Garamond is a group of many old-style serif typefacesoriginally those designed by Parisian craftsman Claude Garamond and other 16th century French engravers, and now many modern revivals.

Though his name was written as 'Garamont' in his lifetime, the typefaces are generally spelled 'Garamond'. Garamond worked as an engraver of punchesthe masters used to stamp matricesthe moulds used to cast metal type. Although Garamond himself remains considered an eminent figure in French printing of the sixteenth century, historical research over the last century has increasingly placed him in context as one artisan among several active at a time of rapid production of new typefaces in sixteenth-century France, operating within a pre-existing tradition defined by the work of printers of the preceding half-century, in particular Aldus Manutius and his punchcutter Francesco Griffo.

Therefore, the term "Garamond" in modern use may be understood to mean typefaces based on the appearance of early modern French printing, not necessarily specifically Garamond's work. Some distinctive characteristics in Garamond's letters are the small eye of the 'e' and the bowl of the a, which has a sharp hook upwards at top left.

The x-height height of lower-case letters is low, especially at larger sizes, making the capitals large relative to the lower case, while the top serifs on the ascenders of letters like 'd' have a downward slope and rise subtly above the cap height. Since aroundmany modern revivals of Garamond and related typefaces have been developed. Among these, the roman regular; upright versions of Adobe Garamond, GranjonSabonand Stempel Garamond are directly based on Garamond's work.

It is common to pair these with italics based on those created by his contemporary Robert Granjonwho was well known for his proficiency in this genre. Modern Garamond revivals also often add a matching bold and 'lining' numbers at the height of capital letters, neither of which were used in Garamond's time. Developed in the early s and bundled with many Microsoft products, it is a revival of Jannon's work.

Garamond designed type in the 'roman', or upright style, in italicand Greek. In the period of Garamond's early life roman type had been displacing the blackletter or Gothic type which was used in much although not all early French printing. The roman designs of Garamond which are his most imitated were based on a typeface cut in — for the Venetian printer Aldus Manutius by Francesco Griffo. Historian Beatrice Warde has assessed De Aetna as something of a pilot projecta small book printed to an even higher standard than Manutius' norm.

French typefounders of the 16th century assiduously examined Manutius's work and, it is thought, De Aetna in particular as a source of inspiration. De Aetna was printed using a mixture of alternate characters, perhaps as an experiment, and several of these are all found in Robert Estienne's printing of the s; typefaces created by Antoine Augereau who may have been Garamond's mentor only use those letters preferred in Manutius' later printing, indicate that other Manutius books were examined as a source of inspiration separately.

The period from to aroundencompassing Garamond's career, was an extremely busy period for typeface creation. Many fonts were created, some apparently for exclusive use by a specific printer, others sold or traded between them. Confusion about which engravers created which typefaces is natural since many were active over this time, creating typefaces not just in the Latin alphabet in roman and italic, but also in Greek and Hebrew for scholarly use.

Very little is known about Garamond's life or work beforealthough he wrote in a preface of having cut punches for type since childhood. Professor Hendrik Vervliet, the leading contemporary authority on sixteenth-century French printing, concludes that four italics up to can be attributed to him. Garamond designed type for the Greek alphabet from early in his career, but these, the Grecs du roi fonts, commissioned for the government in[31] are very different to his Latin designs: Garamond died in and his punches and matrices were sold off by his widow.

Plantin's collection of original Garamond punches and matrices survives at the Plantin-Moretus Museum in Antwerp, together with many other typefaces collected by Plantin from other typefounders of the period.

While some records such as Plantin's exist of what exact types were cut by Garamond himself, many details of his career remain uncertain, with initial opinion of his date of birth as around being substituted by much later estimates more recently. It has been suggested that the first Roman types designed by Claude Garamond were a set created for Robert Estienne and first used by him aroundthat were the first typefaces used in Paris to copy the Manutius model.

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Many modern revival fonts based on French renaissance printing are influenced by the work of Robert Granjonparticularly in the italics. Vervliet comments that Granjon "laid the foundation for our image of the way an Italic should look. Insixty years after Garamond's death, the French printer Jean Jannon released a specimen of typefaces that had some characteristics similar to the Garamond designs.

The contract is actually made for one 'Nicholas Jannon', which historians have concluded to be a mistake. Seeing that for some time many persons have had to do with the art [of printing] who have greatly lowered it Jannon's career took place during a politically tense period. Jannon was a Protestant in mostly Catholic France, and began his career as printer for the Protestant Academy at Sedan in what is now north-eastern France before taking up punchcutting, in his thirties by his report.

The italics are also very different to Garamond's own or Granjon's, being much more ornate and with considerable variation in angle of the capitals. Carter in the s followed this conclusion. The old-style typefaces of Garamond and his contemporaries and successors remained in use in printing for over two hundred years after Garamond's death, and became influential on Dutch printing during the period known as Dutch golden agewhen Dutch printing was itself very influential across Europe.

Dutch printers and punchcutters, however, sometimes favoured more solid, darker designs than Garamond's. The matrices of sixteenth-century punchcutters such as Garamond and Granjon continued to be regularly used and kept in the stock of typefounders in Europe until the end of the eighteenth century and in some areas into the nineteenth. I shall be happy to display my punches and matrices to all those who are lovers of true beauty Old-style serif typefaces by Garamond and his colleagues finally fell out of use with the arrival of what is now called the Didone style of printing in the eighteenth and early nineteenth centuries, promoted by the Didot family in France and others.

The upheavals of the Revolution coincided with the major shift in the style of printing types that is associated with the family of Didotand the stock of old materials abruptly lost its value, except as scrap. Punches rust, and the copper of matrices is recyclable. No relics of them were saved anywhere, except in commercial centres that had become relative backwaters, like Antwerp, where the Plantin-Moretus printing office piously preserved the collection of its founder Garamond's reputation remained respected, even by members of the Didot family whose type designs came to dominate French printing.

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A revival of interest in 'old-style' serif typefaces took place in the late nineteenth and early twentieth century.

This saw a revival of the Imprimerie royale typefaces the office was now called the Imprimerie nationale following the end of the French monarchywhich, unlike Garamond's own work, had survived in Paris.

The attribution came to be considered certain by the Imprimerie's director Arthur Christian. Early revivals were often based directly on the Imprimerie nationale types, one of the first by Peignot and then by American Type Founders ATF. Among hot metal typesetting companies, Monotype's branches in Britain and the United States brought out separate versions, and the American branch of Linotype licensed that of ATF.

A number of historians began in the early twentieth century to question if the Imprimerie nationale Latin-alphabet type was really the work Garamond as the Grecs du Roi undoubtedly were. Doubt was raised by French historian Jean Paillard, but he died in the First World War soon after publishing his conclusions in and his work remained little-read.

He discussed his concerns with ATF junior librarian Beatrice Wardewho would later move to Europe and become a prominent writer on printing advising the British branch of Monotype. In a paper published on the British typography journal The FleuronBeatrice Warde revealed her discovery that the Imprimerie nationale type had been created by Jean Jannon, something she had discovered by examining printing credited to him in London and Paris and through reading the work of Paillard.

By the time Warde's article was published some revivals had been released that were more authentic revivals of Garamond's work, based on period books and printing specimens. The German company Stempel brought out a crisp revival of the original Garamond typefaces in the s, inspired by a rediscovered specimen from the Egenolff-Berner foundry in Frankfurt, as did Linotype in Britain. Released inAdobe Garamond is designed by Robert Slimbach for Adobe Systemsbased on a Roman type by Garamond and an italic type by Robert Granjon.

Its quite even, mature design attracted attention on release for its authenticity to Garamond's work, a contrast to the much more aggressive ITC Garamond popular at the time.

It is one of the most popular versions of Garamond in books and fine printing. Slimbach started planning for a second interpretation of Garamond after visiting the Plantin-Moretus Museum induring the production of Adobe Garamond. He concluded that a digital revival would not be definitive unless it offered optical how much does cashier at costco make, with different fonts designed for different sizes of text.

A hot-metal period adaptation created by the Stempel Type Foundry in the inter-war period, and released through Linotype in other countries, that has remained popular.

It is sharp, somewhat angular design with a crisp hook rather than a teardrop at top left of the 'a'. Stempel Garamond has relatively short descendersallowing it to be particularly tightly linespaced. Sabon is a Garamond revival designed by Jan Tschichold injointly released by Linotype, Monotype and Stempel in Released in by Georg Duffner, EB Garamond is a free software version of Garamond released under the Open Font License and available through Google Fonts.

Duffner based the design on a specimen printed by Egelnoff-Berner inwith italic and Greek characters based on Robert Granjon's work, as well as the addition of Cyrillic characters and Amazon work from home customer service associate glassdoor features such as swash italic capitals and schoolbook alternates.

It has been described as "one of the best open source fonts" by prominent typeface designer Erik Spiekermann. Granjondesigned by George W.

Williamson suggests that in body text it failed to adapt the style of a large letter effectively down to body text size, producing a design with an extremely small x-height. American Type Founders created a revival of the Imprimerie Nationale typefaces from arounddesigned in-house by its design department led by Morris Fuller Benton under the influence of its historian and advisor Henry Lewis Bullen. Clelandwho created a set of matching borders and ornaments, biotech stocks to buy august 2016 according to Warde also advised on the swash capitals.

The design became particularly known under the name of "Garamond No. More practical to use than ATF's handset foundry type, the number distinguished it from Stempel's version and other variants which Linotype also sold. Several digitisations have been made of both ATF's original Garamond and the Linotype adaptation, most notably a digitisation bondt does the stock market close today van Bronkhorst with optical sizes and the original swash characters.

Monotype 's design, based on Jannon's work in the Imprimerie Nationale, is sell my lloyds banking group shares with many Microsoft products. Popular in the metal type era, its digitisation has been criticised for having too light a colour on the page for body text if printed with many common printing systems, a problem with several Monotype digitisations of the period.

A revival by Frederic Goudy for the American branch of Monotype, the name chosen to differ from other revivals. Mosley has described it as "a lively type, underappreciated I think. Goudy has done his best to reproduce". As one of the most popular typefaces in history, a number of designs have been created that are influenced by Garamond's design but follow different design paths.

ITC Garamond was created by Tony Stan inand follows ITC's house style of unusually high x-height. It was initially intended to serve as a display version but was used for text, in which its tight spacing and high x-height gives it a stockbroker stories hectoring appearance. Publishers using it included O'Reilly Media and French publisher Actes Sud.

An open-source adaptation of Garamond intended for display sizes, designed bondt does the stock market close today Christian Thalmann and co-released with Google Fonts. Thalmann added several unusual alternate designs such as an upright italic and unicase styles, as well as exaggerated, highly slanting accents. A humanist sans-serif based on the letterforms of Jannon's type, created by Alan Meeks and published by Letraset and later ITC.

This list focuses on notable references to Garamond or his typefaces, not including the extremely large number of books printed in them. Types of fx options has been claimed that Garamond uses much less ink than Times New Roman at a similar point size, so changing to Garamond could be indicators minute chart for binary options cost-saver for large organizations that print large numbers of documents, especially if using inkjet printers.

Are there binary options legal claim has been criticised as a misinterpretation of how typefaces are actually measured and what printing methods are desirable. Monotype Garamondthe version bundled with Windowshas a generally smaller design at the same notional point size compared to Times New Roman and quite spindly strokes, giving it a more elegant but less readable appearance.

To make letters, especially the lower-case, as high as in an equivalent how to earn money fast on gaia online of Times New Roman, the text size lowest traded stock today be increased, counterbalancing any cost savings.

Thomas Phinney, an expert on digital fonts, noted that the effect of simply swapping Garamond in would be compromised legibility: That seems like a bad idea, as the percentage of Americans with poor eyesight is skyrocketing. Type in a book by Jacques Dubois and printed in by Robert Estienne, a printer who was later a colleague of Garamond.

Vervliet suggests that this type was not cut by Garamond himself but may have influenced him. Monotype Garamond based on Jannon compared to the more geometric transitional serif and Didone type that replaced old-style type in the eighteenth century. The asymmetrical 'Bembo M', apparently the result of French artisans such as Garamond over-faithfully copying a glitch in Aldus Manutius's metal type. Shown in a Parisian how to earn money fast on cashcrate textbook fromgreatly enlarged.

Type set up in a forme at the Plantin-Moretus Museum. The text is a sonnet by Plantin. A woodcut title page printed by Simon de ColinesRobert Estienne's stepfather, in The font used exemplifies the style preceding the s: De Colines, who engraved or at least commissioned his own typefaces, would later adapt his style to match the new style introduced by his stepson. Writing in its new Garamond revival type, showcased in its legendary specimen, the printing equipment company ATF states its goal to 'discourage unhealthy competition' in the printing industry.

Optical sizes how does a person make money investing in raw land EB Garamond. At top, correct use: Green is in a slimmer style designed for text printed large, and authority in a thicker style for text printed small.

The bottom pair are the wrong way round: Green looks too stocky and authority too fine. From Wikipedia, the free encyclopedia. For other uses, see Garamond disambiguation. Html code for stock market tickers for metal type founding at the Plantin-Moretus Museum, Antwerp.

The Plantin-Moretus Museum, which preserves original type by Garamond. Frederic Goudy's Garamont type for the American Monotype company in close-up. The colophon of Monotype's Garamont sample, showing the italic and ligatures. However, the matrix is the mould for the variable region of a sort. That it was the model for the widely-copied grecs du roi was, with hindsight, unfortunate.

The American branch's version, Garamond No. These versions are discussed separately below under these names. Retrieved 3 December The Price of Celebrity". A Revival of Types of Robert Granjon". Retrieved 19 May Encyclopedia of Library and Information Science: Retrieved 11 December Retrieved 11 August Retrieved 6 February The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces.

Retrieved 2 February French Ministry of Culture. Retrieved 30 January The history and technique of lettering. It is generally acknowledged that Garamond did not cut a good italic: The two italics he cut for his own venture into the publishing field were poor imitations of the Aldine letter.

Form and Meaning in the History of the Book: The Bembo-M was current, even inevitable, in Paris between and [although] Simon de Colines [Estienne's stepfather, and a printer in his own right] avoided such an 'M'.

As for Garamont, the Bembo-M must have seemed normal to him in his early work. Robert Estienne, Royal Printer: An Historical Study of the Elder Stephanus. French Renaissance Printing Types: An Exhibition at Bridwell Library". Archived from the original on January 9, Royal Holloway PhD thesis. Retrieved 14 May International Type Design in the Age of Unicode. Retrieved 3 March Dutch typography in the sixteenth century the collected works of Paul Valkema Blouw.

A View of Early Typography Up to About Reprinted ed. Types of the Netherlands, —". Their History, Forms and Uses: Retrieved 18 December Retrieved 14 August A view of early typography up to about Reprinted ed.

Private printing for A. The palaeotypography of the French Renaissance. Selected papers on sixteenth-century typefaces. Selected Papers on Sixteenth-Century Typefaces. Library of the Written Word, 6; The Handpress World, 4. Digital Typefaces Inspired by the Past. Treasures From the Archives of the Imprimerie Nationale" exhibition review ".

Carter, Harryed. A Tally of Types. Retrieved 31 January In Mentzer, Raymond; Spicer, Andrew. Society and culture in the Huguenot world: Sacred words and worlds: The History and Technique of Lettering. Bulletin of the Printing Historical Society.

Van den Keere's romans are open and unadorned; although building on the French Renaissance style of Claude Garamond they are heavier and slightly more condensed. Graphic Design and Publishing Centre.

Retrieved 10 August Retrieved 28 July Retrieved 14 October A tally of types New ed. Claude Garamont, graveur et fondeur de lettres.

Archived from the original on February 2, Retrieved 8 March Retrieved 26 July Books published in France before in Latin and Languages other than French. Archived from the original PDF on February 23, Retrieved 9 March Retrieved 8 January Retrieved 4 July Retrieved 2 July Adobe Systems private distribution.

Slimbach himself admits that what he produced then reflected commercial pressures and the limitations of type technology in the late s.

Garamond Premier Pro had its genesis inwhen Adobe senior type designer Robert Slimbach visited the Plantin-Moretus Museum in Antwerp, Belgium, to study their collection of Claude Garamond's metal punches and type designs While fine-tuning Adobe Garamond as a useful design suited to modern publishing, Slimbach started planning an entirely new interpretation of Garamond's designs based on the range of unique sizes he'd seen at the Plantin-Moretus, and on comparable italics cut by Garamond's contemporary, Robert Granjon.

Archived from the original on January 10, Robert does acknowledge a major outside influence on his new Garamond Rob thought this was very interesting. But the temporal and technical constraints Rob was working with made it impractical to do anything with this idea at the time.

Archived from the original PDF on February 9, Pro comments on Typophile thread ". Retrieved 9 October Fifty Typefaces That Changed the World. Retrieved 13 December Strategies of glyph differentiation". Retrieved 12 September Retrieved 30 June Retrieved 19 September Retrieved 12 February Retrieved 18 August Anatomy of a Typeface 1st ed.

Henri and Robert Estienne". Retrieved 12 March Methods of Book Design. Rochester Institute of Technology MSc thesis. Retrieved 5 September Retrieved 17 September Retrieved 24 August Retrieved 16 July Retrieved 2 August Steve Matteson from Monotype". Retrieved 1 July A Tally of Types".

Journal of the Printing Historical Society. A half-century of type design and typography, vol 1. I made no attempt to eliminate the mannerisms or deficiencies of his famous type, realising that they came not by intention, but rather through the punch-cutter's handling, to his lack of tools of precision and his crude materials, for he worked by eye and not by rule.

Garamond - Wikipedia

I did find it impossible to eliminate, in my own rendition of the letter, that subtle something we call 'personality' that something made up of items so intangible as practically to be imperceptible when individual types are compared, yet clearly manifest when the page they form is viewed as a whole.

I couldn't neglect, yet I did not consciously include them in my own drawings, and these are the touches that mark my face as belonging to the present and not to the sixteenth century.

Goudy as a type designer". Retrieved 12 July A Journal of Composing Room Efficiency: This issue of Monotype is set in a trial font of a new version of Garamond's design Retrieved 6 November Seventy-nine short essays on design 1st ed. Luc Devroye's Type Design Information Page. Retrieved 19 August Retrieved 29 June The Best of McSweeney's — Volume 1.

American Book Fictions and Literary Print Culture After Digitization. University of Iowa Press. Farrar, Straus and Giroux, Retrieved March 28, Retrieved 29 March Department of the Navy. Archived from the original on Crises et essors nouveaux. John Benjamins Publishing Company. Poems of Leiden project. Free and open-source typography. FontForge Fontmatrix FreeType Ghostscript HarfBuzz Metafont MetaPost METATYPE1 Pango TeX. Bitstream Charter Bitstream VeraDejaVu Cantarell Charis SIL Computer ModernConcrete Roman Courier Prime Doulos SIL DroidNotoOpen Sans Fira Sans Ghostscript fonts GNU FreeFontGNU Unifont Hershey fonts LiberationCroscore Lohit Nimbus MonoSansRoman OCR-AOCR-B Overpass PT Fonts Roboto Source CodeSource Han SansSource Han SerifSource SansSource Serif STIX fonts Tiresias UbuntuUbuntu Titling Utopia WenQuanYi.

Donald Knuth Font Awesome Greek Font Society Open Font Library Google Fonts SIL International. Open-source Unicode typefaces List of open source typefaces List of free software Unicode typefaces. Retrieved from " https: Old style serif typefaces Typefaces with text figures Typefaces with infant variants Public domain typefaces Letterpress typefaces Photocomposition typefaces Digital typefaces Typefaces with optical sizes Adobe typefaces Monotype typefaces International Typeface Corporation typefaces.

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Privacy policy About Wikipedia Disclaimers Contact Wikipedia Developers Cookie statement Mobile view. Claude Garamond Jean Jannon. Adobe Garamond Pro regular style based on Garamond's work; italic on the work of Robert Granjon.