Garamond
Template:Short description {{#invoke:other uses|otheruses}} Template:Use dmy dates Template:Good article Template:Infobox font Garamond is a group of many serif typefaces, named for sixteenth-century Parisian engraver Claude Garamond, generally spelled as Garamont in his lifetime. Garamond-style typefaces are popular to this day and often used for book printing and body text.
Garamond's types followed the model of an influential typeface cut for Venetian printer Aldus Manutius by his punchcutter Francesco Griffo in 1495, and are in what is now called the old-style of serif letter design, letters with a relatively organic structure resembling handwriting with a pen, but with a slightly more structured, upright design.
Following an eclipse in popularity in the eighteenth and nineteenth century, many modern revival faces in the Garamond style have been developed. It is common to pair these with italics based on those created by his contemporary Robert Granjon, who was well known for his proficiency in this genre.<ref name="Just what makes a Garamond a Garamond?">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> However, although Garamond himself remains considered a major figure in French printing of the sixteenth century, historical research has increasingly placed him in context as one artisan punchcutter among many active at a time of rapid production of new typefaces in sixteenth-century France, and research has only slowly developed into which fonts were cut by him and which by contemporaries; Robert Bringhurst commented that "it was a widespread custom for many years to attribute almost any good sixteenth-century French font" to Garamond.<ref>Template:Cite journal</ref><ref>Template:Cite journal</ref>Template:Sfn As a result, while "Garamond" is a common term in the printing industry, the terms "French Renaissance antiqua" and "Garalde" have been used in academic writing to refer generally to fonts on the Aldus-French Renaissance model by Garamond and others.<ref>Template:Cite book</ref><ref>Template:Cite journal</ref>
In particular, many 'Garamond' revivals of the early twentieth century are actually based on the work of a later punchcutter, Jean Jannon, whose noticeably different work was for some years misattributed to Garamond. The most common digital font named Garamond is Monotype Garamond. Developed in the early 1920s and bundled with Microsoft Office, it is a revival of Jannon's work.
CharacteristicsEdit
Some distinctive characteristics in Garamond's letterforms are an 'e' with a small eye and the bowl of the 'a' which has a sharp turn at top left.<ref name="Encyclopedia of Library and Information Science: Claude Garamond">Template:Cite book</ref> Other general features are limited-but-clear stroke contrast and capital letters on the model of Roman square capitals. The 'M' is slightly splayed with outward-facing serifs at the top (sometimes only on the left) and the leg of the 'R' extends outwards from the letter. 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 ride above the cap height.<ref name="Encyclopedia of Library and Information Science: Claude Garamond" /> The axis of letters like the ‘o’ is diagonal and the bottom right of the italic 'h' bends inwards.Template:Sfn Garamond types have quite expansive ascenders and descenders; printers at the time did not use leading.<ref name="Burnhill Type spaces">Template:Cite book</ref><ref name="Carter optical">Template:Cite journal</ref>Template:Sfn
Besides general characteristics, writers on type have generally praised the even quality of Garamond's type: John A. Lane describes his work as "elegant and executed with consummate skill...to a higher standard than commercial interest demanded";Template:Sfn H. D. L. Vervliet wrote that in his later Gros-Canon and Parangonne types (meaning sizes of around 40pt and 18pt respectively) he had achieved "a culmination of Renaissance design. The elegant line and subdued emphasis show the classic search for silent and transparent form".<ref name="Vervliet Garamond Types">Template:Cite journal</ref>Template:Efn
Modern Garamond revivals also often add a matching bold and 'lining' numbers at the height of capital letters, neither of which were used during the Renaissance;<ref name="Bold type in text">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Arabic numerals in Garamond's time were engraved as what are now called text figures, styled with variable height like lower-case letters.<ref name="Lawson NYTimes">Template:Cite news</ref>
HistoryEdit
Garamond’s life and his roman typeEdit
Garamond worked as an engraver of punches, the masters used to stamp matrices, the moulds used to cast metal type.Template:Efn Garamond cut types in the 'roman', or upright style, in italic, and Greek.Template:Efn In the period of Garamond's early life roman type had been displacing the blackletter or Gothic type which was used in some (although not all) early French printing.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Though his name was generally written as 'Garamont' in his lifetime, the spelling 'Garamond' became the most commonly used form after his death.<ref name="or Garamont" /><ref name="Garamond, Griffo and Others: The Price of Celebrity">Template:Cite journal</ref> H. D. L. Vervliet, the leading contemporary expert on French Renaissance printing, uses Garamont consistently.<ref name="Garamond, Griffo and Others: The Price of Celebrity" />
The roman designs of Garamond which are his most imitated were based on a font cut around 1495 for the Venetian printer Aldus Manutius by engraver Francesco Griffo.<ref name="Stanley Morison's Aldine Hypothesis Revisited">Template:Cite journal</ref>Template:Sfn This was first used in the book De Aetna, a short work by poet and cleric Pietro Bembo which was Manutius' first printing in the Latin alphabet.Template:Sfn Historian Beatrice Warde has assessed De Aetna as something of a pilot project, a small book printed to a higher standard than Manutius' norm.<ref name="Aldus Manutius and his innovations">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Among other details, this font popularised the idea that in printing the cross-stroke of the 'e' should be level instead of slanting upwards to the right like handwriting, something imitated in almost all type designs since.<ref name="Garamond, Griffo and Others: The Price of Celebrity" /><ref name="Stanley Morison's Aldine Hypothesis Revisited" /> French typefounders of the 16th century assiduously examined Manutius's work (and, it is thought, De Aetna in particular)Template:Sfn as a source of inspiration: Garamond's roman, italic and Greek typefaces were all influenced by types used by Manutius.<ref name="The Aldine Press: catalogue" />
Template:Multiple image An event which was to particularly define the course of the rest of Garamond's career came starting on 6 September 1530, when the printer Robert Estienne began to introduce a set of threeTemplate:Efn roman types adapting the single roman type used in De Aetna to a range of sizes.Template:SfnTemplate:Sfn These typefaces, with their "light colour and precise cut"Template:Sfn were extremely influential and other Parisian printers immediately introduced copies.Template:Sfn The largest size "Gros-canon" (42.5pt)Template:Efn particularly became a "phenomenon"<ref name="Amert Gros Canon" /> in Paris: never before had a roman type been cut in so large a size.Template:Sfn The designs copied Manutius's type even to the extent of copying the 'M' shown in De Aetna which, whether intentionally or due to a casting defect, had no serif pointing out of the letter at top right.<ref name=Warde />Template:SfnTemplate:Sfn This form was to appear in many fonts of the period, including Garamond's earlier ones, although by the end of his career he had switched to mostly using an M on the Roman capital model with a serif at top right.Template:Sfn
The period from 1520 to around 1560, encompassing Garamond's career, was an extremely busy period for typeface creation.Template:Sfn Many fonts were cut, some such as Robert Estienne's for a single printer's exclusive use, others sold or traded between them (increasingly over time).Template:Sfn The many active engravers included Garamond himself, Granjon, Guillaume Le Bé, particularly respected for his Hebrew fonts,Template:Sfn<ref>Template:Cite thesis</ref> Pierre Haultin, Antoine Augereau (who may have been Garamond's master),Template:Sfn Estienne's stepfather Simon de Colines and others.Template:Sfn This period saw the creation of a pool of high-quality punches and matrices, many of which would remain used for the next two centuries.Template:Sfn
Little is known about Garamond's life or work before 1540, although he wrote in a preface of having cut punches for type since childhood.Template:Sfn<ref name="The Career of a Punch-Cutter"/> He worked for a variety of employers on commission, creating punches and selling matrices to publishers and the government.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Garamond's typefaces were popular abroad, and replaced Griffo's original roman type at the Aldine Press in Venice.<ref name="The Aldine Press: catalogue">Template:Cite book</ref><ref>Template:Cite journal</ref> He also worked as a publisher and bookseller.<ref name="The Career of a Punch-Cutter">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> By 1549, a document from theologian Jean de Gagny specified that the goldsmith Charles Chiffin, who had cut an italic for his private printing press, should receive payment at the rate of "the best punchcutter in this city after master Claude Garamont", clearly showing that he was considered the pre-eminent punchcutter in Paris at this time.<ref name="Warde" />
Vervliet concludes that Garamond created thirty-four typefaces for which an attribution can be confidently made (17 roman, 7 italic, 8 Greek, 2 Hebrew) and another three for which the attribution is problematic (one each of roman, Greek and Hebrew).Template:Sfn If Garamond distributed specimens of his typefaces, as later punchcutters and typefounders did, none is known to survive, although one unsigned specimen in the Plantin-Moretus Museum collection, presenting a synopsis of his late Parangon type, may have been made around the time of his death or soon after.Template:Efn
While some records such as Christophe Plantin's exist of what exact types were cut by Garamond himself, many details of his career remain uncertain: early estimates placed Garamond's date of birth around 1480, but modern opinion proposes much later estimates.<ref name="Garamond, Griffo and Others: The Price of Celebrity" /> A document called the Le Bé Memorandum (based on the memories of Guillaume Le Bé, but collated by one of his sons around 1643) suggests that Garamond finished his apprenticeship around 1510.Template:Sfn<ref>Template:Cite book</ref> This is considered unlikely by modern historians since his mother was still alive when he died in 1561 and little is known of him before around 1540.<ref name="Garamond, Griffo and Others: The Price of Celebrity" /><ref name="The Career of a Punch-Cutter" />Template:Sfn
One particular question about Garamond's early career is whether he cut the typefaces used by Estienne from 1530. Because of Garamond's known connection with Estienne in his later career, it has been assumed that he cut them,Template:Sfn but this was not mentioned in contemporary sources: Vervliet suggests that these 'Estienne typefaces' were not cut by Garamond and that his career began somewhat later.<ref name="Who invented Garamond?">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="The roman typefaces">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:SfnTemplate:Sfn Vervliet suggests that the creator of this set of typefaces, sometimes called the 'Estienne Master', may have been a 'Master Constantin', recorded in the Le Bé Memorandum as a master type engraver of the period before Garamond but about whom nothing is otherwise known and to whom no obvious other body of work can be ascribed.<ref name="Vervliet Mosley Library review">Template:Cite journal</ref>Template:Efn If so, his disappearance from history (perhaps due to an early death, since all his presumed work appeared in just four years from 1530 to 1533) and the execution of Augereau on a charge of heresy in 1534 may have allowed Garamond's reputation to develop in the following decade.Template:Sfn
Regardless of these questions about his early career, Garamond's late career is well-recorded, with most of his later roman types (in Lane's view, his best work)Template:Sfn preserved in complete sets of matrices at the Museum Plantin-Moretus, which has allowed example sets of characters to be cast, with further documentation and attributions from later inventories and specimen sheets.Template:Sfn Of the Garamond types preserved, all include small capitals apart from the gros-canon,<ref name="Second Great Primer" />Template:Sfn and the parangonne uniquely includes terminal swash forms for a e m n r t (two forms) and z.Template:Efn
ItalicsEdit
Garamond cut more roman types than italics, which at the time were conceived separately to roman types rather than designed alongside them as complementary matches.Template:Sfn
Italics had again been introduced by Manutius in 1500; the first was cut by Griffo. This first italic used upright capitals, copying a popular style of calligraphy.<ref name="The design and spread of Froben’s early Italics">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The modern italic style of sloped capitals first appeared in 1527 and only slowly became popular.<ref name="A Chronology of Printing">Template:Cite book</ref> Accordingly, many of Garamond's italics were quite small and had upright capitals. Some of his italics did have sloped capitals, although Vervliet did not feel he integrated them effectively into the typeface design, "sloped capitals were (and stayed) a weakness in his designs."Template:Sfn
Garamond's italics were apparently not as used as widely as Granjon's and Haultin's, which spread widely across Europe. For example, on the 1592 Berner specimen, most of the romans were by Garamond but at least all but one, and probably all,Template:Sfn of the italics are Granjon's.Template:Sfn Similarly in the 1643 Imprimerie royale specimen, most of the italics are Granjon's.<ref name="1958 specimen">Template:Cite book</ref> (Some books published by Garamond in 1545 use a very common italic of the period, not cut by him.Template:Sfn)
GreekEdit
Garamond cut type for the Greek alphabet from the beginning of his recorded career: on 2 November 1540 he contracted to cut a series of Greek faces for the French government, to be used in printing by Robert Estienne.Template:Sfn<ref>Template:Cite journal</ref> The resulting typeface, known as the Grecs du roi, are very different from his Latin designs: again influenced by Greek typefaces used by Manutius (they were cut in three sizes, the same ones Manutius used),Template:Sfn they were based on the elegant handwriting of Cretan scribe Angelo Vergecio, who used many ligatures and traditional contractions in his writing, and include an extraordinarily large number of alternate characters to faithfully replicate it.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn Arthur Tilley called the books printed from them "among the most finished specimens of typography that exist".<ref>Template:Cite journal</ref>
The Grecs du roi punches and matrices remain the property of the French government.Template:Sfn They were extremely influential and directly copied by many engravers for other printers, becoming the basis of Greek typeface design for the next two centuries.Template:Sfn
Although the Grecs du roi style was popular in Greek printing for the next two centuries, it is problematic for modern setting of body text, due to changing tastes in Greek printing: they are slanted, but modern Greek printing often uses upright type, and because Garamond's types were designed assuming that ligatures would be manually selected and inserted wherever needed; later metal types on the same model used fewer ligatures.Template:Sfn<ref>Template:Cite thesis</ref>Template:Efn Digital 'Garamond' releases such as Adobe's with Roman and Greek character sets often re-interpret the Greek, for instance with upright characters.Template:Sfn A commercial digitisation from Anagrafi Fonts, KS GrequeX, uses the OpenType format to include over 1100 abbreviations and ligatures, more than Garamond cut.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
According to Lane the most influential Grecs du roi copies were those of Granjon and Haultin, but others may have been cut by Jean Arnould and Nicolas de Villiers, amongst others.Template:Sfn Another was made by Arthur Nicholls in London.<ref name="Lane 1991">Template:Cite journal</ref>
After Garamond's deathEdit
Garamond died in 1561 and his punches and matrices were sold off by his widow. Purchasers included the Le Bé type foundry in Paris run by the family of Guillaume Le Bé and Christophe Plantin, who was in Paris at the time; the Frankfurt foundry often referred to by historians as Egenolff-Berner also came to acquire materials of Garamond's.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Dutch typography in the sixteenth century the collected works of Paul Valema Blouw">Template:Cite book</ref><ref name="Willem Silvius's remarkable start, 1559-62">Template:Cite journal</ref>Template:Sfn Le Bé's son is known to have written to Plantin's successor Moretus offering to trade matrices so they could both have complementary type in a range of sizes.Template:Sfn<ref name=Warde/>Template:SfnTemplate:Efn Konrad Berner showcased various types of Garamond's and other French engravers in a 1592 specimen, which named the types' engravers and would later be a source for historians.<ref name="Just what makes a Garamond a Garamond?" /><ref name="1592 Berner">Template:Cite book</ref>Template:Efn
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.<ref name="The materials of typefounding">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The collection has been used extensively for research, for example by historians Harry Carter and Vervliet.Template:Sfn Plantin also commissioned punchcutter Robert Granjon to create alternate characters for three Garamond fonts with shortened ascenders and descenders to allow tighter linespacing.Template:Sfn
Garamond's name was used outside France as a name for 10pt type, often in Dutch as 'Garmond'.<ref name="Reed History">Template:Cite book</ref>
Robert GranjonEdit
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Many modern revival fonts based on French renaissance printing are influenced by the work of Robert Granjon (c. 1513–90), particularly in italic. An engraver with a long and wide-ranging career, Granjon's work seems to have ranged much more widely than Garamond's focus on roman and Greek type, cutting type in italic, civilité (a cursive blackletter), and for the Vatican type in exotic alphabets including Arabic, Armenian and Hebrew. His career also took in stops in the Netherlands, Switzerland, Germany and finally for the last twelve years of his life Rome, where he ended his career in the service of the Vatican.
Vervliet comments that Granjon "laid the foundation for our image of the way an Italic should look."Template:Sfn Although he was not quite the first designer to use the idea of italics having capitals sloped to complement the roman, he "solved successfully the problem of a balanced inclination of the capitals, a feature much ahead of the designs with a more irregular slope of his Viennese and Mainz predecessors...and even compared to...Garamont. A proper optical harmony of the angle of slope is characteristic for all Granjon’s Italics; it allowed the compositor to use whole lines of capitals without causing too much giddiness."Template:Sfn<ref name="The Italic Types of Robert Granjon">Template:Cite journal</ref> Granjon also cut many swash capitals, which Vervliet describes as "deliciously daring" and have often been copied, for instance in Robert Slimbach's revivals for Adobe (discussed below).Template:SfnTemplate:Sfn
Other French engravers of the sixteenth centuryEdit
Besides Garamond, Granjon and the "Estienne master", other engravers were active in the French renaissance style.
Pierre Haultin particularly created many types which were very popular and distributed very widely around Europe: as a Protestant, he spent much of his career outside Paris working in Geneva, Lyons and La Rochelle and his nephew Jérôme established a career importing and casting his types in London, where his types were extremely common.Template:Sfn In Carter's view Haultin "has been greatly underrated".Template:Sfn Another engraver whose types were very popular in London was François Guyot, who moved from Paris to Antwerp and then London.Template:Sfn<ref name="Werner Guyot">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn
Jean JannonEdit
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In 1621, sixty years after Garamond's death, the French printer Jean Jannon released a specimen of typefaces in the Garamond/Granjon style.<ref name="Encyclopedia of Library and Information Science: Claude Garamond"/><ref>Template:Cite news</ref> Jannon wrote in his specimen that:
Seeing that for some time many persons have had to do with the art [of printing] who have greatly lowered it ... the desire came upon me to try if I might imitate, after some fashion, some one among those who honourably busied themselves with the art, [men whose deaths] I hear regretted every day [Jannon mentions some eminent printers of the previous century] ... and inasmuch as I could not accomplish this design for lack of types which I needed ... [some typefounders] would not, and others could not furnish me with what I lacked [so] I resolved, about six years ago, to turn my hand in good earnest to the making of punches, matrices and moulds for all sorts of characters, for the accommodation both of the public and of myself.<ref name="Warde" />
Jannon was a Protestant in mostly Catholic France. After apparently working with the Estienne family in Paris he set up an independent career as printer in Sedan in what is now north-eastern France, becoming printer for the Protestant Academy. By his report he took up punchcutting seriously in his thirties, although according to Williamson he would have cut decorative material and engravings at least before this.<ref name="or Garamont" /><ref name="Williamson Jannon" /> Sedan at the time enjoyed an unstable independence as a principality at a time when the French government had conceded through the Edict of Nantes to allowing a complicated system of restricted liberties for Protestants.<ref name="The Huguenot academies: an uncertain future">Template:Cite book</ref>
The French Royal Printing Office (Imprimerie Royale) appears to have bought matrices from him in 1641 in three large sizes, roman and italic at roughly 18, 24 and 36 point sizes. (The contract is actually made for one 'Nicholas Jannon', which historians have concluded to be a mistake.Template:Sfn) Despite the purchase, it is not clear that the office ever much used Jannon's type: historian James Mosley has reported being unable to find books printed by the Imprimerie that use more than two sizes of italic.Template:Efn<ref name="Garamond, Griffo and Others: The Price of Celebrity" /><ref name="The types of Jean Jannon at the Imprimerie royale" /> His type would later be misattributed to Garamond.<ref name="Jannon FMOC">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Despite this, it is known that authorities in 1644 raided an office in Caen where he had been commissioned to do printing.<ref name="Samuel Bochart's Protestant Geography">Template:Cite book</ref> Warde initially assumed that this was the source of the Jannon materials in the Imprimerie Nationale before the government's purchase order came to light.<ref name="or Garamont" /><ref name=Warde>Template:Cite journal</ref><ref name="Jannon FMOC" />Template:Sfn Jannon's types and their descendants are recognizable by the scooped-out triangular serifs on the top left of such characters as 'm', 'n' and 'r', which curve to a steeper slant in Jannon's design compared to Garamond's. The italics are also very different from Garamond's own or Granjon's, being much more ornate and with considerable variation in angle of the capitals.<ref name=Warde />Template:Sfn Opinions of Jannon's engraving quality have varied; Warde found them "so technically brilliant as to be decadent" and "of slight value as a book face" (the surviving Jannon sizes were intended as display faces, cut at 18pt or larger) and Vervliet described them as "famous not so much for the quality of the design but as for the long-term confusion it created", although many reproductions of his work were successful in printing in the twentieth century.Template:Sfn Jannon cut far more types than those surviving in the Imprimerie collection: before the misattribution to Garamond, he was particularly respected for his engraving of an extremely small size of type, known for his workplace as sédanoise, which was popular.<ref name="Williamson Jannon">Template:Cite journal</ref><ref name="Horne1814">Template:Cite book</ref><ref>Template:Cite book</ref>
By the nineteenth century, Jannon's matrices had come to be known as the Caractères de l'Université (Characters of the University).<ref name="or Garamont">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="The types of Jean Jannon at the Imprimerie royale">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Caractères de l’Université" /> It has sometimes been claimed that this term was an official name designated for the Jannon type by Cardinal Richelieu,<ref name="Type Loxley" /> while Warde in 1926 more plausibly suggested it might be a garbled recollection of Jannon's work with the Sedan Academy, which operated much like a university despite not using the name. Carter in the 1970s followed this conclusion.Template:Sfn Mosley, however, concludes that no report of the term (or much use of Jannon's matrices at all) exists before the nineteenth century, and it may originate from a generic term of the eighteenth century simply meaning older or more conservative typeface designs, perhaps those preferred in academic publishing.<ref name="Caractères de l’Université">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The fate of Garamond's workEdit
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The old-style typefaces of Garamond and his contemporaries continued to be regularly used and kept in the stock of European typefounders until the end of the eighteenth centuryTemplate:Efn and appear in the major French type foundry specimen books of the eighteenth century, of Delacolonge,Template:Sfn<ref>Template:Cite book</ref> Lamesle,<ref name="Épreuves générales des caracteres"/> and Gando.<ref>Template:Cite journal</ref> In Delacolonge's book, many fonts were shown "mutilated" or as "bastard" fonts: with replacement characters, specifically cut-down descenders to allow tighter linespacing.Template:Sfn According to James Mosley French renaissance romans remained popular for slightly longer than italics, due to a taste for new italics, wider and with flat incoming serifs, introduced by the Romain du roi type and popularised by Simon-Pierre Fournier (see below): "it is common enough, in the second half of the eighteenth century, to find books set in a Garamond roman or a near copy mated with one of Fournier's italics".Template:Sfn
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A trademark associated with the Garalde style in modern times is the four-terminal 'W', although sixteenth-century French typefaces generally do not include the character as it is not normal in French. Many French renaissance typefaces used abroad had the character added later, along with the 'J' and 'U': these were often very visibly added by lesser craftsmen, producing an obvious mismatch.<ref>Template:Cite journal</ref><ref>Template:Cite book</ref>Template:Efn Granjon added a 'W' and 'w', both with three upper terminals, to Garamond's Breviare roman in 1565 for Plantin.Template:Sfn
The foundry of Guillaume Le Bé I which held many of Garamond's punches and matrices passed to Guillaume Le Bé II, and came to be managed by Jean-Claude Fournier, whose son Jean-Pierre in 1730 purchased it.Template:Sfn (His younger brother, Simon-Pierre Fournier, rapidly left the family business and became a major exponent of modern ideas in printing, including standardised point sizes and crisp types influenced by contemporary calligraphy.Template:Sfn)
In 1756, Jean-Pierre Fournier wrote of his collection of vintage equipment that "I am the owner of the foundry of Garamond, the Le Bé family and Granjon. I shall be happy to display my punches and matrices to all those who are lovers of true beauty ... these are the types that made the reputations of the Estiennes, Plantin and the Elzevirs," and referred to an inventory that he said was in his possession that had been drawn up after Garamond's death in 1561.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite journal</ref> (The comment was made in a journal during a public dispute with a printer of more modern tastes who preferred to remain anonymous and may have been his younger brother.<ref name="or Garamont"/><ref>Template:Cite journal</ref>) The 1561 inventory does not survive, although some later inventories do; by this point Fournier's foundry may have become rather inactive.Template:Sfn
Old-style serif typefaces by Garamond and his contemporaries finally fell out of use altogether with the arrival of what is now called the Didone, or modern-face, style of printing in the eighteenth and early nineteenth centuries, promoted by the Didot family in France and others.<ref name="or Garamont"/>Template:Sfn<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This favoured a much more geometric, constructed style of letter which could show off the increasingly refined paper and printing technologies of the period.<ref>{{#invoke:citation/CS1|citation |CitationClass=web
}}</ref> Lane suggests Fournier's type foundry may have finally disposed of its materials around 1805;Template:Sfn in contrast, the collections of the Plantin-Moretus Museum survive almost intact. Mosley comments:<ref name="Caractères de l’Université" />
The upheavals of the Revolution coincided with the major shift in the style of printing types that is associated with the family of Didot, and the stock of old materials abruptly lost its value, except as scrap. Punches rust, and the copper of matrices is recyclable. All traces of the early types that had been in the hands of the trade typefounders like Le Bé, Sanlecque and Lamesle in Paris vanished completely. 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 ... the term caractères de l'Université became attached by default to the set of apparently early matrices that had survived, its provenance forgotten, in the mixed stock of materials of the national printing-office.
Garamond's reputation remained respected, even by members of the Didot family whose type designs came to dominate French printing.<ref name="Garamond, Griffo and Others: The Price of Celebrity" />
Revival eraEdit
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 monarchy), which, unlike Garamond's own work, had survived in Paris. The attribution came to be considered certain by the Imprimerie's director Arthur Christian, who commissioned the cutting of additional sizes in a matching style.<ref name="Garamond, Griffo and Others: The Price of Celebrity" />
Early revivals were often based directly on the Imprimerie nationale types, one of the first by Peignot and then by American Type Founders (ATF).<ref name="Early 20th century interpretations (I)">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Early 20th century interpretations (II)">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> These revivals could be made using pantograph machine engraving systems, which gave a cleaner result than historic typefaces whose master punches had been hand-carved, and allowed rapid development of a family in a large range of sizes.<ref name="Printing the Times">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Monotype Recorder matrices">Template:Cite journal</ref> In addition, the new hot metal typesetting technology of the period created increasing availability and demand for new fonts. 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.<ref name=Warde /><ref name="Illuminating Letters: Garamond">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
A number of historians began in the early twentieth century to question if the Imprimerie nationale Latin-alphabet type was really the work of Garamond, as the Grecs du Roi undoubtedly were. Doubt was raised by French historian Jean Paillard, but he died during the First World War soon after publishing his conclusions in 1914 and his work remained little-read.<ref name="or Garamont" /><ref name="Garamond, Griffo and Others: The Price of Celebrity" />Template:Sfn<ref name="Paillard">Template:Cite book</ref> ATF's historian Henry Lewis Bullen secretly doubted that the 'Garamond' his company was reviving was really Garamond's work, noting that he had never seen it in a sixteenth-century book. He discussed his concerns with ATF junior librarian Beatrice Warde, who would later move to Europe and become a prominent writer on printing advising the British branch of Monotype.Template:Sfn<ref name="Type Loxley">Template:Cite book</ref><ref name="Mosley on Typophile" />
In a 1926 paper published on the British typography journal The Fleuron, Beatrice 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, and perhaps with advice from French bibliographer Marius Audin.<ref name="or Garamont" /><ref name=Warde /><ref name="Mosley on Typophile" /><ref name="Audin Fonderies 37">Template:Cite journal</ref>Template:Efn
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 1920s, inspired by a rediscovered specimen from the Egenolff-Berner foundry in Frankfurt, as did Linotype in Britain.<ref name="Stempel Garamond LT">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Efn
TimelineEdit
The RenaissanceEdit
- 1470 – first book printed in France, by a Swiss/German team at the Sorbonne, Paris.<ref name="PettegreeWalsby2011">Template:Cite book</ref> Early books printed in France generally use type of a blackletter design or roman type with blackletter characteristics.
- 1496 – Aldus Manutius publishes De Aetna, a short text of poetry that serves as his first printing in the Latin alphabet. Its roman type sets a standard that would later be imitated by French printers.<ref name="First Roman Fonts boardley">Template:Cite news</ref>
Late RenaissanceEdit
- 1510 – Garamond may have been born around this time.
- 1530 – Robert Estienne begins to publish in a new and more elegant style of 'roman' type, influenced by De Aetna with its asymmetrical 'M'.
- 1540 – Garamond first clearly enters the historical record, being advanced money to cut the Grecs du Roi type.
- 1561 – Death of Garamond.
- 1563 – Christophe Plantin buys matrices and other equipment in Paris at auction, some from Garamond's widow, for his partnership in Antwerp. Other equipment is bought by other Parisian and German printers; a specimen sheet identifying his types is issued by a Frankfurt foundry in 1592.
- 1560–70s – The work of Garamond and his contemporaries becomes very influential in the Low Countries and western Germany. A decline sets into the production of new typefaces, probably mostly due to simple saturation of the market with typefaces of acceptable quality, and possibly also due to economic and religious factors causing the emigration of printers and typefounders to other countries.Template:Sfn
Early modern periodEdit
- 1580 – birth of Jannon
- 1621 – Jannon issues a specimen of his type.
- 1640 – Jannon leaves Sedan for Paris.<ref name="Aspects of Hobbes">Template:Cite book</ref>
- 1641 – foundation of the Imprimerie Royale, which buys matrices from Jannon
- 1644 – Jannon's printing office in Caen is raided by authorities concerned that he may have been publishing banned material. Jannon is not imprisoned, but returns to Sedan.<ref name="Aspects of Hobbes" />
- 1658 – death of Jannon<ref name="Warde" />
Eighteenth centuryEdit
- 1756 – Parisian printer Jean-Pierre Fournier quotes from the 1561 inventory of Garamond's work and writes about his possession of Garamond's equipment. However, his extensive collections are dispersed after his death in 1783 and ultimately 'traditional' old-style type falls out of use in France around the end of the century.
Early revival eraEdit
- Late nineteenth century – revival in interest in 'old-style' typefaces such as the Caslon type (1730s, England) and that of Jenson (1470s, Venice).
- 1912 – revival of the Imprimerie Royale (now Imprimerie nationale, following the revolution) type by the Peignot foundry.<ref name="Garamond, Griffo and Others: The Price of Celebrity" /> A revival by Ollière of "Garamond" type based on photographing sixteenth-century books follows
- 1914 – Jean Paillard writes and Ollière publishes an essay showcasing Ollière's Garamond revival arguing that the Imprimerie nationale type was not created by Garamond but his work attracts little attention.<ref name="Garamond, Griffo and Others: The Price of Celebrity" /><ref name="Paillard" /> He is killed serving in the First World War a few months later.
- 1920 – a copy of the 1592 Berner specimen of typefaces is published in facsimile.<ref name="Garamond, Griffo and Others: The Price of Celebrity" />
- 1923 – ATF issues a specimen of their Garamond revival, in development for several years prior.<ref name="Garamond, Griffo and Others: The Price of Celebrity" /> ATF's historian Henry Bullen privately tells Beatrice Warde, then a junior librarian, that he suspects that Garamond had nothing to do with the type, since he had never seen it in a contemporary book, but has no better candidate for its creator. Warde subsequently moves to Europe, becoming a freelance writer on printing and adviser to Monotype in London.
- 1925 – Based on the Egelhoff-Berner specimen, Stempel Garamond is released in Germany: later also released by Linotype, it is the first Garamond revival actually based on his work.
- 1923 – Monotype Garamond is published based on the Imprimerie nationale type.
- 1926 – Warde discovers and reveals that the Imprimerie nationale type was created by Jannon, and that all revivals based on it are not directly based on Garamond's work.
Contemporary versionsEdit
Based on Garamond's designEdit
Stempel GaramondEdit
A 1920s adaptation created by the Stempel Type Foundry and released for hot metal typesetting by Linotype, that has remained popular. Its lower case 'a' has a sharp and somewhat angular look with a crisp hook at the top left, in contrast to a teardrop design that is common in many other serif typefaces. Stempel Garamond has relatively short descenders, allowing it to be particularly tightly linespaced.<ref name=Warde /><ref name="Illuminating Letters: Garamond" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> An unusual feature is the digit 0, which has reversed contrast, with the thickest points of the number on the top and bottom of the digit to make it more distinguishable from an 'o'.<ref>Template:Cite book</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Klingspor Museum credits it to Stempel's head of typeface development Dr. Rudolf Wolf.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Garamond No. 1 and Garamond No. 2 are both based on Stempel Garamond, with various differences.<ref name="The Mystery of Garamond No. 3">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Garamond No. 1 in use - Fonts In Use">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Garamond No. 2 in use - Fonts In Use">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Another typeface known as Original Garamond is a clone of Stempel Garamond.<ref name="Fake (faux) versus true Garamond">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
URW++ Garamond No. 8Edit
Garamond No. 8 is a freeware version of Stempel Garamond contributed by URW++ to the Ghostscript project; it was included in GhostScript since Stempel Garamond is included as a system font in some implementations of the PostScript standard.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It is distributed under the AFP license, which allows it to be copied freely but not sold.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It is understood that its license does not place any restriction on whether the typeface is used in commercial settings (as long as the typeface is not distributed in situations where a fee is involved), nor whether printed contents created with it are sold.<ref name="legal - Can URW Garamond No8 be used in a printed book? - Graphic Design Stack Exchange">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Garamond No. 8 hence does not have a fully open-source license, but its license does not restrict usage for personal purposes or commercial printing.
Featuring a bold weight, small capitals, optional text figures and automatic ligature insertion, it is particularly popular in the TeX community and is also included on some Linux distributions.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Originally released as a PostScript Type 1, it has been converted into the TrueType format, usable by most current software.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Garamond No. 8 is often packaged as "urw-garamond" in the open source communities,<ref name="CTAN: Package urw-garamond">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="AUR (en) - urw-garamond">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> but is actually different from another typeface that is simply known as URW Garamond.<ref name="URW Garamond in use - Fonts In Use">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Garamond Font">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
GranjonEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Granjon was a 1920s revival designed by George W. Jones for the British branch of Linotype, using a 1582 history textbook as a model and also influenced by Caslon.<ref name=Warde /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Variations of Garamond Lawson"/><ref>Template:Cite book</ref><ref>Template:Cite book</ref> It was the favourite Garalde of many in the twentieth century, including Warde and Walter Tracy.Template:Sfn
Jones also created for Linotype Estienne, a delicate revival based on Robert Estienne's fonts of the 1530s discussed above, with very long ascenders and descenders.<ref>Template:Cite book</ref> It was less popular and Template:As of it has not been officially digitised by Linotype.<ref name="Ten Great “Lost” Text Faces">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Williamson suggested that in body text it failed to adapt the style of a large letter effectively down to body text size, giving a design with an extremely small x-height.Template:Sfn
SabonEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Sabon is a Garamond revival designed by Jan Tschichold in 1964, jointly released by Linotype, Monotype and Stempel in 1967.<ref>Template:Cite book</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Sabon Next specimen"/> It is named after Jacques Sabon, a Frankfurt-based printer, who introduced the typefaces of Garamond and his contemporaries to German printing.<ref>Template:Cite journal</ref> An unusual feature of many releases of Sabon is that the italic, based on Granjon's work, is wider than most normal italics, at the same width as the roman style.<ref name="Fonts & Encodings"/> This suited Linotype's hot metal typesetting system.<ref name="Just what makes a Garamond a Garamond?"/> Later Sabon versions, such as Jean François Porchez's Sabon Next, have not always maintained this principle.
Tschichold stated that Sabon was designed based on the Egenolff-Berner specimen, although there are different accounts on whether it was drawn using the Saint Augusin (around 13pt) or the Parangon (around 18.5pt) models.<ref name="Sabon Next specimen">Template:Cite book</ref> Porchez and Christopher Burke later researched into Sabon during the development of Sabon Next. They suggested that aspects of Sabon's design may have been copied from a type by Guillaume Le Bé, a large-size specimen of which he had Tschichold reproduced in a textbook.<ref name="Sabon Next specimen" /> Sabon Next was based on the version of Sabon that was developed for the Stempel metal handsetting system, along with designs of other Garamond types.<ref name="Sabon Next specimen" />
Berthold GaramondEdit
A 1972 revival for phototypesetting issued by H. Berthold and designed by Günter Gerhard Lange.<ref name="Berthold exklusiv Garamond">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Berthold Garamond Pro digitisation">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
URW Garamond (which is different from URW Garamond No. 8 mentioned above, despite the latter is often packaged as "urw-garamond" in open source software) is a clone of Berthold Garamond.<ref name="URW Garamond in use - Fonts In Use"/><ref name="Fake (faux) versus true Garamond"/>
Adobe GaramondEdit
Released in 1989, Adobe Garamond is designed by Robert Slimbach for Adobe Systems following a research visit to the Plantin-Moretus Museum, based on a Roman type by Garamond and an italic type by Robert Granjon.Template:Sfn<ref name="Adobe Garamond Pro specimen book">Template:Cite book</ref><ref>Template:Cite book</ref>Template:Sfn<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Williamson Adobe Garamond">Template:Cite journal</ref> The font family has 3 weights (Regular, Semibold, and Bold), each with its respective italic, totalling 6 styles.<ref name="Adobe Garamond Font">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Its quite even, mature design attracted attention on release for its authenticity, in contrast to the much more aggressive ITC Garamond popular at the time.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Kelly Adobe Garamond">Template:Cite magazine</ref><ref>Template:Cite book</ref>Template:Efn It is one of the most popular versions of Garamond in books and fine printing.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Slimbach decided not to base the design directly on Garamond types in the 9–15pt sizes normally used for book text, but on a larger type called parangonne or vraye parangonne, which he felt was Garamond's "most attractive work".<ref name="Adobe Garamond Pro specimen book" />Template:Sfn It was reviewed by Hugh Williamson for the Printing Historical Society as "well-suited to photocomposition and to offset printing".<ref name="Williamson Adobe Garamond" /> It also received two detailed reviews in the same issue of Printing History, both a favourable one by Jery Kelly<ref name="Kelly Adobe Garamond" /> and a more critical one by book designer Mark Argetsinger.Template:Sfn Argetsinger felt that while the parangonne type was "a very beautiful design",Template:Sfn the choice to base a text type on it produced a type of "relative pallidness" when printed by lithography.Template:Sfn He recommended that Adobe add more optical sizes.Template:Sfn
Garamond PremierEdit
During the production of Adobe Garamond, its designer Robert Slimbach started planning for a second interpretation of Garamond after visiting the Plantin-Moretus Museum in 1988. He concluded that a digital revival of Garamond's work would not be definitive unless it offered optical sizes, with different fonts designed for different sizes of text.<ref>Template:Cite magazine</ref> Unable to create such a large range of styles practically with the technology and business requirements of the 1980s, he completed the project in 2005. Adobe states that Garamond Premier was developed based on multiple specimens at the Plantin-Moretus Museum.<ref name="Garamond Premier - Adobe Fonts">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Garamond Premier has 4 optical sizes (Regular, Caption, Subhead, and Display) and at least 4 weights (Regular, Medium, Semibold, and Bold, with an additional Light weight for Display), each with its respective italic, totalling 34 styles in the OpenType font format.<ref name="Garamond Premier Font">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Phinney Typophile Garamond Premier">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Garamond Premier and its predecessor Adobe Garamond have the same x-heights, but they have many subtle differences in their designs. At the same weights and x-heights (hence font sizes), Garamond Premier is slightly darker and has tighter spacing than Adobe Garamond. Some other notable differences include (but are not limited to) the designs of the lowercase "t", lowercase "r", and uppercase "Q".
It features glyph coverage for Central European, Cyrillic and Greek characters including polytonics.<ref name="Phinney Typophile Garamond Premier" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Professor Gerry Leonidas, an expert in Greek-language printing, described it in 2005 as "bar none, the most accomplished typeface you can get for complex Greek texts".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Adobe executive Thomas Phinney characterized Garamond Premier as a "more directly authentic revival" than their earlier Garamond, which he described as "a more restrained and modernized interpretation".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
EB GaramondEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} The EB Garamond («Egenolff-Berner-Garamond») is a free and open-source software implementation of Garamond, released by Georg Duffner in 2011 under the Open Font License.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Duffner based the design on the 1592 Berner specimen, with italic and Greek characters based on Robert Granjon's work, as well as the addition of Cyrillic characters and OpenType features such as swash italic capitals and schoolbook alternates.<ref name="EB Garamond specimen">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Template:As of, it was intended to include multiple optical sizes, including fonts based on the 8 and 12 point sizes. It has been described as "one of the best open source fonts" by prominent typeface designer Erik Spiekermann.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> As Georg Duffner was unable to complete the bold weights for personal reasons, the project was continued by Octavio Pardo.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Efn
BeryliumEdit
Berylium is an implementation of Garamond designed by Ray Larabie for printed body text, with purposely jagged edges. Larabie released Berylium into the public domain in 2024.<ref>Template:Cite book</ref>
Based on Jannon's designEdit
ATF Garamond/Garamond No. 3Edit
American Type Founders created a revival of the Imprimerie Nationale fonts from around 1917, which was designed in-house by its design department led by Morris Fuller Benton under the influence of its historian and advisor Henry Lewis Bullen.<ref name="The Contributions of Linn Boyd Benton and Morris Fuller Benton to the technology of typesetting and typeface design">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Geoffroy Tory, a great typographer, and his apprentice, Claude Garamond, the first typefounder">Template:Cite journal</ref> It received a sumptuous showing, marketed especially towards advertisers, in ATF's 1923 specimen book.<ref name="1923 American Type Founders Specimen Book & Catalogue">Template:Cite book</ref> Also involved in the design's development was book and advertising designer T.M. Cleland, who created a set of matching borders and ornaments and according to Warde and Garnett also advised on the design and designed the swash characters.<ref name="Warde" /><ref name="Variations of Garamond Lawson">Template:Cite journal</ref>Template:Efn
While ATF's handset foundry type release was initially popular, the design became particularly known to later users under the name of "Garamond No. 3”, as a hot metal adaptation that was licensed to Linotype's American branch and sold from around 1936. More practical to use than ATF's handset foundry type, the number distinguished it from two versions of Stempel Garamond which Linotype also sold.<ref name="The Mystery of Garamond No. 3"/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was the preferred Garalde font of prominent designer Massimo Vignelli.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Several digitisations have been made of both ATF's Garamond and the Linotype adaptation, most notably a 2015 digitisation by van Bronkhorst with optical sizes and the original swash characters.Template:Sfn<ref name="ATF Collection: Garamond">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Review: ATF Garamond">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A loose adaptation with sans-serif companion by Christian Schwartz is the corporate font of Deutsche Bahn.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
GalleryEdit
Images from American Type Founders' 1923 specimen book.
- ATF 1923 Garamond specimen title page.jpg
- ATF 1923 Garamond specimen description.jpg
- ATF 1923 Garamond specimen page 22.jpg
- ATF 1923 Garamond specimen page 22b.jpg
- ATF 1923 Garamond specimen page 22d.jpg
- ATF 1923 Garamond specimen page 30.jpg
Monotype GaramondEdit
Monotype's 1922–1923 design, based on Jannon's work in the Imprimerie Nationale, is bundled with Microsoft Office.<ref name="Save $400M printing cost from font change? Not so fast…" /><ref name="Garamond font family - Typography">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Its italic, faithful to Jannon's, is extremely calligraphic, with a variable angle of slant and flourishes on several lower-case letters.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Its commercial release is more extensive than the basic Microsoft release, including additional features such as swash capitals and small capitals, although like many pre-digital fonts these are only included in the regular weight. 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.<ref name="Williamson Adobe Garamond" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite book</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite book</ref> Monotype's 1933 guide to identifying their typefaces noted the asymmetrical T, the sharp triangular serif at top left of m, n, p and r, and a q unlike the p, with a point at top right rather than a full serif.<ref>Template:Cite journal</ref>
Monotype's artistic advisor Stanley Morison wrote in his memoir that the italic was based on Granjon's work, but as Carter's commentary on it notes, this seems generally to be a mistake.<ref name="Encyclopedia of Library and Information Science: Claude Garamond" />Template:Sfn The swash capitals, however, at least, probably are based on the work of Granjon.<ref>Template:Cite journal</ref> A 1959 publicity design promoting it was created by a young Rodney Peppé.<ref>Template:Cite book</ref>
GaramontEdit
A revival by Frederic Goudy for the American branch of Monotype, the name chosen to differ from other revivals.<ref name="Goudy autobiog">Template:Cite book</ref><ref name="Shaw on Goudy">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> An elegant sample created by Bruce Rogers was shown in a spring 1923 issue of Monotype's magazine.<ref>Template:Cite journal</ref> It, like Monotype Garamond, features a large range of swash characters, based on Imprimerie Nationale specimen sheets.
Mosley has described it as "a lively type, underappreciated I think."<ref name="Mosley on Typophile">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> LTC's digitisation deliberately maintained its eccentricity and irregularity true to period printing, avoiding perfect verticals.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 1923, Morison at the British branch of Monotype thought it somewhat florid in comparison to the version of his branch which he considered a personal project, noting in a 1923 letter to American printer Daniel Berkeley Updike that "I entertain very decided opinions about this latest of Mr. Goudy's achievements ... a comparison leaves me with a preference for our version."<ref>Template:Cite book</ref>
Simoncini GaramondEdit
A 1950s version following Jannon by the Simoncini company of Italy, owned by Francesco Simoncini, which sold matrices for Linotype machines.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It is particularly popular in Italian printing.
JannonEdit
František Štorm's 2010 revival with optical sizes is one of the few modern revivals of Jannon's work.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Štorm also created a matching sans-serif companion design, Jannon Sans.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Related fontsEdit
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 GaramondEdit
ITC Garamond was created by Tony Stan in 1975, and follows ITC's house style of unusually high x-height. It was initially intended to serve as a display version but has been used for text, in which its tight spacing and high x-height gives it a somewhat hectoring appearance.<ref name="Just what makes a Garamond a Garamond?" /> As a result, it has proven somewhat controversial among designers; it is generally considered poorly proportioned for body text.<ref name="Fonts & Encodings" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Seventy-nine short essays on design">Template:Cite book</ref> It remains the corporate font of the California State University system in printed text.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> As seen below, it was also modified into Apple Garamond which served as Apple's corporate font from 1984 until replacement starting in 2002 with Myriad. Publishers using it included O'Reilly Media and French publisher Actes Sud.<ref name="Fonts & Encodings">Template:Cite book</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite book</ref>
CormorantEdit
An open-source adaptation of Garamond intended for display sizes, designed by Christian Thalmann and co-released with Google Fonts.<ref name="This Month in Typography: September 2015">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="best free typefaces of 2015">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It features a delicate style suitable for printing at larger sizes, and considerable contrast in stroke weight in its larger sizes. Thalmann added several unusual alternate designs such as an upright italic and unicase styles, as well as exaggerated, highly slanting accents.<ref name="Cormorant Behance">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Christian Thalmann fonts page">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Sans-serif designsEdit
Several sans-serif typefaces have been published that are based on the proportions of Garamond-style fonts, both as standalone designs or as part of a font superfamily with matching serif and sans-serif fonts.<ref name="Human Side of Sans Serif"/> One example is Claude Sans, a humanist sans-serif based on the letterforms of Jannon's type, created by Alan Meeks and published by Letraset and later ITC.<ref name="Human Side of Sans Serif">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In popular cultureEdit
Template:Self-reference inline
- In Umberto Eco's novel Foucault's Pendulum, the protagonists work for a pair of related publishing companies, Garamond and Manuzio, both owned by a Mister Garamond.<ref>Template:Cite book</ref>
- Garamond is the name of a character in the Wii game Super Paper Mario. He appears in the world of Flopside (the mirror-image of Flipside, where the game begins). He is a prolific and highly successful author, unlike his Flipside counterpart, Helvetica.
- For many years the masthead of British newspaper The Guardian used "The" in italic 'Garamond' and "Guardian" in bold Helvetica.<ref>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
- A condensed variant of ITC Garamond was adopted by Apple in 1984 upon the release of the Macintosh, known as Apple Garamond. This was a proprietary font not publicly available, less condensed than the publicly released ITC Garamond Condensed.<ref>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
- One of the initial goals of the literary journal Timothy McSweeney's Quarterly Concern was to use only a single font: Garamond 3. The editor of the journal, Dave Eggers, has stated that it is his favourite font, "because it looked good in so many permutations—italics, small caps, all caps, tracked out, justified or not."<ref>Template:Cite book</ref><ref>Template:Cite book</ref><ref>Template:Cite news</ref>
- In Robin Sloan's fantasy novel Mr. Penumbra's 24-Hour Bookstore several character names derive from historical figures associated with the Garamond typeface.<ref>Sloan, Robin. "Mister Penumbra's 24-hour bookstore. New York: Farrar, Straus and Giroux, 2012. Print.</ref>
- In Neil Gaiman's fantasy novel Stardust (Being A Romance Within The Realms of Faerie), one of the realms of Faerie is called Garamond. It is ruled by the Squire of Garamond, whose "only heir was transformed into a Gruntling Pig-wiggin." The realm occurs in the idiom "something is so loud it can be heard from Garamond to Stormhold" and includes an unnamed island in a lake that is the only known origin of a magical herb called Limbus Grass, which compels those who eat it to answer any question truthfully.<ref>Gaiman, Neil and Charles Vess. Stardust (Being A Romance Within The Realms of Faerie). London: Headline Books, 1999. Print. pp. 19, 59, & 95.</ref>
Printer ink claimEdit
It has been claimed that Garamond uses much less ink than Times New Roman at a similar point size, so changing to Garamond could be a cost-saver for large organizations that print large numbers of documents, especially if using inkjet printers.<ref>Stix, Madeleine (28 March 2014). Teen to gov't: change your typeface, save millions. CNN via KOCO-TV. Retrieved 28 March 2014.</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Garamond, along with Times New Roman and Century Gothic, has been identified by the GSA as a "toner-efficient" font.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
This claim has been criticised as a misinterpretation of how typefaces are actually measured and what printing methods are desirable. Monotype Garamond, the version bundled with Microsoft Office,<ref name="Garamond font family - Typography"/> has a generally smaller design at the same nominal point size compared to Times New Roman and quite spindly strokes, giving it a more elegant but less readable appearance. In order to increase the legibility of Garamond, a common approach in typography is to increase text size such that the height of its lower-case characters (i.e., the absolute x-height of the font) matches that of Times New Roman, which counterbalances cost savings. Thomas Phinney, an expert on digital fonts, noted that the effect of simply swapping Garamond in would be compromised legibility: "any of those changes, swapping to a font that sets smaller at the same nominal point size, or actually reducing the point size, or picking a thinner typeface, will reduce the legibility of the text."<ref name="Save $400M printing cost from font change? Not so fast…">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Professional type designer Jackson Cavanaugh commented "If we're actually interested in reducing waste, just printing less – using less paper – is obviously more efficient."<ref name="Ask a designer: why switching fonts won’t save the US government millions">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
GalleryEdit
- Plantin-Moretus museum.jpg
The Plantin-Moretus Museum, which preserves original Garamond punches and matrices.
- Garamont Augustine Romaine punches.jpg
Garamond's Augustine Romaine punches at the Plantin-Moretus Museum
- Garamont Augustine Romaine punches, detail view.jpg
Augustine Romaine punches, detail view
- Garamont Grosses Capitales Extra Ordinaires, partly completed posthumously mirror image.jpg
Large punches begun by Garamond but unfinished on his death and completed by Jacob Sabon and van den Keere (mirror image).Template:Sfn
- Garamont Gros Canon Romain matrices.jpg
Gros-canon matrices
- Bembo M.jpg
The asymmetrical 'Bembo M' in a French textbookTemplate:Sfn
- Three ages.png
Monotype Garamond (based on Jannon) compared to the more geometric transitional serif and Didone type that replaced old-styles during the eighteenth century.
- Inc S-485 (cropped).jpg
A title page printed in Paris in 1508 showing the style preceding the 1530s: a font dark in colour, with wide capitals, tilted 'e's, large dots on the 'i' recalling calligraphy and blackletter headings.<ref name="Beroaldo">Template:Cite book</ref>
- Serlio Livre extraordinaire 1551.jpg
A very large-size font (c. 120 pt) in a 1551 book by Jean de Tournes, showing Garalde letterforms magnified to display size with sharpened contrast. Designer unknown.Template:Sfn
- Bruce Rogers Garamont specimen page 20 detail.jpg
Frederic Goudy's Garamont type for the American Monotype company in close-up.
- Monotype Garamont Type Specimen.jpg
The American Monotype's Garamont specimen, showing the capitals.
- Bruce Rogers Garamont specimen page 24.jpg
The colophon of Monotype's Garamont sample, showing the italic and ligatures.
- Optical Size Demonstration.png
Optical sizes in EB Garamond. Top, correct use: large text more delicate, small text more solid. Below, wrong way round.
- Jannon and Jannon Sans.gif
A specimen of František Štorm's revival of Jannon's type with bold and sans-serif derivatives.
- 2007-05 PMM 03.jpg
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- Peter Paul Rubens - Christoffel Plantin - WGA20356.jpg
Plantin painted posthumously by Rubens.
NotesEdit
ReferencesEdit
Cited literatureEdit
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