The elegant line and subdued emphasis show the classic search for silent and transparent form".
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. Lane describes his work as "elegant and executed with consummate skill.to a higher standard than commercial interest demanded" H. īesides general characteristics, writers on type have generally praised the even quality of Garamond's type: John A. Garamond types have quite expansive ascenders and descenders printers at the time did not use leading. The axis of letters like the ‘o’ is diagonal and the bottom right of the italic 'h' bends inwards. 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. 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. Other general features are limited but clear stroke contrast and capital letters on the model of Roman square capitals. 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. 18 pt) by Garamond, cast from surviving matrices in the Plantin Moretus Museum Developed in the early 1920s and bundled with many Microsoft products, it is a revival of Jannon's work. The most common digital font named Garamond is Monotype Garamond. 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. 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. 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. 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. 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.įollowing an eclipse in popularity in the eighteenth and nineteenth century, many modern revival faces in the Garamond style have been developed.
ADOBE GARAMOND REGULAR VS PRO PRO
Claude Garamond Also: Robert Granjon Jean JannonĪdobe Garamond Pro (regular style based on Garamond's work italic on the work of Robert Granjon)
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