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09-10-23 &
福州是中国优秀旅游城市，山青水秀、风光绮丽，名山、名寺、&WBR&名园、名居繁多，独具滨江滨海和山水园林旅游城市风貌。目前，&WBR&福州拥有平潭海坛、鼓山、青云山、&WBR&十八重溪等国家重点风景名胜区。&WBR&全市著名的历史古迹有150多处。其中，林则徐墓、华林寺、&WBR&乌塔、鼓山摩崖石刻、马江海战纪念馆、马尾船政遗址、&WBR&福清弥勒岩、闽侯昙石山文化遗址、&WBR&罗源陈太尉宫等已被列为国家重点文物保护单位。被誉为“&WBR&福州碑林”的鼓山摩崖石刻、江南最古老的木结构建筑华林寺、“&WBR&天下四大名碑”之一的“恩赐琅琊王德政碑”、&WBR&被称为书法艺术瑰宝的李阳冰乌山摩崖石刻、&WBR&记载明代郑和航海史料的“天妃灵应之记碑”、&WBR&被誉为中国金石史上奇迹的雪峰寺“树腹碑”&WBR&等也具有重大历史文化价值。福州闽江、乌龙江穿城而过，&WBR&河汊纵横，湖塘相连，独具江南水城的神韵。现有各类园林37座，&WBR&市区内河42条，小桥、流水、人家，构成了一幅清秀迷人的画卷。&WBR&近年来，我市新建了闽江公园、金山公园、&WBR&船政文化主题公园等10多个各具特色的生态休闲公园，&WBR&建成西湖及周边、闽江两岸灯光夜景工程，&WBR&改造了晋安河公园等一批公园景区，为广大人民群众提供了宜居、&WBR&休闲的良好环境。福州也是全国三大温泉区之一，温泉分布广、&WBR&埋藏浅、流量大、水温高、水质好，有着“浴在福州”的美誉。“&WBR&王凤朝阳生丽水，九龙经脉出金汤”，正是对福州温泉的生动写照。&div&
请登录后再发表评论!&（这是其中一篇的开头） 越来越多的接触英文，许多设计现在都离不开英文字体的设计，所以很有必要介绍一下一些英文设计的基础。也有很多人问，但是我也不是专业做英文字体，刚好看到这篇文章介绍的比较实用而且基础，最重要有图，直观，就翻译来，大家分了……，翻完一看都凌晨了，呵呵，忘情了O(∩_∩)O~哈哈，久了脑子有点蒙，有什么翻译不好的，大家看原作吧，呵呵。希望对你有帮助吧！提供一个西文字体术语的pdf供大家下载！喜欢字体的朋友可以来i love typeface的官方微博，这里经常会分享交流很多关于字体的各种东西：&································································正文·················································································100% practical. Sketches have been made to explain some basic issues in type design during the workshops. They get used to point out some problems which raise while creating a new typeface. Only some foundations are shown, no deep sophisticated details.&100%实用。在工作室做字体设计的案例时，手绘可以帮助我们解释一些基本的事情。在设计新字体时，手绘可以帮助我们指出一些问题所在。这里，我们就用手绘这种方式来谈一些关于字体的很基础的东西，不深谈。第一部分：视觉平衡Same size for all! To optically align all characters on a line, they cannot not have exactly the same mathematical height. For examplethe triangle on this drawing has to be higher than the rectangle. If this is not the case, the triangle will for sure look smaller than therectangle.While creating a typeface, you want all the letters to have the same height.&视觉平衡！我们把所有字母在视觉上保持水平对齐，但是我们发现他们并没有绝对意义上的相同高度。比如，这个三角形比矩形要高，否则，三角形肯定会看上去比矩形要小。而创造一种字体，你当然想要所有的字母&Also round forms have to exceed the baseline to be optically the same. If the circle would have exactly the same mathematical height as the rectangle, it would look smaller than the square. This doesn't only count for basic forms like triangles, circles and squares. It's essential in type design, because they apply to every single character in a typeface. Then it even doesn't matter if you're designing a latin, cyrillic or greek font. It's a basic principle for any kind of shape.&同样，圆形也需要超出基准线而达到视觉上的对齐。如果圆形和矩形高度相同，那肯定会看起来比矩形小。这不仅适用于三角形、圆形、矩形这些基本行状，而是可以应用在字体设计中的每一个字母，是很重要的一条法则。甚至你设计拉丁文、希腊文都可以应用。这是一条适用于任何形状的基本法则。························································································································································第二部分：术语Type terminology. Communication during the design process is much easier when using basic terminology of type.Here are a couple important ones, which will help to bring the conversation a bit further than 'yeah, that there, that little black thing.' Ascender：上伸部Baseline：基准线X-height：小写字母x高度Arm：字臂Shoulder：字肩Contrast：粗细对比Stem：主干Serif：衬线Terminal：尾部Counter：字谷（内部空间）Bowl：字碗descender：下伸部字体术语。在字体设计过程中使用一些字体术语更有益于交流。这里有12个重要的字体术语，这些会让你在交流中不用使用含糊不清的“对，这里”“那个小的黑的东西”的代词。这里我加一段：在英文字体的设计中（主要指小写），一个字体的高度体包含三部份，以基准线 (baseline) 为中央，以上称之为上部 (ascender area)，基准线内称之为x高度（X-height），基准线以下称之为下部 (descender area)。·························································································································································第三部分：流线型Fluent shapes. Designing type is like driving a car. If you drive a car, you always take the curve in a natural way. If you draw a curve (of a character) on paper, this is exactly the same. The curve starts smoothly, never out of a sudden. While driving a car, you don't start turning the wheel when you are already in the beginning of the curve. A while before you arrive in the curve you anticipate by leading your car gently in the right direction. Think about driving a car when you are sketching type on a paper. &流线。设计字体就像开车。当你开车的时候，你肯定会走自然的曲线。这跟你在纸上画字体的曲线是一样的。曲线流畅的展开，绝不会突然卡住。当你开车的时候，肯定不会一进弯就打方向盘，而是慢慢的沿着右侧曲线通过。在纸上手绘字体的时候，你想着开车就好了。呵呵。·························································································································································第四部分：书法原型Calligraphic origin. The characters on the top line have a different construction than the characters on the bottom line. They have a different calligraphic origin. It doesn't matter if a typeface has serifs (like Times New Roman) or not (like Arial). It's about the original way they where constructed.图中上下两行字母有着不同的结构，它们来源于不同的书法原型。不管这种字体是衬线字体（如Times New Roman）还是无衬线字体（如Arial），它们的架构都源于它们的书法原型。The characters in the top line are constructed with a pointed pen (calligraphic tool). The contrast is caused by changing the pressure on the pen, not because of the form of the pen. Bodoni is one example of this, but also sans serif faces like Helvetica have this origin. The thickest part will be (mostly) totally vertical. From this perspective there is no difference between Bodoni and Helvetica. They both have the same construction. Only the contrast varies.上面一行的字体的书法原型是一种尖头的书法钢笔。其笔画的粗细对比是通过改变笔压来实现的，而与笔尖本身的形状无关。Bodoni字体就是一个例子，但是象Helvetica这样的无衬线体也是来源于此。笔画最粗的部分几乎都是垂直的。从这个角度来看， Bodoni和Helvetica是同出一辙的。它们的架构是一致的，只是笔画的粗细对比有区别。The characters in the bottom line have a origin which is derived from the broad nip. The calligraphic pen itself has a thick and a thin part. The contrast in the type is made because of the form of the pen, not because of the pressure. You slant the pen with an angle of 30 degrees on the paper. In that way your thickest part of a character will not be on a vertical direction, but will be on an angle. Also the thinnest part will not be on the most horizontal parts. Typefaces like Garamond and Minion have this kind of construction. But also sans serif faces like Gill Sans have a construction which is originally derived from the broad nip.下面一行字体来源于一种笔尖扁平的钢笔。这种书法钢笔正面宽而侧面窄。字体的笔画粗细是由于钢笔本身形状的差异造成的，而不是笔压。你书写的时候笔身是倾斜的，和纸张形成30度的倾角。因此笔画最粗的部分就不是垂直方向的，而是有一定角度的倾斜。同样的，笔画最细的部分也不是位于水平方向上。Garamond 和 Minion 字体就是这种结构。但象Gill Sans 这样的无衬线字体也同样是起源于这种笔尖扁平的钢笔。·························································································································································第五部分：字符间距 图片文字说明：文字间距基础上：太紧下：a和e的内部空间应该是相等的平衡字符的内空间和外空间Spacing. Some words about spacing type. Much more important than the shapes of the characters, is the rhythm of the type. A typeface with beautiful characters which are badly spaced is extremely hard to read. However, if the shapes of the letters are not that good, but when they are all perfectly spaced, the type will be fairly easy to read. Defining the rhythm is more important than defining the shapes.字符间距这里要说一下字符间距。字符的间距要比它的外形重要得多，这关系到字体的节奏。一种间距很糟糕的字体，不管外形如何优美，一样难于阅读。相反的，一款外形稍欠的字体，如果有完美的间距调节，这种字体一样可以易于阅读。因此，定义字体的节奏，要比定义字体的外形更加重要。The white spaces inside and in between letters are defining the rhythm, much more than the black shapes of the letters. When you manage to create a good rhythm in your line of text, your type gets more readable and gives a balanced end result. While creating the black shapes, you have to take the white spaces into consideration. Because the white spaces are more important than the black shapes. However, white cannot exist without black. Changing a white shape, inevitable will have an influence on the black shape. From that perspective, one colour cannot be more important than the other. 字体的节奏取决于字符内部和字符之间的白空间，而非字符的黑色形体。如果你能够为你的文本建立一种很好的节奏，你的字体就更易于阅读，并获得均衡的整体效果。从开始创建黑色形体的时候起，你就应该同时把白空间的设置考虑在内。当然，白空间和黑空间是相互依存的。白空间的改变也必然的会影响黑空间的形态。从这个角度来看，我们不能说黑与白哪个更重要。For example, there has to be a relation between the space inside an 'n' and the space between the 'i' and the 'n' (see drawing). In the top row you can see the space inside the 'n' is much much bigger than the space in between the 'n' and the 'i'. In the bottom row they are much more equal, and in this way you'll get a much better rhythm and more harmony in your line of text.例如，字母n内部的白空间，以及i与n之间的白空间，两者之间必然会存在着某种关联（见图示）。在上面一行中，字母n内部的白空间要远大于i与n之间的白空间。在下面一行中，两者则要均衡得多，你也因而获得了更好的节奏，整个文本也更和谐。The same goes for the inner form of the 'a' and the 'e' for example. There is a big relation between these two forms. If they have (optically) the same amount of white inside the character (=counter), your type will have a better rhythm as well.
同样的，小写a和e之间的内部空间也存在着这种关联。两个形状之间的关系非常紧密。这两个字符的内部白空间（counter，中文术语翻译为字怀/字谷/字币）在视觉上应当是等量大小的，这样你的字体才会有更好的节奏。························································································································································第六部分：黑与白图片上的文字：注意字符内部和外部的白空间Black vs. white. Designing type is nothing more and nothing less than harmonizing black and white shapes. Black can't exist without white, and white can't exist without black. Black, the shape of a letter. White, the space in or in between letters. The amount of white inside a character defines the amount of white in between two characters.黑与白字体的设计，莫过于调整黑白空间的和谐。黑不能离开白而独立存在，白也是一样。黑，是字符的形体。白，是字符内部和字符之间的白色空间。两个字符之间白空间的大小，取决于字符内部白空间的大小。As it is impossible to create a very black character with a big (white) counter form, a black typeface will always have smaller counters than a light typeface. Hence it follows that there is less space in between the characters (see drawing). A light typeface has much bigger counters. The space in between two letters has to be in proportion. As a consequence there is more white space in between light letters than in between black letters. 你永远不可能设计出一种笔画极其粗重而同时字怀（counter，字符内部包围的白空间）又很大的的粗黑体。一个粗黑体，其字怀永远要小于一个细线体，因而粗黑体的字符间距也一定要小于细线体（如图）。细线体的字怀很大，其字符间距也必须相应的大，所以细线体的字符之间就需要比粗黑体更大的白空间。························································································································································第七部分：意大利体与手写体Italic vs. cursive. A roman font can be slanted (having an angle) and a cursive font can be upright (totally vertical like a roman). Urgh!&意大利体与手写体。罗马体可以倾斜体，手写体可以有垂直体。&The angle doesn't decide if a character is a 'roman' character or an 'cursive' character. This depends on theconstruction. To make it a bit more clear, take a look at the four big n's. As you would expect, the first letter is a roman character. But the second one as well. Although it's not totally vertical, it still has the same construction as the first 'n'. This is called a slanted roman. The third 'n' looks like an cursive, but also this one is not a real cursive. Basicly there is no difference between the second and third 'n', only some parts of the serifs have been cut off.&角度不能决定字体属于罗马体还是手写体。这取决于结构。看一下这4个大“n”，就会很明白了。对，第一个字母是罗马体，但是第二个同样是，虽然他没有完全垂直，但他和第一个有相同的结构。这叫做斜罗马体。第三个“n”看起来像手写体，但他并不是真正的手写体。基本上第二个和第三个没什么区别，只是衬线不同而已。&Compare the first three letters with the last 'n'. That's a real cursive. The big difference with the previous three is the construction. The first three are constructed from separate pen strokes. The last 'n' is constructed out of one pen stroke. This is the basic difference between roman and cursive fonts. Not the angle, but the construction.&把前面3个和最后一个相比较，没错，这才是手写体。他们最大的不同是结构。前面3个笔画是分开的，而最后一个是一笔写下，这是罗马体和手写体最本质的区别，不是角度，而是架构。&Many different explanations can be given for the difference between a 'cursive' and 'italic' from a historical point of view. However we consider this as the big difference: 'italic' is concerning the function, 'cursive'is concerning the construction. Almost anything can work as an 'italic', it doesn't even necessarily needs an angle. When making a font family with a roman and an italic font, the italic font can be constructed in many different ways. The third 'n' in the example could probably function perfectly as an italic inside your family. But don't forget, it's not always a real cursive when it's called 'italic'. &意大利体和手写体的不同也可以从历史的角度给出更多的解释，但是我们认为他们最大的区别在于：意大利体注重功能，手写体注重结构。几乎任何字体都可以作为意大利体，甚至都不需要角度。当设计一个包括罗马体和意大利体的字体族时，意大利体可以有很多构建方式。第三个“n”就可以在功能上作为意大利体加进你的字体族里。但是切记，意大利体并不总是真正的手写体。【另一翻译】Italic vs. cursive. A roman font can be slanted (having an angle) and a cursive font can be upright (totally vertical like a roman). Urgh!一个罗马体（roman，通常也被译作”正体“）可以是倾斜的（有一定的倾角），而一个草写体可以是竖直的（就好像是一个正体一样）。呃？！The angle doesn't decide if a character is a 'roman' character or an 'cursive' character. This depends on the construction. To make it a bit more clear, take a look at the four big n's. As you would expect, the first letter is a roman character. But the second one as well. Although it's not totally vertical, it still has the same construction as the first 'n'. This is called a slanted roman. The third 'n' looks like an cursive, but also this one is not a real cursive. Basicly there is no difference between the second and third 'n', only some parts of the serifs have been cut off.倾角并不能决定一个字母是一个“罗马体”还是一个“草写体”。关键在于其结构。要理解这一点，看看下面四个大n。你想的没错，第一个是一个罗马体。但第二个同样也是，虽然它并不是完全的竖直，它和第一个n拥有同样的结构。这种情形我们叫做倾斜的罗马体。第三个n看起来很象草写体了。但它实际上还不是一个真正的草写体。总的来说第三个n和第二个并没有多大区别，只是衬线的个别部分被切掉了而已。Compare the first three letters with the last 'n'. That's a real cursive. The big difference with the previous three is the construction. The first three are constructed from separate pen strokes. The last 'n' is constructed out of one pen stroke. This is the basic difference between roman and cursive fonts. Not the angle, but the construction.与前面三个n相比，最后一个n才是真正的草写体。它们之间最大的区别在于结构。前三个n的各个笔画之间都是独立的。最后一个n完全是一笔写成的。这就是罗马体和草写体之间最根本的区别：不在于倾角，而在于结构。Many different explanations can be given for the difference between a 'cursive' and 'italic' from a historical point of view. However we consider this as the big difference: 'italic' is concerning the function, 'cursive' is concerning the construction. Almost anything can work as an 'italic', it doesn't even necessarily needs an angle. When making a font family with a roman and an italic font, the italic font can be constructed in many different ways. The third 'n' in the example could probably function perfectly as an italic inside your family. But don't forget, it's not always a real cursive when it's called 'italic'.如果要从历史的视角来探讨草写体和“意大利体”之间的区别，那就说来话长了。但我们可以从这个角度来考虑：“意大利体”关乎功能，而“草写体”关乎结构。几乎任何字体都可以当成一个“意大利体”来使用，甚至根本不需要有什么倾角。当你制作一个包含“罗马体”和“意大利体”的字体家族时，这个“意大利体”可以用各种不同的方式来构建。图例中的第三个n也许就是你字体家族中一个完美的“意大利体”。但不要忘了，一个叫做“意大利体”的字体不一定是一个草写体。译注：这篇翻的比较别扭。roman一般译作“正体”，italic译作“斜体”，严格来讲都不是准确的翻译，但却已经是约定俗成的翻译了。正确的翻译应该是“罗马体”和“意大利体”。在Windows上，对99%的用户来说，italic就是斜体的意思，word里面甚至为所有字体都提供了一个“斜体”的功能。但实际上“意大利体”指的是一类字体的统称，并且也并非所有的“意大利体”都是倾斜的。西方拉丁文字系统最早在古罗马帝国形成完整的体系，代表作品就是古罗马的石刻文字，非常庄严而典雅。而后来意大利人从手写体中发展出了意大利体。随着印刷术的发展，意大利体一般用来作为正文字体的一种特殊强调样式，用于注释、引文之类的场合，与正文字体相区别。因此许多比较完备的字体家族都提供了一个叫做“意大利体”的变体，和其正体（罗马体）相比，有些字体中的“意大利体”的字形完全是经过重新设计的，而不仅仅是倾斜那么简单。）·························································································································································第八部分：风格统一One for all What defines if one character can fit to another character? Once you made a decision, how to apply this to all the other characters in a font?&风格统一。如何定义一个字母和另一个字母风格一致呢？一旦你做了决定，怎么样在你字体的所有字母中应用呢？&Starting point: 'e' (in the center of the drawing). Imagine you sketched this 'e', you like it a lot, and now you want to design more characters fitting to this 'e'. Where to start? Should it be a serif or a sans serif for example?&从“e”开始吧。如果你手绘了这个“e”，你很喜欢，然后你想要设计和“e”风格相同的其他字母。从哪里开始？比如是衬线体还是无衬线体？&First try: 'i' on the left. Sans serif. The black part is as thick as the black parts of the 'e'. Same x-height. So this should work you think.&首先从左边的“i”尝试，无衬线体。黑的部分要和“e”黑的部分一样粗，相同的x高度，于是你觉得这样应该就可以吧。&Second try: 'i' on the right. Same thickness, the character has the same x-height, but now it has serifs.&然后来看右边的“i”。相同的粗细，相同的x高度，但是现在有衬线。&The bowl of the 'e' is not only having a certain thickness, but the 'e' also has contrast. The 'i' on the left has no contrast at all. Therefore these two characters don't belong to each other. The 'i' on the right however has the same kind of contrast as the 'e', just because it has serifs. Just those tiny serifs make sure there are thick and thin parts, like the 'e' has. This means that the starting point, the 'e', already defined that the rest of the font cannot be a sans serif typeface.&“e”的字碗部分不仅有一定的粗度，还有粗细对比度。而左边的“i”根本没有粗细对比。因此这两个互不兼容。（就像qq和360）而右边的“i”有着和“e”相同的对比度，只是因为他有衬线。就是这些细小的衬线让他有像“e”一样的粗细对比。回到开始，一个“e”已经决定了这个字体不可能是无衬线体。&Of course, every so called rule is there to be broken. Mentioning this, doesn't mean you can't make a font which has an 'e' combined with an 'i' like the one on the left. Everything is possible of course. But now you realize better what you are doing, also when you don't do it. Still get it? &当然，所谓的规则总会被打破。我们说这些并不意味着，你不能把左边的“i”和“e”放在一种字体里。一切皆有可能。但是现在你至少明白你正在做什么。【另一译】图上文字：衬线还是无衬线？看上图，你自己决定。One for all What defines if one character can fit to another character? Once you made a decision, how to apply this to all the other characters in a font?是什么决定一个字符能否匹配另一个字符？当你确定了一种风格，如何将之推广应用于字库中的全部字符？Starting point: 'e' (in the center of the drawing). Imagine you sketched this 'e', you like it a lot, and now you want to design more characters fitting to this 'e'. Where to start? Should it be a serif or a sans serif for example?先从这里开始：图中有一个“e”。想象你刚画好这个“e”的草图，你很喜欢它，然后你想要设计更多的其他字符来匹配这个“e”。该如何开始呢？比如说，它应该是一个衬线字体还是一个无衬线字体呢？First try: 'i' on the left. Sans serif. The black part is as thick as the black parts of the 'e'. Same x-height. So this should work you think.第一个尝试：左边的“i”，无衬线体。它最粗的部分和“e”最粗部分的笔画宽度相同，同样的x-高度。它应该能表达你的想法了。Second try: 'i' on the right. Same thickness, the character has the same x-height, but now it has serifs.第二个尝试：右边的“i”。同样的宽度，同样的x-高度，但这次它有了衬线。The bowl of the 'e' is not only having a certain thickness, but the 'e' also has contrast. The 'i' on the left has no contrast at all. Therefore these two characters don't belong to each other. The 'i' on the right however has the same kind of contrast as the 'e', just because it has serifs. Just those tiny serifs make sure there are thick and thin parts, like the 'e' has. This means that the starting point, the 'e', already defined that the rest of the font cannot be a sans serif typeface.“e”的字碗不仅仅有着一定的宽度，同时还有着粗细的对比。左边的“i”完全没有笔画粗细的对比。因此这两个字符不是完美的一对。而右边的“i”有着和“e”同样的粗细对比，是因为它有了衬线。这细细的衬线让它象“e”那样拥有了粗细的区别。这就是起点。这个“e”，已经决定了这个字体中的其余字符不应该是一个无衬线字体。Of course, every so called rule is there to be broken. Mentioning this, doesn't mean you can't make a font which has an 'e' combined with an 'i' like the one on the left. Everything is possible of course. But now you realize better what you are doing, also when you don't do it. Still get it? 当然了，每一条所谓的规则到最后都会有例外。从这个意义来说，你完全可以把中间的“e”和左边的“i”配一对做一个字体。没有什么是不可能的。但现在你已经能够更深刻的意识到你为什么这样做，抑或是你为什么不那样做。还能理解吗？························································································································································第九部分：可读性Readability.
The only important aspect of a text typeface is the readability. Many decisions can influence the readability. Which contrast you create, the length of the ascenders and descenders, the rhythm, the blackness of a type, the strength of the curves and the bowls, etc.可读性是正文字体的唯一考量指标。你对字体所做的许多决定都会影响可读性。例如采用怎样的粗细对比，上伸部和下伸部的长度，字体的节奏，黑度，曲线和字碗的力度，等等。Most of those decision apply to all the characters inside a font. These have to be defined first. For example the contrast. The characters on the top line (see drawing) have a much bigger contrast than the characters on the bottom line. The type on the top line will be more suitable for display use, the type the bottom the bottom line more for text use. Not only because of the difference in contrast, but also because the characters on the top line are much more condensed. This makes them less legible in small sizes, but more eye-catching and flexible for headlines. Defining the contrast and the width are decisions which count for every single character in a font.大部分的决定会影响到字体中的全部字符。下面这些是应该首先考虑的。比如说粗细对比。图例中上面一行的字符笔画粗细对比明显要比下面一行的要大得多。上一行的字体更适合做特排字体，而下一行更适合做正文字体。不仅仅是因为它们粗细对比的差异，还由于上一行的字符的字宽更小，因而在小尺寸下更难以识别——但是却更能吸引眼球，在制作标题的时候也更具灵活性。所以在定义字体的粗细对比和宽度的时候，要考虑到字体中的全部字符。But also while designing every single glyph, you can create details which improve the readability of a font. For example, the ear of a 'g' can make sure the reader's eye will follow the horizontal reading direction more fluently. The 'g' on the bottom line will work much better in a text typeface for small sizes (see drawing). 不过，在设计每一个具体字符的时候，你可以通过增加一些细节来提升该字体的可读性。举例来说，小写字母g右上角的字耳会有助于阅读者的视线更平滑的水平移动。如果用作正文字体，图中下面一行中的&g&在小尺寸下的表现会相当不错。·························································································································································第十部分：比例均衡Proportions. Which x-height to define? Which descender depth? Defining these proportions are essential, and very strongly connected to the purpose of the type. The proportions within a certain typeface are influencing the way your type will work & look. For example, it's impossible to create a space saving newspaper typeface with an extremely wide body width.&比例均衡。X高度怎么确定？下伸部高度多少？定义这些比例是很重要的，而且和字体的用途有着莫大的关系。字体中的比例均衡关乎你字体的用途整体感觉。比如，你不可能去设计一种很宽的字体去用在本来就要求节省空间的报纸上。&Extremely short descenders will give a strange look to a text typeface. Even worse, they might not be visible at all anymore. But extremely short descenders can also be a smart decision, while creating a display or headline type. For a text typeface the ascender height should be as big or, even better, bigger than then cap height to give a optical pleasurable result (see drawing). &如果字体的下伸部很短，那这种字体组成的文本看起来就会很奇怪。甚至根本就不具有识别性。但是当我们设计屏幕或者标题字体时，这种字体就派上用场了。对于一个书籍字体的上伸部至少要不低于大写字母的高度，这样视觉效果会比较好。【另一译】Proportions. Which x-height to define? Which descender depth? Defining these proportions are essential, and very strongly connected to the purpose of the type. The proportions within a certain typeface are influencing the way your type will work & look. For example, it's impossible to create a space saving newspaper typeface with an extremely wide body width.x高度应该定多高？下伸部应该多长？确定这些比例至关重要，并且与字体的用途紧密相关。字体的比例将影响其外观及应用。比如说，如果你想设计一种节约版面的字体，那就不能给它设置极大的字宽。Extremely short descenders will give a strange look to a text typeface. Even worse, they might not be visible at all anymore. But extremely short descenders can also be a smart decision, while creating a display or headline type. For a text typeface the ascender height should be as big or, even better, bigger than then cap height to give a optical pleasurable result (see drawing). 如果下伸部很短，字体看上去会很怪。或者更糟，阅读者可能根本无法发现它。但很短的下伸部也可能是一个聪明的决定，当它用于特排字体或者标题字体的时候。 对一个正文字体来说，上伸部最好是和大写高度一样（或者更高一些更棒），以获得良好的视觉效果。如图。
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