写作方法2017ia.net
寻找完美的写作字体
In search of the perfect writing font
导读
这是 iA 团队关于"理想写作字体"的探索文章，讨论等宽与比例字体的取舍、字符自然宽度不一致的问题，以及他们如何为写作工具挑选字体。对写作者而言，它真正的价值不在字体本身，而在提醒我们：纠结工具往往是拖延写作的借口。
可以直接用的写作要点
- 01
不要在字体、编辑器、排版这些工具细节上花太多时间，先动手写，写起来五分钟后就忘了字体的事。
- 02
初稿阶段追求"设计感"是典型的自我阻碍，先产出一份粗糙的初稿，再迭代修改，比等待完美条件更有效。
- 03
技术类写作要有具体的示例支撑：讲字体就给出整段文字的样张，否则再长的篇幅也显得空洞。
- 04
术语要先定义再使用，反复用一个没解释的词会消耗读者的耐心。
HN 评论精选
纠结字体和排版是拖延的借口，先写起来比什么都重要。
我以前总告诉自己，没有完美的字体就没法写代码或写作，结果花几个小时找字体，什么活都没干。真开始工作五分钟后，字体的事就完全忘了。我有个挺懒的朋友，几年来说要我帮他开博客，我答应他先写出一批内容再说，他却总说设计不够好看就写不出来。要是他早点动手，现在早就有粗糙的初稿、几版修改稿，甚至像样的东西了。iA 写这篇文章挺好，设计类文章读着也有趣，但真正忙着写作的人会在乎这个吗？
brandonhsiao查看英文原文
I used to tell myself I couldn't code or write without the perfect font. I'd spend hours looking for it, and end up not getting any work done. When I finally did get around to actually working, five minutes in and I'd forget about the font completely. I have a (rather lazy) friend who's been asking me to help him start a blog for years now. I've promised to after he produces his first block of content, and he keeps saying he can't write if he doesn't feel the design is aesthetically pleasing. If he'd spent his time writing instead of worrying about this, he'd have a crappy initial draft, several revised drafts, and probably something decent by now. But no, that prohibitively unattractive font! It was nice of iA to write this up, and design posts are a fun read, but does anyone who's busy actually writing care about this?
推荐一种在保留等宽特性的前提下处理字符宽度差异的字体设计思路。
如果想看等宽字体上真正的创新，可以读 Andreas Larsen 关于等宽字体中"基于类别的上下文定位"的文章，他的 Monoid 字体就用了这个思路。它同样处理字符自然宽度不一致的问题，但方式保留了等宽特性。我希望这个做法能推广到其他字体，不过实现起来大概很费功夫。
vanderZwan查看英文原文
If you want a blog post about actual innovation with monospaced fonts, try Class Based Contextual Positioning in MonoSpaced Fonts by Andreas Larsen, which is used in his Monoid font[0][1]. It also deals with this problem of characters not having the same natural width, but in a way that actually preserves the monospace characteristic. I wish its usage would spread to other fonts. It's probably a lot of work to implement though. [0] https://medium.com/larsenwork-andreas-larsen/class-based-contextual-positioning-in-monospaced-fonts-cb6b8b9ffe6f [1] http://larsenwork.com/monoid/
批评文章冗长却缺少具体示例，术语也迟迟不解释。
这篇文章虽然长，却没有给出一个完整的文字示例。作者十几次使用"duospace"这个词，之后才解释它是什么：一种大体等宽的字体。一篇讲把写作艺术做到完美的文章本身却如此缺乏内容，我觉得挺讽刺。为了最终揭晓一个字体样品，真的需要三页纸的论证吗？
throwaway284534查看英文原文
Despite this article's length, there isn't a single full text example. The author uses the phrase "duospace" font a dozen times before actually explaining what it is: a mostly monospace font. I find it ironic that an article about perfecting the art of writing is so devoid of content. Did we really need 3 pages of justification for a big reveal of... a font specimen?
另一种思路：收窄窄字符而非加宽宽字符，效果更自然。
过去几年我一直用 Triplicate 作为默认等宽字体，它有个 Poly 变体是比例字体，用于代码展示效果很好（前提是你不靠空格对齐）。它是把 i、j 和空格变窄，而不是像这篇文章讨论的那样把 w、m 变宽。我认为收窄一些字符比加宽一些效果更舒服。
chrismorgan查看英文原文
For the last couple of years I’ve been using Triplicate as my standard monospace font, and it has a Poly variant which is proportional and works really well for code presentation (provided you aren’t trying to line things up with spaces). It makes things like i, j and space narrower, rather than things like w and m wider as this article discusses. I reckon narrowing some yields a more pleasing result than widening some. http://triplicatefont.com/
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