适用于建筑师的10种字体
10 Fonts For Architects
你是否曾经花了几个小时不断地尝试工作字体？在项目开始之前，你是否已经充分考虑过字体的使用？当你看到一个运用了Comic Sans字体的文件，你是否会感到生气？或者，当一句并非重点的句子运用的全是大写字母，你会看得头昏眼花吗？放心，并不是只有你在困惑这些问题。
由于工作原因，建筑师和设计师常常使用图形元素来表达理念，其中最常见的是运用了各种各样技巧、风格和图片。但是在作品最终成图的各项元素（纸板，亚光板，绘图，技术和模型）之中，字体同样也是让图面具有识别性的关键点。
Have you ever been stuck for hours obsessing over a font that matched your work? Before starting a project, do you already think about which font you will use? Do you get annoyed when you read an important message written in Comic Sans? Or do you feel offended when a mundane sentence is written in all caps? Rest assured, you are not alone.
Architects and designers constantly use graphic elements as expressive means in the schematization of their works. Among them, the most common are the drawings, in a constant variety of techniques, styles, and patterns. But among the elements that make up the boards, panels and drawings, techniques and models, there is a particular fragment that helps them in composition and identity: the font.
© José Moscardi
Cortesia de Boa Mistura
字体是图形设计的主要部分，它甚至能够代表一个作品的形象。字体形式是字体书写的特殊模式，在这些类型中，字体的种类多种多样，有字体之间的变化（如细明体、斜体和粗体）、采用的形式（高位、上下式、小写），如果按来源分类，则有非衬线体、衬线体、草书以及装饰体，除此之外还有许多其他的字体类型。
Fonts establish one of the pillars of Graphic Design and can be defined as a set of systems to the impression of types. Types are the designs assumed by a particular family of letters in their pattern. Within the family, there are variations between the letters (light, italic and bold), by the type of box (high - upper and lower - lowercase), by source classification, including Sans - serif (without serif), Serif (with serif), Script (cursive) and Dingbat (ornamental), in addition to numerous other identity features of the same.
© Pedro Vada
值得一提的是，字体是设计人员交流的重要基础，正确的排版与字体的选择会让整个图面看上去更加具有逻辑性，因此，无论是图面、文字表述，亦或是排版布局，都能够对读者对于事实与虚幻之间的思考产生重要影响。
在建筑中，字体模式不只局限于图面表达和图形演示，甚至关乎建筑的立面元素组成、项目的视觉表达，更重要的是，白话文的运用不仅加强了人们对于流行文化的理解程度，也代表了不同场景的不同表达方式的需求。
It is worth mentioning that the importance of fonts in the graphics schemes of designers and especially of architects is fundamental in graphic communication to nonverbal reading. The correct choice of typography leads to mental logic in reading certain graphics piece, whether a drawing, text or even a scheme, an inviting act the reader through imaginary bridges between the real and the imaginary.
In architecture, font models are not restricted to the papers and graphic presentations of architects, but also in the composition of facades, projects of visual identity of buildings and, above all, in the use of vernacular typography by the people as a cultural manifestation in approach to the popular, revealing the need for varied expression in the different layers and poles.
© St art India
因此，我们选择了一些建筑师的常用字体，包括技术性绘图和图表，其中许多字体无法免费使用，但我们可以了解一下各种字体的特征，从而做出下列选择：
We have selected some font models used by architects, from technical drawings to diagrams. Many of them are paid fonts, there is also the option to find good free fonts here. Check out our selection below:
Futura
该字体于在20世纪20年代由Paul Renner创造，这是现代平面设计中的经典字体。设计灵感来源于包豪斯技术，它使用和谐的直线和曲线，让文章看上去达到视觉平衡。然而，尽管看上去十分清爽，但这种字体并不适用于较长的文本，因为容易引起视觉疲劳。该字体适合运用于如标题和副标题之类的特殊文字，因此它广泛应用于企业中的视觉表达文本。
Created by Paul Renner in the 1920s, this font is a classic Modern Graphic Design. Inspired by Bauhaus techniques, it uses straight lines and curves in syntony, providing balance in the textual set. However, despite the visual cleaning, this font should not be used in long texts, due to the visual exhaustion provoked. Indicated to punctual texts in the architectural boards, such as titles and subtitles. It is highly used for visual identity in corporate buildings
Bauhaus
该字体于1925年由平面设计师Herbert Bayer开发设计，其概念来源于感知、永恒以及超越时间。设计者在1921年至1923年之间在包豪斯学习，指导老师为Kandinsky和 Moholy-Nagy。直到今天，这种字体仍然广泛运用于各大董事会会议的标题与副标题之中。
Developed by the graphic designer Herbert Bayer, in 1925, its conception is perceived with, timelessness, transcending time. Its creator studied at Bauhaus between 1921 and 1923 under the direction of Kandinsky and Moholy-Nagy. Used until the present day, it is mostly attributed to titles and subtitles in the composition of boards.
Neutra
为了纪念现代主义大师Richard Neutra，平面设计师Christian Schwartz根据建筑师的习惯布局创建了这种字体。Julius Schulman和Dion Neutra 同样也参与了字体的设计过程。当前，该字体广泛运用于建筑与设计工作之中，并且也是字体Futura 的替代字体。
In honor of the important modernist architect Richard Neutra, graphic designer Christian Schwartz took care of designing the alphabet according to the architect's layout. Julius Schulman and Dion Neutra also participated in the process. It is highly used in the works of Architecture and Design as a competitor for Futura.
Bodoni
该字体由Giambattista Bodoni于1767年设计。特点是其独特的审美深度，因此许多设计师在运用上都十分谨慎，由于每个字母都十分醒目，因此该字体并不适合于较长文本，它适用于标题以及重要部分的提示。
Created in 1767, by Giambattista Bodoni, this font is characterized by its high aesthetic strength and should be used with caution. Due to the set of lines and striking presence of its letters, it is not indicated for long texts, but for highlights, such as titles and details.
Gotham
该字体的设计灵感来源于独特的建筑标识性，它在21世纪初由设计师Tobias Frere Jones设计。由于其独特的笔画书写方式，这种字体主要运用于宣传工作，而在建筑中，建筑师常常在名片或商标中运用这种字体。
Inspired by the typical letters used in signage and architectural visual identity, it was conceived in the 2000s by designer Tobias Frere-Jones. Widely used for publicity, due to the idea of credibility transmitted by its lines, in architecture, this font should be used in business cards and logos.
Butler
这种字体介于Bodoni和Dala Floda这两种字体之间，Butler通过曲线形式来表达现代气息，该字体的个性较为鲜明，因此主要用于标题与商标。
Between Bodoni and Dala Floda, Butler consists of a modern typography along curvilinear lines. Due to its strong personality, it is indicated for titles and logos.
Consolas
这种字体适用于长文本，由于其干净的线条感与美学特点，这种字体十分易于阅读，因此它也是各大竞赛与董事会会议的理想选项。该字体由Lucas deGroot设计，广泛应用于书籍和建筑杂志之中。
在Windows系统里，这种字体连同其他五种字体（Cambria、Constantia、Corbel、Candara、Calibri）是人们最常用的字体，因此并不需要额外下载。
Widely used for long texts, this font is ideal for competitions and university boards, or even text boxes in graphic details, because of its clean aesthetics and proportion of lines allows long readings without tiring the reader. The typography, designed by Lucas deGroot, is also widely used in books and specialized Architecture magazines.
On Windows, this font along with other five (Cambria, Constantia, Corbel, Candara, and Calibri) are among the most used typologies, with no need for external acquisition.
Helvetica
大多数建筑师，亦或是那些没有平面设计常识的人们，都会选择在文本中使用无衬线字体，因为这种字体非常简约。然而对于一些常用文本，Helvetica仍然让一些建筑师印象深刻。该字体由Max Miedinger 和Eduard Hoffmann设计于20世纪，它的设计与现代平面设计密切相关，因为其线条与排版模式很容易让建筑师创造出自然简洁的平面布局。
The majority of architects, even without advanced knowledge of graphic design, intuitively select sans serif typefaces, due to its minimalism and straight lines. Among the most used texts, as well as the previous case, Helvetica is notorious among professionals. Built in the twentieth century, by Max Miedinger and Eduard Hoffmann, it is strongly associated with modern graphic design, due to its set of lines and layout its designer sought a neutral and concise design.
Modeka
对于那些喜欢多用途而又微妙的字体组成他们的画板的人来说，在混合线型的表达过程中，在直线的理性主义及曲线的停顿和流动之间，这种字体设计是最理想的选择。该字体由Gatis vilaks设计，它常常运用于平面设计的正副标题以及文章细节之中。
For those who like versatile and yet subtle fonts to compose their boards, this typography is ideal for that. In a system of hybrid lines, between rationalism of straight lines and the break of staticity of the curved line, this font created by Gatis vilaks, privileges a harmonious set. It is suggested for titles, subtitles and textual details in the graphic composition of boards and drawings.
Poplar
这种字体来源于Adobe公司，由Barbara Lind设计，在排版中，该字体兼具实力与个性，是展板、分析图和方案设计的好选择，它常常运用于正副标题以及文章细节之中。
Designed by Barbara Lind, this font is part of Adobe, its use presents personality and strength in its composition, ideal for a wide range of applications, such as boards, diagrams, and schemes. This font would be well used in titles, subtitles, and details.
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