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。
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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。
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