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9之第5部分/ Moritz Kleinsorge的企業字體 (Part 5 of 9 / Corporate Typefaces by Moritz Kleinsorge)

When would you say the first corporate typeface was designed? Take a bold guess.

您何時會說第一個公司字體是設計出來的？ 大膽猜測。

Going back in time, the first corporate typeface in history had already been commissioned in 1692 by the French King Louis XIV. He ordered the design of a typeface, which was solely intended for the use within the royal printing house.

時光倒流，法國國王路易十四于1692年開始使用歷史上第一個公司字體。 他下令設計字體，該字體僅用于皇家印刷廠。

The printing house was responsible for printing the King’s notices and publications. For that reason — in my eyes — the Romain du Roi is the first Custom Corporate Typeface. The typeface represented Louis XIV, who spoke to the people through the printed statements. The french name Romain du Roi means translated “King’s Typeface”, or strictly speaking “Antiqua of the King”.

印刷廠負責印刷國王的告示和出版物。 因此，在我看來，Romain du Roi是第一個“定制企業字體”。 字體代表路易十四，路易十四通過印刷聲明與人們交談。 法國名稱Romain du Roi的意思是翻譯的“國王的字體”，或者嚴格說來就是“國王的古董”。

Was your guess close?

您的猜測接近了嗎？

關于路易十四國王。 (About King Louis XIV.)

Who was the King who invented the concept of a custom corporate typeface? Let’s take a closer look!

誰發明了定制公司字體概念的國王？ 讓我們仔細看看！

King Louis XIV (1638–1715) was appointed king at the age of four after the death of his father, but he did not take power until he was 23 in 1661. Humbly, he gave himself the title of Sun King as the sun is the center of the universe, just as he, the king, symbolized the center of the country. Under his reign, Louis XIV led France out of the Middle Ages and paved the way to modern times. He built palaces (including the Palace of Versailles), fortresses, monuments and founded academies that promoted science and art. To develop the economy, he introduced the division of work processes so that in manufactories, the forerunners of factories, mass production of goods could now begin. This led to financial gains through tax revenues, but his striving for power finally brought France to a financial ruin, as he invested money fighting numerous wars as well as magnificent but costly buildings.1

路易十四國王(1638–1715)在其父親去世后四歲時被任命為國王，但他直到1661年才23歲才掌權。謙卑地，他給自己起了太陽王的頭銜，因為太陽是宇宙的中心，就像國王一樣，象征著國家的中心。 在他的統治下，路易十四帶領法國走出了中世紀，并為現代鋪平了道路。 他建造了宮殿(包括凡爾賽宮)，要塞，古跡，并創立了促進科學和藝術的學院。 為了發展經濟，他引入了工作流程的劃分，以便現在可以在工廠，工廠的先驅者中開始大規模生產商品。 這通過稅收獲得了經濟收益，但是他為爭取權力而進行的努力最終使法國陷入了財務危機，因為他投入了資金來對抗無數次戰爭以及宏偉但昂貴的建筑。1

Romain du Roi的起源 (The Origin of the Romain du Roi)

Besides the fact that the Romain du Roi is the first custom corporate typeface, its design is also of particular historical importance. It represents a significant development in the evolution of typefaces: The Romain du Roi is considered the first transitional Antiqua, which ?acts as a link between the Renaissance Antiqua influenced by writing and carefully planned and thought-out) forms of later classes“.2

Romain du Roi是第一個定制的公司字體，其設計也具有特殊的歷史意義。 它代表了字體演變中的重大發展：Romain du Roi被認為是第一個過渡的Antiqua，“它起著文藝復興時期Antiqua的聯系，受文人以及后來的班級的精心策劃和深思熟慮的形式的影響”。2

Louis XIV was particularly interested in art and had already set up a group, the Bignon Commission, whose task was to produce illustrated books on the arts, crafts and trade. The committee began its research by studying the craft that they considered most important, the printing trade. So it was not surprising that Louis XIV entrusted the Bignon Commission, made up of Abbot Bignon (clergyman, writer and librarian), Jacques Jaugeon (royal typographer), Gilles Filleau des Billettes (scholar) and Father Sébastien Truchet (priest) with the task of designing his royal typeface.

路易十四對藝術特別感興趣，并已經成立了一個小組，即比格農委員會，其任務是制作有關藝術，手Craft.io和貿易的插圖書籍。 該委員會的研究始于研究他們認為最重要的印刷業。 因此毫不奇怪，路易十四委托由農神比格農(Abbot Bignon)(牧師，作家和圖書館員)，雅克·賈貢(皇家印刷術)，吉爾斯·菲諾·德比勒特(學者)和塞巴斯蒂安·特魯謝特神父(牧師)組成的比格農委員會承擔任務設計他的皇家字體。

The commission developed a grid for the letters, consisting of 8 × 8 squares for the capital letters and 15 × 8 squares for the lowercase letters. These individual squares in turn consisted of 6 × 6 squares, so that the grid of an uppercase letter consisted of 2304 small squares in total. Within this grid, the typeface was designed and later scratched into copper plates by engraver Louis Simonneau. The punch cutter Philippe Grandjean, who was working as a royal punch cutter at the time, finally completed the typeface by making stamps from the originals. His final letters were understandably slightly altered in comparison to the hand-drawn designs.

委員會為字母開發了一個網格，由大寫字母的8×8正方形和小寫字母的15×8正方形組成。 這些單獨的正方形依次由6×6正方形組成，因此大寫字母的網格總共由2304個小正方形組成。 在該網格內，設計了字體，然后由雕刻師Louis Simonneau將其刮到銅板上。 打Kong刀Philippe Grandjean當時是皇家打Kong刀，后來通過用原件制作郵票來完成字體。 可以理解，與手繪設計相比，他的最后一封信稍作改動。

設計中的特色 (Special features in the design)

As already mentioned, the Romain du Roi was the first transitional Antiqua. It laid the foundation for the development of the classicist Antiqua, whose most famous representatives include Bodoni, Didot and Walbaum. Typefaces of the age of Classicism are more rational and geometric than those of the Renaissance (compared to typefaces by Garamont, Granjon or Van den Keere), which were characterized being more calligraphic.

如前所述，Romain du Roi是第一個過渡安提瓜。 它為古典主義者Antiqua的發展奠定了基礎，Antiqua的最著名代表包括Bodoni，Didot和Walbaum。 古典主義時代的字體比文藝復興時期的字體更為理性和幾何(與Garamont，Granjon或Van den Keere的字體相比)，它們的字體更具書法性。

The Romain du Roi was the first typeface to be designed on the basis of a mathematical grid. The underlying grid resulted in perfectly straight stems, as well as perfectly horizontal serifs on the baselines. Another consequence of the grid was that the ascenders of the lowercase letters ended at the height of the uppercase letters. In the typefaces designed before the Romain du Roi, the ascenders slightly exceeded the uppercase letters.

Romain du Roi是第一個基于數學網格設計的字體。 下方的網格產生完美筆直的莖，以及基線上完美的水平襯線。 網格的另一個結果是小寫字母的升序結束于大寫字母的高度。 羅曼·杜·羅伊(Romain du Roi)之前設計的字體中，其上升字母略大于大寫字母。

安蒂夸 (The Antiqua)

Both the geometry and the symmetry are particularly evident in the design of the bowls of the letters /b, /d, /p and /q. These elements are clearly not derived from writing with a broad nib as they are symmetrical. For the first time in its history, the minuscule /b was given a proper foot serif on the left side, before that, the /b often only had a small spur.3 The ascenders of the lowercase letters as well as the /i and /j were given a head serif on both sides, but this was dispensed with during the later development of the classicist Antiqua. These particular elements are therefore an important distinguishing features of the Romain du Roi.

在字母/ b，/ d，/ p和/ q的碗的設計中，幾何形狀和對稱性特別明顯。 這些元素顯然是對稱的，因此它們并非源自寬大的筆尖。 在其歷史上，第一次給小號/ b左腳一個合適的腳襯線，在此之前，/ b通常只有一個小尖峰。3小寫字母的升序以及/ i和/ j的兩側都帶有頭襯線，但是在后來的古典主義者Antiqua的開發過程中已省去了。 因此，這些特殊元素是Romain du Roi的重要區別特征。

The lowercase letter /l shows the most distinctive feature of the letters. It has a small serif on the left side at x-height, called ergot or sécante in French. The serif is a remnant of the calligraphic style which had not appeared in any previous typefaces. This serif makes the Romain du Roi unique.

小寫字母/ l顯示了這些字母的最大特色。 它在x高度的左側有一個小的襯線，在法語中稱為ergot或sécante。 襯線是以前沒有出現過的書法風格的殘余。 這種襯線使Romain du Roi獨樹一幟。

The reason why the Romain du Roi /l possessed the serif is not clearly documented. One theory says that this serif was used to distinguish it more clearly from the capital letter /l, which has the same height. The other theory claims that Louis XIV wanted to have an unmistakable feature in the /l, because his name began with this letter. I personally find the latter theory more charming, but rationally speaking the former sounds more reasonable. Whatever theory may be true, the serif is THE identifying mark of the Romain du Roi.

Romain du Roi / l擁有襯線的原因尚未明確記錄。 一種理論認為，該襯線用于將其與具有相同高度的大寫字母/ l區別開來。 另一種理論認為，路易十四希望在/ l中具有明確的功能，因為他的名字以這個字母開頭。 我個人認為后一種理論更有吸引力，但從理性上講，前一種聽起來更合理。 無論理論如何，襯線都是Romain du Roi的識別標記。

斜體 (The Italic)

The Venetian, Aldus Manutius, first printed a book exclusively in italics around 1501. The italic type allowed more text to be used on one page, which led to cheaper and more portable books that were now accessible to a larger population. The books of Aldus Manutius were the so-called Aldinen, a forerunner of today’s paperback.?

威尼斯人Aldus Manutius最初在1501年左右專門用斜體印刷了一本書。斜體類型允許在一頁上使用更多文本，從而導致更便宜和更易攜帶的書籍，現在可供更多人群使用。 阿爾杜斯·馬努蒂烏斯(Aldus Manutius)的書就是所謂的Aldinen，是今天平裝書的先驅。

At that time, upright and italic type were usually used separately, which is also reflected in the design. The italic typeface is clearly derived from handwriting, so compared to the Antiqua, these are two independent typefaces and designs. Originating in Venice, Italy, cursive typefaces are today known as Italic.

當時，立式和斜體通常分開使用，這也反映在設計中。 斜體明顯來自手寫體，因此與Antiqua相比，這是兩種獨立的字體和設計。 草書字體起源于意大利威尼斯，今天被稱為斜體。

The italic of Romain du Roi, on the other hand, are an inclined version of Antiqua. Again, the grid, this time inclined, served as the basis for the design, so that the letterforms are very similar.

另一方面，Romain du Roi的斜體是Antiqua的傾斜版本。 同樣，這次是傾斜的網格用作設計的基礎，因此字母形式非常相似。

The use of the italic is also special, as it was used together with the Antiqua. The combination of upright and italic is common today, but in the times of Louis XIV, this was rather unusual.

斜體的用法也很特殊，因為它與Antiqua一起使用。 直立和斜體的組合在今天很常見，但是在路易十四時代，這是很不尋常的。

The innovation in the letterforms of the italic version of Romain du Roi is the lowercase letter /h.? Until then, the serif of the second stem led into the counter of the letter, so that in small point sizes it could easily be mistaken for a /b. The Bignon Commission however, designed this serif outwards, just like it is on all other letters. From now on, this design became the standard version of the italic /h.

Romain du Roi斜體版本的字母形式上的創新是小寫字母/h。?在此之前，第二個莖的襯線導致出現在該字母的反面，因此，在小磅字體中，它很容易被誤認為是/ b。 不過，比格農委員會(Bignon Commission)向外設計了這種襯線，就像其他所有字母一樣。 從現在開始，此設計成為斜體/ h的標準版本。

www.corporate-typeface.com to see the image correctly. Photo ? Riccardo Oloccowww.corporate-typeface.com正確查看圖像。 照片?Riccardo Olocco

Romain du Roi的使用 (Use of the Romain du Roi)

The Romain du Roi was first used in the book Médailles sur les principaux événements du règne de Ludwig le Grand in 1702. This book listed the achievements of King Louis XIV. He awarded himself medals for almost every event, including the fact that he recovered from an illness.

Romain du Roi最早于1702年在大路德維希大帝(Régnede Ludwig le Grand)著作中得到使用。該書列出了路易十四國王的成就。 他幾乎在所有活動中都獲得了獎牌，包括從疾病中康復的事實。

Shortly after the publication of the book, many designers began to imitate the style of Romain du Roi, but they often refrained from using the serifs on the /l and the head serifs on both sides.

本書出版后不久，許多設計師開始模仿Romain du Roi的風格，但他們經常避免使用/ l上的襯線和兩側的頭襯線。

Completed in 1745, long after the death of Philippe Grandjean in 1714, the final typeface had 82 different weights, 41 upright and 41 italics.

菲利普·格蘭迪安(Philippe Grandjean)于1714年去世很久之后的1745年完成，最終字體具有82種不同的粗細，41種直立和41種斜體。

According to the legend, Louis XIV strictly prohibited the use of the typeface outside the royal printing house, which is understandable from today’s perspective given its status as a corporate typeface. But it was not until 1814, much later than assumed, that the use of the typeface outside the royal printing house was formally prohibited. During the revolution, the British used the typeface in fake posters to destabilize the French regime.

根據傳說，路易十四嚴格禁止在皇家印刷廠外使用該字體，從今天的角度考慮，鑒于其是公司字體，這是可以理解的。 但是直到1814年(比設想的要晚得多)，才正式禁止在皇家印刷廠外使用該字體。 革命期間，英國人在假海報中使用字體來破壞法國政權的穩定。

Until 1816, the Romain du Roi was the font of the French king, until it was finally replaced by a Didot-style typeface.

直到1816年，Romain du Roi才是法國國王的字體，直到最終被Didot風格的字體取代。

Romain du Roi作為國王的字體的評價 (Evaluation of the Romain du Roi as a King’s Typeface)

How does the Romain du Roi represent the King? Is it a suitable corporate typeface? The most distinctive detail of the typeface, the serif at the /l, clearly marks the typeface as the belonging to the King. This letter, which is actually very simple in design, has become a real distinguishing feature with its serif at x-height. Every French citizen could immediately tell from this letter that it was a printed document from the King. Recognition being one of the most important tasks of a corporate typeface was thereby established very easy.

羅曼·羅伊(Romain du Roi)如何代表國王？ 它是合適的公司字體嗎？ 字體最獨特的細節是/ l的襯線，清楚地將字體標記為國王的財產。 該字母實際上在設計上非常簡單，但其襯線為x高度已成為一個真正的區別特征。 每個法國公民都可以從這封信中立即得知這是國王的印刷文件。 因此，非常容易地將識別作為企業字體的最重要任務之一。

Compared to the typefaces commonly used at the time, the Roman du Roi has a higher contrast in stroke width, which nowadays makes the typeface appear noble and elegant — attributes that a King might traditionally be associated with.

與當時常用的字體相比，Roman du Roi在筆觸寬度上具有更高的對比度，如今，它使字體顯得高貴典雅-這是國王傳統上可能擁有的屬性。

Type design was taken into a new era by the Romain du Roi, moving away from organic to rational design. Thus, the typeface has been innovative and forward-looking. Likewise, under Louis XIV, France was developed from an agricultural to an industrial society. Thus, certain parallels can be observed between the reign of the king and his typeface.

Romain du Roi將字體設計帶入了一個新時代，從有機設計轉向理性設計。 因此，字體具有創新性和前瞻性。 同樣，在路易十四時期，法國從農業社會發展為工業社會。 因此，可以在國王的統治和他的字體之間發現某些相似之處。

如果Romain du Roi不是皇家字體怎么辦？ (What if the Romain du Roi had not been a royal typeface?)

Many printers copied the style of Romain du Roi. Fournier le Jeune, for example, was one of the typographers who adapted and developed the style of the Romain du Roi.? Accordingly, the typeface was visually represented throughout the country. The Italian Bodoni, the King of Printers, studied Fournier’s work, among others, which finally led him to his typeface, which is the culmination of the classicist antiqua.

許多打印機復制了Romain du Roi的樣式。 例如，Fournier le Jeune是改寫和發展Romain du Roi風格的排版者之一。?因此，該字體在全國范圍內都得到了視覺展示。 印刷之王意大利人Bodoni研究了Fournier的作品，最終使他成為字體，這是古典主義古董的高潮。

The evolution of letters and typeface design might have taken a different course if the Romain du Roi had not been a royal typeface but one from a normal punch cutter. Would the style have been adapted throughout the country?

如果Romain du Roi不是皇家字體，而是普通打Kong機的字體，則字母和字體設計的演變可能會采取不同的做法。 風格會在全國范圍內進行調整嗎？

www.corporate-typeface.com to see the image correctly. Photo ? Riccardo Oloccowww.corporate-typeface.com正確查看圖像。 照片?Riccardo Olocco

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Next Chapter: Various Types of a Corporate Typeface

下一章： 各種類型的公司字體

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Overview of all chapters

所有章節概述

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Originally published at http://corporate-typeface.com

最初發布在 http://corporate-typeface.com

vgl. https://www.planet-wissen.de/geschichte/persoenlichkeiten/-ludwig_der_vierzehnte_der_sonnenkoenig/index.html

vgl。 https://www.planet-wissen.de/geschichte/persoenlichkeiten/ ludwig_der_vierzehnte_der_sonnenkoenig / index.html

https://de.wikipedia.org/wiki/Barock-Antiqua

https://de.wikipedia.org/wiki/巴洛克-安提瓜

vgl. S. 58, Letters of Credit: A View of Type Design, Water Tracy, David R Godine, 2003

vgl。 第58號《信用證：類型設計的觀點》，水特蕾西，David R Godine，2003年

https://ilovetypography.com/2014/11/25/notes-first-italic/

https://ilovetypography.com/2014/11/25/notes-first-italic/

vgl. S. 59, Letters of Credit: A View of Type Design, Water Tracy, David R Godine, 2003

vgl。 第59號，《信用證：字體設計的觀點》，水特蕾西，David R Godine，2003年

vgl. Seite 175 und 199, Anatomy of a Typeface. Alexander S. Lawson. David R. Godine Publisher, 1990

vgl。 Seite 175和199，字體剖析。 亞歷山大·勞森(Alexander S.Lawson)。 David R. Godine出版社，1990年

main source:http://origin.myfonts.com/s/aw/original/46/0/23804.pdf

主要來源： http : //origin.myfonts.com/s/aw/original/46/0/23804.pdf

翻譯自: https://medium.com/swlh/le-romain-du-roi-b65d708533d5

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