会员权益
品 牌：
设 计 师：
Verlomme,Malou
分 类：
衬线体
字体属性：
外文
字体编码：
Unicode
标 签：
字体介绍：
Macklin 由 Monotype Studio 的 Malou Verlomme 设计，是一个超级家族，汇集了多种引人注目的风格。Macklin 是一种优雅、高对比度的字体，使之能吸引注意力。其设计目的是让品牌在情感上更能吸引现代消费者。 Macklin 包括四个子系列——Sans、Slab、Text 和 Display（无衬线体、厚重体、文本字体、屏显字体）。这个完整的超级家族包括 54 种字体，具有从极细到重黑的 9 种粗细。
Macklin 的概念始于 19 世纪初对英国和欧洲历史资料的研究，特别是文森特·菲金斯（Vincent Figgins）的作品。这是一个剧烈的社会变革时期——工业革命的开始。制造商和广告商突然取代了传统的手写或书法模型，并要求使用大胆、引人注目的排版。排版师尝试了创新的新风格，如重黑体和斜体，并开发了许多品牌和设计师今天继续使用的风格，如平板、衬线和无衬线。
Verlomme的设计尊重 Figgins 与 Macklin 的工作，但将该家庭字体推向了一个更当代的位置。每个子系列都是从相同的骨架设计的，为设计师提供了广泛的视觉表现选择和创建对比的能力，而不必担心尴尬的配对。通过 Macklin，Verlomme 向我们展示了创建一个超级字体家族是可能的，它允许完整的视觉表达而不影响流动性。
该字体相关关键词：权威,勇敢,冷静,干净,清晰,当代,精雕细琢,细致,展示,优雅,活力,精细,趣味,几何,人性,清晰,轻盈,奢华,中庸,现代,精准,挑逗,传统,意外,温暖
Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers.
Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub-family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity.
Macklin 的概念始于 19 世纪初对英国和欧洲历史资料的研究，特别是文森特·菲金斯（Vincent Figgins）的作品。这是一个剧烈的社会变革时期——工业革命的开始。制造商和广告商突然取代了传统的手写或书法模型，并要求使用大胆、引人注目的排版。排版师尝试了创新的新风格，如重黑体和斜体，并开发了许多品牌和设计师今天继续使用的风格，如平板、衬线和无衬线。
Verlomme的设计尊重 Figgins 与 Macklin 的工作，但将该家庭字体推向了一个更当代的位置。每个子系列都是从相同的骨架设计的，为设计师提供了广泛的视觉表现选择和创建对比的能力，而不必担心尴尬的配对。通过 Macklin，Verlomme 向我们展示了创建一个超级字体家族是可能的，它允许完整的视觉表达而不影响流动性。
该字体相关关键词：权威,勇敢,冷静,干净,清晰,当代,精雕细琢,细致,展示,优雅,活力,精细,趣味,几何,人性,清晰,轻盈,奢华,中庸,现代,精准,挑逗,传统,意外,温暖
Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers.
Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub-family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity.
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