José Scaglione: 

The mono-spaced genre presents an interesting bridge between two very different writing systems: Simplified Chinese and Latin. The tabular nature of mono-spaced types relies on careful balance of stroke weight and clever management of space to fit each character in the same width. In this Silver winning entry the designer manages confidence and proficiency in both tasks, hence separating his/her design from competitors. Furthermore, this project features several styles following a weight axis, an added complexity for a tabular Latin type design project.

这款等宽字体巧妙地在简体中文与拉丁字母这两种迥异的书写系统间架起了一座富有创意的桥梁。等宽字体的精髓在于对笔画粗细的精湛掌控以及对黑白空间的巧妙布局，确保每个字符都能完美适应同一宽度。在这份银奖作品中，设计师自信而熟练地完成了这两项任务，使得其设计在众多作品中独树一帜，脱颖而出。不仅如此，该项目还囊括了多种不同粗细的样式，为拉丁字母等宽字体设计增添了额外的层次与复杂性。

Gerry Leonidas:

A challenging brief, in a genre that requires a high level of controlling texture across letterforms with different proportions, and attention to details. This genre has many excellent typefaces, which makes the achievement of this typeface a cause for celebration. The lowercase has confident curves, with good treatment of the serifs across the four vertical levels. Round strokes are well-formed, with minor refinements required in the s and some open terminals. Capitals generally keep to the genre, with improvements possible across a few letters. The numbers can be brought closer to the letters in terms ofstyle, as can the &, and punctuation (which appear from another style). There is potential to make this amore competent typeface for text by exploring both alternate shapes (e.g. for letters with spacing challenges, like the f and R) and a range of weights and optical sizes. Similarly, non-lining numbers and numbers for footnotes would add to the usability of the typeface. Further testing with a good range of test documents would take this from its current level to a typeface suitable for intensive text use.

这是一个具有挑战性的设计任务，设计师需要在不同比例的字形中精确控制排版效果，并细心处理每一个细节。在这个品类中，已经涌现出许多杰出的字体作品，因此这款字体的成功创作无疑是一件值得庆祝的事情。小写字母的曲线设计自然流畅，四个垂直层面的衬线处理恰到好处。虽然圆形笔画的形态已经相当美观，但字母“s”和一些开放末端的处理仍需要进一步优化。大写字母整体上符合品类⻛格，但仍有几个字母存在改进的空间。数字的样式可以更加接近字母，同时“&”符号和标点符号（看起来与其他部分⻛格不太统一）也需要与整体⻛格更加和谐一致。为了提升这款字体在文本排版中的表现，我们可以考虑设计一些替代字形（比如针对间距问题较大的字母“f”和“R”），并开发一系列不同粗细和视觉尺寸的字体版本。此外，添加非衬线数字和脚注数字也会提高字体的实用性。通过在一系列测试文档中进行细致测试，这款字体有望从现有水平提升至适合大量文本使用的优秀字体。

Jean-Baptiste Levée: 

The entry we have before us, which has been honored with a Silver Award, presents an interesting blend of French Renaissance canons, colored with Dutch XXth century influences and even some British industrial touches, encapsulated in a serif design. One can see how the designer integrated the structural rigor commonly seen in French typefaces, with some of the graceful flair characteristic of more brushy designs, especially in the numerals. The serifs in C and S add some counter balancing stiffness, and are neither overly assertive nor timid, nicely complementing the overall softness of some of the letterforms’ ball terminal. This subtlety of design shows good understanding of the principle of serif typefaces, with a contemporary approach, suitable for heavy duty applications such as body text in print.

This typeface is set apart by the intersection it creates between its relative softness, and some level of rigidity, a quality not often mastered in serif designs without sacrificing usefulness. The gentle rounding of the letters adds a humanistic touch, making the text feel assertive, warm, and inviting. This mélange does not undermine the typeface's authority but instead enhances it, offering an interesting perspective on traditionally referenced serif design.

眼前这款荣获银奖的作品，巧妙地将法国文艺复兴时期的规范与荷兰20世纪的影响以及部分英国工业元素相融合，形成了一种独特的衬线字体设计。设计师成功地将法国字体常⻅的结构严谨性与更为潇洒的设计⻛格中的优雅韵味相结合，这种特点在数字设计中尤为突出。字母C和S的衬线为整体设计增添了一些平衡感，它们既不突⺎也不过于拘谨，恰到好处地衬托出部分字母球形末端的柔和感。这种设计的微妙之处体现了设计师对衬线字体原则的深刻理解，同时其现代手法也使其适合用于印刷品中的正文等高强度使用的场景。
这款字体之所以脱颖而出，是因为它巧妙地在柔和与刚硬之间找到了平衡点，这是许多衬线字体设计难以做到的，同时又没有牺牲其实用性。字母的温和圆润增添了一种人文气息，使得文本显得有力、温暖而吸引人。这种混合⻛格不仅没有削弱字体的权威性，反而增强了它，为传统衬线字体设计提供了新颖而有趣的视⻆。

Jean-Baptiste Levée:

The jury was captivated by the threefold approach of this entry. First, it demonstrates the designer's understanding of the structural intricacies of Chancery script. The result is a well-informed typeface that embodies and maintains the characteristics of the genre. Second, it testifies to a sensitivity towards typeface drawing, with subtle stroke modulation where less diligent work (which is not the case here) would likely have chosen the path of monolinearity. Thin, hairline-like typefaces are challenging to execute because they are unforgiving of potential mistakes, and the author exhibits a degree of mastery in this entry. Lastly, this entry demonstrates a welcome level of contemporaneity, which is the logical result of the author’s personal approach to a traditional genre. The jury recognizes the promising outcome represented by this typeface. The author should be encouraged by the earning of this well-deserved Bronze award.

评委们被这款作品的三重创意所吸引。首先，它展示了设计师对Chancery script复杂结构的深刻理解。这一理解让这款字体充分展现了该⻛格的特色，并保持了其特点。其次，它体现了对字体绘制的敏锐度，在笔画调节上恰到好处，这在不那么细致的作品中（但这款作品并非如此）可能会倾向于选择单一线性的路径。纤细如发丝的字体很难执行，因为它们不容许任何潜在的错误，而作者在这款作品中展现出了高超的技艺。最后，这款作品展示了令人欣喜的时代感，这是作者以个人视⻆对Chancery script进行创作的必然结果。评委们认可这款字体所代表的前途无量的成果。作者获得这一实至名归的铜奖，应受到鼓励。

Gerry Leonidas:

Normally applying the style of a tool from one script to another is an invitation to problems, and a shortcut to failure. But in this case the designer manages to achieve a consistent, readable texture without the style feeling contrived. There is ample confidence in the shaping of strokes: the control of tapering and expanding strokes is very good, and the curved strokes are convincingly done. The thin strokes are particularly challenging, and here are done well. The designer clearly understands well how a consistent and readable texture is constructed, and the systematic aspects of typeface design. Nothing feels out of place, except the terminals ending in single points: these would be improved by better testing in a range of sizes: this feels like a talented designer in need of better development processes. Certainly a very promising entry, from someone with a good future ahead.

通常，将一个文种中的工具⻛格应用于另一个文种会引发一系列问题，也容易导致失败。但在这个案例中，设计师成功实现了一致且易读的排版效果，且这种⻛格并不显得刻意。设计师在笔画造型上展现了充分的自信：对笔画的粗细变化控制得很好，曲线部分也处理得相当到位。细笔画的设计尤为具有挑战性，但在这里完成得不错。设计师显然深谙如何构建一致且易读的排版效果，也熟悉字体设计的系统性要素。整体上，没有哪一部分显得格格不入，除了以单点结束的末端部分：这些部分可以通过在不同尺寸下进行更好的测试来改进。这位设计师颇具天赋，只是需要更完善的开发流程。这确实是一个非常有前景的作品，出自一位前途无量的设计师之手。

José Scaglione:

This ultra bold sans serif delivers a friendly appearance and a consistently rich typographic colour. The slight tapering of the stems, together its concave stroke finials, soften up an otherwise imponent demeanor. Lowecase letters feel neatly crafted and even in typesetting, except for a rather light letter 'z'. The designer made clever use or resources that allow maintaining the colour density in both complex and plain glyphs alike. In this sense, the 'c' introduces a top serif that helps closing up the counter shape, and 's' features anecessary reversed stress. It would have been ideal to see a similar set of solutions to capital letters 'C', 'T',and 'J', which appear rather unexplored in comparison. Overall, this entry shows a very accomplished type design level worthy of the bronze award.

这款超粗无衬线字体以其友好、连贯且浓郁的版面效果脱颖而出。设计师巧妙地通过字干的轻微减细和笔划末端的凹陷设计，为字体增添了一丝柔和的气质，避免了过于强势的观感。除了字母“z”稍显轻盈之外，小写字母的设计精致且和谐，即便在排版时亦是如此。设计师巧妙地利用了设计元素，确保了在复杂和简单的字形中都能维持字体的色彩密度。例如，“c”引入了一个上部的衬线，有助于封闭其内部空间，而“s”字则采用了必要的反向轴线设计。如果能看到对大写字母“C”、“T”和“J”的类似设计解决方案，那就更完美了，因为这些字母在相比之下显得较为保守。总的来说，这部作品展现出了非常出色的字体设计水平，值得获得铜奖。