the intimacy of pen and ink but with an estimated 200,000 fonts to choose from today,there are no shortage of different styles to choose from.Sele

9、cting a font is like getting dressed,Ms Strawson says.Just as one chooses an outfit according to the occasion,one decides on a font according to the kind of message you are seeking to convey.字体的强大可以追溯到希腊，朱莉斯特劳森说，国际造型设计公司MonotypeImaging的总监。“希腊人创造的笔迹，这是最贴近人们的沟通方式之一。”字体可能永远不会体现笔与墨水的关系但在拥有着将近200,000字体可供

10、选择的今天，在选择不同风格字体时就不会出现短缺。选择字体就像是穿衣，斯特劳森女士说。正如根据不同的场合来选择服装，选择什么样的字体取决于你要传达什么样的消息。Julie StrawsonENGLISHFORINDUSTRIALDESIGNSimple,Powerful and freeOne of the crucial dilemmas is whether to opt for serif or sans serif.In a serif typeface the letters have extra curls and bobbles,reminiscent of calligraphy

11、,whereas in sans serif(literally without serif)the letter forms have clean lines without any protruding bits.Some people find serif best because,like handwriting,it helps the eye to link the letters,Ms Strawson says.With sans each character is completely separate,theres more white space which is why

12、 some find it more readable.“The typeface matters because of its power to create a sense of recognition and trust,she argues:Everyone recognises the BBC just from three characters in Gill Sans.Its an icon.If you wrote BBC in a flowery font people wouldnt recognise it.其中的关键难题是衬线和无衬线字体的选择。衬线字体的字母有额外的卷

13、曲和绒球，让人联想到的书法，而用无衬线字体（字面意思是无衬线）的字母形式有干净的线条，没有任何突出的地方。斯特劳森女士说：“有些人觉得衬线最好，因为像手写，可以帮助眼睛和字母联系起来”。“无衬线的每个字母都是完全独立的，还有更多的空白，这就是为什么它有时更具可读性。”字样的重要体现在它力求建立一个认可和信任感，她认为：“每个人都承认BBC源自GillSans的三个字母。这是一个图标。如果你用一个华丽的字体写了BBC那么人们不会承认它“。衬线指的是字体起始末端的细节装饰ENGLISHFORINDUSTRIALDESIGNSimple,Powerful and freeBanks are part

14、icularly aware of this,with companies like Barclays creating their own branded font to reinforce a sense of security at a time when fear of fraud and scamming is high.But Jonathan Barnbrook,founder of the website Virus Fonts,believes the power of typography goes beyond such utilitarian aims.A good t

15、ypeface creates an emotional response in relation to the message it is conveying.Youre trying to get that tone of voice right-you can shout or whisper.And you want to sum up the spirit of the age,because they do date quite quickly.”银行尤其是意识到这一点，结合企业如巴克莱在人们越来越担心欺诈和欺骗活动的时候创造自己的品牌字体去提高安全感。但JonathanBarnb

16、rook，病毒字体网站的创始人，认为印刷术的力量超越这样的功利目的。“一个很好的字体产生的情绪反应了与之相关所传达的信息。你可以去取的话语权你可以大声的说出来或低声耳语。你也可以总结时代精神，因为迄今为止他们确实发展的相当快。”Jonathan BarnbrookENGLISHFORINDUSTRIALDESIGNSimple,Powerful and freePeople have become more aware about the impact of fonts because of computers,but the power of a typeface is still larg

17、ely subliminal,he argues.Mr Barnbrook is best known for producing provocatively named,subversive fonts such as Exocet,Bastard,Prozac and Nixon.He also designed the cover of Heathen,David Bowies 2002 album.I talked a lot with Bowie-the discussions went back and forth.Hes the creator and youre trying

18、to get the atmosphere of the music across in the design.I chose one of our own fonts-Priori-which is formal but playful,as the album was quite dark.人们已经越来越意识到电脑字体的影响，但一个字体的力量在很大程度上仍是隐形的，他说。MrBarnbrook最出名的是创造出张扬的命名，颠覆性的字体，如Exocet,Bastard,Prozac和Nixon。他还设计了异教徒的封面，2002年大卫鲍伊的专辑封面。“我与鲍伊谈了很久来回的讨论，他是一个创造者所

19、以作为设计师应该试图通过设计获得整个音乐的气氛。我选择了一个我们自己的字体Priori虽然正式但很俏皮，因为专辑封面非常的暗。“ENGLISHFORINDUSTRIALDESIGNSimple,Powerful and freeThe Swiss typeface Neue Helvetica,by Linotype Design Studio,appears to be drawn with uniform thickness(a Sans-Serif),and its finishing stroke curls back up onto itself.It is neutral in d

20、esign,which is why Neue Helvetica has lent itself to designs worldwide.莱诺设计工作室设计的瑞士字体NeueHelvetica，厚度均匀（无衬线），它的最后一笔卷回到它本身。它是中性的设计，这是为什么NeueHelvetica被用于世界各地的设计中。Another British work horse is the serif typeface Times New Roman.Designed for the Times newspaper,London,by Monotype,this is a typeface you

21、trust.The outlines here vary from thick to thin,and the overall design is meant for fast newspaper production.另外一个英国工作室设计了有衬线字体TimesNewRoman。它为泰晤士报而设计，在伦敦由莫诺铸排机打印，是一种你可以信任的字体。它的轮廓线由粗到细变化，字体全部的设计注定带来了报纸的快速生产。The Gill Sans,designed by the artist Eric Gill,is quirky and full of character.This typeface

22、is a solid British institution,and can be seen all over the UK.Its unique design has made it a staple of British typography for many decades now.GillSans字体是由艺术家EricGill所设计，它新奇，并且极富个性。此种字体成为一种英国传统，在整个英国随处可见。它独特的设计使之近几十年来被排印最多。The Zapfino Extra typeface by Professor Hermann Zapf is a script typeface f

23、ull of beauty,elegance and harmony,with soft and elegant curves.The writing style is that of excellent penmanship.A feminine,classy design that is ideal for advertising.HermannZapf教授设计的ZapfinoExtra是一种手写字体，它柔和高贵的线条充满了美丽，优雅和和谐。它的写字风格是极好的书法。而柔美的上等的设计使之成为广告设计的理想选择。ENGLISHFORINDUSTRIALDESIGNSimple,Powerf

24、ul and freeIndeed theres no limit to the emotional range a typeface can reflect.Typography is so closely associated with language so you can express irony and get the whole complexity of emotion in there,adds Mr Barnbrook.Its part of a typeface designers essential make-up to get hung up on tiny deta

25、ils.And sometimes that can be downright annoying,he admits:The problem is youre watching a film and you notice a sign.You realise that the letterforms are 20 years later than the era the film is supposed to be set in.“Indeed for some,fonts take on almost life and death significance.The Swiss font He

26、lvetica has a cult following celebrated by the 2007 documentary of the same name.事实上在情感范围反映一个字体是没有限制的。“印刷术和语言是如此的密切相关，这样在那里你就可以表达讽刺和整个复杂的情感”Barnbrook补充说。一个字体设计师工作的一部分是提升细节。有时这是令人厌恶的事情，他坦言：“问题是当你看电影时，你注意到的一个标语。然后你会意识到它的字体比这部电影应该出现的时代晚了20年。事实上，对于一些字体也是有生命的。瑞士Helvetica字体在2007年的同名纪录片中被疯狂的推崇了。ENGLISHFORI

27、NDUSTRIALDESIGNSimple,Powerful and freeBut for Bruno Maag,managing creative director of typeface studio Dalton Maag,Helvetica is a cultural blight.If you think of ice cream,it(Helvetica)is a cheap,nasty,supermarket brand made of water,substitutes and vegetable fats.The texture is wrong and it leaves

28、 a little bit of a funny aftertaste.Rather than being the modernist font supporters say it is,he argues that Helvetica is based on antique designs and made up of badly executed letter forms,although he admits these are tiny details most people will never spot.Lower case Ss are notoriously difficult

29、to get right.But in Helvetica its not straight-you want to go in there and tighten it up.And the a looks so woolly and ill-conceived,it really winds me up.“As much as he hates Helvetica,he loves Univers,another Swiss-invented design.Its the true modernist typeface.Theres no fuss and schmuss about it

30、,its a clean,tight design.If Helvetica is Julia Roberts-pretty enough-then Univers is Uma Thurman-really cool.但布鲁诺马格，道尔顿马格字体管理工作室的创意总监，认为Helvetica是一种文化的衰退。“就像你想到的冰淇淋，它（黑体）是一种廉价的，讨厌的，用水和替代品和植物脂肪制成的超市货。结构是错误的并且它只能仅仅留下一点点有趣的回味。”相比现代派字体的支持者，他认为Helvetica是基于“古董”的设计，并提出了改进糟糕的字母形式，虽然他承认这些都是“微小的细节”大多数人不会发现。“

31、通常情况下，Ss是出了名的难以使用正确，但在Helvetica里它不是直的-你想去加强它。然后这个A便来毛茸茸且像是没考虑好的，它真的令我很恼怒。”就像他讨厌Helvetica，他喜欢Univers，另一个瑞士设计。“这是真正的现代派字体，它没有混线，很简洁，紧凑的设计。如果Helvetica是朱莉娅罗伯茨-够漂亮那么Univers是乌玛瑟曼-真的很酷。”Helvetica=cheapENGLISHFORINDUSTRIALDESIGNSimple,Powerful and freeBut the Canadian blogger Mike Battista,who blogs at ,has

32、 had enough of the font police.He was first alerted to the problem when the graphic design community reacted angrily to the use of Papyrus for the subtitles in Avatar.I follow a lot of the graphic design community on Twitter and there were so many people querying Papyrus.They jumped on it because th

33、ey think its too flashy and gimmicky.But subtitle fonts dont matter as long as you can read them.Mr Battista concludes that the font has been elevated to an absurdly high cultural status by a small,self-indulgent elite.These people remind me of wine snobs-they can detect all these subtle notes and f

34、lavours but the average person probably wont notice all these tiny flourishes on a font.When youre reading an article youre not thinking about the font.You have to be looking at fonts all day before you start getting emotional about them.An obsession with typefaces may even be reducing our productiv

35、ity,he warns.The other day I heard that people are getting font paralysis.They couldnt move forward with their work because they were unable to decide on which font to use.但加拿大的博客的博主迈克巴蒂斯塔，有强烈的字体管制意识。他首先注意到了平面设计界对阿凡达字幕使用Papyrus的愤怒的反应。“我在Twitter上关注很多平面设计联盟，有很多的人质疑Papyrus。他们认为它过于浮华和花哨。但字幕字体并不重要，只要你可以阅

36、读他们。”巴蒂斯塔先生总结出字体已经被某些小众，自以为是的精英提升到一个荒谬的高文化地位。“这些人让我想起葡萄酒的挑剔者-他们可以发现所有细微的记录和特性，但一般人可能不会注意到这些微小变化的字体。当你阅读一篇文章时你是不会想到字体的。否则在你情绪变化之前就不得不要考虑字体。对字体的痴迷甚至可能会降低我们的生产力，他警告说。“有一天，我听到人们越来越字体麻痹，他们不能再继续他们的工作，因为他们无法决定使用哪种字体。”When youre reading an article youre not thinking about the font”ENGLISHFORINDUSTRIALDESIGN

37、Simple,Powerful and freenA typeface is the specific letterform design of an alphabetnA font is a collection of all the characters of a typeface,including capital letters and lowercase letters,numerals and punctuation marksnFor letterpress printing,using hot metal,a font was produced for every size a

38、nd style of typeface,but today fonts are delivered as a digital software file that caters for all sizes of a typeface.nThat is why the words font and typeface are often interchangeTypeface or font?n字体(typeface)是对于字母表里所有字母的特定字体设计。n字体(font)是一种字体里所有字符的组合，包括大写字母和小写字母，数字和标点符号。n对于凸版印刷来说，它是用液态金属来铸成不同大小和样式的字体。但现在用数字软件文件就可以打印出所有大小的字体。n就是为什么单词font和typeface经常交替使用ENGLISHFORINDUSTRIALDESIGNSimple,Powerful and freeTHANKYOU此课件下载可自行编辑修改，仅供参考！此课件下载可自行编辑修改，仅供参考！感谢您的支持，我们努力做得更好！谢谢感谢您的支持，我们努力做得更好！谢谢