Garamond Red
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Garamond
A m
Gr
a
was a Claude Garamond Parisian publisher. He was one of
the leading type designers of his time, and several contemporary typefaces, including those named Garamond, Granjon, and Sabon show his influence. Garamond was disciple of Simon de Colines, later he was assistant of Geoffroy Tory, who was concerned with human proportions and those of the ancient majuscules, as well as their mutual relation.
onD Garamond came to prominence in 1541, when three of his Greek typefaces–e.g. the "Grec du roi" (1541)–were requested for a royally ordered book series by Robert Estienne. Garamond based them on the handwritings of Angelo Vergecio, the King's Librarian at Fontainebleau, and his ten-year-old pupil, Henri Estienne. According to Arthur Tilley, the editions are "among the most finished specimens of typography that exist." Garamond's Roman were created shortly thereafter, and his influence rapidly spread throughout and beyond France during the 1540s.
Garamond is the name given to a group of old style serif typefaces named for the punchcutter Claude Garamond (c. 1480-1561). A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond came to prominence in the 1540s, first for a Greek typeface he was commissioned to create for the French king Francis I, to be used in a series of books by Robert Estienne. The French later adopted Garamond’s Roman types for their printing and the typeface influenced type across France and Western Europe. Garamond had likely seen Venetian old style types from the printing shops of Aldus Manutius. Garamond based much of the design of his lowercase on the handwriting of Angelo Vergecio, librarian to Francis I. The italics of most contemporary versions are based on the italics of Garamond’s assistant Robert Grandjon. Garamond is the name given to a group of old style serif typefaces named for the punchcutter Claude Garamond (c. 1480-1561). A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond came to prominence in the 1540s, first for a Greek typeface he was commissioned to create for the French king Francis I, to be used in a series of books by Robert Estienne. The French later adopted Garamond’s Roman types for their printing and the typeface influenced type across France and Western Europe. Garamond had likely seen Venetian old style types from the printing shops of Aldus Manutius. Garamond based much of the design of his lowercase on the handwriting of Angelo Vergecio, librarian to Francis I. The italics of most contemporary versions are based on the italics of Garamond’s assistant Robert Grandjon. Garamond is the name given to a group of old style serif typefaces named for the punchcutter Claude Garamond (c. 1480-1561). A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a down
Garamond is the name given to a group of old style serif typefaces named for the punchcutter Claude Garamond (c. 1480-1561). A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond came to prominence
Garamond is the name given to a group of old style serif typefaces named for the punchcutter Garamond.
Claude Garamond (c. 14801561). A majority of the typefaces named Garamond are more closely related to the work of a later punchcutter Jean Jannon
The only complete set of the original Garamond dies and matrices can be found at the PlantinMoretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century.[1] Revivals of Garamond in 20th century followed the designs from Claude Garamond or Jean Jannon. The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice Warde, it revealed many of the revivals claimed to be based on Claude Garamond’s designs were actually designed by Jean Jannon. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century.[1] Revivals of Garamond in 20th century followed the designs from Claude Garamond or Jean Jannon. The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice Warde, it revealed many of the revivals claimed to be based on Claude Garamond’s designs were actually designed by Jean Jannon. However, by that time the Garamond name had stuck. Revivals of Garamond in 20th century followed the designs from Claude Gamond or Jean Jannon. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, The designs of italic fonts primarily came from a version produced by Robert Granjon.
The only complete set of the original Garamond dies and matrices can be found at the PlantinMoretus Museum in Antwerp, Belgium.
First Garamong. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century.[1] Revivals The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century.[1] Revivals of Garamond in 20th century followed the designs from Claude Garamond or Jean Jannon. The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice Warde, it revealed many of the revivals claimed to be based on Claude Garamond’s designs were actually designed by Jean Jannon. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century. Revivals of Garamond in 20th century followed the designs from Claude Garamond or Jean Jannon. The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice.
B ol d Adobe Garamond Pro font style. Regular, bold, italic and bold italic. There also is light, regular and bold.
G
a
r
a
m
R egular
o n d
f
o n
t
s
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
t
y
l
e
G
a
P r
a
m
o int o n d
p
u
Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope.
n
k
t
u
l
ī
n
i
Punktu līnija no Stephenson Blake Specimen grāmatas. 1915. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope.
Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e.
Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the the small eye of the e.
Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a.
Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are small bowl.
j a
Burtu elementi
descender (apakšgarums)
stem (stumbrs)
Gora a
G
a
r
a
m
o n d
m
nd
v ē s t u r i s k i e
f
a
k
Garamond was a Parisian publisher. He was one of the leading type designers of his time, and several contemporary typefaces, including those named Garamond, Granjon, and Sabon show his influence. Garamond was disciple of Simon de Colines, later he was assistant of Geoffroy Tory, who was concerned with human proportions and those of the ancient majuscules, as well as their mutual relation.
t
i
Bob Dylan (Adobe Garamond pro)
Divas Garamond kolonas
mond or Jean Jannon. The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice Warde, it revealed many of the revivals claimed to be based on Claude Garamond’s designs were actually designed by Jean Jannon. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. However, by that time the Garamond name had stuck.
Garamond is the name given to a group of old style serif typefaces named for the punch-cutter Claude Garamond (c. 1480-1561). A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond came to prominence in the 1540s, first for a Greek typeface he was commissioned to create for the French king Francis I, to be used in a series of books by Robert Estienne. The French later adopted Garamond’s Roman types for their printing and the typeface influenced type across France and Garamond Breech-band had likely seen Venetian old style types from the printing shops of Aldus Manutius. Garamond based much of the design of his lowercase on the handwriting of Angelo Vergecio, librarian to Francis I. The italics of most contemporary versions are based on the italics of Garamond’s assistant Robert Grandjon. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century.[1] Revivals of Garamond in 20th century followed the designs from Claude Gara
Balts teksts uz melna fona The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice Warde, it revealed many of the revivals claimed to be based on Claude Garamond’s designs were actually designed by Jean Jannon. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. However, by that time the Garamond name had stuck. So The only complete set of the original Garamond dies and matrices can be found at PlantinMoretus Museum ntwerp, Belgium. However, by that
Burtu skicēšana
g
A m
Gr
a
was a Claude Garamond Parisian publisher. He was one of
the leading type designers of his time, and several contemporary typefaces, including those named Garamond, Granjon, and Sabon show his influence. Garamond was disciple of Simon de Colines, later he was assistant of Geoffroy Tory, who was concerned with human proportions and those of the ancient majuscules, as well as their mutual relation.
onD Garamond came to prominence in 1541, when three of his Greek typefaces–e.g. the "Grec du roi" (1541)–were requested for a royally ordered book series by Robert Estienne. Garamond based them on the handwritings of Angelo Vergecio, the King's Librarian at Fontainebleau, and his ten-year-old pupil, Henri Estienne. According to Arthur Tilley, the editions are "among the most finished specimens of typography that exist." Garamond's Roman were created shortly thereafter, and his influence rapidly spread throughout and beyond France during the 1540s.
Garamond is the name given to a group of old style serif typefaces named for the punchcutter Claude Garamond (c. 1480-1561). A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond came to prominence in the 1540s, first for a Greek typeface he was commissioned to create for the French king Francis I, to be used in a series of books by Robert Estienne. The French later adopted Garamond’s Roman types for their printing and the typeface influenced type across France and Western Europe. Garamond had likely seen Venetian old style types from the printing shops of Aldus Manutius. Garamond based much of the design of his lowercase on the handwriting of Angelo Vergecio, librarian to Francis I. The italics of most contemporary versions are based on the italics of Garamond’s assistant Robert Grandjon. Garamond is the name given to a group of old style serif typefaces named for the punchcutter Claude Garamond (c. 1480-1561). A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond came to prominence in the 1540s, first for a Greek typeface he was commissioned to create for the French king Francis I, to be used in a series of books by Robert Estienne. The French later adopted Garamond’s Roman types for their printing and the typeface influenced type across France and Western Europe. Garamond had likely seen Venetian old style types from the printing shops of Aldus Manutius. Garamond based much of the design of his lowercase on the handwriting of Angelo Vergecio, librarian to Francis I. The italics of most contemporary versions are based on the italics of Garamond’s assistant Robert Grandjon. Garamond is the name given to a group of old style serif typefaces named for the punchcutter Claude Garamond (c. 1480-1561). A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a down
Garamond is the name given to a group of old style serif typefaces named for the punchcutter Claude Garamond (c. 1480-1561). A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond came to prominence
Garamond is the name given to a group of old style serif typefaces named for the punchcutter Garamond.
Claude Garamond (c. 14801561). A majority of the typefaces named Garamond are more closely related to the work of a later punchcutter Jean Jannon
The only complete set of the original Garamond dies and matrices can be found at the PlantinMoretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century.[1] Revivals of Garamond in 20th century followed the designs from Claude Garamond or Jean Jannon. The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice Warde, it revealed many of the revivals claimed to be based on Claude Garamond’s designs were actually designed by Jean Jannon. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century.[1] Revivals of Garamond in 20th century followed the designs from Claude Garamond or Jean Jannon. The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice Warde, it revealed many of the revivals claimed to be based on Claude Garamond’s designs were actually designed by Jean Jannon. However, by that time the Garamond name had stuck. Revivals of Garamond in 20th century followed the designs from Claude Gamond or Jean Jannon. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, The designs of italic fonts primarily came from a version produced by Robert Granjon.
The only complete set of the original Garamond dies and matrices can be found at the PlantinMoretus Museum in Antwerp, Belgium.
First Garamong. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century.[1] Revivals The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century.[1] Revivals of Garamond in 20th century followed the designs from Claude Garamond or Jean Jannon. The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice Warde, it revealed many of the revivals claimed to be based on Claude Garamond’s designs were actually designed by Jean Jannon. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century. Revivals of Garamond in 20th century followed the designs from Claude Garamond or Jean Jannon. The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice.
B ol d Adobe Garamond Pro font style. Regular, bold, italic and bold italic. There also is light, regular and bold.
G
a
r
a
m
R egular
o n d
f
o n
t
s
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
t
y
l
e
G
a
P r
a
m
o int o n d
p
u
Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope.
n
k
t
u
l
ī
n
i
Punktu līnija no Stephenson Blake Specimen grāmatas. 1915. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope.
Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e.
Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the the small eye of the e.
Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a.
Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are small bowl.
j a
Burtu elementi
descender (apakšgarums)
stem (stumbrs)
Gora a
G
a
r
a
m
o n d
m
nd
v ē s t u r i s k i e
f
a
k
Garamond was a Parisian publisher. He was one of the leading type designers of his time, and several contemporary typefaces, including those named Garamond, Granjon, and Sabon show his influence. Garamond was disciple of Simon de Colines, later he was assistant of Geoffroy Tory, who was concerned with human proportions and those of the ancient majuscules, as well as their mutual relation.
t
i
Bob Dylan (Adobe Garamond pro)
Divas Garamond kolonas
mond or Jean Jannon. The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice Warde, it revealed many of the revivals claimed to be based on Claude Garamond’s designs were actually designed by Jean Jannon. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. However, by that time the Garamond name had stuck.
Garamond is the name given to a group of old style serif typefaces named for the punch-cutter Claude Garamond (c. 1480-1561). A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond came to prominence in the 1540s, first for a Greek typeface he was commissioned to create for the French king Francis I, to be used in a series of books by Robert Estienne. The French later adopted Garamond’s Roman types for their printing and the typeface influenced type across France and Garamond Breech-band had likely seen Venetian old style types from the printing shops of Aldus Manutius. Garamond based much of the design of his lowercase on the handwriting of Angelo Vergecio, librarian to Francis I. The italics of most contemporary versions are based on the italics of Garamond’s assistant Robert Grandjon. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. Revivals of the Garamond type can be found as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as ‘Original Garamond,’ whereafter many type foundries began to cast similar types, beginning a wave of revivals that would continue throughout the 20th Century.[1] Revivals of Garamond in 20th century followed the designs from Claude Gara
Balts teksts uz melna fona The designs of italic fonts primarily came from a version produced by Robert Granjon. In a 1926 article in The Fleuron by Beatrice Warde, it revealed many of the revivals claimed to be based on Claude Garamond’s designs were actually designed by Jean Jannon. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. However, by that time the Garamond name had stuck. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerp, Belgium. However, by that time the Garamond name had stuck. So The only complete set of the original Garamond dies and matrices can be found at PlantinMoretus Museum ntwerp, Belgium. However, by that
Burtu skicēšana
g
