Garamond - Wikipedia. Garamond is a group of many old- styleseriftypefaces, named for sixteenth- century Parisian engraver Claude Garamond (generally spelled as Garamont in his lifetime).

Garamond- style typefaces are popular and often used, particularly for printing body text and books. Garamond worked as an engraver of punches, the masters used to stamp matrices, the moulds used to cast metal type.

Garamond is a group of many old-style serif typefaces, named for sixteenth-century Parisian engraver Claude Garamond (generally spelled as Garamont in his lifetime).

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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.

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. Therefore, a . 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 1. Free Download Crack Windows Xp Professional Sp2 Key. Microsoft products, it is a revival of Jannon's work.

History. It would become influential in French printing from the 1. Garamond cut type in the 'roman', or upright style, in italic, and Greek. 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. Historian Beatrice Warde has assessed De Aetna as something of a pilot project, a small book printed to a higher standard than Manutius' norm.

His graceful and delicate typefaces, based on the work of Aldus Manutius thirty- five years earlier, redefined practices in French printing; never before had a complete roman typeface been made to such a large size, and the use of multiple sizes cut in the same style allowed harmony between headings and body text. His typefaces were either cut by or defined the style in which Garamond worked.

French typefounders of the 1. Manutius's work (and, it is thought, De Aetna in particular) as a source of inspiration. Many fonts were cut, some such as Robert Estienne’s for a single printer’s exclusive use, 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. These included Garamond himself, Granjon, Guillaume Le B. Vervliet concludes that four italics up to 1. The grecs du roi type, the contract for which survives, is the type with which Garamond enters the historical record, although it is clearly not the work of a beginner.

Earlier fonts that may have been cut by Garamond have been suggested but the attribution is less certain. After Garamond's death. Purchasers included the Le B. It appears in a 1. Andreas Wechel, of German origins. 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, civilit.

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 . 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. 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. 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 1. 97. The Didot family's extremely influential type style, now called Didot, displaced the old- style serif type of Garamond, Jannon and others in the late eighteenth and early nineteenth centuries. 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 age, when Dutch printing was itself very influential across Europe. Dutch and German printers and punchcutters, however, often favoured more solid, darker designs than Garamond's, which would come to be known as the “Dutch taste” (“Go. I shall be happy to display my punches and matrices to all those who are lovers of true beauty ..

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 B.

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 .. 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. 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.

Doubt was raised by French historian Jean Paillard, but he died in the First World War soon after publishing his conclusions in 1. 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. The German company Stempel brought out a crisp revival of the original Garamond typefaces in the 1. Egenolff- Berner foundry in Frankfurt, as did Linotype in Britain. The font used exemplifies the style preceding the 1. De Colines, who probably engraved or at least commissioned his own typefaces, developed his style like his stepson to modernise his use of type over his lifetime, slimming down his fonts and increasing the influence of classical Roman capitals. A title page from two decades later shows his style later in life.

The Renaissance. Its 'roman' metal type sets a standard that would later be imitated by French printers. Late Renaissance. Other equipment is bought by other Parisian and German printers; a specimen sheet identifying his types is issued by a Frankfurt foundry in 1. 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. Typefounding now a clearly separate industry to printing. Jannon is not imprisoned, but returns to Sedan.

However, his extensive collections are dispersed after his death in 1. France around the end of the century. Early revival era.

Warde subsequently moves to Europe, becoming a freelance writer on printing and adviser to Monotype in London. 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. Monotype Garamond is published based on the Imprimerie nationale type. 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 versions.