![]() ![]() A square was divided into 64 units and each unit was divided into 36 smaller units (2,304 small squares). Made by a committee assembled for Academy of Science. Whereas this typeface was the result of scientific inquiry and rational design. What we have seen so far is typefaces that developed naturally which evolved into the hands of punch cutters that were using typefaces based in the 15th c. Means "Roman of the king" forms that were designed for and commissioned by King Louis XIV. The new letter designs had fewer calligraphic properties inspired by the chisel and flat pen a mathematical harmony was achieved by measurement and drafting instruments. Italics were constructed on a similar grid. To construct the new roman capital letters, a square was divided into a grid of sixty-four units each of these units was divided further into thirty-six smaller units for a total of 2,304 tiny squares. Types designed for the Imprimerie Royale could only be used by that office for royal printing other use constituted a capital offense. Philippe Grandjean (1666-1714) cut the punches to convert the master alphabets into text type. ![]() The master alphabets were engraved as large copperplate prints (Figs. This Romain du Roi, as the new typeface was called, had in- creased contrast between thick and thin strokes, sharp horizon- tal serifs, and an even balance to each letterform. Headed by mathematician Nicolas Jaugeon, the academicians examined all previous alphabets and studies on type design. The new letters were to be designed by "scientific" principles. _- In 1692 the French king Louis XIV, who had a strong interest in printing, ordered a committee of scholars to develop a new typeface for the Imprimerie Royale, the royal printing office established in 1640 to restore quality. ![]()
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