If it’s weird to ask a parent his/her favorite child, it’s absurd to ask a designer the same question — what is your go-to typeface?

如果问父母一个他最喜欢的孩子很奇怪，那么问一个设计师同样的问题就很荒谬了-您最喜欢的字体是什么？

I love writing about design, I love observing cool branding designs of products for hours. Then I got curious. What is the quintessential thing to which I’m attracted in design? The answer is simple but subtle — the typeface.

我喜欢撰写有关设计的文章，喜欢观察数小时的酷品牌产品设计。 然后我很好奇。 在设计中吸引我的最典型的东西是什么？ 答案很简单但很微妙-字体。

There were times when I sat at my laptop with a blank word document and a bunch of ideas. Then, I became so obsessed with the typeface I’m going to choose and use in my article that I forgot even what I was going to write about at the end.

有时候，我坐在笔记本电脑前，拿着空白的Word文档和一堆想法。 然后，我变得沉迷于要在文章中选择和使用的字体，以至于我甚至都忘了最后要写的内容。

The importance of the use of the right typeface struck me later when I saw my favorite (in terms of its effectiveness and longevity) poster — Lord Kitchener Wants You. This recruitment poster with Lord Kitchener’s index finger not only played a vital role in the British army but also became a defining image of World War I. So much so that, the poster comes in first as the most catchy index finger defeating Adam’s finger.

后来，当我看到我最喜欢的海报(就其效果和寿命而言)- 基奇纳勋爵(Lord Kitchener)想要您时，使用正确字体的重要性就让我震惊。 这张用基奇纳勋爵的食指招募的海报不仅在英军中发挥了至关重要的作用，而且还成为了第一次世界大战的标志性形象。如此一来，该海报就成为击败亚当的手指的最引人注目的食指。

Right after my obsession with typefaces had started, I noticed what stayed in my mind more than Lord Kitchener’s stern and following eyes. It was the campaign slogan that was written in catchy and bold letters and that gives the sense of outcry — Your Country Needs You!

在开始对字体产生迷恋之后，我发现比起基奇纳勋爵的船尾和跟随的目光，我想到的更多。 这是竞选口号，上面写着醒目的醒目大胆的字母，给人以强烈的抗议感- 您的国家需要您！

This bold writing is what catches your eyes, right away.

这种大胆的文字立刻吸引了您的眼球。

In a nutshell, we say that typography matters because the typeface of your product can change the way your customers think, it can provide a sense of trust, loyalty and affection.

简而言之，我们说排版很重要，因为产品的字体可以改变客户的思维方式，可以提供信任感，忠诚度和情感。

It matters because typography requires the skills belonging to the art of artisanship. You create your grind, you choose your font, you locate your letters, you tell your message, you establish communication and you let your unique personality come out. Typography is authentic and creative — it represents you.

这很重要，因为排版需要属于手Craft.io艺术的技能。 您创建自己的作品，选择字体，找到字母，告诉您的消息，建立交流，让自己的独特个性出来。 印刷术是真实而有创意的-它代表了您 。

So, here are five typefaces I find pretty unique with their authentic stories.

所以，我发现这五个字体非常独特 他们真实的故事

Can a typeface be trustworthy? — Baskerville, 18th Century

字体可以信赖吗？ — 18世纪的巴斯克维尔

Baskerville was born in a bursting literary environment — coeval with John Milton. And John Baskerville, who worked for Cambridge University Press, was publishing the works of John Milton and Horace. His typeface was born in this explosion of creativity, for sure. John wanted to create something both meaningful and purposeful like human beings, yet with one difference — no flesh. And his calligraphy-like typeface became rejuvenation in typography. With its contrast between thick and thin strokes, sharper serifs and more vertical positions; Baskerville excels in readability and it has this slender, delightful and bold quality. Baskerville has been considered as the most trustworthy typeface and its features help preserve the legacy of Baskerville until today.

巴斯克维尔(Baskerville)与约翰·弥尔顿(John Milton)共同生活在一个充满文学色彩的时代。 在剑桥大学出版社(Cambridge University Press)工作的约翰·巴斯克维尔(John Baskerville)正在出版约翰·弥尔顿(John Milton)和霍勒斯(Horace)的作品。 当然，他的字体是在这种创造力的爆炸中诞生的。 约翰想创造一种既有意义又有目的的东西，就像人类一样，但又有区别-没有肉。 他的像书法的字体在版式中变得年轻。 粗笔和细笔之间的对比，更清晰的衬线和更多垂直位置； 巴斯克维尔(Baskerville)具有出色的可读性，并具有细长，令人愉悦和大胆的品质。 Baskerville被认为是最值得信赖的字体，其功能有助于保留Baskerville的传统直到今天。

Royalty doesn’t just belong to a family — Bodoni, 18th Century

皇室不仅仅属于一个家庭-18世纪的波多尼

Bodoni is the creation of Giambattista Bodoni, who managed the Royal Press of the Duke of Parma, Ferdinand and it is where its elegance comes from. Bodoni is designed as a typeface for typeface’s sake. Giambattista desired people to read his typeface, but perhaps more importantly — love his typeface. With abrupt hairline serifs, vertical axis, small aperture and high contrast; Bodoni nailed his aim. The longevity of Bodoni depends on the strong link between the luxurious Victorian Era and comfy contemporary design period. Bodoni has become something antique that preserves its refined grace.

Bodoni是Giambattista Bodoni的创立者，Giambattista Bodoni曾负责管理斐迪南帕尔马公爵的皇家出版社，而这正是其优雅之源。 Bodoni被设计为字体的缘故。 Giambattista希望人们阅读他的字体，但也许更重要的是-喜欢他的字体。 发际线衬线陡峭，纵轴短，Kong径小，对比度高； 博多尼确定了目标。 Bodoni的使用寿命取决于豪华的维多利亚时代与舒适的现代设计时期之间的紧密联系。 Bodoni已成为保留其精致优雅的古董。

Well-loved child of the design world — Helvetica, 20th Century

设计界的宠儿-Helvetica，二十世纪

The revolutionary Helvetica was created by Max Miedinger, who was a representative in Haas Type Foundry. When Eduard Hoffman asked Miedinger to design a clear typeface, his intention was obvious — a typeface that would be so simple, beautiful and useful that it should compete with Akzidenz-Grostesk that was so popular in the Swiss markets back then. With its very low weight contrast, its horizontal terminal cuts and its large x-height, Helvetica can be fit into each signage where legibility is the key. It is easy and confident to use Helvetica since it allows you to stay in your comfort zone while being authentic. Moreover, Helvetica is also a product of its social background — a bunch of people trying to recover the traumas of World War II and the Cold War. People were in the middle of everything, they did not know what to do, what to choose or what to trust. As if it was symbolizing both the trauma, sickness of the war and hope of the new, exciting life; Helvetica was born between traditionalism and modernism.

革命性的Helvetica由Max Miedinger创建，他是Haas Type Foundry的代表。 当爱德华·霍夫曼(Eduard Hoffman)让米丁格(Miedinger)设计清晰的字体时，他的意图很明显-这种字体如此简单，美观和有用，以至于可以与当时在瑞士市场上非常流行的Akzidenz-Grostesk竞争。 Helvetica的重量对比度非常低，其水平端子切开，并且具有x高度大，因此可以安装在每个标志都清晰易读的标牌中。 使用Helvetica既轻松又自信，因为它可以让您在保持原汁原味的同时保持舒适的状态。 此外，Helvetica也是其社会背景的产物-一群人试图恢复第二次世界大战和冷战的创伤。 人们处在一切之中，他们不知道该做什么，该选择什么或该信任什么。 似乎在象征着战争的创伤，疾病和新的令人兴奋的生活的希望； Helvetica出生于传统主义和现代主义之间。

Landing on the Moon — Futura, 20th Century

登上月球— Futura，二十世纪

One of the most impressive and groundbreaking typefaces of the design family — Futura was authored by Paul Renner and was based on the visuality of the Bauhaus design style. Futura was revolutionary, it was avant-garde because Renner wanted to reflect modernity rejecting the previous grotesque typefaces. With its simple geometric shapes, even weight, contrast and distinctively tall lowercase letters, Futura excels at simplicity and prioritizes function over form. Futura is so internalized in the vein of societies that it has been used in several places — Nazi propagandas, Vanity Fair, Nike, Supreme, Volkswagen, IKEA, American Beauty, Sesame Street, V for Vendetta, 2001: a space odyssey, Eyes Wide Shut, Gravity, Interstellar. Like they’re not enough, Futura became the first typeface to land on the moon with Neil Armstrong. In a nutshell, Futura is the most active typeface that has a vital role in the history of the 20th-century design and it continues to be.

Futura是设计家族中最令人印象深刻且突破性的字体之一，它是由Paul Renner撰写的，它基于包豪斯(Bauhaus)设计风格的外观。 Futura是革命性的，是前卫的，因为Renner想要反映现代性而拒绝以前的怪诞字体。 Futura凭借其简单的几何形状，均匀的重量，对比度和特别高的小写字母，擅长于简单性，并且优先考虑功能而不是形式。 Futura在社会中是如此内化，以至于已在多个地方使用-纳粹宣传，名利场，耐克，至尊，大众，宜家，美国美容，芝麻街，V字仇杀队，2001年：太空漫游，宽眼闭嘴，重力，星际。 好像还不够，Futura成为尼尔·阿姆斯特朗(Neil Armstrong)登上月球的第一张字体。 简而言之，Futura是最活跃的字体，在20世纪设计的历史中起着至关重要的作用，并且一直保持下去。

Simply Humane — Avenir, 20th Century

简直是人道的-Avenir，二十世纪

It’s well-known that all typefaces have a unique personality, but this issue is deeper in Avenir’s case. Avenir was designed by Adrian Frutiger, who isolated himself to let the flow of his thoughts. In this process, he found who he really was and undoubtedly reflected his selfhood on Avenir. The longevity of Avenir depends on its versatility since it can be used perfectly for everything — from headlines to body texts. With its oval shapes, shortened ascenders, medium x-height; Avenir is so clean, neutral and attractive for ideas to come out of the mind on the blank page.

众所周知，所有字体都具有独特的个性，但是在Avenir的案例中，这个问题更为严重。 Avenir由Adrian Frutiger设计，他孤立自己以让思想流动。 在这个过程中，他发现了自己的真实身份，无疑反映了他对Avenir的自尊。 Avenir的寿命取决于它的多功能性，因为它可以完美地用于所有内容-从标题到正文。 椭圆形，上升短，x高度中等； Avenir如此干净，中立，并且对于在空白页上浮现出的想法很有吸引力。

Typography is thinking made visible. — Chris Do, Source

版式被认为是可见的。 - 克里斯·杜 ( Chris Do) ， 资料来源