網(wǎng)格系統(tǒng)中英文雙語版grid systems an english-chinese version

JosefMüller-約瑟夫·米勒布羅克

Grid英文內(nèi)容參考網(wǎng)上流行的那個渣畫質.pdf。其中第33、93頁缺頁。第33頁被我在網(wǎng)上般尋到（一個網(wǎng)友賣二手書正好拍了這一頁?。?；第93內(nèi)的第93供參考。

ingraphic

Avisualcommunicationforgraphicdesigners,typographersandthreedimensional

網(wǎng)格系英文歸VerlagNiggli所有。請英文版正版書。

在平面設計中的應用

一本為平面設計師、文字排印師和三設計師準備的視覺傳達指南Tablesof77The99GridanddesignThetypographicWhatisthepurposeoftheSizesofThetypograhicmeasuringTypefaceWidthofMarginPageBodyanddisplayConstructionofthetypeConstructionoftheTypeandpictureareawith8grid8Typeandpictureareawith20grid20Typeandpictureareawith32grid32ThephotographinthegridTheillustrationinthegridSolidtintinthegrid5PracticalThegridsystemincorporateThegridinthree-dimensional三設計中的網(wǎng)格系ExamplesofSystemsoforderinancientandmodernConcludingListof 前Moderntypographyisbasedprimarilyonthetheoriesandprinciplesofdesignevolvedinthe20’sand30’sofourcentury.ItwasMallarméandRimbaudinthe19thcenturyandApollinaireintheearly20thcenturywhopavedthewaytoanewunderstandingofthepossibilitiesinherentintypographyandwho,releasedfromconventionalprejudicesandfetters,createdthroughtheirexperimentsthebasisforthepioneerachievementsofthetheoreticiansandpractitionersthatfollowed.WalterDexel,EILissitzky,KurtSchwitters,JanTschichold,PaulRenner,Moholy-Nagy,Joost idtetc.breathednewlifeintoanundulyrigidtypography.Inhisbook“DieneueTypografie”(1928)J.Tschicholdformulatedtherulesofanup-to-dateandobjectivetypographywhichmettheneedsoftheWeareindebtedtotheexponentsofobjectiveandfunctionaltypographyandgraphicdesignforthedevelopmentofregulativesystemsinvisualcommuni-cation.Aslongagoasthetwentiesworksconceivedinobjectivetermsandcomposedinaccordancewithstrictprincipleswerebeingproducedinthefieldsoftypography,graphicdesignandphotographyinGermany,Holland,Russia,CzechoslovakiaandSwitzer-Thegridasacontrollingprincipleintheformwe ittodaystillremainedtobeinvented.Yetthefirststepswerealreadybeingtakentowardsitinthecourseofeffortstoachievethegreatestpossibleorderandeconomyintheuseoftypographicresources.TheprincipleofthegridsystempresentedinthisbookwasdevelopedandusedinSwitzerlandafterWorldWarII.Thesecondhalfofthefortiesbroughtthefirstexamplesofprintedmatterdesignedwiththeaidofagrid.Thisnewtrendwascharacterizedbyadispositionoftextandillustrationsconceivedonstrictprinciples,byuniformityinthelayoutofallpages,andbyanobjectiveattitudeinthepresentationofthesubject.Theauthor’s“TheGraphicArtistandhisDesignProblems”,publishedin1961,wasthefirstbooktogiveabriefaccountinwordsandpicturesofthegridsystem.

現(xiàn)代意義上的字體編排是在20世紀20至30年代早期設計理論和原則基礎上建立起來的。19世紀的馬拉梅（Mallrarmé)阿蒂爾·蘭波（Rimbaud）以及20世紀初的紀堯姆·阿波里奈（Apollinaire）不僅為編排設計帶來了一種新的理解方式，他們的創(chuàng)新和試驗還把人們從固有的偏見和束縛中解放出來，并為后來的理論家和實踐者獲得開創(chuàng)性的成就奠定了基礎。這些杰出的先驅者包括了瓦爾特·德克賽爾（WalterDexel）、埃爾·利西茨基（EILissitzky）、庫爾特·施維特斯（KurtSchwitters）、揚·奇肖爾德（JanTschichold）、保羅·倫納（PaulRenner）、莫霍利-瑙吉（Moholy-Nagy）、約斯特·施密特（JoostS idt）等，他們讓原本過于死板的文字編排煥發(fā)出新的生命。揚·奇肖爾德在其《新字體排印》（DieneueTypografie,1928）一書中創(chuàng)建了現(xiàn)代、客觀的有規(guī)則的系統(tǒng)。早在20世紀20年代的德國、荷蘭、俄羅斯、捷克斯洛伐克、等國，字體排印、平面設計和攝影領域20世紀40年代后期，第一次出現(xiàn)了使用網(wǎng)格作為輔助設本人曾在《平面藝術家及其設計問題》（TheGraphicArtistandhisDesignProblems,1961）一書中第一次以圖文形式式，并列舉了28個應用網(wǎng)格設計的案例。

The

Underthetitle“TheGridSystemasanAidintheDesignofAdvertisements,Catalogues,Exhibitionsetc.”therefollowedanintroductiontothespiritandappli-cationofthegrid, paniedby28examplesofgridstakenfromthepracticalfield.Subsequentlyarticlesappearedfromtimetotimeintradejournalsdealingwiththesubjectofthegrid.Buttherewasnopublicationthatshowedhowthegridwasconstructedandapplied,letalonehowthedesignofthegridsystemwastobelearned.ThisbookisanattempttoclosetheTheauthorthanksthepublisherforhiswillingnesstopublishthebook,thedesignersandfirmsforpermissiontouseexamplesofgrids,andmyassistant,MissUrsulaM?ti,forherexcellenthelp,alsointheproductionofthedrawings.

最后，本人非常感謝商為這本書而做出的努力，還蘇拉·默特莉（UrsulaM?ti），感謝幫助以及她為本書繪制的插圖作品。

Thepresentvolumeonthefunctionanduseofthegridsystemisintendedtoprovidethedesigneroperatingintwoandthreedimensionswithapracticalworkinginstrumentwhichwillenablehimtohandlevisualproblemsandsolvethemintermsofconception,organizationanddesignwithgreaterspeedandAtthesametimeitplacesinthehandsoftheeducatoranaidwhichhecanusetogoodeffectintuitionbasedonthesolutionofpracticalproblems.ItwillaffordthestudentanopportunitytofamiliarizehimselfwiththeessentialsofthegridandwaysofproducingitandalsotolearnhowtouseitthroughhisownTheauthorhassoughttoidentifyandexplainindetailandstepbysteptheessentialpointstobeobservedinthedesignofagrid.Tomakerationalandfunctionaluseofthegrid,thedesignermustsubjectallthecriteriatoacarefulstudy.Thefactthatthegreatmajorityofdesignersareignorantofsuchasystemforestablishingorderorthattheyfailtounderstandandthereforetouseitproperlymaybetakenasasignthattheuseofthegridissomethingthatcallsforseriousstudy.Anyonewillingtotakethenecessarytroublewillfindthat,withtheaidofthegridsystem,heisbetterfittedtofindasolutiontohisdesignproblemswhichisfunctional,logicalandalsomoreaestheticallypleasing.

Gridanddesign

Thetypographic

Theuseofthegridasanorderingsystemistheexpressionofacertainmentalattitudeinasmuchasitshowsthatthedesignerconceiveshisworkintermsthatareconstructiveandorientedtothefuture.Thisistheexpressionofaprofessionalethos:designer’sworkshouldhavetheclearlyinligible,objective,functionalandaestheticqualityofmathematicalthinking.Hisworkshouldthusbeacontributiontogeneralcultureanditselfformpartofit.Constructivedesignwhichiscapableofysisandreproductioncaninfluenceandenhancethetasteofasocietyandthewayitconceivesformsandcolours.Designwhichisobjective,committedtothecommonweal,wellcomposedandrefinedconstitutesthebasisofdemocraticbehaviour.Constructivistdesignmeanstheconversionofdesignlawsintopracticalsolutions.Workdonesystematicallyandinaccordancewithstrictformalprinciplesmakesthosedemandsforinligibilityandtheintegrationofallfactorswhicharealsovitalinsociopoliticallife.Workingwiththegridsystemmeanssubmittingtolawsofuniversalvalidity.Theuseofthegridsystemimpliesthewilltosystematize,toclarifythewilltopenetratetotheessentials,toconcentratethewilltocultivateobjectivityinsteadofsubjectivitythewilltorationalizethecreativeandtechnicalproductionprocessesthewilltointegrateelementsofcolour,formandthewilltoachievearchitecturaldominionoversurfaceandspacethewilltoadoptapositive,forward-lookingattitudetherecognitionoftheimportanceofeducationandtheeffectofworkdevisedinaconstructiveandcreativeEveryvisualcreativeworkisamanifestationofthecharacterofthedesigner.Itisareflectionofhisknowledge,hisability,andhismentality.

Thegriddividesatwo-dimensionalplaneintosmallerfieldsorathree-dimensionalspaceintosmallercompartments.Thefieldsorcompartmentsmaybethesameordifferentinsize.Thefieldscorrespondindepthtoaspecificnumberoflinesoftextandthewidthofthefieldsisidenticalwiththewidthofthecolumns.Thedepthsandthewidthsareindicatedintypographicmeasures,inpointsandciceros.Thefieldsareseparatedbyanintermediatespacesothatontheonehandpicturesdonottoucheachotherandlegibilityisthuspandontheotherthatcaptionscanbeplacedbelowtheillustrations.Theverticaldistancebetweenthefieldsis1,2ormorelinesoftext,thehorizontalspacedependingonthesizeofthetypecharacterandoftheillustrations.Bymeansofthisdivisionintogridfieldstheelementsofdesign,viz,typography,photography,illustrationandcolour,canbedisposedinabetterway.Theseelementsareadjustedtothesizeofthegridfieldsandfittedpreciselyintothesizeofthefields.Thesmallestillustrationcorrespondstothesmallestgridfield.Thegridfora1/1pagecomprisesasmallerorlargernumberofsuchgridfields.Allillustrations,photographs,statisticsetc.havethesizeof1,2,3or4gridfields.Inthiswayacertainuniformityisattainedinthepresen-tationofvisualinformation.Thegriddeterminestheconstantdimensionsofspace.Thereisvirtuallynolimittothenumberofgriddivisions.ItmaybesaidingeneralthateverypieceofworkmustbestudiedverycarefullysoastoarriveatthespecificgridnetworkcorrespondingtoitsTherule:Thefewerthedifferencesinthesizeoftheillustrations,thequietertheimpressioncreatedbythedesign.AsacontrollingsystemthegridmakesiteasiertogivethesurfaceorspacearationalSuchasystemofarrangementcompelsthedesignertobehonestinhisuseofdesignresources.Itrequireshimtocometotermswiththeprobleminhandandtoyseit.It yticalthinkingandgives

網(wǎng)格將二維平面劃分為更小的單元網(wǎng)格，或者將三分位來進行計算的，即點數(shù)（points）和西塞羅（ciceros）。素的大小也可依據(jù)由1、2、34個單元網(wǎng)格組合的區(qū)域來Thetypographic

Whatisthepurposeofthe

solutionoftheproblemalogicalandmaterialbasis.Ifthetextandpicturesarearrangedsystematically,theprioritiesstandoutmoreclearly.Asuitablegridinvisualdesignmakesiteasiertoconstructtheargumentobjectivelywiththemeansofvisualcommunicationbtoconstructthetextandillustrativematerialsystematicallyandlogicallyctoorganizethetextandillustrationsinacompactarrangementwithitsownrhythmdtoputtogetherthevisualmaterialsothatitisreadilyinligibleandstructuredwithahighdegreeoftension.Therearevariousreasonsforusingthegridasanaidintheorganizationoftextandillustration:economicreasons:aproblemcanbesolvedinlessandatlowerrationalreasons:bothsimpleandcomplexproblemscanbesolvedinauniformandcharacteristicstyle.mentalattitude:thesystematicpresentationoffacts,ofsequencesofevents,andofsolutionstoproblemsshould,forsocialandeducationalreasons,beaconstructivecontributiontotheculturalstateofsocietyandanexpressionofoursenseofresponsibility.

Thegridisusedbythetypographer,graphicdesigner,photographerandexhibitiondesignerforsolvingvisualproblemsintwoandthreedimensions.Thegraphicdesignerandtypographeruseitfordesigningpressadvertisements,brochures,catalogues,books,periodicalsetc.,andtheexhibitiondesignerforcon-ceivinghisplanforexhibitionsandshow-windowByarrangingthesurfacesandspacesintheformofagridthedesignerisfavourablyplacedtodisposehistexts,photographsanddiagramsinconformitywithobjectiveandfunctionalcriteria.Thepictorialelementsarereducedtoafewformatsofthesamesize.Thesizeofthepicturesisdeterminedaccordingtotheirimportanceforthesubject.Thereductionofthenumberofvisualelementsusedandtheirincorporationinagridsystemcreatesasenseofcompactplanning,inligibilityandclarity,andsuggestsorderlinessofdesign.ThisorderlinesslendsaddedcredibilitytotheinformationandinducesInformationpresentedwithclearandlogicallysetouttitles,subtitles,texts,illustrationsandcaptionswillnotonlybereadmorequicklyandeasilybuttheinformationwillalsobebetterunderstoodandretainedinthememory.Thisisascientificallyprovedfactandthedesignershouldbearitconstantlyinmind.Thegridcanbesuccessfullyusedforthecorporateidentitiesoffirms.Thisincludesallvisualmediaofin-formationfromthevisitingcardtotheexhibitonstand:allprintedformsforinternalandexternaluse,adver-tisingmatter,vehiclesforgoodsandpassengertrans-port,name-platesandletteringonbuildings,etc.

Sizesof MostprintedmatteradherestothesizesofthestandardizedDINsystem.Thedesignerwillalsobewelladvisedtoemploythesemostcommonlyusedsizes.Foronething,thesesizesarestockedbythepapermanufacturerandtheprintercanorderandobtainthemwithoutlossoftime.Foranother,thepressesandcuttingmachinesalsohavespecificstandardizeddimensionswhichmatchthepapersizesoftheDINsystem.Again,thesizesofenvelopesareDINstandard-izedand,lastbutnotleast,thescaleofpostalchargesispartlybasedontheDINstandardization.AsizewhichisoutsidethoseoftheDINsystemmustbemanufacturedtothisspecificationatthepaperfactoryor,alternatively,alargersizethanrequiredisusedforprintingandtrimmedafterwards,whichawasteofpaper,BothapproachesincreaseproductionThefollowingpagesshowsthesizesoftheDINseries.Thereaderwillseethatthenextlargestsizeisalwaystwiceasbigastheprecedingone;forexample,theA6istwicethesizeoftheA7.ThismeansineffectthateveryDINsizethatisfoldedalsoproducesaDINTheadvantagesofthisstandardizationare greaterthanitsdisadvantages.Afirmwishingtohaveacorporateidentitywillalsohavetointroduce papersizes,forinformationprintedonstandardpapermakesagreaterimpactonthereader.Therecipientisalsomorelikelytokeepstandardizedsizesofpaperbecausetheyslipeasilyintofilesandcardindexes.Thisisapointthatnodesignercanaffordtoignore.

如今大多數(shù)的印刷品都是遵循DIN系統(tǒng)標準，設計師也會建面，印刷機和紙張切割機也有符合DIN系統(tǒng)的特定標準。還有信封的尺寸也有DIN標準，而且郵資規(guī)定等級也是部分基于DIN制定的。如果使用DIN系統(tǒng)以外的尺寸，則需要造紙廠按照新尺寸另DIN系列的紙張尺寸。通過觀察我們可以看到上一級紙張的尺寸總是下一級紙張的兩倍。例如，A6A7DINDIN的。Sizesof

Thetypograhicmeasuring

DINsizeA0—A DIN標準A0—Thesheetisthebasicformofeachsize.Foldingthesheetonceproducesthefolioorhalf-sheet,i.e.2leavesor4pages.Thesheetfoldedfourtimesproducesthequarto,i.e.4leavesor8printedpages.PrintedworksinstandardsizesarederivedfromtheseriesA,B,C,D.ThebasicsheetsizesarerepresentedbytheseriesA=841×1189B=1000×1414C=917×1297SeriesAistheSeriesofsizesformingthebasisfortheotherseries.SeriesBareuntrimmedsizes.SeriesCareenvelopepapersforseriesA.SeriesCand

Darecalledadditionalseries.TheAsizesfitintoC-sizeenvel-TheC-sizeenvelopesfitintoBSizesforspecialpurposesarealsoavailableinoblongsize.TheAmericansizeissomewhatlessdeepthantheEuropean.Thedimensionsaree.g.insteadofA4(29.7×21cm)11:8.5=27.94:

48頁。A、B、C、DA型紙8411189B型紙10001414C型紙9171297AB型紙是紙張未裁切的尺寸，C型紙ACDAC

CB比如A4紙在歐洲的標準尺寸為29.7×21cm，而在的標準尺寸則是11×8.5英寸，相當于27.94×21.57cm

ThetypographicmeasuringsystemisconstructedonthepointnamedaftertheParisiantypefounderFirminDidot(1712-1768).HeimprovedthepointsysteminventedbyFournierin1675.TheDidotsystemwasadoptedalloverEuropeandhasmaintaineditspositiontothepresentday.ItisasystemcorrelatedwiththeFrenchfootof30cm.ThelinegaugecorrespondstotheFrenchfoot.Itis30cmlongandmeasures798typo-graphicpoints.Theactualtypeheight(height-to-paper)of62?pointswasnotuniformlyfixeduntilIntraditionaltypographyusingtypeofcastleadmeasurementsaremadeinpointsnotincm.Withtheadventofphoto-typesetting,typographicmeasurescanbestatedinmmandinchesaswellaspoints.Sincethesixtieseffortshavebeenmadetointroducethemetricratherthanthecicerosystemformeasurementsintypography.TodaytheDidotsystemisusedinEurope,andtheEnglish-AmericansystemisusedmainlyinEnglandandAmerica.InbothsystemsthepointisthesmallestInconventionaltypographythesizeofthetypeismeasuredinpoints.Theillustrationonpage18showssizesfrom6to60points.Certaintypefamiliesalsohavelettersof70points.Thedepthofthetype(toptobottom)iscalledthe“pointsize”or“body”andthewidthofthelettersiscalledthe“set”or“width”.Thepointsizes(intheEnglish-Americansystem)stillretaintheoldnames:6-point= 7-point=8-point=brevier 9-point=bourgeois10-point=longprimer 12-point=pica14-point= 16-point=great20-point=paragon (Am.columbian)24-point=two-linepica 28-point=doubleenglish(doubleWhereasheight-to-paperalwaysremainsthesame62?points,thewidthvaries.Therearecondensed,mediumandexpandedtypeandextra-condensedandextra-expanded.Mediumtypeistheeasiesttypeto

字體商菲爾曼·迪多（FirminDidot，1712—1768）命名的。迪多改良了福尼爾（Fournier）167530cm，也就是798點?；钭值膶嶋H高度（height-to-paper，字腳到字面的“字身高”）一直未被統(tǒng)一，直到1898年才被20世紀60年代以來，人們努力推廣公制為度量單位，才使在常規(guī)的排版中，字號以“點”為單位。本書第18頁的圖例展示了從6點到60點的字號。某些特殊的字體也有70點大小的活字?；钭值拇笮》Q為“字號”（pointsize），而6-point= 7-point=8-point=brevier 9-point=bourgeois10-point=longprimer 12-point=pica14-point= 16-point=great20-point= (稱24-point=two-linepica 28-point=doubleenglish(doublepica)盡管鉛字的高度（height-to-paper）總是保持在62?點不變，但寬度卻是多種多樣的。在一個字體中通常會有窄（condensed（medium（expanded（extra-condensed（extra-expanded但一般來說，中等體都是最易閱讀的字體。Thetypograhicmeasuring

Typeface

Thenamesoftypograhicmeasuringunits

Typesizesfrom6-to60- 字號從6點到60點的Thepresent-daydesignerhasahostofprintingtypesathisdisposal.SinceGutenbergfirstinventedmovabletypein1436-55,hundredsofdifferenttypeshavebeendesignedandcastinlead.Themostrecenttechnicaldevelopmentswithcomputerandphoto-typesettinghaveonceagainbroughtnewfacesorvariationsofoldonesonthemarket.Thechoiceisuptothedesigner.Itislefttohisfeelingforformtousegoodorpoortypefacesforhisdesignwork.Inviewofthelimitedspaceavailable,weshallreferheretoonlyafewoftheoutstandingdesignsofthepastandthe20thcenturywhichhaveappearedmostfrequentlyinpublications.Knowledgeofthequalityofatypefaceisofthegreatestimportanceforthefunctional,aestheticandpsycho-logicaleffectofprintedmatter.Again,thetypographicdesign,i.e.thecorrectspacesbetweenlettersandwordsandthelengthandspacingoflinesconducivetoeasyreading,doesmuchtoenhancetheimpressioncreated.Todaythefieldisdominatedmainlyby

berg）在1436至1455年期間發(fā)明金屬活字印刷術以來，已在過去以及20世紀，這幾款字體曾頻繁出現(xiàn)在各種物中。我們通過學些經(jīng)典字體的設計，如Garamond（加拉computerandphoto-typesetting.Atypical

Bodni

博多尼體）、Walbaum（Theillustrationshowsthetypo-graphicmeasuringunit,thecicero,comparedwiththemetricmeasuringunit,thecm.1cicerorepresents121cmrepresents1026ciceros8pointscorrespondsto12cm.Thestandardmeasurecalledthelinegauge,whichis30cmlongandcontains798typo-graphicpoints,correspondstotheFrench1m=2660points=2212/?ciceros1Frenchfoot=30cm=1linegauge=798points=66?cic.1mm=2.661point=0.376mm1.07English-Americanpoints=0.0148inches.1cicero=4.51mm

Eachtypedesigncomprisessome12to20differentsizes.Thesearecalledbodiesorpointsizesandrepresentcertainnumbersofpoints.Thelinesaboveandbelowthefiguresandthewords"point"correspond,likethebodies,tothethicknessfromtoptobottomofthemetalcharacters.Letterslargerthan72pt.insizearecutinwoodorcanbeprojectedtothedepthbyphoto-typesetting.Typesizesdependontheusestowhichtheyareput.Sizesof8to12pointsareusuallyrightforthetextsofbooks,brochuresandcatalogues.

系。1西塞羅相當于12點，1厘米等于10厘米。26西塞羅8點相當12長30厘米798相當于一法尺。1米=2660點=221?西塞羅1法國尺30厘米1行數(shù)=79866?西塞羅1毫米=2.66點1點=0.376毫米=1.07英美=0.0148英1西塞羅4.51毫

每款活字的設計都包含了1220種812點的字號最適用于書籍的正

oftheseformsofcompositionisthetoonarrowsettingoftheletterswhichmakesreadingdifficult.Thedesignerwillbewelladivisedtodemandthenormalspacingbetweenletterswhenorderingphoto-BystudyingtheclassicdesignsofGaramond,Caslon,Bodoni,Walbaumandothers,thedesignercanlearnwhatthetimelesscriteriaarewhichproducearefinedandartistictypefacethatmakesforeaseofreading.TheleadtypedesignsofBerthold,Helvetica,Folio,Univers,ducepleasantandeasilylegibletypeareas.Thetypographicrulesthatapplytotheromantypefacesarealsovalidforthesansserifs.Thecreatorsofthesetypedesignswereinligentartistswithhighcreativepowers.isshownbythefactthatformorethanfourcenturiesinnumerabletypedesignershavesoughttocreatenewtypealphalbetsbutveryfewofthesehavegainedacceptance.AnalphabetofGaramond,forexample,isanartisticachievementofthefirstorder.Each

爾鮑姆體）富有藝術性的字體需要哪些永恒不變的標準。Berthold（貝爾托體）、Helvetica（赫爾維提卡體）、Folio（弗里歐體）、Univers（于尼韋爾體）等無襯線字體也可以制作出愉悅易認的版面。用于羅馬正體（襯線字體）無襯線字體。實也證明了這一點。GaramondLatraset譯注：一種現(xiàn)成的字體轉印貼）TypefaceTypefaceTypeface hasitsownunmistakableface,whetherlowerofuppercase,anddisplaysthehighestqualityofformandoriginality.Eachletterhasitsownalityandmakesamarkedimpact.Everydesignerwhoisconcernedwithtypographyshouldtakethetroublewhencreatinggraphicdesignstosketchwordsandsentencesbyhand.ManydesignerstakeadvantageoftheLetrasetprocess,whichcanundoubtedlyproduceacleandraftdesignthatisalmostreadyforpress.Butafeelingforgoodletterformsandanattractivetypefacecanbeacquiredonlybyconstantandcarefulpracticeinsketchingletters.Howtheformsofletterscancreatesimultaneouslybothtensionandnobilityandhowpleasantlylegiblelinesoftypecanappeartotheeyeofthereadermaybeseenfromtheexamplesonthefollowingpages.TheRenaissancecreatedmidlinetypographywhichhelditspositionuntilthe20thcentury.ThenewtypographydiffersfromtheoldinthatitisthefirsttotrytodeveloptheoutwardappearancefromthefunctiontotheThenewtypographyusesthebackgroundasanelementofdesignwhichisonaparwiththeotherelements.Earliertypography(midlinetypography)playedanactiveroleagainstadead,passivebackground.

用到20世紀。新的文本編排方式不同于之前，它開始嘗試根

abcdefghijklmnopqrs?tuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ Garamond,48-pt_mediumGaramondantiquawasdesignedandcutinParisin1535bythepunch-cutterClaudeGaramond(1480-1561),itisapureold-styleface.Garamondwasthefirsttodesignromananditalicfacesascomponentsofatypecut.TheGaramondfaceswerelaterimprovedbyRobertGranjonandChristophvanDyck.Byvirtueoftheclarityandharmonyoftheirformstheyhavesurviveduntilthepresent.Todaytheyarealsoavailableforfilm-setting.TheGaramondfaceisobtainableinsizes6-to48-pt.,medium,semi-bold,anditalic.

Thenormalormediumfacesaresupplementedbylight,semi-bold,boldanditalicfaces.Thelightfaceisoftenusedinsmallsizesformarginaliaandcaptionstopictures.Thesemi-bold,boldanditalicfacesareusedmostlyasdisplayTherearealsolargertypebodieswhicharegenerallyusedfor

Garamond最早的版本是由刻字師克洛德·加拉蒙（ClaudeGara-mond，1480—1561)于1535正體（Roman）的字體，后來由羅伯特·格朗容（RobertGranjon）和克里斯托夫·范戴克（ChristophVanDyck)但是它原本清晰、和諧的優(yōu)點保留至今，目前它還可以應用于照排。Garamond有從6點48

（semi-bold）和斜體（light）、半粗體、粗體（bold）和斜體。通常小字號的細體用于旁注和圖注，而半粗體、粗體和斜體用作副標題字體，更大的字號用作主標題字體。

CASLONabcdefghijklmnopqrs?tuvwxyzABCDEFGHIJKLNOPQRSTUVWXYZ123

ASKEVILLECaslon,48-pt,CaslonromanwasdesignedandcutbyWilliamCaslonI,(1692-1766)andnamedafterhim.Calsonbeganhisactivitiesasapunch-cutterinOxfordin1720.Caslon’salphabetgoesbacka200-year-oldtypeface.Between1720and1726Casloncuttheeminentlyattractivesizes“english”,“pica”and“brevier”.HisworklaidthefoundationinEnglandforthedevelopmentofEnglishtypecasting.TodayCaslonisavailableinsizes6-to48-pt.,medium,semi-boldanditalic.

Calson羅馬正體是由威廉·卡斯隆一世（WilliamCaslonI，1692—字命名。1720年卡斯隆在牛津作為計的字體最早可以追溯到200年前。在1720年到1726年期間，卡斯點礎。如今Caslon有6點至48點不

Baskerville,48-pt,mediumJohnBaskerville(1706-1775)improvedDutchmodelsandcreatedthe“Baskerville”facewhichhasaveryagreeablebreadthandgenerosity.Jenson,whoishimselfatypedesigner,notesthatBaskervilleisthetypefacewiththemostprecisegeometricalproportionsandthegreatestelegance.Likesomeothernewerfacesitgoesbacktoastyleofhandwriting.Basker-villeisthereforeamongstthosewhichprefigurethetypefacesofBaskerville’sinfluencewasparticularlystronginEngland.Inthesecondhalfofthe

centuryEnglishtypographywasshapedbyprintersandtype-castersworkinginBaskerville‘stradition.TodayBaskervilleisobtainableinsizes6-to36-pt.,romananditalic.

Baskerville（巴斯克維爾體），48約翰·巴斯克維爾（JohhBasker-ville，1706—1775）對荷蘭的字Baskerville體。字體設計師詹森（Jenson）認為Baskerville擁有最精確的幾何比例以及最優(yōu)雅的氣質。Baskerville與其它新出現(xiàn)的字體一樣回歸到了手寫風格，它也是字體的前驅之一。Baskerville對英格蘭非常巨大。18世紀后半葉英國的字體排印作品都是印刷商和活字鑄造商依照Baskerville的傳統(tǒng)進行塑造的。

現(xiàn)在的Baskerville包含了羅馬正體和斜體，以及從6點至36點不同規(guī)格TypefaceTypefaceTypeface

abcdefghijklmnopqrs?tuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ

ABCDEFGHIJKLMNOPQRSTUVWXYZBodoni,Bodoni,48-pt,Bodoni（博多尼體），48點BodoniClarendon,48-pt,stronghorizontalClarendon（卡拉倫登體），48點“Bodoni”isregardedasa如今Bodoni包含了羅馬正體和斜體，ClarendonisbasedonthelineswhichcontrastveryClarendon最明顯的特征是其很強wascutinParmain1790byGian-battistaBodoni(1740-1813).Inhis“ManualeTipografico”hepub-lished291alphabetsandprinter’s“flowers”affordingawealthofmaterialsingreatvariety,Bodoniwasanotedpioneerofmoderntype.HisdesignischaracterizedbyexceptionallythinhairlinescontrastingwithheavymainBodoni’sinfluenceonhiserawasexceptional.Todaywehavehistypeinsizes6-to48-pt.,medium,semi-bold,boldanditalic.

爾體）的一種過渡。1790年，詹Bodoni，1740—1813）在帕爾Tipografico)一書中，首次了291邊。Bodoni是“現(xiàn)代體”的一個（hairlines)（strokes)

以及從6點到48

tianfacewhichfirstappearedin1815intheFigginsType-foundry.Thegrowthofmodernbusinesscalledforpowerfuladvertisingfaces,amongstwhichEgyptianwasthemostimportant.ToproducemoreimpactthehairlinesofthelettersweredrawnAvariantofEgyptianappearedin1929intheformof“Memphis”,whichwasproducedbytheStem-pelTypefoundry.FortheHaasTypefoundryHermannEidenbenzimprovedtheoriginalface,whichCaslonbroughtoutin1843,Clarendonisnotableforits

withthemainstrokes.Clarendoncanbeobtainedinsizes8-to64-pt.mediumand

Clarendon是一款基于埃及（Egypitianface）風格設計的字體。埃及體最早出現(xiàn)于1815年的菲金斯1929年出現(xiàn)了一款埃及體的變體，廠生產(chǎn)的名為Memphis（孟菲斯）Eidenbenz）又在1843年的Caslon

如今Clarendon有中等體和半粗（semi-bold），以及從8點至64Typeface

字體樣 Typeface

士TIMES

abcdefghijklmnopqrs?tuvwxyzABCDEFGHIJKLUVWX