Digitizing sketches. When the handmade sketches on paper are ready to be scanned, take care of digitizing
them in a proper way. More specifically, take care while converting your scanned image manually with a
Bezier based pen tool. Too many points on a character, or points at the wrong position can have a negative influence at your font.
数字手绘。当在纸上手绘完成准备扫描的时候，你要注意要用适当的方法去数字化。更需要注意的是，把你的扫描稿用钢笔工具的贝塞尔曲线手动转换的过程。在一个字母上有太多的锚点，如果把锚点放在不当的位置，会对你的字体有负面影响。
Too many points (=nodes) can not only cause technical problems -e.g. the printer can't print the font anymore- but it is also much harder to control the shapes of a character. Controlling a curve between two nodes is
much easier than changing a curve with twelve nodes. Of course it's possible, but it will not end up in a
fluent form.
太多的锚点不仅会导致技术上的问题，比如印刷不出字体，而且会更难控制字母的外形。控制2个锚点间的曲线肯定要比控制12个锚点间的曲线要容易的多。当然也可以，但是肯定不会有流畅的曲线外形。
Having the nodes at the wrong position can cause technical problems -e.g. it's impossible to hint the font
perfectly-but also practically it is recommendable to put nodes at extreme positions at your glyph.
For example, digitizing an 'o' would only need 8 nodes. Four at the outer form, four at the counter form.
Putting nodes at extreme positions (most top & down, most left & right) means the BCP (Bezier Control Point)
will always be totally horizontal or vertical. In that case they are much easier to control. In most software
programs you can use shift key to keep the BCP totally horizontal or vertical.
不当位置的锚点不仅也会导致技术问题，比如不能完美的呈现字体，所以我们推荐把锚点放在字母“极端”的位置。比如，这个“o”需要8个锚点，4个在外，4个在内。把锚点放在极端位置（最上、最下、最左、最右）意味着贝塞尔控制点始终在水平或者垂直方向上。这样就更容易控制了。在大部分软件中，你可以使用shift按键保持贝塞尔控制点的水平或者垂直。
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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。
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