How to keep your digital projects feeling typographically fresh in 2020.

如何在2020年保持数字项目在印刷上的新鲜感。

Not that long ago, digital typography was, well, pretty blahhh. Sure, some dedicated souls kept the old pillars of analog type standing by rasterizing headlines, drop caps, sidebars, captions… you get the idea. And maybe you were that person. But then came the responsive design zealots, the load-time obsessed devs, and the SEO town criers. Deep down, even the typographers knew they were right, that the magic of the web was accessibility and distribution. So they bowed down to the CMS gods and filled their plates with system fonts and the ubiquitous Proxima Novas of the world.

不久前，数字印刷术还真不错。 当然，一些敬业的灵魂通过光栅化标题，首字下沉，侧边栏，标题等来保持模拟类型的旧Struts不变，您明白了。 也许你就是那个人。 但是，随之而来的是响应式设计狂热者，沉迷于加载时间的开发人员以及SEO镇民。 在内心深处，即使是印刷者也知道他们是对的，网络的魔力在于可访问性和分发能力。 因此，他们向CMS神致敬，并用系统字体和世界上无处不在的Proxima Novas装满了盘子。

But much has changed since then. The noose has loosened. Your Apple Watch’s tiny screen is nearly 2.5x sharper than your first-gen iPad’s once-impressive display, making it more plausible than ever to render detail and nuance. That means the typophiles waiting in the wings are back to work making digital type sing. Sharp serifs! Precise sans! Curvaceous retro re-boots! Read on and discover the best-of-the-best trends 2020’s new era of digital typography will bring.

但此后发生了很大变化。 绞索已松动。 Apple Watch的小屏幕比第一代iPad曾经令人印象深刻的显示屏锐化了近2.5倍，使其呈现出比以往任何时候都更真实的细节和细微差别。 这意味着在机翼旁等待的Typhophos重新开始工作，进行数字打字。 锋利的衬线！ 没有精确！ 曲线美的复古靴子！ 阅读并发现最佳趋势2020年数字印刷新时代将带来。

Brands are realizing they need more than just a great product to make it in 2020, they need a great story. Say no more. We know how to deliver that message: serifs! Serifs are synonymous with storytelling. And a growing crop of killer serifs, especially ones with contrasting humanistic strokes that we’ll call humanized serifs, like Coconat from Collletttivo, are dialing up the mood to a Spinal Tap eleven and making a fresh-new-thing of the oldest font category on the planet (serifs, that is). Use a humanized serif the next time you want to tell a story that’s rooted in tradition, but filtered through a bright new lens.

品牌意识到，要在2020年实现这一目标，不仅需要出色的产品，还需要出色的故事。 别说了。 我们知道如何传达这一信息：衬线！ 衬线是讲故事的代名词。 越来越多的杀人衬线，特别是那些带有反差的人性化笔触的残障衬线，例如Collletttivo的Coconat，正在将人们的心情调高到Spinal Tap的 11点，使最古老的字体类别焕然一新在地球上(即裂痕)。 下次您想讲一个源于传统但又被明亮的新镜头过滤的故事时，请使用人性化的衬线。

Extended typefaces have always said to their readers, “Whooaaa there, bucko, slow down. Our corral is worth takin’ in.” That sentiment never changed, but deploying extra-wide faces became tricky in a world full of vertical screens. Recently, studios like Bonjour Monde have released extended fonts, like Syne, that are so appealing designers can’t help but find a way to use them. And because extra-wide fonts spent a few years MIA in digital design, they are looking fresher than ever in 2020. Use an extended typeface next time you need to let an audience know you’ve got some roses for them to stop and smell, and it’ll be worth their time.

加长字体总是对他们的读者说：“哇，哇，哇！ 我们的畜栏值得收拾。” 这种情绪从未改变，但是在充满垂直屏幕的世界中部署超宽脸Kong变得棘手。 最近，像Bonjour Monde这样的工作室已经发布了扩展字体(例如Syne) ，因此吸引人的设计师不禁发现了一种使用它们的方法。 而且，由于超宽字体在数字设计中花费了MIA几年的时间，因此它们在2020年看起来比以往任何时候都要新鲜。下次使用扩展字体时，需要让读者知道您有一些玫瑰花可以停下来闻起来，这将是值得的。

Was it Stranger Things? BlacKkKlansman? Maybe it was our collective mourning of the final Star Wars episode? Whatever kicked it off, 1970s retros, like Goudy Heavyface from Bitstream, are finding new wind in 2020. And for good reason, considering their snug character sets and curvaceous ligatures carry the mood of an era when free livin’ was a slightly simpler and less fraught enterprise. If that means more Gen-Zers are diving into the pioneering work of Herb Lubalin, the godfather of custom display type and expressive logotypes, we’re all about it. Use these retros the next time you need to speak to nostalgic, neon-lit American freedom.

是陌生人事物吗？ BlacKkKlansman ？ 也许这是我们对最后的《星球大战》剧集的集体哀悼？ 不管是什么开始，1970年代的复古风格，例如Bitstream的Goudy Heavyface ，都在2020年风靡一时 。并且有充分的理由，考虑到其舒适的字符集和曲线美的连字手法承载着一个时代，即自由livin'稍微简单而少了充满活力的企业。 如果这意味着更多Gen-Zers会投入到Herb Lubalin(定制显示类型和表达徽标的教父)的开拓性工作中，那么我们将一事无成。 下次您需要谈谈怀旧，霓虹灯的美国自由时，请使用这些复古装。

The history of slab serif is rooted in the Industrial Revolution, emerging from the poster and newspaper print shops of the time. The bold, rectangular extensions of a slab serif look forged rather than written, stamped rather than scripted. These days we spend most of our working hours in comfortable, temperature-controlled offices. But a growing distrust of our digital age (read: sedentary) has breathed new life into sweat-on-your-brow, working class slab serifs. Designers like Aoife Mooney and her BioRhyme font are delivering big time with smart, energetic new interpretations. Use a bold slab serif for your next project that needs to say, “Let’s get to work.”

平板衬线的历史可追溯到当时的海报和报纸印刷店，源于工业革命。 平板衬线的粗体矩形扩展看起来是伪造的，而不是书写的， 冲压的而不是脚本的。 如今，我们将大部分工作时间都花在舒适，温度受控的办公室中。 但是，对我们数字时代的日益不信任(阅读：久坐)使您的眉毛，工人阶级的平板衬线注入了新的活力。 像Aoife Mooney和她的BioRhyme字体这样的设计师正在用聪明，充满活力的新诠释来发掘重要时刻。 在您的下一个项目中使用粗体的衬线衬线，需要说“让我们开始工作”。

“Well this plain-Jane font doesn’t look so trendy to me,” might be your first thought. Fair enough, but dig deeper and you’ll see that the Noto font family embodies very 2020 trends of inclusion and transparency. (Let’s be clear, we’re talking typography here, not global politics. Unfortunately.) Noto is Google’s front-line fight against web “tofu” — those ubiquitous rectangular shapes substituted for missing characters. The result is the most globally considered and linguistically complete collection with character sets for 800+ languages in a single family. Use Noto Sans and the Noto font family when you’re working on a multinational project or when you want to convey inclusive values.

“这对我来说简陋的简字体看起来并不那么时尚，”这可能是您的第一个想法。 足够公平，但是深入研究，您会发现Noto字体家族体现了2020年包含和透明化的趋势。 (很清楚，我们在这里谈论的是字体设计，而不是全球政治。不幸的是。)Noto是Google对抗网络“豆腐”的前线斗争-那些无处不在的矩形代替了丢失的字符。 结果是最广泛考虑的语言集合，其中包含单个家族中800多种语言的字符集。 在从事跨国项目或要传达包容性价值时，请使用Noto Sans和Noto字体系列。

First, let’s acknowledge that defining a typeface as brutalist is a bit fraught. Brutalism is, in the contemporary graphic sense, a purposeful tension between seemingly raw elements. Typographically, this can mean pairing traditionally contrasting fonts. Which is to say, we accept the idea that any typeface can contribute to a brutalist design. And yet, we find a growing number of fonts, like Miratrix from Andrey Karter, to wonderfully embody the ideals of rawness, tension, and undisguised structure that is the brutalist aesthetic. So try a brutalist font the next time you want to convey an unapologetic frankness. And P.S., the term “brutalism” derives from the French phrase béton brut, meaning raw concrete, not the English adjective.

首先，让我们承认将字体定义为野兽派有点儿烦。 在当代的图形意义上，野蛮主义是看似原始元素之间的有目的的张力。 在印刷上，这可能意味着配对传统上相反的字体。 也就是说，我们接受任何字体都可以构成野兽派设计的想法。 但是，我们发现越来越多的字体(例如Andrey Karter的Miratrix)完美体现了原始感，张力和朴实的结构(野兽派美学)的理想。 因此，下次您要传达毫不歉意的坦率时，请尝试使用野兽派字体。 PS，“野蛮主义”一词源自法语短语bétonbrut，意为原始混凝土，而非英语形容词。

The world is getting busier — more people, more information, more everything. And believe it or not, some people felt the same overload way back in the 1920s. Enter stage right: geometric sans serifs, which took simplicity, order, and standardization to the next level. (Actually, geometric typefaces were born out of socio-political ideals of Constructivism, but the style was quickly adopted by the West, minus the politics.) Today we’re seeing crisp new cuts of geometric typefaces, like Gilroy from Radomir Tinkov. These fonts are benefactors of the ever-shaper displays all around us, which retain the precision of the characters. Use a geometric sans serif when you want to express a confidence and cutting-edge organization.

世界正变得越来越忙-越来越多的人，更多的信息，更多的东西。 信不信由你，有些人在1920年代也有同样的感觉。 输入正确的舞台：无衬线几何图形，将简单性，有序性和标准化提升到一个新的高度。 (实际上，几何字体是从建构主义的社会政治理想中诞生的，但是减去了政治之后，西方很快就采用了这种字体。)今天，我们看到了崭新的几何字体，例如Radomir Tinkov的Gilroy 。 这些字体是我们周围日新月异的显示器的代名词，它们保留了字符的精度。 当您要表达自信和前沿组织时，请使用几何无衬线。

Noticed something new in your font menu lately? The word ‘variable’ is now attached to a growing number of fonts. A variable fonts feature user-adjustable properties, such as contrast, width, thickness, and an imaginative host of others. A handful of designers, like David Berlow, have diligently been turning variable type experiments into a viable reality, like Decovar. And recently, some big names — Adobe, Monotype, Google — have jumped on board the variable bus. The magic is in delivering one single font file rather than two, or four, or 4000. But the fun is only limited to the collective imagination of the type community. Consider a variable font when efficiency is important or when detail control is a priority.

最近发现您的字体菜单中有新内容吗？ 现在，越来越多的字体附加了“变量”一词。 可变字体具有用户可调整的属性，例如对比度，宽度，粗细以及富有想象力的其他字体。 像David Berlow这样的少数设计师一直在努力地将可变类型实验变成可行的现实，例如Decovar 。 最近，一些大牌公司(Adobe，Monotype和Google)加入了可变总线。 魔术在于传递单个字体文件，而不是传递两个，四个或4000个字体。但是，乐趣只限于类型社区的集体想象力。 当效率很重要或优先考虑细节时，请考虑使用可变字体。

This article originally appeared on Ceros Originals. If you like what you’re reading, be sure to head over and experience our latest interactive stories for design professionals now.

本文最初出现在 Ceros Originals上 。 如果您喜欢所阅读的内容，请立即着手体验我们为设计专业人士提供的最新互动故事。

Additional research by Jeremiah McNair.

耶利米·麦克奈尔(Jeremiah McNair)的其他研究。