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大神，AI怎么做出这个效果来？收藏
达内illustrator 好学吗?0基础上手120天精通,生活补助+0元试学+网课赠送+免费重修.热门班型:全日制班,周末业余班和名企定制班型,全国7万家合作用人单位,就业有保障.
用ps可以轻松做出
刚接触应该有内发光跟阴影 字体里的填充还不会
AI做的么?输入文字后创建轮廓，图案填充，再做投影。看看可不可以。
不知道是不是ai做的，试试先
我记得好像那个视频课讲的 剪切蒙版 有这种文字在特定图形内的效果其他的去除
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【大神教你学AI】每日教程收藏
俗话说学设计的都是苦逼的，为了大家更好的学习，本人打算每天为大家分享一道案例,希望大家坚持下去。任何的成功都是通过日积月累，然后等待那个一鸣惊人的时刻。如果你不能坚持下去，那么你不适合看我接下来的一系列内容。可能有些教程对于初学者比较难懂，那么可以与我交流。大家如果没有软件 可以点击下面的链接进行下载photoshop cc ：photoshop cs6：Illustrator
cs6 ：日矢量人像头发与胡须的绘制方法使用了软件：Adobe - Illustrator cs6使用了一体机：Apple - iMac
达内illustrator 好学吗?0基础上手120天精通,生活补助+0元试学+网课赠送+免费重修.热门班型:全日制班,周末业余班和名企定制班型,全国7万家合作用人单位,就业有保障.
不错的赶脚，有破解地址吗
先顶，我去下载看看
高级教程！感谢分享！
楼主辛苦了
想想今天更新什么呢？
今天给大家讲一下 中国设计师及设计企业的生存现状 吧第一：生存现状
我们的行业实在称不上一个像样行业，原因是至今没有几个成功企业化的机构，按照现代企业的生产模式运作，至多是一堆小作坊和稍微大一点的作坊而已。那么我们要想振兴我们的行业，使之能够和软件、游戏、音乐、电影并驾齐驱地成为创意产业的一份子，企业化是必须经历的过程，只有企业化才能解决我们现在的问题，那 么我们首先把目前行业暴露出来的问题总结一下，然后再分析解决之道。
1.规模小：目前中国的设计企业的规模普遍太小，形成不了规模化发展（目前行业内规模最大的企业不过百人），价值创造不能对投资业产生吸引，是构成行业发展缓慢的重要原因，这些公司总是处在没活儿呆着有活儿又干不过来、“有活儿没活儿都着急”的生存状态里。同时企业因为规模太小，导致在市场上的抗风险能力非常差。很多例子都能显示，市场和客户很小的波动，都能给设计企业造成致命的打击，很多知名的设计公司的命运，其实就拴在一两个客户的手里。
2.管理混乱：我们行业有一个特点，公司领袖们多少都带点艺术家气质，其实恰恰导致了管理上的幼稚和薄弱。公司员工经常以“老大”来 称呼企业创始人或者经营者，其实恰恰体现了企业管理的江湖作风。稍有管理的公司，也都大多采用或借鉴传统企业的管理模式，而我们的行业特质又与传统行业有着本质的不同，传统企业的生产力是建立在物质上的，简单地说也就是靠机器或者经营场所为生产力基础的经营模式，而我们行业的生产力是人，有血有肉、有情 感、会疲劳的人，人要比机器脆弱得多，要比机器有主见得多。而我们行业里的经营者经常像开机器一样去使用“人”，肆无忌惮地延长工作时间，增加工作强度，制定产量要求，造成了经营者和从业者矛盾的根源。行业缺乏针对创意产业专门设定的有效的、可以复制的管理模式，导致规模稍有扩大效率和利润就大副降低的经营现实。
3.频繁人才流动：广告和设计行业人才流动的频繁程度，较之其他行业是比较严重的，这种现实导致了企业和员工之间的互不信任，伤害了企业培养人才的积极性，导致了企业普遍采用“榨汁机”式 的人才使用制度，这种制度反之又严重地伤害了员工的工作热情，加剧了员工工作强度和精神压力，造成人才流失，形成恶性循环。很多公司一年半载就换血一次，行业里很多号称成立十几年的公司，其实追究起来只有三两年的文化传承，因为除了老板和老板娘本人，员工大部分是新来的。而设计企业其实是最需要年头的积累 和沉淀才能形成企业的风格和思维方式及生产方法的。没有设计思想、没有企业文化传承的公司，即使成立了100年也是一个新公司，就像我们的那些国产品牌里的“百年老店”，经过公私合营和文化革命之后，它的现在和过去除了一个名字之外，还有什么关系呢？世界上同名的人多了。
4.恶性竞争严重：目前整个行业处于恶性竞争的状态之中，
竞稿竞价之风愈演愈烈，因为这种竞争是在没有任何目标和评判标准的状态下展开的，所以设计企业只能通过提高工作效率、增加供稿数量、降低价格这样的方式开展竞赛，导致了设计企业总是处于疲惫不堪的状态，缺乏修养生息的环境。“下午接案、连夜创作、天亮提案”的现象在行业里屡见不鲜，某企业的提案数量已经从百稿到达了千稿的惨状，这种“悲壮”的 经营作风只能让设计公司在客户眼里越来越不值钱，越来越不受到尊重。甚至行业里已经出现了专门为设计企业提供投标方案的下游服务商（一般都是个人或小型工作室），这种愈演愈烈的自我贬低，无疑让作为从业者的设计师永远生活在水深火热的奴隶社会里，我们大家摸着良心说，在这种状态下谈得上什么品质？谈得上什 么修养？谈得上什么好作品？这是造成近几年中国主流设计公司设计水平下降，行业取费标准不断降低的原因。一个利润越来越微薄的行业，一个工资越来越廉价的行业，一个尊重度越来越低的行业，一个从业人员越来越年轻、缺乏精力和学习欲望的行业，一个混淆了“体力劳动”或“脑力劳动”的行业，是充满希望的行业吗？
第二：劣根之源
一切的竞争，归根结底都不是技术的竞争，解决之道往往都是意识形态的转变。笔者认为目前行业的现状，根本不是市场环境 造成的，甚至我们现在的市场远远好过十年前。更不像行业经营者说的那样是从业者素质和责任心下降造成的。造成我们行业现状的罪魁恰恰是我们这个行业的经营者们，他们十几年来的经营策略严重伤害了我们行业的发展前途。
1.贪婪：在我招聘的时候，经常有求职者这样表示他的能力：“我能加班、能吃苦，一连几个通宵我都干过！”听 了这样的话，站在我面前的如果是一个建筑工人可能我会敬佩他，但是如果是一位脑力工作者，我为行业感到悲哀。可是这能怨他们吗？难道他们不想得到应有的休息？而现实是即使我们忙活了好几个通宵，结果也往往是不了了之，没有了下文，客户和设计经营者装糊涂，设计经营者和从业者装糊涂，或者彼此抱怨??我们这个行业有一句最反人性的行业口号，恰恰道出了老板的贪婪：“百分之一的希望，百分之百的努力”，这是什么狗屁话，凭什么让大家用百分之百的努力去兑换百分之九十九的失败的可能？其实行业并没有那么忙，并不需要那么多加班，老板们只要不那么贪婪，不去争取那些没谱的机会，该挣多少钱还是多少钱，只有好处没有坏处。
2.吝啬：“榨汁机”式 的用人制度，使我们这个行业给予从业者的福利、社会保障非常吝啬，行业普遍处于没有社会保险、没有加班工资、没有住房公积金制度的状态，从业者基本生活在比较动荡不安、没有明朗前途规划的状态里，当然也就不存在企业忠诚度的问题。互不信任、互不付出的局面导致了企业人才流失率逐年攀升，高流动性又坚定了经 营者愈加吝啬的观念，周而复始。吝啬还表现在企业经营者给予员工的专业培训方面，因为担心员工“翅膀硬了会飞”，企业往往在专业培训上面给予员工的机会非常有限，甚至基本的设计工具都一切从简，劳动强度不断增加，知识透支的现象也非常明显，使从业者经常领教大脑枯竭的滋味，时间长了不是对行业失去信心就是失去兴趣。
3.自私：我们这个行业有一个比较普遍的现状，用玩笑的话说就是：“一个公司，一个名人。”意 思是说，公司的品牌核心、生产力核心只是老板本人，公司在基础结构建设上，缺乏民主意识，没有为日后的团队建设打好基础。设计从业者没有署名权也就没有机会得到行业的认可，没有自己事业的未来。这种现实造成了企业核心竞争力单一，品牌凝聚力拥有先天缺陷的现实，一旦老板的信誉或能力遭到质疑，马上就会产生 对整个企业的信誉危机。
为了让更多的人看到此贴，大家努力顶哦
【唐国强再饰诸葛亮】《神道三国》今日公测领豪礼！ 抢看新三国剧情！
　　　-我是一个小尾巴～
赶脚好难得样子
宁倒生意不倒行市。
可是现实中为了自己的一己之私完全没有底线的事情太多。
楼主是每天都开一贴还是全部在这个帖子更新？ 想跟着学习
今天就再更新一些吧。
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！....................................................................................................................................................................................................... 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：书法渊源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. 书法渊源。上下两种字母结构不同，源于他们不同的书写方式。不论字体是否分为衬线体或者无衬线体，他们都是根据不同的书写方式而来。 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. 上面的字母是通过尖笔书写的，其中的对比是通过改变笔的不同压力，而不是因为笔的形状。Bodoni就是一个例子，但是无衬线体Helvetica也属于这种。最宽的部分基本都是垂直的，从这点来说Bodoni和Helvetica没什么不同。他们有着同样的结构，只是对比不同而已。 The characters in the bottom line have a origin which is derived from the broad nib. 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 nib. 下面的字母则是起源于瘪头笔。笔本身就有宽和窄的部分。这种字体的粗细对比来自于笔的形状而不是笔的压力。把笔倾斜30°，这样字母最宽的部分就不是垂直方向了，而是你倾斜的那个角度。同样，最窄的部分也不是水平的部分。Garamond和 Minion就是这样的字体，但是无衬线体Gill Sans也是来源于这种书写方式。 ..................................................................................
第五部分：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. 空间。首先，明白一个概念，文字是用来阅读的。比字体的外形更重要的是字体的韵律。有着优美字母但是字距糟糕的字体阅读性肯定很差。然而，如果字母没有那么完美，但是他们有良好的字距，那字体也会很容易阅读。设计韵律远比外形重要得多。 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 existwithout 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.
字体的韵律由字母内部的空间以及字母与字母的间距决定，这些空白的部分远比黑的部分重要。一段文字如果有一个良好的韵律，那么他就更具可读性也会有很好的视觉效果。当你设计黑的部分时，空白的部分你不得不考虑。留白虽然重要，但是也需要黑的部分相互依存。改变白的部分，必然会对黑的部分有影响。从这点来看，两者 同样重要。 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. 比如，“n”的内部空间和“i”与“n”之间的空间有着必然的关系。上面一行，“n”的内部空间比“i”与“n”之间的空间要大很多，而下面一行是则基本相同的，下面一行明显有着更好的可读性。 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.
同样的道理一样适用于“a”和“e”的内部空间。这两者之间有着很大的关系。如果字母内部空白的部分视觉上达到平衡，那字体就有着良好的韵律。 ..................................................................................
第六部分：黑与白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。设计字体无非就是协调黑和白。黑和白唇齿相依。黑，字体的外形。白，字体内部以及字体与字体之间的部分。字母内部的白决定了字母与字母之间的白。 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.
黑的部分多，白的部分就少，创造一种黑多白多的字体是不可能的，一种黑体白的部分肯定比细体白的部分少。（绕口令一样！）一种细体有更大的空白部分。内部以及之间的空间要均衡。因此，细体比黑体有更多白的空间。 .................................................................................
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。
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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。 ...................................................................................
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。文字是用来读的，字体的可读性可以说是文本的至关重要的方面。可读性跟很多方面有关，比如对比度，上伸部和下伸部，韵律，字体的黑度，曲线，字碗等等。 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. 这些需要应用在字体的每个字母中，而且必须一开始就定义好。比如对比度。上面的字母比下面的字母有着更大的对比度。上面的字体更适合屏幕使用，而下面更适合书籍文本使用。不仅因为这个对比度，还有上面的字体被压缩的更多一点。这样就让字体在小字号的时候辨识度不够，但是这样的字体如果应用在标题上，又更吸引眼球更灵活。定义对比度和宽度对于一种字体的每一个字母是很重要的。 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).
当你设计每一个单个字模的时候，你可以制作一些提高字体可读性的细节。比如，“g”的耳部可以保证读者更容易在水平线上阅读。所以在书籍文本中下面的“g”在小号字时会更具可读性一些。 ................................................................................
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。 ...................................................................................
第十一部分：小型大写字母Small caps. You could guess it already from the name, small caps are small capitals. Capitals which have the same height as lowercase characters. 小型大写字母。顾名思义，就是大写字母却有着小写字母的高度。 Why are small caps needed? Because of several typographical reasons. First of all a whole word set in caps will look awful, it will drown out the rest of the text. Second, in lots of typefaces the capitals are not designed and spaced to work together, but to be followed by a lowercase character. Small caps however are designed to purely work together. They will give a more pleasurable, harmonized result. 为什么会有小型大写字母呢？有什么用呢？因为一些印刷排版上的原因。首先如果一句话全是大写字母会很吓人，这样会弱化剩下的文字。再有，在大部分字体中，设计师不会考虑大写字母之间的空间协调等等，而是一个大写字母接着一串小写字母。小型大写字母就这样应运而生，让大写字母和大写字母用在一起，而有一个更协调更顺畅的视觉效果。 Having said that small capitals are capitals on x-height, it's mostly not 100% true. To optically give them the same height, the small caps will have to be slightly bigger than lowercase characters of the same font (see drawing).
刚说到，小型大写字母是有着x高度的大写字母，这并不是完全正确的。为了视觉上有同样的高度，小型大写字母会比小写字母大一点点。 .....................................................................................
第十二部分：花式大写Swash caps? Admitting that it's not the most urgent issue to learn in typography, it's interesting to quickly pay attention to this topic. Not every font family has a Swash variant. Most common are swash capitals, but also swash lowercase characters and swash-beginnings and -endings exist. 花式大写？在字体设计中这并不是很重要的，但是很有趣。并不是每一种字体都有花式大写，但是花式大写是最常见的，当然也有花式小写、花式首字、花式结尾等。 Sometimes you want to set a whole line in capitals. It's possible to do this with roman capitals, although sometimes it's better to choose small capitals which are designed for this purpose. Roman capitals are not, but mostly they don't cause problems. Swash capitals however do. Swash capitals are mostly designed to give some extra visual pleasure to your designs. The caps are meant to be followed by lowercase characters (number 1), or used as an initial (number 2), but not to be combined with eachother. Only with some fonts it's possible to combine swash capitals with normal roman caps (number 3).
有时候你想要把一行全部用大写字母。你可以使用罗马大写字母，但是最好的办法是选择专为此而设计的小型大写字母。罗马大写字母虽然不是为此设计，但是用也不会有问题。花式大写也可以。花式大写大部分是用来给你的设计额外的惊喜。花式大写可以后面跟小写字母（最好）,或者用于首字母（次好），但是千万花式和花式不要用在一起，也可以把花式大写和正规的罗马大写用在一起（次次好）。 ....................................................................................
第十六部分：复制粘贴Copy-paste? When you have created a few basic characters, you also want to create the rest of the alphabet. But how? Copy and paste? Euhm, not really. Although, this can help you on the way. 复制粘贴？当你设计了一些基本字母，你可能想要设计剩下的字母表。那怎么做呢？复制，然后粘贴？不是这样的。虽然这可以帮助你。 There are some things which you can do, and some which you cannot do while copy-pasting. Some forms can be just the same. The ascender of the 'l' and 'h' for example. But maybe the bowl of the 'd' and 'q' as well. Once you created a 'd', this could work fine as a starting point for a 'b' and a 'p', by rotating the 'd' 180 degrees. 有些可以，有些不可以。比如“l”和“h”的上伸部，“d”和“q”的字碗，一旦有了“d”，就可以用他来做“b和“p”，通过旋转“b”180°。 Copy-paste should not change the contrast in your typeface. When you make a typeface based on the broad nip, horizontal and vertical flipping will disturb the angle of your contrast, and will destroy your shape. However, by rotating a (part of a) character 180 degrees, the contrast remains perfect and untouched. 复制粘贴不会改变字体的对比度。如果你重新做一个字体，那水平垂直上的不同会影响对比的角度，进而破坏你的外形。但是通过旋转一个已有字母180°就不会这样，对比度仍完美没有被碰触过。 But copy-paste doesn't bring you all the way there. It can work as a starting point, but manual adjustments will be mostly necessary. For example, if you have a 'n', you can quite quickly make a 'm' and a 'h', but also a 'u' (see drawing). Copy, paste and rotate the 'n'. Then cut some serifs, and... not ready yet! If you cut away the serifs, also on the inner side of the 'u', the white space inside the 'u' will get bigger then the white space inside the 'n'. This has to be optically corrected. 但复制粘贴也有不适用的时候，大部分还是需要手动调整。比如，用“n”来很快的制作“m”、“h”和“u”。复制，粘贴然后旋转“n”。然后去掉一些衬线，然后……实际并不是这样。如果你只是去掉衬线，那“u”的内部空间会比“n”要大，这就需要视觉上的调整。 One solution for this could be to make the 'u' a bit more narrow, or maybe another solution could be to make the serif on the top a bit longer (which also makes the innerform smaller of course). Whatever way you do it, make sure the inner forms have (optically) the same amount of white space. Only in that way you'll get a harmonious rhythm in your type.
减少“u”的内部空间，或者让上面的衬线更长点（同样可以达到减少“u”内部空间的目的）。不论什么方法，都要保证内部空间视觉上均衡，这样你才会设计出有着流畅韵律的字体。 .....................................................................................
第十七部分：形状平衡Balance shapes. If you make both of the inner forms (counters) of the 'B' exactly the same, the top counter will optically look bigger. Your character will look plumby, like it's falling down. If you make the top counter smaller than the bottom one, your character looks much more balanced. 形状平衡。当你设计“B”上下两个内部空间的时候，如果上下相同，那上面的视觉上比较大，那你的字母就感觉要倒一样，重心不稳。如果上面比下面小呢，那看起来就平衡多了。 The counter of the 'B' doesn't have to be exactly the same as the counter of the 'P' for example. If you would make them exactly the same, the right sidebearing of the P would be much too big. So you have to balance the black and white spaces in every character separately. However, there must be a relationship between the amount of white space inside a 'B' and inside a 'P'. “B”的内部空间也不必跟“P”一样，不然右边的“P”会大很多。所以你不得不去分别平衡每个字母的黑白空间。但是每个字母内部的空间又是有关系的，比如“B”和“P”。 About making a lowercase 'r': it's not an 'n' with an amputated leg. Your 'r' can get very weak and soft in that way. You can make it much stronger if you let the ending of the 'r' follow the horizontal reading direction. In that way, the space on the right side of the 'r' will be more open, and more balanced. It will not disturb the rhythm of your type because the right sidebearing can be much smaller. The whole letter can be made more narrow as well. As a consequence the white space in the top of the 'r' could be has to be changed. In case you change that form, optically you'll not confuse the 'r' so quickly with the 'n' as well.
关于字母“r”，并不是“n”少一只胳膊。否则你的“r”就会很弱很软。想要强化，可以让“r”结尾和阅读的水平线保持一致，这样“r”右边的空间会更开敞更平衡。这并不会打乱字体的韵律，因为右边的字距其实很小（比如rh），整个字母也可以很窄。这样一来“r”上面的空间也不得不改变。现在你就不会在视觉上把“n”和“r”混淆了吧。 ....................................................................................
第十八部分：字距Kerning. Knowledge about kerning will give a deeper understanding of type. However, forget about kerning for now, spend your time on other things. It's much more important to properly space your characters. 字距。了解字距会对字体有更深一步的认识。但是，我们先不说这个，先说说怎么把你的字体 A kerning pair is a technical issue for optical reasons. Simply said: when one certain character is followed by another character you can define a different space in between these two characters. This space can vary from the the normal spacing (right sidebearing of the first character + left sidebearing of the second character). The difference can be
you can add more space for a certain combination or you can reduce the space. A kerning pair can technically be implemented in a digital font file. 简单来说，当2个字母用在一起，你可以给它们定义不同的间距。这个间距可以不同于正常的间距（第一个字母的右边+第二个字母的左边）。间距可以是正的也可以是负的。你可以增加间距或者减少间距。在技术上间距对可以应用在字体文件上。 In some cases kerning is inevitable and necessary. When a capital 'A' is followed by a lowercase 'v', a big white space will appear which cannot be solved by adapting the spacing of the characters. Changing the spacing would mess it up when they would be combined with other characters again. For this occasion a kerning pair is needed (see drawing). In the sketch you only see some examples where the kerning pair
reducing space. But you can also imagine a positive kerning pair when a 'f' is followed by a "f)". More space has to be added to avoid those characters overlapping eachother. 在一些情况下，间距是必然的必需的。当大写字母“A”后面跟小写字母“v”的时候，它们之间就会有很大的空白。改变它们的正常间距，就会出现跟其他字母搭配时混淆。在这种情况下，间距对出现了。在我的手绘稿上，可以看到，间距对是负空间，也就是减少空间。当然也有正空间的间距对，比如“f”后面跟“)”，这就需要更多空间来避免它们相互打架。 ....................................................................................
第十九部分：连字Ligatures. In a very few cases they are essential. Some well known ligatures are 'fi' and 'fl'. The inevitable need for a ligature is depending on the design of a font. Not every typeface will need a ligature for a 'fi' combination. But in some cases the dot of the 'i' is interfering with the 'f'. Get rid of all that annoying row but making a ligature, one glyph which represents two (or more) characters. Next to a functional aspect, there is an aesthetic aspect of ligatures. You could create a ligature for a 'st' combination, or maybe for 'nky' or 'ism'. Anything is possible. Admitting that also this is not the most urgent issue in type design, it's another obstacle on the road to perfection! 连字。在一些情况下，这是很重要的。比较熟知的像“fi”和“fl”。连字的需求取决于字体设计。并不是每一种字体都不要“fi”的连字。但是在有些情况下，“i”的点和“f”会相互冲突。这时候就需要连字，用一个字形来代替2个字母。除了功能上的需要，连字有时候也是美学上的需要。你可以为“st”、“nky”、“ism”设计连字组合。一切都有可能，在字体设计中这并不是最重要的，他只是通往完美的路上的一个小障碍而已。
楼主有心人啊·~~赞一个！
楼主你如果有机会的话可以把你绘画的过程录下高清视频分享出来么 拜托了
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