- MD5值：
Cartier™ Book
英文名字:cartbrg_.TTF
字體介紹
Cartier™ Book
品牌：Monotype
設計師：McDonald,Rod
發行時間：2018
字庫編碼：Unicode
分類：襯線體
字體屬性：
1967年1月1日，加拿大百年紀念的開始，通常被認為是該國第一個重要字體的引入日期。這不是一個正確的日期。雖然由加拿大設計師Carl Dair繪制的CG Cartier於1967年1月首次向公眾展示，但這更多的是一種字體的創意，而不是字體本身。即使最終在同年秋天生產瞭字體，它仍然不是最終的設計。
CG Cartier的缺點在於它是刻字而不是字體。刻字和書法可以使字符形狀具有個性。但是，在文本字體中，每個字母都必須具有必要的信息，以便容易將其標識為屬於該字體。字體設計中最困難的任務是設計仍然帶有神韻的並無特色的字母。Dair賦予瞭CG Cartier獨特的個性，使其無法成為一款成功的文本字體。
當另一位加拿大刻字藝術傢兼字體設計師Rod McDonald搬到多倫多時，Carl Dair的設計理念如何成為字體設計的故事就開始瞭。“我去瞭Mono Lino公司工作，該公司在加拿大擁有CG Cartier的獨傢經營權。當然，我被這種設計所吸引，並試圖經常使用它——但是無法使它作為合適的文本字體使用。”
McDonald會不時地嘗試使用CG Cartier，試圖將其從刻字轉換為字體，但從未成功。然後在20世紀90年代初，發生瞭一些事情。“我感到自己的職業生涯停滯瞭。我做瞭很多文字標記，但渴望做更多。我又看瞭看CG Cartier。1997年，在英格蘭Reread舉行的ATypI大會上，我找到瞭Allan Haley，提出瞭根據Dair的作品打造數字字體傢族的想法。他的鼓勵促成瞭這件事情。”
該項目很快引起瞭McDonald的激情所在。“我非常熟悉這個設計，並且，多虧多倫多大學梅西學院的幫助，我可以花很多時間來研究Dair’s原始草圖和更多成品效果圖。我開始明白Dair想要達到的效果。我想完成Dair的工作並將他的想法提煉成一個字體設計。”
當被問及他的設計與原始的CG Cartier最重要的區別時，McDonald的回答既簡單又直接，並告訴我們怎樣才能做出一個成功的字體傢族。“Dair的成就在於這個設計。我試圖使其成為一款可用的字體。第一年我是這樣做的：清理不一致之處，消除怪異的地方；規范基本設計。第二年我把精力投入到字體設計上；把戴爾給它的生命還給它。第二年是最艱難的一年。”
McDonald完成的作品Cartier Book是一個字體傢族，包含四個字重，一個Regular字重的斜體補充，小型大寫字母——這是一個非凡的設計壯舉。它成功地將使字體與眾不同的品質與確保持久價值的品質融為一體。很少有設計具有如此優雅的功能以及令人驚嘆的吸引力。”
The beginning of Canada’s centenary year, January 1, 1967, is generally given as the date for the introduction of that country’s first important typeface. This isn’t close to the correct date.While CG Cartier, drawn by the Canadian designer Carl Dair, was first shown to the public in January of 1967, this was more an idea for a typeface than a typeface itself. Even when a font was eventually produced in the fall of the same year, it was still not a finished design.
The downfall of CG Cartier is that it is lettering and not a typeface. Lettering and calligraphy allow for individuality in character shapes. In a text typeface, however, each letter must carry the information necessary to easily identify it as belonging to that font. The most difficult task in typeface design is producing an anonymous letter that still possesses verve. The individuality Dair gave CG Cartier precludes it from being a successful text typeface.
The story of how Carl Dair’s design idea became a typeface design begins when another Canadian lettering artist and type designer, Rod McDonald, moved to Toronto. I went to work for Mono Lino, the company who had exclusive Canadian rights to CG Cartier. I was, of course, seduced by the design and tried to use it often – but just couldn’t make it work as a proper text face."
From time to time, McDonald would experiment with CG Cartier, trying to transform it from lettering to a typeface, never reaching a successful conclusion. Then in the early 1990s something happened. "I felt that my career had plateaued. I was doing a lot of word-marks, but yearned to do more. I looked at CG Cartier again. In 1997, at the ATypI Congress in Reading, England, I approached Allan Haley with the idea of making a digital typeface family based on Dair’s work. His encouragement sealed the deal."
The project soon became McDonald’s passion. "I was intimately familiar with the design, and, thanks to Massey College of the University of Toronto, was able to spend lots of time with Dair’s original sketches and more finished renderings. I began to understand what Dair was trying to accomplish. My goal was to become the drawing office the CG Cartier never had. I wanted to complete Dair’s work and distill his idea into a typeface design."
When asked, what is the most significant difference between his design and the original CG Cartier, McDonald’s answer was simple, direct and telling of what it takes to make a successful text typeface family. "Dair’s accomplishment was the design. I tried to make it a working typeface. I spent the first year doing that: cleaning up the inconsistencies, removing the quirks; basically regularizing the design. The next year was spent putting energy back into the typeface; giving it back the life Dair gave it. The second year was the hardest."
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