9之第5部分/ Moritz Kleinsorge的企业字体 (Part 5 of 9 / Corporate Typefaces by Moritz Kleinsorge)

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

您何时会说第一个公司字体是设计出来的？ 大胆猜测。

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.

时光倒流，法国国王路易十四于1692年开始使用历史上第一个公司字体。 他下令设计字体，该字体仅用于皇家印刷厂。

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”.

印刷厂负责印刷国王的告示和出版物。 因此，在我看来，Romain du Roi是第一个“定制企业字体”。 字体代表路易十四，路易十四通过印刷声明与人们交谈。 法国名称Romain du Roi的意思是翻译的“国王的字体”，或者严格说来就是“国王的古董”。

Was your guess close?

您的猜测接近了吗？

关于路易十四国王。 (About King Louis XIV.)

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

谁发明了定制公司字体概念的国王？ 让我们仔细看看！

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

路易十四国王(1638–1715)在其父亲去世后四岁时被任命为国王，但他直到1661年才23岁才掌权。谦卑地，他给自己起了太阳王的头衔，因为太阳是宇宙的中心，就像国王一样，象征着国家的中心。 在他的统治下，路易十四带领法国走出了中世纪，并为现代铺平了道路。 他建造了宫殿(包括凡尔赛宫)，要塞，古迹，并创立了促进科学和艺术的学院。 为了发展经济，他引入了工作流程的划分，以便现在可以在工厂，工厂的先驱者中开始大规模生产商品。 这通过税收获得了经济收益，但是他为争取权力而进行的努力最终使法国陷入了财务危机，因为他投入了资金来对抗无数次战争以及宏伟但昂贵的建筑。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是第一个定制的公司字体，其设计也具有特殊的历史意义。 它代表了字体演变中的重大发展：Romain du Roi被认为是第一个过渡的Antiqua，“它起着文艺复兴时期Antiqua的联系，受文人以及后来的班级的精心策划和深思熟虑的形式的影响”。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.

路易十四对艺术特别感兴趣，并已经成立了一个小组，即比格农委员会，其任务是制作有关艺术，手Craft.io和贸易的插图书籍。 该委员会的研究始于研究他们认为最重要的印刷业。 因此毫不奇怪，路易十四委托由农神比格农(Abbot Bignon)(牧师，作家和图书馆员)，雅克·贾贡(皇家印刷术)，吉尔斯·菲诺·德比勒特(学者)和塞巴斯蒂安·特鲁谢特神父(牧师)组成的比格农委员会承担任务设计他的皇家字体。

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.

委员会为字母开发了一个网格，由大写字母的8×8正方形和小写字母的15×8正方形组成。 这些单独的正方形依次由6×6正方形组成，因此大写字母的网格总共由2304个小正方形组成。 在该网格内，设计了字体，然后由雕刻师Louis Simonneau将其刮到铜板上。 打Kong刀Philippe Grandjean当时是皇家打Kong刀，后来通过用原件制作邮票来完成字体。 可以理解，与手绘设计相比，他的最后一封信稍作改动。

设计中的特色 (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是第一个过渡安提瓜。 它为古典主义者Antiqua的发展奠定了基础，Antiqua的最著名代表包括Bodoni，Didot和Walbaum。 古典主义时代的字体比文艺复兴时期的字体更为理性和几何(与Garamont，Granjon或Van den Keere的字体相比)，它们的字体更具书法性。

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是第一个基于数学网格设计的字体。 下方的网格产生完美笔直的茎，以及基线上完美的水平衬线。 网格的另一个结果是小写字母的升序结束于大写字母的高度。 罗曼·杜·罗伊(Romain du Roi)之前设计的字体中，其上升字母略大于大写字母。

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的碗的设计中，几何形状和对称性特别明显。 这些元素显然是对称的，因此它们并非源自宽大的笔尖。 在其历史上，第一次给小号/ b左脚一个合适的脚衬线，在此之前，/ b通常只有一个小尖峰。³小写字母的升序以及/ i和/ j的两侧都带有头衬线，但是在后来的古典主义者Antiqua的开发过程中已省去了。 因此，这些特殊元素是Romain du Roi的重要区别特征。

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.

小写字母/ l显示了这些字母的最大特色。 它在x高度的左侧有一个小的衬线，在法语中称为ergot或sécante。 衬线是以前没有出现过的书法风格的残余。 这种衬线使Romain du Roi独树一帜。

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拥有衬线的原因尚未明确记录。 一种理论认为，该衬线用于将其与具有相同高度的大写字母/ l区别开来。 另一种理论认为，路易十四希望在/ l中具有明确的功能，因为他的名字以这个字母开头。 我个人认为后一种理论更有吸引力，但从理性上讲，前一种听起来更合理。 无论理论如何，衬线都是Romain du Roi的识别标记。

斜体 (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.⁴

威尼斯人Aldus Manutius最初在1501年左右专门用斜体印刷了一本书。斜体类型允许在一页上使用更多文本，从而导致更便宜和更易携带的书籍，现在可供更多人群使用。 阿尔杜斯·马努蒂乌斯(Aldus Manutius)的书就是所谓的Aldinen，是今天平装书的先驱。

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.

当时，立式和斜体通常分开使用，这也反映在设计中。 斜体明显来自手写体，因此与Antiqua相比，这是两种独立的字体和设计。 草书字体起源于意大利威尼斯，今天被称为斜体。

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的斜体是Antiqua的倾斜版本。 同样，这次是倾斜的网格用作设计的基础，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.

斜体的用法也很特殊，因为它与Antiqua一起使用。 直立和斜体的组合在今天很常见，但是在路易十四时代，这是很不寻常的。

The innovation in the letterforms of the italic version of Romain du Roi is the lowercase letter /h.⁵ 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斜体版本的字母形式上的创新是小写字母/h。⁵在此之前，第二个茎的衬线导致出现在该字母的反面，因此，在小磅字体中，它很容易被误认为是/ b。 不过，比格农委员会(Bignon Commission)向外设计了这种衬线，就像其他所有字母一样。 从现在开始，此设计成为斜体/ h的标准版本。

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年在大路德维希大帝(Régnede Ludwig le Grand)著作中得到使用。该书列出了路易十四国王的成就。 他几乎在所有活动中都获得了奖牌，包括从疾病中康复的事实。

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.

本书出版后不久，许多设计师开始模仿Romain du Roi的风格，但他们经常避免使用/ l上的衬线和两侧的头衬线。

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·格兰迪安(Philippe Grandjean)于1714年去世很久之后的1745年完成，最终字体具有82种不同的粗细，41种直立和41种斜体。

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.

根据传说，路易十四严格禁止在皇家印刷厂外使用该字体，从今天的角度考虑，鉴于其是公司字体，这是可以理解的。 但是直到1814年(比设想的要晚得多)，才正式禁止在皇家印刷厂外使用该字体。 革命期间，英国人在假海报中使用字体来破坏法国政权的稳定。

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才是法国国王的字体，直到最终被Didot风格的字体取代。

Romain du Roi作为国王的字体的评价 (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.

罗曼·罗伊(Romain du Roi)如何代表国王？ 它是合适的公司字体吗？ 字体最独特的细节是/ l的衬线，清楚地将字体标记为国王的财产。 该字母实际上在设计上非常简单，但其衬线为x高度已成为一个真正的区别特征。 每个法国公民都可以从这封信中立即得知这是国王的印刷文件。 因此，非常容易地将识别作为企业字体的最重要任务之一。

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.

与当时常用的字体相比，Roman du Roi在笔触宽度上具有更高的对比度，如今，它使字体显得高贵典雅-这是国王传统上可能拥有的属性。

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将字体设计带入了一个新时代，从有机设计转向理性设计。 因此，字体具有创新性和前瞻性。 同样，在路易十四时期，法国从农业社会发展为工业社会。 因此，可以在国王的统治和他的字体之间发现某些相似之处。

如果Romain du Roi不是皇家字体怎么办？ (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.⁶ 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.

许多打印机复制了Romain du Roi的样式。 例如，Fournier le Jeune是改写和发展Romain du Roi风格的排版者之一。⁶因此，该字体在全国范围内都得到了视觉展示。 印刷之王意大利人Bodoni研究了Fournier的作品，最终使他成为字体，这是古典主义古董的高潮。

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不是皇家字体，而是普通打Kong机的字体，则字母和字体设计的演变可能会采取不同的做法。 风格会在全国范围内进行调整吗？

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Next Chapter: Various Types of a Corporate Typeface

下一章： 各种类型的公司字体

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Overview of all chapters

所有章节概述

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

最初发布在 http://corporate-typeface.com

1. 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

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

   https://de.wikipedia.org/wiki/巴洛克-安提瓜

3. vgl. S. 58, Letters of Credit: A View of Type Design, Water Tracy, David R Godine, 2003vgl。 第58号《信用证：类型设计的观点》，水特蕾西，David R Godine，2003年

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

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

5. vgl. S. 59, Letters of Credit: A View of Type Design, Water Tracy, David R Godine, 2003vgl。 第59号，《信用证：字体设计的观点》，水特蕾西，David R Godine，2003年
6. vgl. Seite 175 und 199, Anatomy of a Typeface. Alexander S. Lawson. David R. Godine Publisher, 1990vgl。 Seite 175和199，字体剖析。 亚历山大·劳森(Alexander S.Lawson)。 David R. Godine出版社，1990年

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

主要来源： http : //origin.myfonts.com/s/aw/original/46/0/23804.pdf