羅馬印刷字體之初期造形概念研究－以威尼斯“古版本”字體之風格發展為例

歐洲的活字印刷術擴散之後，義大利羅馬活字逐漸發展成形，展現文藝復興運動在印刷字體設計之成果，並成為日後歐洲印刷字體的主流。本文的研究目的以「最初羅馬活字之設計概念如何形成？」為問題核心，故以十五世紀義大利出版重鎮－威尼斯當時（古版本時期）出版業所設計之羅馬字體為對象，來探討其造形風格的發展與設計理念的形成，以及對歐洲羅馬活字設計觀念的影響。先藉由文獻的評析與造形資源使用狀況（如碑文與手寫字母）的整理，建立初期羅馬印刷字體與威尼斯活字發展的認知架構；再擷取其中各階段的代表字體，以實證的方式進行風格比較分析，歸納其字體之造形結構與文字編排的發展特色。依據整理的結果，並從出版環境、書籍功能定位、技術問題等角度，詮釋羅馬活字最初的設計理念。其中將造形動機的轉變歸納為：技術模仿、功能與市場三個階段；並從(1)書寫與製圖的諧調(2)鑄刻技術的導向(3)版面編排與字形結構(4)整體閱讀動線與筆劃，等四個方向來解讀當時字體之設計方法與理念，並討論對日後歐洲印刷字體使用，「舊型羅馬體」之風格與羅馬字體設計美學觀點的影響。

關鍵字

羅馬活字；古版本書籍；威尼斯文藝復興

並列摘要

During the expansion of movable type print over Europe, the roman type, which was formed in Italy gradually, showed the result of renaissance graphic design, and became the major typeface used in text printing. The purpose of this study is originated from a center question: ”How the concept of roman prototype design was formed?” Thus, the incunabulum typeface used in Venice where was the publishing center of Italy in the 15th Century, is an important clue to figure out the original lettering style and concept of roman prototype. Also, it was the key point during the evolution of European roman type design. First, the basic knowledge is built to describe the development of roman types and Venetian fonts, by analyzing the documents and researching the sources of letterform (manuscripts and inscriptions as example). Then, the characteristics, such as forming structure, strokes, proportion, and layout spacing during the evolution, is classified and arranged through evident analyses and comparisons, with the representative typefaces of each step. According the conclusions as above, the original concepts of roman type design are annotated from the views of publishing markets, functions of books, and producing techniques. Following are the results to this research: There are three steps of the evolution of lettering motives: technically imitating the scripts, reading and composing functions, and book marketing; the concepts and methods of lettering and type design can be understood through four directions: (1) the harmonization between writing and geometrical drawing (2) lettering forms leaded by casting and carving (3) lettering structure based on the layout spacing (4) the agreement with strokes and visual reading movement. Then, the concepts pointed the ”old style” face in the 16th century, and the lettering aesthetics in renaissance as well.