在Adelle Sans Latin首次出版近十年后，我们自豪地宣布Adelle Sans字体家族增加了更多的文种。通过三十多位专家的共同努力，Adelle Sans支持11种书写系统和400多种语言，使其成为国际品牌和产品在数字和现实世界的首选字体。我们很高兴地再次展现我们的多文种Adelle Sans字体家族无与伦比的全球影响力。
Nearly a decade after Adelle Sans Latin was first published, we are proud to share with you our even-more-expanded multiscript Adelle Sans family. Designed through the joint effort of now three dozen experts, Adelle Sans supports eleven writing systems and over 400 languages, making it the go-to typeface for international brands and products in the digital and physical world. We are excited to invite you — again — to see the unparalleled global reach of our multiscript Adelle Sans family.
Adelle Sans配有粗衬线和等线体，做为工具可以应对最苛刻的界面设计需求，也可以为复杂的排版布局提供灵活性，它还具备亲和力的性格，在屏幕上具备卓越的可读性。在最新版字体中，它还增加了一套专门为电子出版物使用的图标。Adelle Sans是全球品牌和产品的理想字体，这要归功于它将字体和语言无与伦比的融合在一起。拉丁文支持泛欧洲、泛非洲和越南文，涵盖400多种语言。此外，来自世界各地的设计师共同创造了Adelle Sans的阿拉伯文、亚美尼亚文、中文、西里尔文、天城体、希腊文和泰文。本月将发布格鲁吉亚文、希伯来文和老挝文版本，目前正在开发孟加拉文。
Together with its slab-seriffed and monospaced siblings, Adelle Sans provides the tools and flexibility to create the most demanding interfaces and complex typographic layouts, all while offering a friendly personality and exceptional readability on screens. In its latest edition, it has been equipped with a suite of icons designed specifically for electronic publications. Adelle Sans is the ideal typeface for global brands and products, thanks to its unparalleled script and language repertoire. The Latin has pan-European, pan-African, and Vietnamese support, covering over 400 languages. In addition, designers from around the world have come together to create Arabic, Armenian, Chinese, Cyrillic, Devanagari, Greek, and Thai counterparts of Adelle Sans. This month will see the release of Georgian, Hebrew, and Lao versions, with Bengali currently under development.
DEFINING SANS SERIFS定义无衬线体
杰拉德·昂格尔博士曾说：“无衬线字体是一种很微妙的东西。”从读者或平面设计师的角度来看，这可能是一个令人费解的说法，甚至是一个矛盾的说法——而他本人既是一个图书爱好者，也是一个非常成功的设计师。字体的使用者会很自然的根据不同的使用方式来定义无衬线字体：它们可能看起来很结实、严肃、机械，或者在最糟糕的情况下，甚至是中性的。昂格尔博士通过字体设计师的的眼睛放大局部来看问题，他是在解释字体所需要的极致的精确度和精心的调整。
Dr Gerard Unger once said, “Sans serifs are delicate things.” This may seem a puzzling statement, even an oxymoron, from the perspective of a reader or a graphic designer — and he was both a book lover and a very successful designer himself. As a type user it is more natural to define sans serifs differently: they may look sturdy, serious, mechanical, or, in the worst cases, even neutral. But Dr Unger was seeing things through a type designer’s loupe, and he was merely explaining the enormous level of precision and careful adjustment these typefaces entail.
关于“衬线体”和 “无衬线体”的通用分类现在看显然具有历史局限性和模糊性。首先，有大量的字体不属于这两个类别，但更重要的是，这些术语并不足以描述任何这两类的字体。
By now in history it is clear that the generic categories “serif” and “sans” are simultaneously limiting and vague. First, there is a wide range of typefaces that fall well outside these two groups. But more importantly, these terms are insufficient to describe any typefaces that do fall inside.
历史上的字体分类法或正式的字体分类法，如Thibodeaux分类法或Vox分类法，在一定程度上详细描述了衬线体衬线的形状和大小、应力角度和笔画粗细对比数量，并创造了我们今天仍然使用的术语，如Garalde、Didone或Transitional。除此之外，他们未能对无衬线体进行同样的描述。
The historic or formal classification systems like Thibodeaux’s or Vox’s got into some level of detail to describe serif typefaces by the shape and size of serifs, stress angle, and amount of stroke contrast, and coined terms we still use today like Garalde, Didone, or Transitional. They failed, among other things, to do the same for sans serif styles.
部分问题可能出在其描述本身。“无衬线”告诉我们这个字体不是什么（没有衬线），而是是什么。它并未说明其结构、其垂直或水平比例、其运笔的速度以及它们的微妙笔画粗细对比。它也没有说明它的个性，其在阅读过程中呈现的语气和音量，有识别性的字形，或者其文化、历史和形态学联系。
Part of the problem is likely in the descriptor itself. “Sans serif” is telling us what the font is not (without serifs) rather what it is. It does not say anything about its construction, its vertical or horizontal proportions, the speed of the strokes, and their subtle contrast. It also fails to say much about its personality, the tone and volume with which it talks to the reader, its recognizable glyphs, or its cultural, historical, and morphological connections.
我想到的在字体命名中使用“无衬线”词缀的第一个例子是Eric Gill的设计，在数字时代，当字体厂商开始创建超级家族，以提高商业特许经营销售的成功率时，它才真正变得必要。把一个成功的衬线字体，砍掉衬线，并制造出一系列无衬线的字体，利用已有的名称。这是拉丁文字体设计中合理的、可以预见的演变过程，但是有经验的字体设计师知道，仅仅去除衬线并不能保证做出伟大的设计。
The first use of the “sans” suffix in font naming that comes to mind is Eric Gill’s design, but it really became necessary in the digital era, when type foundries started creating super families to improve their commercial sales based on successful franchises. Take a successful serif typeface, chop off the serifs, and make a wide range of sans weights to capitalise on the established name. This is a reasonable and expected evolution in Latin font design, but experienced type designers know that simply removing serifs is not enough to justify great design.
继2009年发布广受欢迎的Adelle字体家族之后，我们开始着手开发一个新的、独立的无衬线字体家族，并命名为Calandra。我们希望它能成为适合Adelle的伴侣，这也是当时客户的普遍要求，但我们知道简单地切掉Adelle的衬线并不是创作的正确方式。Adelle在当时非常受欢迎，所以将这个新家族命名为Adelle Sans在商业上是有意义的。我们知道，它需要为我们的零售库带来一些新鲜的、令人兴奋的和永恒的东西——它必须是一个新颖的设计，而且本身就应该是一个成功的字体。
On the heels of our popular Adelle family, released in 2009, we began work on a new and independent sans serif family we named Calandra. We wanted it to be a suitable companion to Adelle, which was a common request from our clients back then, but we knew simply severing Adelle’s slabs was not the right way of handling its creation. Adelle was very popular at that time, so naming this new family Adelle Sans made sense commercially. We knew it needed to bring something fresh, exciting, and timeless to our retail library — it had to be a novel design and a successful font in its own right.
TypeTogether的观点是，成功的字体匹配需要在不同的风格之间有一定程度的张力，这不可能用那些大量相互模仿的字体来完成。（阅读我们的字体匹配文章可以了解相关内容）。我们决定给Adelle（粗衬线）设计一个温暖的伙伴，因此我们倾向从19世纪末的怪诞风格中寻找灵感。
From TypeTogether’s perspective, successful font matching requires some level of tension between the different styles, which is impossible to accomplish with typefaces that mimic each other too much. (Read our font matching article to learn more.) We decided that Adelle (slab) needed a warm and welcoming partner and thus we leaned toward grotesque styles from late 19th century for inspiration.
我们没有重新诠释冷冰的新怪诞体风格（又是Helvetica），而是着手为Adelle Sans注入一些个性和人文主义特征，让人感觉平易近人。这样一来，无衬线体就会吸取粗衬线体的有机特征，共享其垂直比例和笔画平衡，但又有自己的腔调。
Rather than re-interpreting the cold neo-grot style (Helvetica, again), we set out to infuse Adelle Sans with some personality and humanist traits that would feel approachable. Thus the sans would pick up on the organic features of the slab, share its vertical proportions and stroke balance, but have its own voice.
我们在2009年发布了Adelle，并在2012年发布了其无衬线体的对应版本。这两个字体家族在文本字符量大的排版应用中都非常成功，例如杂志和报纸，两个字体家族有时一起使用，有时单独使用。但是，当TypeTogether为企业和机构的本地化提供多文种支持时，Adelle Sans发挥了主导作用。
We released Adelle in 2009 and its sans serif counterpart followed in 2012. Both type families were very successfully implemented in intensive editorial applications such as magazines and newspapers, sometimes together and sometimes solo. But it was Adelle Sans that would take a leading role as TypeTogether committed fully to multiscript support for corporate and institutional localisation.
Adelle和Adelle Sans被César Sesio大胆地用于Móvil的宣传材料中，Móvil是一个位于阿根廷布宜诺斯艾利斯的以艺术为核心的非盈利和非商业组织。照片由Santiago Porter提供
2014年，瑞士工会SIT重新设计了它的报纸《Sit-info》，使用了Adelle和Adelle Sans的组合，此后他们一直使用这两个家族，在最新一期的报纸上也可以看到
A WIDE AND DIVERSE WORLD一个丰富多彩的世界
随着对Adelle Sans的可能性的挖掘，我们增加了更多的文种，我们很快就发现，Adelle Sans不仅仅是一种编排领域的宝库，是衬线体的陪衬；它本身就能够吸引人们的注意力。事实上，正是使用它的设计师和开发人员将其视为一种更广泛的交流工具，将它用于VI项目和UI以及其他广泛的用途。幸运的是，我们自己对复杂文种和全球文字应用的兴趣与我们客户的要求完美地结合在一起。世界正在迅速缩小，他们需要能说表达更多语言的字体。
As we explored the possibilities with Adelle Sans and added more scripts, it quickly became clear that Adelle Sans was more than an editorial asset, the pal to the leading role; it was itself able to capture the limelight. In fact, it was the designers and developers using it who saw it as a broader communications tool, implementing it for corporate identity programs and digital user interfaces among other wide-ranging uses. Fortunately, our own interests in complex scripts and global typography matched to perfection the requirements from our customers. The world was rapidly shrinking and they needed fonts that could speak many languages.
当然，说起来容易做起来难。
This is, of course, easier said than done.
世界少数民族语文研究院SIL有两项举措以帮助我们了解人类交流是多么奇妙、复杂和多样化。第一个是民族语，它将世界上的语言数量归为7000种左右。这个数字正在迅速缩小，因为许多语言的使用者还不到1000人。从版面角度来看，这些语言中只有一部分有书面形式。SIL的第二项举措是一个包含书写系统信息的网站ScriptSource。它列出了272种文字，其中148种目前正在使用。
There are two initiatives by the Summer Institute of Linguistics (SIL) that help us understand how marvelous, complex, and diverse human communication is. The first one is Ethnologue, which puts the amount of languages in the world around 7000. A number that is shrinking quickly as many languages have less than 1000 speakers. From the typesetting point of view, only a percentage of these languages have a written form. The second SIL initiative is ScriptSource, a website that contains information about writing systems. It lists 272 scripts, with 148 of them currently in use.
一个单一的书写系统可以用于许多语言。例如，西里尔文字被用于记录俄语和保加利亚语，而阿拉伯文字被用于记录波斯语和乌尔都语。一些书写系统使用变音符号的扩展机制，能够支持更多语言。拉丁文字尤其如此，它的基本字符集支持大量的欧洲语言，但要支持越南语、约鲁巴语或丁卡语，则需要大量的扩展字符。（想了解更多这方面的信息，请看这篇文章，Filip Blasek解释了基于拉丁文字的语言排版的特殊性。）
A single writing system can be used for many languages. For example, Cyrillic is used for both Russian and Bulgarian while Arabic is used for Persian and Urdu. Some writing systems use the extension mechanisms of diacritical marks or additional signs to be able to support more languages. This is especially true with Latin which supports a good number of European languages with its basic character set, but requires extensive additions to support Vietnamese, Yoruba, or Dinka. (To read more about this, take a look at this article, where Filip Blasek explains the peculiarities of typesetting in Latin-based languages).
Adelle Sans在11个文种中支持的语言的大致列表。
ELEVEN WRITING SYSTEMS11种书写系统
Adelle Sans目前支持11种书写系统——涵盖几百种语言的11种文字——我们希望这个数字能够不断增长。我们根据自己的兴趣和能力来选择它们，同时均衡考虑世界版图的地区而非以国家为单位，试图满足尽可能多的用户。
Adelle Sans currently supports 11 writing systems — 11 scripts covering several hundred languages — a number we hope to keep growing. We selected them based on our own interests and abilities, balanced against thinking about the world’s regions rather than its countries, always trying to reach as many speakers as possible.
对于每一种书写系统，我们都找到了能够对Adelle Sans语言进行正确文化解读的语言学家、顾问和当地设计师，并与他们进行了合作。目前这个项目的合作者名单上已经有35个名字。这里有一些他们的观点。
For each of these writing systems we found and collaborated with linguists, consultants, and local designers who could make a correct cultural translation of Adelle Sans’s voice. The current credit list for collaborators on this project already includes 35 names. And here are some of their voices.
Liron Lavi Turkenich，Adelle Sans（希伯来语）的设计师：
Liron Lavi Turkenich, designer of Adelle Sans Hebrew
“为现有文字设计匹配是一项微妙的平衡工作：既要与拉丁文字和其他文字相协调，又要忠于书写系统。设计希伯来文字往往会遇到一个普遍存在的挑战。因为希伯来文字符偏方形，因此要创造出既能赋予它拉丁文字圆形的灵活性，又不会让希伯来字体变得卡通化，并不是一件容易的事。”
“Designing a companion to an existing script is a delicate work of balance: harmonising with the Latin and other scripts while staying loyal to the writing system. Designing Hebrew tends to present a general challenge. Since the characters lean toward squareness, it is not an easy task to create forms that will give the round flexibility the Latin has without making the Hebrew cartoonish.”
Vera Evstafieva，Adelle Sans（西里尔语）的设计师：
Vera Evstafieva, designer of Adelle Sans Cyrillic
“我对Adelle Sans的个人印象是，它的紧凑性与封闭的开合度相结合，很有吸引力，它的气质和音调都很细腻，但却自信地站在基线上，用弯曲的笔画端点抓住文本表面。”
“My personal impression of Adelle Sans is that it’s attractive with its compactness combined with the closed apertures, it is delicate by temperament and intonation but stands confidently on the baseline, catching the surface with curvy terminals.”
Pooja Saxena，Adelle Sans（天城体）的设计师：
Pooja Saxena, designer of Adelle Sans Devanagari
“由于天城体无处不在的头线、更紧致的字形和与拉丁文字相反的字轴倾斜角，天城体与拉丁文字并不容易同质。但是，通过平衡理性与活力的共同方法，Adelle Sans在保持自身特色的同时，协调了这两种文字。广泛的字重维度令人印象深刻，它可以让天城体悄悄絮语，或者带来真正的冲击。”
“With its omnipresent headline, busier shapes, and opposite conventional angle of stress, Devanagari doesn’t make easy bedfellows with Latin. But through a common approach of balancing rationality with spiritedness, Adelle Sans came to harmonise the two scripts while staying true to itself. The extensive weight range is impressive, and its allows Devanagari text to quietly whisper or pack a real punch.”
Akaki Radmadze，Adelle Sans（格鲁吉亚语）的设计师：
Akaki Radmadze, designer of Adelle Sans Georgian
“可用于格鲁吉亚文字的字体系列不多，尤其设计师和用户都喜爱的传统怪诞体。Adelle Sans的格鲁吉亚文字与原有的拉丁文字风格自然和谐。将已有的特点以及自然的形态结合起来，用于其他字体是相当具有挑战性的。格鲁吉亚字符在Adelle Sans中拥有所有这些和谐的感觉，我相信格鲁吉亚的用户会喜欢使用这款字体。”
“There are not many font families available for Georgian script, especially traditional grotesque typefaces loved by designers and users equally. Georgian characters for Adelle Sans are simultaneously natural and harmonious with the original Latin style. Combining the original characteristics as well as natural forms for additional scripts is quite challenging. Georgian characters have all these harmonious feelings in Adelle Sans and I am sure Georgian users will love to use the typeface.”
Anuthin Wongsunkakon，Adelle Sans（老挝语）和Adelle Sans（泰语）的设计师：
Anuthin Wongsunkakon, designer of Adelle Sans Lao and Adelle Sans Thai
“与TypeTogether合作总是快乐的。就像和你很熟悉的老朋友一起工作，在她提出需求之前就能猜到她要什么。”
“Collaborating with TypeTogether is always a joy. It was like working with an old friend you know so well that you know what she needs before she even asks.”
Gor Jihanian，Adelle Sans（亚美尼亚语）的设计师：
Gor Jihanian, designer of Adelle Sans Armenian
“独特的亚美尼亚文字源于悠久、传统的历史，但它不能轻易地用衬线和无衬线的拉丁文字分类模式来划分——正是在这个灰色地带，新的Adelle Sans Armenian找到了新的声音。”
“The unique Armenian script stems from a long history of traditions, yet it cannot be easily defined within the Latin classification models of serif and sans serif — it is in this grey area that the updated Adelle Sans Armenian finds a new voice.”
仇寅（方正字库）：
Qiu Yin (FounderType)
“方正兰亭黑的设计理念与Adelle Sans一致。字符中有更多的留白，它清晰活泼，结构稳健，重心和字体版面灰度均匀。笔画是有机的、简洁的、有力的和有丰富细节的。”
“FZ Lantinghei’s design concept is consistent with Adelle Sans. There is more white space in characters, it is clear and lively, robust in structure, and has an even centre of gravity and typographic colour. Strokes are organic, concise, powerful, and detailed.”
Azza Alameddine，Adelle Sans（阿拉伯语）的设计师：
Azza Alameddine, designer of Adelle Sans Arabic
“拉丁文字的Adelle Sans字体家族字身简洁和灵动的形状可以对阿拉伯文字的版面灰度和感觉进行优雅的转译，与整体功能、目的和文化意识相匹配。”
“The Adelle Sans family’s naturally clean and spirited shapes lend themselves to a graceful Arabic translation of the colour and feel of the Latin, matching the overall functionality, purpose, and cultural awareness.”
OPENTYPE SUPERPOWERSOpenType超能力
因为Adelle Sans拉丁文字是与随后的每个文种都一一搭配，购买全球任何一个字体至少可以得到两个文种。每个拉丁文字版本的字体都支持超过150种语言和大量的附属形式：小型大写字母、连字、上下文替换字符、各种数字（不等高数字、等高数字、比例宽度数字、表格宽度数字、分母和分子数字、分数数字、上标和下标数字、替用分数数字，以及等高、不等高不等宽、等宽等高数字、等宽不等高、小型大写等五套数字、带斜线的零等），以及本地化形式（加泰罗尼亚语、土耳其语、罗马尼亚语和荷兰语专用拉丁文字字形）、箭头、符号和一套用于社交媒体的图标。
Because the Latin is included alongside each of the subsequent Adelle Sans scripts, buying one global script will at least get you those two. Each Latin version comes with support for more than 150 languages and plenty of typographic goodies: small caps, ligatures, contextual alternates, a wide range of figures (oldstyle numerals, lining figures, proportional figures, tabular figures, denominators & numerators, fractions, superiors & inferiors, alternative fractions, historical forms, 5 sets of figures, slashed zero, etc.), as well as localised forms (Catalan, Turkish, Romanian, and Dutch), arrows, symbols, and a set of social media icons.
此外，每种文字都包括风格化的替用字形（如格鲁吉亚文字和拉丁文字扩展）、本地化替用字形（马拉地语和尼泊尔语的天城体字形；保加利亚语、乌克兰语和塞尔维亚语的西里尔文字形）、连字形式（泰文、亚美尼亚文）、上下文字形替换（亚美尼亚文）和标点符号（中文）。
Additionally, each script includes stylistic alternates (like in Georgian and Latin Extended), localised alternates (Marathi and Nepali in Devanagari; Bulgarian, Ukranian, and Serbian in Cyrillic), ligatures (Thai, Armenian), contextual alternates (Armenian), and punctuation (Chinese).
Adelle Sans字体家族的每一种字体都包括其特定的货币符号：格鲁吉亚文字的拉里；拉丁文字扩充中的越南盾、法郎和奈拉；西里尔文字的卢布；天城体的卢比；亚美尼亚文的德拉姆；老挝文的基普；希伯来文的新谢克尔；泰文的泰铢；当然还有拉丁文和希腊文的欧元。
Each script of the Adelle Sans family includes their specific currency: lary sign in Georgian; dong, French franc, and naira in Latin Extended; ruble in Cyrillic; rupee in Devanagari; dram in Armenian; kip in Lao; new shekel in Hebrew; baht in Thai; and of course euro in Latin and Greek.
在这个更新的版本中*，有设定好的风格化的字形集。这就是说，只需选择相应的风格，这个设定就可以同时应用于几个文种、字体和家族，而不会相互冲突。未来的文种和未来的风格集在发布时将被添加到建构的方案中。桌面出版应用支持的话，它们有专有名称，可以说明它们的作用。
In this new update* the stylistic sets are organised. This means that simply by applying stylistic sets, several scripts, fonts, and families can be used at the same time without them clashing into each other. Future scripts and future stylistic sets will be added into the organisation scheme when they are published.
[*注意：不是在所有的文字中都实施；天城体、希腊文字和阿拉伯文字尚未更新。］
[*NOTE: not implemented in all scripts; Devanagari, Greek, and Arabic have not been updated.]
以下是你将在Adelle Sans字体家族中发现的一些OpenType特性。
Here are some of the OpenType features you will find in the Adelle Sans family
从上到下，从左到右。格鲁吉亚拉里，西里尔卢布，亚美尼亚德拉姆，土耳其里拉，美分和美元，欧盟的欧元，英镑，以色列新谢克尔，老挝基普，越南盾，泰铢，尼日利亚奈拉，法国法郎，日元和印度卢比。
SS01: 箭头
SS02：图标
SS04：替用“l”字形。一个圆形的版本，有助于可读性。
SS08: 保加利亚语的替用形式出现在Adelle Sans Cyrillic中。
SS09：格鲁吉亚语的替用形式出现在Adelle Sans Georgian中。
本地化形式：加泰罗尼亚语。
数字形式：不等宽不等高数字，等宽不等高数字，不等宽等高数字，等宽等高数字。
本地化形式：马拉提语。
Adelle Sans现在有一套经过修改的27个社交媒体图标，作为新的和更新的家族（拉丁文字、格鲁吉亚文字、亚美尼亚文字、老挝文字、希伯来文字和西里尔文字）的一部分。现有的图标已被更新，以更好地适应整个家族，并增加了新的图标（Tiktok, Mastodon, Baidu, Telegram, Wechat等）。
Adelle Sans now has a revamped set of 27 social media icons as part of the new and updated families (Latin, Georgian, Armenian, Lao, Hebrew, and Cyrillic). The existent icons have been updated to fit better with the entire family and new ones have been added (Tiktok, Mastodon, Baidu, Telegram, Wechat, etc.).
CREATING SYNERGY创造协同效应
TypeTogether的基础的很大一部分是我们对设计的合作方式。它甚至是我们公司名称中最重要的部分。但是，如果没有信任、慷慨和对文化多样性的最大尊重，这样的合作计划是不可能实现的——所有这些价值都是我们喜欢称之为善缘的一部分。
A large part of TypeTogether’s foundation is our collaborative approach to design. It’s even the most important part of our company name. But such a collaborative scheme cannot be achieved without trust, generosity, and the utmost respect for cultural diversity — all values that are part of what we like to call good karma.
值得庆幸的是，我们处在正确的时间和地点，因为在21世纪，国际论坛和教育机构的增加为一个健康和世界性的文字设计的合作的发展奠定了正确的基调。我们很容易找到来自世界各地志同道合的专业人士。他们中的一些人成为我们的核心团队的一部分，这个团队分布在许多不同的时区，从北京开始到堪萨斯城。还有一些人在特定的项目上与我们合作，更多的人位列我们在字体设计会议上与之交流的一长串设计师名单里。
We were at the right place and time, thankfully, as the 21st century saw an increase of international forums and educational institutions setting the right tone for the development of a healthy and cosmopolitan typographic community. It was easy for us to find like-minded professionals from all over the world. Some of them became part of our core team, which is spread across many different time zones, starting in Beijing and ending in Kansas City. Others collaborated with us on specific projects, and many more became part of a long list of colleagues we love to hang out with at any typography conference.
正是这个由设计师和顾问组成的合作网络，使我们能够自信地为那些非我们本土的文种发布字体，并促使我们以一种深入和尊重的方式了解它们。对于这些同事，我们想说的不仅仅是我们的感激，而是在这个过程中，我们非常荣幸有你们的相伴、你们的技艺和友谊感到非常荣幸。
It was this collaborative network of designers and consultants that allowed us to confidently publish typefaces for scripts that were not native to us, and it pushed us to learn about them in a deep and respectful way. To these colleagues we want to say, not just that we are grateful, but how grateful we are to have been honoured by your presence, skills, and friendship throughout this process.
而现在，距离Adelle Sans的首次发行已经过去了九年，让我们按下暂停键静止几分钟，看看我们走过的路，我们为一起取得的成就感到高兴和自豪。但真正让我们感动的是前面的路，以及它将带我们去的远方——进入一个更多互联和协作的世界，一个业力良好和沟通清爽的世界。加入我们，让我们继续一起做字儿！
And now, nine years from the first release of Adelle Sans, we are pausing for a few minutes to look at the path behind us, happy and proud of what we’ve accomplished together. But what really moves us is the road that lies ahead and where it will take us — into a more connected and collaborative world, one where karma is good and communication is clear. Join us and let’s continue to do type together!
CREDITS工作人员名单
Type Design
字体设计
Azza Alameddine (Arabic)
阿扎·阿拉梅丁（阿拉伯文）
Veronika Burian
维罗尼卡·布里安
Suppakit Chalermlarp (Lao)
苏帕吉·查勒姆拉普（老挝文）
Jan Charvát (Georgian)
扬·查瓦特（格鲁吉亚文）
Yan Cui, FounderType (Chinese)
崔艳，方正字库（中文）
Vera Evstafieva (Cyrillic)
维拉·埃夫斯塔菲耶娃（西里尔文）
Roxane Gataud (Latin Extended)
罗克珊·加陶（拉丁文扩展）
Gor Jihanian (Armenian)
戈尔·吉哈尼安（亚美尼亚文）
Erin McLaughlin (Devanagari)
艾琳·麦克劳克林（天城体）
Octavio Pardo (Cyrillic)
奥克塔维奥·帕尔多（西里尔文）
Li Qi, FounderType (Chinese)
齐立，方正字库（中文）
Akaki Radmadze (Georgian)
阿卡基·拉德马泽（格鲁吉亚文）
Pooja Saxena (Devanagari)
普加·萨克森（天城体）
José Scaglione
何塞·斯卡廖内
Vaibhav Singh (Devanagari)
瓦巴夫·辛格（天城体）
Smich Smanloh (Thai)
斯米奇·斯曼洛（泰文）
Shipeng Su, FounderType (Chinese)
苏士鹏，方正字库（中文）
Liron Lavi Turkenich (Hebrew)
利隆·拉维·图尔肯尼奇（希伯来文）
Irene Vlachou (Greek)
艾琳·弗拉乔（希腊文）
Junfang Wang, FounderType (Chinese)
王军芳，方正字库（中文）
Anuthin Wongsunkakon (Thai)
阿努廷·翁森卡孔（泰文）
Consultancy
顾问
Pilar Cano (Thai)
皮拉尔卡诺（泰文）
Vera Evstafieva (Cyrillic)
维拉·伊夫斯塔菲娃（西里尔文）
Borna Izadpanah (Arabic)
博尔纳·伊扎德帕纳（阿拉伯文）
Alexandra Korolkova (Cyrillic)
亚历山大·科罗尔科娃（西里尔文）
Ben Mitchell (Lao & Thai)
本·米切尔（老挝文和泰文）
Dr Don Osborn (Latin Extended)
唐·奥斯本博士(拉丁文扩展)
Hrant Papazian (Armenian)
赫兰特·帕帕齐安（亚美尼亚文）
Fiona Ross (Arabic & Devanagari)
菲奥娜·罗斯（阿拉伯文和天城体）
Vaibhav Singh (Devanagari)
瓦巴夫·辛格（天城体）
Adi Stern (Hebrew)
阿迪·斯特恩（希伯来文）
Aleksander Sukiasov (Georgian)
亚历山大·苏基亚索夫（格鲁吉亚文）
Translation & proofreading
翻译和校对
Shani Avni (Hebrew)
沙尼·阿维尼（希伯来文）
Vera Evstafieva (Cyrillic)
维拉·伊夫斯塔菲娃（西里尔文）
Sirin Gunkloy (Thai)
西林·甘克洛伊（泰文）
Gor Jihanian (Armenian)
戈尔·吉哈年（亚美尼亚文）
Zhao Liu (Chinese)
刘钊（中文）
Akaki Radmadze (Georgian)
阿卡基·拉德马泽（格鲁吉亚文）
Sengkeo Vangxiengvue (Lao)
胜科·万象武（老挝文）
Quality assurance
质量保障
Azza Alameddine
阿扎·阿拉梅丁
Ben Mitchell (Thai & Lao)
本·米切尔（老挝文和泰文）
Engineering
工程师
Joancarles Casasín
琼卡尔斯·卡萨辛
Suppakit Chalermlarp (Lao)
Ying Luan (Chinese & Latin)
栾英（中文和拉丁文）
Pooja Saxena (Devanagari)
普加·萨克森（天城文）
Smich Smanloh (Thai)
斯米奇·斯曼洛（泰文）
Sonja Stange (Greek)
索尼娅·斯坦奇（希腊文）
Graphic design
平面设计
Rabab Charafeddine
拉巴·查拉费丁
Roxane Gataud (Arabic)
罗克珊·加陶（阿拉伯文）
Pooja Saxena (Devanagari)
普加·萨克森（天城文）
Mint Tantisuwanna (Thai)
明特·坦提苏旺纳（泰文）
Elena Veguillas (Art Editor)
埃琳娜·维吉拉斯（艺术编辑）
Motion Design
动态设计
Cecilia Brarda
塞西莉亚·布拉达
Copywriting
文案
Joshua Farmer
约书亚·法玛尔
译者：朱奎(ZHU Kui)
审校：刘钊（LIU Zhao）、姜兆勤(Kushim JIANG)
编者按：
随着设计全球化进程的推进，方正字库积极应对各种机遇与挑战，与国际知名字体厂商Typetogether的合作不断深入。一方面，方正字库积极引进Typetogether发布的经典字体及新品字体，为国内的设计师提供越来越多的用字选择；另一方面，方正字库与Typetogether携手，为品牌打造专业的西文字体定制服务。
1.字体引进
为了使中国设计师更加便捷地选用西文字体，方正字库携手Typetogether，将多款优质西文字体进入国内，不仅满足了设计师的多元化用字需求，也为字体用户拓宽了国际化视野。在为设计师提供字体选择的同时，引入国内的西文字体也极大地丰富了方正字库的产品储备。
多款西文字体：LAIMA、LFT ETICA MONO
可变字体：PROTIPO
Adelle Sans Chinese
面对日益加强的国际文化交流，熟练地掌握西文字体的排版，以及中西文字体混排规则，对中国设计师来说是一项必须掌握的技能。方正字库与Typetogether还通过多语言字体匹配尝试，实现中文和拉丁文在多语言排版下的平衡与和谐，减轻设计师在中西文混排时所面临的困扰。
方正字库与Typetogether 多款中西文字体的搭配展示（可左右滑动查看）
2.西文定制服务
在定制服务层面，Typetogether作为方正字库的长期合作伙伴，与方正字库携手为客户提供高质量的西文及多语种字体设计及咨询服务。
助力吉利汽车品牌形象升级，方正字库与Typetogether合作推出了吉利汽车Geely Sans字体。
vivo项目中，在原有拉丁文字体风格的基础上，方正字库和Typetogether共同开发了包含希腊文、西里尔文和阿拉伯文在内的3款vivo Type定制小语种字符，为vivo品牌的全球化发展贡献了一份力量。
在方正字库的邀请下，Typetogether的设计专家还曾在坚果手机Smartisan T 黑、长安引力体、美团体等品牌定制项目中担纲西文设计顾问。
Smartisan T 黑
长安引力体
美团体
未来，方正字库还将与Typetogether继续深入合作，在引进优秀西文字体的同时，加快开发中西文适配字体的脚步，继续为定制企业打造标准化的专用字体，为用户提供更专业、更全面的用字服务。
关于Typetogether
Veronika Burian和José Scaglione在雷丁大学修习字体设计专业硕士学位时相识，两人随后于2006年共同成立了独立字体设计公司 TypeTogether。
TypeTogether 致力于提供高品质的字体设计，并通过合作的方式开发新字体项目。因此取 Type（字体）和Together（共同），组合作为公司名字。
TypeTogether 主要关注如何为专业的文本字体市场寻求创新、时尚的设计方案，并将重点放在编辑文本所用的字体上。设计在连续阅读中表现良好的字体，同时又独具风格，并拥有卓越的技术性能。TypeTogether 的产品和工作质量已经在不少国际比赛中获得认可，其中包括众多“字体指导俱乐部”（TDC）和“欧洲设计”（ED）的奖项。
创始人介绍
Veronika Burian
Veronika Burian 毕业于英国雷丁大学字体设计专业，获得硕士学位。曾任职于 Dalton Maag，为沃达丰 (Vodafone，跨国性的移动电话营办商，现为世界上最大的流动通讯网络公司之一 )、Winterthur （保险公司）、UK National Lottery（英国国家彩票 ） 制作定制字体。现为独立字体设计厂商TypeTogether 联合创始人，发表了多款屡获殊荣的字体，并为各种客户提供定制字体合作。
José Scaglione
José Scaglione是一名字体设计师、作家、讲师，与Veronika Burian共同为独立字体厂商 TypeTogether的创始人，设计发表了许多获奖的字体家族产品。他在阿根廷的布宜诺斯艾利斯大学教授字体设计与排版学，并经常受邀于国际知名字体大会与学术机构，担任有关字体设计与排版学的演讲嘉宾与工作坊负责人。José参与合著了《如何创建字体：从草图到屏幕》、《可读性和排版》、《文本合成》，并与Jorge de Buen Unna合作撰写了《字体排印导论》一书。2012年，José担任了Letter.2 字体设计竞赛和大会的主席，2013年至2017年，他被任命为国际文字设计协会（ATypI）主席。
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Adelle Sans Chinese 背后的历史
西文字体推荐：LAIMA、 LFT ETICA MONO
字体获取方式
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