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vi lgogo設(shè)計(jì)合同（vi設(shè)計(jì)合同書）

發(fā)布時(shí)間：2023-04-30 03:44:27 稿源：創(chuàng)意嶺閱讀： 58

大家好！今天讓創(chuàng)意嶺的小編來大家介紹下關(guān)于vi lgogo設(shè)計(jì)合同的問題，以下是小編對此問題的歸納整理，讓我們一起來看看吧。

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本文目錄:

求:關(guān)于外國文學(xué)的復(fù)習(xí)大綱
我想要serif和sans serif的歷史～～謝謝大家哈
lagogo是什么牌子
gogo是什么游戲?

vi lgogo設(shè)計(jì)合同（vi設(shè)計(jì)合同書）

求:關(guān)于外國文學(xué)的復(fù)習(xí)大綱

A Concise History of British Literature
Chapter 1 English Literature of Anglo-Saxon Period
I. Introduction
1. The historical background
(1) Before the Germanic invasion
(2) During the Germanic invasion
a. immigration;
b. Christianity;
c. heptarchy.
d. social classes structure: hide-hundred; eoldermen (lord) – thane - middle class (freemen) - lower class (slave or bondmen: theow);
e. social organization: clan or tribes.
f. military Organization;
g. Church function: spirit, civil service, education;
h. economy: coins, trade, slavery;
i. feasts and festival: Halloween, Easter; j. legal system.
2. The Overview of the culture
(1) The mixture of pagan and Christian spirit.
(2) Literature: a. poetry: two types; b. prose: two figures.
II. Beowulf.
1. A general introduction.
2. The content.
3. The literary features.
(1) the use of alliteration
(2) the use of metaphors and understatements
(3) the mixture of pagan and Christian elements
III. The Old English Prose
1. What is prose?
2. figures
(1) The Venerable Bede
(2) Alfred the Great
Chapter 2 English Literature of the Late Medieval Ages
I. Introduction
1. The Historical Background.
(1) The year 1066: Norman Conquest.
(2) The social situations soon after the conquest.
A. Norman nobles and serfs;
B. restoration of the church.
(3) The 11th century.
A. the crusade and knights.
B. dominance of French and Latin;
(4) The 12th century.
A. the centralized government;
B. kings and the church (Henry II and Thomas);
(5) The 13th century.
A. The legend of Robin Hood;
B. Magna Carta (1215);
C. the beginning of the Parliament
D. English and Latin: official languages (the end)
(6) The 14th century.
a. the House of Lords and the House of Commons—conflict between the Parliament and Kings;
b. the rise of towns.
c. the change of Church.
d. the role of women.
e. the Hundred Years’ War—starting.
f. the development of the trade: London.
g. the Black Death.
h. the Peasants’ Revolt—1381.
i. The translation of Bible by Wycliff.
(7) The 15th century.
a. The Peasants Revolt (1453)
b. The War of Roses between Lancasters and Yorks.
c. the printing-press—William Caxton.
d. the starting of Tudor Monarchy(1485)
2. The Overview of Literature.
(1) the stories from the Celtic lands of Wales and Brittany—great myths of the Middle Ages.
(2) Geoffrye of Monmouth—Historia Regum Britanniae—King Authur.
(3) Wace—Le Roman de Brut.
(4) The romance.
(5) the second half of the 14th century: Langland, Gawin poet, Chaucer.
II. Sir Gawin and Green Knight.
1. a general introduction.
2. the plot.
III. William Langland.
1. Life
2. Piers the Plowman
IV. Chaucer
1. Life
2. Literary Career: three periods
(1) French period
(2) Italian period
(3) master period
3. The Canterbury Tales
A. The Framework;
B. The General Prologue;
C. The Tale Proper.
4. His Contribution.
(1) He introduced from France the rhymed stanza of various types.
(2) He is the first great poet who wrote in the current English language.
(3) The spoken English of the time consisted of several dialects, and Chaucer did much in making the dialect of London the standard for the modern English speech.
V. Popular Ballads.
VI. Thomas Malory and English Prose
VII. The beginning of English Drama.
1. Miracle Plays.
Miracle play or mystery play is a form of medieval drama that came from dramatization of the liturgy of the Roman Catholic Church. It developed from the 10th to the 16th century, reaching its height in the 15th century. The simple lyric character of the early texts was enlarged by the addition of dialogue and dramatic action. Eventually the performance was moved to the churchyard and the marketplace.
2. Morality Plays.
A morality play is a play enforcing a moral truth or lesson by means of the speech and action of characters which are personified abstractions – figures representing vices and virtues, qualities of the human mind, or abstract conceptions in general.
3. Interlude.
The interlude, which grew out of the morality, was intended, as its name implies, to be used more as a filler than as the main part of an entertainment. As its best it was short, witty, simple in plot, suited for the diversion of guests at a banquet, or for the relaxation of the audience between the divisions of a serious play. It was essentially an indoors performance, and generally of an aristocratic nature.
Chapter 3 English Literature in the Renaissance
I. A Historical Background
II. The Overview of the Literature (1485-1660)
Printing press—readership—growth of middle class—trade-education for laypeople-centralization of power-intellectual life-exploration-new impetus and direction of literature.
Humanism-study of the literature of classical antiquity and reformed education.
Literary style-modeled on the ancients.
The effect of humanism-the disseminatiogogoible attitude of its classically educated adherents.
1. poetry
The first tendency by Sidney and Spenser: ornate, florid, highly figured style.
The second tendency by Donne: metaphysical style—complexity and ingenuity.
The third tendency by Johgogotyle.
The fourth tendency by Milton: central Christian and Biblical tradition.
2. Drama
a. the gogoical examples.
b. the drama stands highest in popular estimation: Marlowe – Shakespeare – Jonson.
3. Prose
a. translation of Bible;
b. More;
c. Bacon.
II. English poetry.
1. Sir Thomas Wyatt and Henry Howard (courtly makers)
(1) Wyatt: introducing sonnets.
(2) Howard: introducing sonnets and writing the first blank verse.
2. Sir Philip Sidney—poet, critic, prose writer
(1) Life:
a. English gentleman;
b. brilliant and fascinating personality;
c. courtier.
(2) works
a. Arcadia: pastoral romance;
b. Astrophel and Stella (108): sonnet sequence to Penelope Dvereux—platonic devotion.
Petrarchan conceits and original feelings-moving to creativeness—building of a narrative story; theme-love originality-act of writing.
c. Defense of Poesy: an apology for imaginative literature—beginning of literary criticism.
3. Edmund Spenser
(1) life: Cambridge - Sidney’s friend - “Areopagus” – Ireland - Westminster Abbey.
(2) works
a. The Shepherds Calendar: the budding of English poetry in Renaissance.
b. Amoretti and Epithalamion: sonnet sequence
c. Faerie Queene:
l The general end--A romantic and allegorical epic—steps to virtue.
l 12 books and 12 virtues: Holiness, temperance, justice and courtesy.
l Two-level function: part of the story and part of allegory (symbolic meaning)
l Many allusions to classical writers.
l Themes: puritanism, nationalism, humanism and Renaissance Neoclassicism—a Christian humanist.
(3) Spenserian Stanza.
III. English Prose
1. Thomas More
(1) Life: “Renaissance man”, scholar, statesman, theorist, prose writer, diplomat, patron of arts
a. learned Greek at Canterbury College, Oxford;
b. studies law at Lincoln Inn;
c. Lord Chancellor;
d. beheaded.
(2) Utopia: the first English science fiction.
Written in Latin, two parts, the second—place of nowhere.
A philosophical mariner (Raphael Hythloday) tells his voyages in which he discovers a land-Utopia.
a. The part one is organized as dialogue with mariner depicting his philosophy.
b. The part two is a description of the island kingdom where gold and silver are worn by criminal, religious freedom is total and no one owns anything.
c. the nature of the book: attackigogo time.
d. the book and the Republic: an attempt to describe the Republic in a new way, but it possesses an modern character and the resemblance is in externals.
e. it played a key role in the Humanist awakening of the 16th century which moved away from the Medieval otherworldliness towards Renaissance secularism.
f. the Utopia
(3) the significance.
a. it was the first champion of national ideas and national languages; it created a national prose, equally adapted to handling scientific and artistic material.
b. a elegant Latin scholar and the father of English prose: he composed works in English, translated from Latin into English biography, wrote History of Richard III.
2. Francis Bacon: writer, philosopher and statesman
(1) life: Cambridge - humanism in Paris – knighted - Lord Chancellor – bribery - focusing on philosophy and literature.
(2) philosophical ideas: advancement of science—people:servants and interpreters of nature—method: a child before nature—facts and observations: experimental.
(3) “Essays”: 57.
a. he was a master of numerous and varied styles.
b. his method is to weigh and balance maters, indicating the ideal course of action and the practical one, pointing out the advantages and disadvantages of each, but leaving the reader to make the final decisions. (arguments)
IV. English Drama
1. A general survey.
(1) Everyman marks the beginning of modern drama.
(2) two influences.
a. the classics: classical in form and English in content;
b. native or popular drama.
(3) the University Wits.
2. Christopher Marlowe: greatest playwright before Shakespeare and most gifted of the Wits.
(1) Life: first igogoical poetry—then in drama.
(2) Major works
a. Tamburlaine;
b. The Jew of Malta;
c. The Tragical History of Doctor Faustus.
(3) The significance of his plays.
V. William Shakespeare
1. Life
(1) 1564, Stratford-on-Avon;
(2) Grammar School;
(3) Queen visit to Castle;
(4) marriage to Anne Hathaway;
(5) London, the Globe Theatre: small part and proprietor;
(6) the 1st Folio, Quarto;
(7) Retired, son—Hamnet; H. 1616.
2. Dramatic career
3. Major plays-men-centered.
(1) Romeo and Juliet--tragic love and fate
(2) The Merchant of Venice.
Good over evil.
Anti-Semitism.
(3) Henry IV.
National unity.
Falstaff.
(4) Julius Caesar
Republicanism vs. dictatorship.
(5) Hamlet
Revenge
Good/evil.
(6) Othello
Diabolic character
jealousy
gap between appearance and reality.
(7) King Lear
Filial ingratitude
(8) Macbeth
Ambition vs. fate.
(9) Antony and Cleopatra.
Passion vs. reason
(10) The Tempest
Reconciliation; reality and illusion.
3. Non-dramatic poetry
(1) Venus and Adonis; The Rape of Lucrece.
(2) Sonnets:
a. theme: fair, true, kind.
b. two major parts: a handsome young man of noble birth; a lady in dark complexion.
c. the form: three quatrains and a couplet.
d. the rhyme scheme: abab, cdcd, efef, gg.
VI. Ben Jonson
1. life: poet, dramatist, a Latin and Greek scholar, the “l(fā)iterary king” (Sons of Ben)
2.contribution:
(1) the idea of “humour”.
(2) an advocate of classical drama and a forerunner of classicism in English literature.
3. Major plays
(1) Everyone in His Humour—”humour”; three unities.
(2) Volpone the Fox
Chapter 4 English Literature of the 17th Century
I. A Historical Background
II. The Overview of the Literature (1640-1688)
1. The revolution period
(1) The metaphysical poets;
(2) The Cavalier poets.
(3) Milton: the literary and philosophical heritage of the Renaissance merged with Protestant political and moral conviction
2. The restoration period.
(1) The restoration of Charles II ushered in a literature characterized by reason, moderation, good taste, deft management, and simplicity. (school of Ben Jonson)
(2) The ideals of impartial investigation and scientific experimentation promoted by the newly founded Royal Society of London for Improving Natural Knowledge (1662) were influential igogoe as an instrument of rational communication.
(3) The great philosophical and political treatises of the time emphasize rationalism.
(4) The restoration drama.
(5) The Age of Dryden.
III. John Milton
1. Life: educated at Cambridge—visiting the continent—involved into the revolution—persecuted—writing epics.
2. Literary career.
(1) The 1st period was up to 1641, during which time he is to be seen chiefly as a son of the humanists and Elizabethans, although his Puritanism is not absent. L'Allegre and IL Pens eroso (1632) are his early masterpieces, in which we find Milton a true offspring of the Renaissance, a scholar of exquisite taste and rare culture. Next came Comus, a masque. The greatest of early creations was Lycidas, a pastoral elegy on the death of a college mate, Edward King.
(2) The second period is from 1641 to 1654, when the Puritan was in such complete ascendancy that he wrote almost no poetry. In 1641, he began a long period of pamphleteering for the puritan cause. For some 15 years, the Puritan in him alone ruled his writing. He sacrificed his poetic ambition to the call of the liberty for which Puritans were fighting.
(3) The third period is from 1655 to 1671, when humanist and Puritan have been fused into an exalted entity. This period is the greatest in his literary life, epics and some famous sonnets. The three long poems are the fruit of the long contest within Milton of Renaissance tradition and his Puritan faith. They form the greatest accomplishments of any English poet except Shakespeare. In Milton alone, it would seem, Puritanism could not extinguish the lover of beauty. In these works we find humanism and Puritanism merged in magnificence.
3. Major Works
(1) Paradise Lost
a. the plot.
b. characters.
c. theme: justify the ways of God to man.
(2) Paradise Regained.
(3) Samson Agonistes.
4. Features of Milton’s works.
(1) Milton is one of the very few truly great English writers who is also a prominent figure in politics, and who is both a great poet and an important prose writer. The two most essential things to be remembered about him are his Puritanism and his republicanism.
(2) Milton wrote many different types of poetry. He is especially a great master of blank verse. He learned much from Shakespeare and first used blank verse in non-dramatic works.
(3) Milton is a great stylist. He is famous for his grand style noted for its dignity and polish, which is the result of his life-long classical and biblical study.
(4) Milton has always been admired for his sublimity of thought and majesty of expression.
IV. John Bunyan
1. life:
(1) puritan age;
(2) poor family;
(3) parliamentary army;
(4) Baptist society, preacher;
(5) prison, writing the book.
2. The Pilgrim Progress
(1) The allegory in dream form.
(2) the plot.
(3) the theme.
V. Metaphysical Poets and Cavalier Poets.
1. Metaphysical Poets
The term “metaphysical poetry” is commonly used to designate the works of the 17th century writers who wrote under the influence of John Donne. Pressured by the harsh, uncomfortable and curious age, the metaphysical poets sought to shatter myths and replace them with new philosophies, new sciences, new words and new poetry. They tried to break away from the conventional fashion of Elizabethan love poetry, and favoured in poetry for a more colloquial language and tone, a tightness of expression and the single-minded working out of a theme or argument.
2. Cavalier Poets
The other group prevailing in this period was that of Cavalier poets. They were often courtiers who stood on the side of the king, and called themselves “sons” of Ben Jonson. The Cavalier poets wrote light poetry, polished and elegant, amorous and gay, but often superficial. Most of their verses were short songs, pretty madrigals, love fancies characterized by lightness of heart and of morals. Cavalier poems have the limpidity of the Elizabethan lyric without its imaginative flights. They are lighter and neater but less fresh than the Elizabethan’s.
VI. John Dryden.
1. Life:
(1) the representative of classicism in the Restoration.
(2) poet, dramatist, critic, prose writer, satirist.
(3) changeable in attitude.
(4) Literary career—four decades.
(5) Poet Laureate
2. His influences.
(1) He established the heroic couplet as the fashion for satiric, didactic, and descriptive poetry.
(2) He developed a direct and concise prose style.
(3) He developed the art of literary criticism in his essays and in the numerous prefaces to his poems.
Chapter 5 English Literature of the 18th Century
I. Introduction
1. The Historical Background.
2. The literary overview.
(1) The Enlightenment.
(2) The rise of English novels.
When the literary historian seeks to assign to each age its favourite form of literature, he finds no difficulty in dealing with our own time. As the Middle Ages delighted in long romantic narrative poems, the Elizabethans in drama, the Englishman of the reigns of Anne and the early Georges in didactic and satirical verse, so the public of our day is enamored of the novel. Almost all types of literary production continue to appear, but whether we judge from the lists of publishers, the statistics of public libraries, or general conversation, we find abundant evidence of the enormous preponderance of this kind of literary entertainment in popular favour.
(3) Neo-classicism: a revival in the seventeenth agogo of order, balance, and harmony in literature. John Dryden and Alexander Pope were major expogogochool.
(4) Satiric literature.
(5) Sentimentalism
II. Neo-classicism. (a general description)
1. Alexander Pope
(1) Life:
a. Catholic family;
b. ill health;
c. taught himself by reading and translating;
d. friend of Addison, Steele and Swift.
(2) three groups of poems:
e. An Essay on Criticism (magogom);
f. The Rape of Lock;
g. Translation of two epics.
(3) His contribution:
h. the heroic couplet—finish, elegance, wit, pointedness;
i. satire.
(4) weakness: lack of imagination.
2. Addison and Steele
(1) Richard Steele: poet, playwright, essayist, publisher of newspaper.
(2) Joseph Addison: studies at Oxford, secretary of state, created a literary periodical “Spectator” (with Steele, 1711)
(3) Spectator Club.
(4) The significance of their essays.
a. Their writings in “The Tatler”, and “The Spectator” provide a new code of social morality for the rising bourgeoisie.
b. They give a true picture of the social life of England in the 18th century.
c. In their hands, the English essay completely established itself as a literary genre. Using it as a form of character sketching and story telling, they ushered in the dawn of the modern novel.
3. Samuel Johnson—poet, critic, essayist, lexicographer, editor.
(1) Life:
a. studies at Oxford;
b. made a living by writing and translating;
c. the great cham of literature.
(2) works: poem (The Vanity of Human Wishes, London); criticism (The Lives of great Poets); preface.
(3) The champion of neoclassical ideas.
III. Literature of Satire: Jonathan Swift.
1. Life:
(1) born in Ireland;
(2) studies at Trinity College;
(3) worked as a secretary;
(4) the chief editor of The Examiner;
(5) the Dean of St. Patrick’s in Dublin.
2. Works: The Battle of Books, A Tale of a Tub, A Modest Proposal, Gulliver’s Travels.
3. Gulliver’s Travels.
Part I. Satire—the Whig and the Tories, Anglican Church and Catholic Church.
Part II. Satire—the legal system; condemnation of war.
Part III. Satire—ridiculous scientific experiment.
Part IV. Satire—mankind.
IV. English Novels

我想要serif和sans serif的歷史～～謝謝大家哈

　　棕熊@Think Fast棕熊@Think Fast127.0.0.1,
　　sweet 127.0.0.1 <3博客園社區(qū) 首頁新隨筆聯(lián)系管理訂閱隨筆- 21 文章- 0 評論- 489
　　[教程] 談?wù)劸W(wǎng)頁設(shè)計(jì)中的字體應(yīng)用 (2) serif 和 sans-serif
　　Howdy, 大家好，又是我~
　　上一次我們簡單的談了一下font set和一些要注意的基本問題。今天我們繼續(xù)字體這一話題，深入講講上次提到的“通用字體族”。首先是最常用的 serif 和 sans-serif 這兩個(gè)通用字體族。
　　- serif
　　Serif 在印刷學(xué)上指襯線字體。為了理解襯線字體的概念，大家先看幾個(gè)典型的襯線字體的例子：
　　My
　　Georgia字體 King
　　Times New Roman 字體漢字
　　宋體
　　單詞 My 中的字母 “M”上下方突出的短橫線就是所謂的襯線。同樣，y的上方，K的上下，i 和n的下方也都有襯線，所以這些字體都被稱為襯線字體。但襯線字體并不一定都有襯線，比如上面例子中的g, “漢”和“字”。事實(shí)上，只要滿足末端加強(qiáng)原則的字體都是襯線字體。所謂的末端加強(qiáng)，就是使用襯線或粗細(xì)變化，使字體筆畫的末端得到加強(qiáng)，以改善小號文字的可讀性。比如上面例子中的y的下半部分，還有宋體的中文字符，都是采取加粗筆劃的末端來達(dá)到末端加強(qiáng)的效果。除此之外，很多襯線字體還會采用加強(qiáng)豎向筆劃（比如宋體中豎比橫粗），夸張字形（最明顯的就是小寫g這個(gè)字符了）等方法進(jìn)一步改善它的可讀性。
　　因?yàn)橐r線字體的可讀性非常好，所以它應(yīng)用的最多的地方也正是出版物或者印刷品的正文內(nèi)容等以大段文字作為表現(xiàn)形式的作品上。
　　比較常見的襯線字體有 Georgia, Garamond, Times New Roman, 中文的宋體等等。
　　- sans-serif
　　襯線字體以外的一切字體都是無襯線字體。sans- 這個(gè)前綴其實(shí)是法語，所以比較標(biāo)準(zhǔn)的發(fā)音是 /san/ 而不是 /sans/。它的意思是“沒有”。所以sans-serif就是無襯線字體。
　　Gut
　　Verdana 字體 Might
　　Arial 字體書寫
　　幼圓
　　無襯線字體比較圓滑，線條一般粗細(xì)均勻。比較適合用作藝術(shù)字、標(biāo)題等。因?yàn)闊o襯線字體通常粗細(xì)比較均勻，所以在小字體顯示的時(shí)候，可讀性會降低，容易引起視覺疲勞。
　　常見的無i襯線字體有 Trebuchet MS, Tahoma, Verdana, Arial, Helvetica, 中文的幼圓、隸書等等。
　　- 什么時(shí)候用serif？什么時(shí)候用sans-serif？
　　從上面的介紹中，我們可以知道，襯線字體之所以被設(shè)計(jì)出來，就是為了用作正文內(nèi)容的。大家可以隨手抄起一張報(bào)紙，看看上面的文章是不是宋體。如果手頭有外語讀物的話，也可以翻來看一下，正文都是襯線字體。同樣大小的襯線字體比無襯線字體容易閱讀：
　　The quick brown fox jumps over the lazy dog.
　　The quick brown fox jumps over the lazy dog.
　　然后大家可以把報(bào)紙翻到頭版頭條——標(biāo)題一般都會是各種粗細(xì)一致的綜藝體或者是中黑體。英文報(bào)紙的標(biāo)題大多也是無襯線的。這個(gè)就是應(yīng)用他們的基本原則。
　　但是大家可以看很多網(wǎng)站——它們的正文內(nèi)容恰恰是無襯線的Tahoma, Verdana, Arial等等。中文網(wǎng)站可能因?yàn)樽煮w的局限性，仍舊使用宋體居多，但查看它們的樣式表，就會發(fā)現(xiàn)候補(bǔ)字體也大多是無襯線的。這樣是不是不好呢？
　　當(dāng)然不是。
　　襯線字體的可讀性其實(shí)僅僅體現(xiàn)在小字體上。大家可以拿出剛剛抄起來的報(bào)紙，和你顯示器上的文字比較一下——你會發(fā)現(xiàn)，報(bào)紙上的文字比顯示器上的文字整整小一圈。實(shí)際上，新明晚報(bào)上通常大小的宋體文字，在點(diǎn)距為0.25mm的高質(zhì)量液晶顯示器上，大小大約只相當(dāng)于10px ~ 11px的顯示字符；在普通的液晶顯示器（點(diǎn)距一般為0.28mm）上，甚至可能只相當(dāng)于8px~10px的顯示字符。
　　這個(gè)就是 print media 和 screen media 的最大區(qū)別。印刷業(yè)為了節(jié)約成本，因此會盡可能的在保證可讀的情況下，把文字印小。顯示器不存在這樣的成本，因此可以顯示比較大的文字。在文字足夠大的情況下，無襯線字體也是同樣可讀的。而且因?yàn)闊o襯線字體通常有藝術(shù)性，因此在顯示器上顯示通常比較賞心悅目；而且無襯線字體種類比襯線字體多得多，因此選擇余地也很大。所以大家盡可以放心去使用。但是必須保證以下原則：凡是使用無襯線字體的，必須保證其在正文內(nèi)容中的可讀性。否則，使用襯線字體。換而言之，如果你要使用無襯線字體顯示網(wǎng)頁的正文內(nèi)容，那么，你必須把它的font-size設(shè)的足夠大，以保證用戶能輕易閱讀。
　　至于具體將font-size 設(shè)多大，是因字體而異的。12px 對于 Verdana 來說已經(jīng)完全足夠，但是要能輕易的閱讀隸書，可能需要24px以上才行。
　　對于11px以下的英文字體，推薦使用襯線字體。至于中文，因?yàn)轱@示器的硬件限制，不論是什么字體，都不推薦使用11px以下的font-size來顯示。
　　- 其他的通用字體族
　　印刷學(xué)中，除了serif 和 sans-serif 之外，通常還有 monospace 等寬字體、scripts 手寫體（比如花體）、blackletter 鉛字體（也叫 gothic 哥特體。嚴(yán)格的說，很多常用的serif字體其實(shí)是gothic字體）、ornamental 裝飾體（那些在文字筆劃上或者周圍有裝飾花紋的字體。很多中世紀(jì)書籍上很常見。如果腦殘?bào)w真的成了字體，那么應(yīng)該可以算裝飾體吧……）和 symbol 符號字體（比如有名的wedding123……）。
　　不過CSS對通用字體族的定義有點(diǎn)不一樣。除了serif 和 sans-serif 之外，CSS還允許以下幾個(gè)通用字體族：
　　monospace 等寬字體
　　所謂的等寬字體，是指每個(gè)字符寬度都一致的字體。一個(gè)著名的例子就是 Courier New 字體。因?yàn)樽址麑挾纫恢?，所以特別容易對齊，能快速精確的定位到某行某列，因此經(jīng)常用來顯示代碼。
　　要注意的是，一個(gè)等寬字體同時(shí)也可以是一個(gè)襯線（或者非襯線）字體。比如 Courier New 這個(gè)字體也可以看作是一個(gè)serif（嚴(yán)格的說是gothic）字體。
　　cursive 書寫體：相當(dāng)于印刷學(xué)中的手寫體。中文的華文行草就是這樣的一個(gè)字體。
　　fantasy 夢幻體：相當(dāng)于印刷學(xué)中的裝飾體。非常少見的一種字體，基本沒有參考價(jià)值。
　　要注意的是，CSS中不支持symbol字體族。使用symbol類的字體請用圖片。
　　- 一些你不知道的事情
　　中文的黑體其實(shí)是襯線字體。大家可以看下面的圖：
　　大家可以看到，其實(shí)黑體的確是經(jīng)過末端加強(qiáng)的，所以很多印刷品的正文也會使用黑體。像這種使用溫和的末端加強(qiáng)，筆劃粗細(xì)大致一致的字體，其實(shí)也可以被稱為petit-serif/小襯線體。（那些類似于宋體一樣有顯著末端加強(qiáng)，并且筆劃粗細(xì)有明顯區(qū)別的，通常稱為slab-serif/雕版襯線體）
　　只是很遺憾，因?yàn)橹T多的硬件原因，在顯示器上實(shí)際顯示黑體時(shí)，大家還是可以把它看作一個(gè)無襯線字體
　　Italic 不是斜體
　　斜體是oblique。Italic 顧名思義，是意大利體。Italic 是一種書寫方式（calligraphy script），而oblique 是一種印刷樣式，兩者是不同的東西。中學(xué)英語習(xí)字冊交授的書寫方式就是意大利體。除了意大利體外，比較流行的書寫方式還有法蘭西體（就是傳說中的花體字，正名是French Script）、哥特體、亞伯拉罕體等等。
　　很多考究的字體都會為意大利體定制一套特殊的字體，而不是簡單的顯示成斜體。比如下面的圖片里，三行文字都是Georgia字體。第一行普通；第二行是oblique，也就是斜體；第三行才是真正的italic意大利體。
　　大家仔細(xì)看第三行的a, l, i, e 等字母——很明顯的看出區(qū)別了吧。實(shí)際上，Georgia Italic 和 Georgia 在系統(tǒng)內(nèi)是兩個(gè)不同的字體文件。當(dāng)我們指定 font-style: italic 的時(shí)候，系統(tǒng)就會自動搜尋是不是存在Georgia Italic這個(gè)字體，并嘗試使用這個(gè)字體來顯示文字內(nèi)容。
　　按理說當(dāng)我們用 font-style: oblique 指定字體樣式時(shí)，瀏覽器不應(yīng)該去尋找Georgia Italic這個(gè)字體，而直接將Georgia字體傾斜顯示，所以理論上應(yīng)該得到圖中第二行文字的效果?？上?，連W3C在CSS規(guī)范中，自己的參考實(shí)現(xiàn)也說是“如果UA不能正確顯示italic 和oblique, 可以使用italic來代替oblique顯示”，所以幾乎沒有瀏覽器實(shí)現(xiàn)區(qū)分italic 和oblique。哪怕你設(shè)置的font-style是oblique, 你也會發(fā)現(xiàn)，瀏覽器顯示的也還是italic
　　今天就到這里了。下一講我會談?wù)勅绾螛?gòu)建一個(gè)合理的font-family，并推薦幾個(gè)使用的字體組合給大家。那么，再見了喲
　　Tag標(biāo)簽: 初學(xué),教程,VI設(shè)計(jì),心得,字體,font,css,font-family
　　posted @ 2008-05-06 00:19 棕熊閱讀(5219) 評論(37) 編輯收藏網(wǎng)摘所屬分類: CSS標(biāo)準(zhǔn)，又見標(biāo)準(zhǔn)VI設(shè)計(jì)
　　發(fā)表評論
　　回復(fù) 引用查看 #1樓 2008-05-06 01:31 | 鏡濤
　　沙發(fā)
　　回復(fù) 引用 #2樓 2008-05-06 06:02 | 飛雪爾 [未注冊用戶]
　　不錯(cuò)，之前研究過襯線無襯線字體，不過我自己倒是很喜歡無襯線的微軟雅黑，在LCD顯示和打印的表現(xiàn)上比宋體強(qiáng)太多了。
　　回復(fù) 引用查看 #3樓 2008-05-06 07:25 | 生魚片
　　學(xué)習(xí)
　　回復(fù) 引用 #4樓 2008-05-06 07:30 | 炎藤 [未注冊用戶]
　　那個(gè)圓幼體截圖有些問題～
　　不像圓幼吶
　　不過本篇文章不錯(cuò)，收藏了:)
　　回復(fù) 引用 #5樓 2008-05-06 07:49 | zjfeiye [未注冊用戶]
　　好文，學(xué)了不少，很多東西以前都是知其然不知其所以然，只知道這么去用
　　另外，經(jīng)?？匆奀SS引入的Link中有個(gè)media=“screen”是否就是樓主提到的意思呢？
　　回復(fù) 引用查看 #6樓 2008-05-06 08:22 | 李戰(zhàn)
　　回復(fù) 引用查看 #7樓 2008-05-06 09:27 | JackMa
　　很好，很專業(yè)。世事洞明皆學(xué)問。這個(gè)Blog也很有特色啊。
　　回復(fù) 引用查看 #8樓 2008-05-06 09:27 | Yannic Yang
　　一直在考慮我的dopod手機(jī)上到底用雅黑好還是宋體好
　　有答案了～看得清就好呵呵
　　我決定用雅黑然后把字體變大一號
　　另外
　　感覺這幾年css越來越成熟了……
　　各方面都支持很細(xì)了
　　我還停留在幾年前討論用table還是div的時(shí)代
　　萬惡的ie6啊...
　　回復(fù) 引用查看 #9樓 2008-05-06 09:44 | 想愛就去愛吧
　　研究比較深刻
　　回復(fù) 引用查看 #10樓 2008-05-06 09:44 | airwolf2026
　　mark
　　回復(fù) 引用 #11樓 2008-05-06 09:48 | 一個(gè)農(nóng)民 [未注冊用戶]
　　太有才了,請問樓主,我的衣櫥的單色小圖標(biāo)是用什么工具做的,最近我在研究xara xtreme ,樓主有用過嗎?
　　回復(fù) 引用查看 #12樓 2008-05-06 10:06 | 楊正祎(阿一)
　　中間一個(gè)大大的“禁”字嚇了我一跳，還以為是18禁網(wǎng)站呢。呵呵呵。。。
　　回復(fù) 引用查看 #13樓 2008-05-06 10:07 | 楊正祎(阿一)
　　@zjfeiye
　　那個(gè)是指定css的使用終端。顯示器，還是打印機(jī)，還是其他……
　　回復(fù) 引用查看 #14樓 2008-05-06 10:42 | 小生
　　學(xué)習(xí)
　　回復(fù) 引用查看 #15樓 [樓主]2008-05-06 10:49 | 棕熊
　　@炎藤
　　那個(gè)不是截圖哦，是實(shí)際的文字
　　@Yannic Yang
　　雅黑的好處就是它是一個(gè)專門設(shè)計(jì)用來顯示的字體，所以它對顯示做過優(yōu)化，自然是比較理想的選擇
　　@一個(gè)農(nóng)民
　　不知道你說的是哪個(gè)圖標(biāo)？我的衣櫥上一般的圖像都是photoshop搞的（而且不是我搞的）
　　一般我自己做圖形設(shè)計(jì)都會用adobe的那一套了，其他的圖形設(shè)計(jì)軟件基本不常用
　　@楊正祎(阿一)
　　這個(gè)是用來測試人品的阿哈哈……
　　開個(gè)玩笑。其實(shí)用這個(gè)字，是因?yàn)檫@個(gè)字包含橫豎撇捺勾，而且筆劃密度很合適演示。
　　回復(fù) 引用查看 #16樓 2008-05-06 10:58 | 平靜中的瘋狂
　　很好，很喜歡。
　　回復(fù) 引用 #17樓 2008-05-06 12:03 | sorcom [未注冊用戶]
　　確實(shí)大牛。不過頁面打開始終較慢。
　　回復(fù) 引用查看 #18樓 2008-05-06 12:42 | Cat Chen
　　中文研究字體的人確實(shí)很少，能夠有人說說字體的問題真好。
　　回復(fù) 引用 #19樓 2008-05-06 15:11 | soaroaroar [未注冊用戶]
　　咳咳...這個(gè)...其實(shí)此文內(nèi)容只要是認(rèn)真配過linux環(huán)境字體和瀏覽器都知道...不能算新鮮，但還是很感謝樓主的辛勤勞動~這對于教育眼界狹窄的IE開發(fā)社群是很重要的
　　回復(fù) 引用查看 #20樓 2008-05-06 20:58 | 二手的程序員
　　那個(gè)"漢字"兩個(gè)字使用的是網(wǎng)頁默認(rèn)字體,當(dāng)用戶把網(wǎng)頁默認(rèn)字體設(shè)定為其它字體的話,就不會顯示為宋體了.
　　回復(fù) 引用查看 #21樓 [樓主]2008-05-07 00:17 | 棕熊
　　@二手的程序員
　　這個(gè)其實(shí)是一個(gè)字體名稱alias的問題
　　因?yàn)檫@個(gè)blog是用Live Writer 寫的，所以在根本就沒注意的情況下Live Writer自動將源代碼中的中文字體名稱轉(zhuǎn)換成了alias，所以只有IE下才正常了
　　現(xiàn)在在博客園的編輯器里改了下，應(yīng)該沒問題了
　　回復(fù) 引用查看 #22樓 2008-05-07 09:37 | 二手的程序員
　　看樣子你也是個(gè)極端追求完美的人
　　回復(fù) 引用查看 #23樓 2008-05-07 11:11 | 狼Robot
　　學(xué)習(xí)
　　回復(fù) 引用查看 #24樓 2008-05-07 12:18 | Rivers Zhao
　　學(xué)習(xí)了.樓主見多識廣啊.
　　回復(fù) 引用查看 #25樓 2008-05-07 13:02 | GoGoSonny
　　期待下一講！?。?br/>　　回復(fù) 引用查看 #26樓 2008-05-09 10:08 | jason_lb
　　rss每講必讀，firefox下瀏覽很舒暢
　　回復(fù) 引用查看 #27樓 2008-05-11 10:22 | jasonoiu
　　真的是不錯(cuò)，學(xué)到了不少東西，
　　期待你的下一講！
　　回復(fù) 引用查看 #28樓 2008-05-11 23:13 | volnet（可以叫我大V）
　　博主讓我知道了很多前所未聞的東西，激動啊……
　　很關(guān)心最后那些oblique 和Italic之間的區(qū)別樓主是如何知道的？不小心撞到的還是特地研究的，那動機(jī)呢，哈哈，要是你不說兩個(gè)有區(qū)別我壓根不會知曉啊。哈哈。
　　回復(fù) 引用 #29樓 2008-05-25 21:37 | hax [未注冊用戶]
　　漢字不要11px以下并非硬件限制，而是沒有11px以下的點(diǎn)陣字。而矢量字方面，因?yàn)闈h字筆畫較多，很難縮小到一定比例之下仍保持可辨識。西方文字使用hint技術(shù)來提升小分辨率下的矢量字體，但是漢字很難做到，因?yàn)樽謹(jǐn)?shù)太多，制作hint的成本過大。
　　回復(fù) 引用 #30樓 2008-06-01 11:42 | southsiberia [未注冊用戶]
　　牛啊，我有兩個(gè)問題想問你，西里爾文和阿拉伯文都是拼音文字，不像漢語，例如如果用戶本地計(jì)算機(jī)沒有相關(guān)字體的話網(wǎng)站一般都會制作成EOT文件，在用戶第一次打開網(wǎng)頁的時(shí)候自動加載這些文字字體（我做了10幾次EOT文件，但是時(shí)而失敗時(shí)而莫明其妙的成功，讓人無語啊?。?，有沒有替代方案除了flash矢量（我自己也不太清楚）.
　　還有個(gè)問題就是阿拉伯文和漢語混排的時(shí)候如果漢字12px可能很好看，但是對于阿拉伯文來說就字體大小太小可能會不好看，如何分別定義不同文字字體大??？
　　回復(fù) 引用查看 #31樓 [樓主]2008-06-03 10:31 | 棕熊
　　--引用--------------------------------------------------
　　southsiberia: 牛啊，我有兩個(gè)問題想問你，西里爾文和阿拉伯文都是拼音文字，不像漢語，例如如果用戶本地計(jì)算機(jī)沒有相關(guān)字體的話網(wǎng)站一般都會制作成EOT文件，在用戶第一次打開網(wǎng)頁的時(shí)候自動加載這些文字字體（我做了10幾次EOT文件，但是時(shí)而失敗時(shí)而莫明其妙的成功，讓人無語?。。袥]有替代方案除了flash矢量（我自己也不太清楚）.
　　還有個(gè)問題就是阿拉伯文和漢語混排的時(shí)候如果漢字12px可能很好看，但是對于阿拉伯文來說就字體大小太小可能會不好看，如何分別定義不同文字字體大小？
　　--------------------------------------------------------
　　這個(gè)具體沒有怎么研究過，各瀏覽器對@font-face的支持本來就比較汗，何況ms EOT文件還是個(gè)IE only的東東？
　　至于字體大小，其實(shí)有個(gè)css規(guī)則叫font-size-adjust，可惜也不是所有主流瀏覽器都支持。目前可以在這種混排的漢字外面加一個(gè)<span lang="zh" class="zh">，再去設(shè)這個(gè)span的樣式，醬紫
　　回復(fù) 引用查看 #32樓 [樓主]2008-06-03 10:33 | 棕熊
　　--引用--------------------------------------------------
　　volnet（可以叫我大V）: 博主讓我知道了很多前所未聞的東西，激動啊……
　　很關(guān)心最后那些oblique 和Italic之間的區(qū)別樓主是如何知道的？不小心撞到的還是特地研究的，那動機(jī)呢，哈哈，要是你不說兩個(gè)有區(qū)別我壓根不會知曉啊。哈哈。
　　--------------------------------------------------------
　　這個(gè)是以前學(xué)印刷學(xué)的時(shí)候?qū)W得啦，呵呵
　　回復(fù) 引用 #33樓 2008-06-03 19:14 | southsiberia [未注冊用戶]
　　多謝樓主解答，郁悶中。。。。。。。。。。。
　　回復(fù) 引用查看 #34樓 2008-06-15 11:43 | Joyaspx
　　確實(shí)挺專業(yè)，對字體有了更多的了解了……
　　回復(fù) 引用 #35樓 2008-11-14 15:44 | 不不 [未注冊用戶]
　　好文。不得不頂。
　　回復(fù) 引用 #36樓 2009-02-19 23:31 | eddie yang [未注冊用戶]
　　自己用了那么久Georgia italic，現(xiàn)在才知道不是叫斜體，是意大利體
　　回復(fù) 引用查看 #37樓 2009-04-11 19:51 | Aaron@Live
　　請教博主一個(gè)問題：
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　　請教博主一個(gè)問題：
　　一個(gè)多語言的網(wǎng)站，主要是中文和英文，以后可能會擴(kuò)展，如何在CSS里設(shè)置網(wǎng)站的默認(rèn)字體順序而讓網(wǎng)站達(dá)到最好的可讀性和美觀性？
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lagogo是什么牌子

Lagogo是華瑞國際集團(tuán)旗下的少淑女裝品牌，成立于2008年。品牌在產(chǎn)品設(shè)計(jì)中，有著浪漫清麗又不失自由灑脫的風(fēng)格。Lagogo自成立以來，一直致力于為年輕女性打造清新、時(shí)尚、自信的形象。

品牌名稱取義于Lovely、Active、Graceful、Optimistic、Genuine、Original六個(gè)單詞的首字母，尋找與Lagogo有著精神共鳴的女性。Lagogo源于法式生活，品牌將清新自然與可愛浪漫的元素糅合，注重服裝的設(shè)計(jì)細(xì)節(jié)。

擴(kuò)展資料：

品牌名稱靈感來源于法蘭西活潑熱辣的一種舞蹈形式，在多年的經(jīng)營中Lagogo始終遵循傳遞愛、玩味藝術(shù)、提倡環(huán)保、呼吁和平、肯定榮譽(yù)、支持原創(chuàng)，從而使得品牌不斷積淀提升。lagogo是第一家在美國上市的中國服裝企業(yè)，華瑞集團(tuán)旗下的自主運(yùn)營品牌。

lagogo專業(yè)從事時(shí)尚女性服飾的設(shè)計(jì)、生產(chǎn)和銷售，lagogo已擁有600多家專賣店及專柜，遍布全國大中城市。在北京上海、廣州、深圳、重慶等城市中，Lagogo已成為時(shí)尚女性所熟悉的知名品牌。

參考資料來源：百度百科-lagogo

vi lgogo設(shè)計(jì)合同（vi設(shè)計(jì)合同書）