Garamond

Anwesha Daolagupu, Sem IV, Graphic DesignTypogaphy 2 Faculty: Tarun Deep Girdher and Nidhi SahNational Institute of Design

Garamond FamilyRoman Glyphs ABCDEFGHIJKLMNOPQ

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Additional Glyphs ÆÇĐIJĸœŊŋťŞşſƒΞΟΠΡΣΤΥΧΦΨΩαβγδεζηθικλμνξοπρςστυφχψωϊϋόύώбгдежзийклпрстмнуфхцчшщъыьэяёђѓєѕіїјљњҐџґ–‗―‘’‚“”„†‡•‰…′″‹›‼‾⁄ⁿ₣₤₧€ℓ™Ω⅛⅜⅝⅞←↑→↓↔∂∆∏∑−∕∙√∞∟∩∫≈≠≡≤≥⌠⌡♦◊!"#$%&'()*+,-./:;<=>@|¡£¥¦§¨©ª«¬¯ ®°±²³´µ¶·¸¹º»¼½¾¿G

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Accented Glyphs ÀÁÂÃÄÅÈÉÊËÌÍÎÏÑÒÓÔÕÖÙÚÛÜÝàáâãåèéêëìíîïñòóôõöùúûüýÿĀāĂ㥹ĆćĈĉĊċČčĎďĒēĔĕĖėĘęĚěĜĝĞğĠġĢģĤĥĦħĨĩĪīĬĭĴĵĶķĹĽĻļŃńŁłŌōŎŏŐőŔŕŘřŖŗŚśŜŝŠšŤťŦŧŨũŪūŬŭŮůŰűŲųŴŵŶŷŸŹźŻżŽžǺǻǼǽǾǿˆˇˉ˘˙˚˛˜˝΄΅ΆΈΉΊΌΎΏΐΪΫάέήίΰϊϋύόώЁЃЌЎйёѓїќўẀẁẂẃẄẅỲỳ

Italic Glyphs ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789&

Bold Glyphs ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789& a mo n d

HISTORY

Garamond is the name given to a group of old style serif typefaces named after the punch cutter Claude Garamond. Although there is a strong controversy as to which man cut the model for our current Garamonds, it is safe to say that the root of this “type tree” can be called Claude Garamond. Unfortunately information concerning this great designer is meagre; little is definitely known of him. He was born about 1500 somewhere in France; and that he was a student of Geoffroy Troy, a designer, printer, and engraver of that period; and that he cut many of his roman and a few of his italic fonts with the encouragement of King Francis I. As a royally commissioned engraver and working closely with troy, Gara-mond sold his types in France, Italy, Germany, Holland and England. Although he established the first type foundry, Garamond died owing little else than his punches; and, in 1570, his widow sold these to Andrè Wechel, executor of the estate, who thereupon moved to Frankfurt and established his own plant there. From this point on, the trunk of the Garamond type tree ends and the branches begin to go off in several directions. In a manner of speaking, Wechel continued straight up the line of the trunk by joining the Egenolff-Berner firm and bringing the original punches with him, thus enabling that concern to produce the true Gara-mond types . Another branch of the Garamond Tree was started when Granjon cut the Garamond letter and another of Garamond’s pupils, Guillaume Le Bè, brought this French cutter type face to Vietnam printers. After Garamond’s death, Le Bè purchased most of the available matrices and moulds for use in his own foundry. In 1730 this material came into the hands of Jean Pierre Fournier when this member of that famous family in French typography purchased Le Bè foundry. A Dutch branch began with the purchase and casting of Garamond matrices by Cristopher Plantin, a French-born Antwerp printer, for use in his eight-volume Polyglot-Bible. This meeting with he Garamond face later inspired Plantin to cut an old style letter which he named after the designer of his model, Garamond. Other improvements on the Garamond letter in Holland were made by Christopher Van Dyck and the Elzevirs, the successful and talented family in Dutch printing and publishing history. The punches finally came to be the property of Isaac and Jean Enschede, owners of foundry in Haarlem.

Claude Garamond

The third branch of the Garamond tree( the branch which has led to so much confusion) is that of JeanJannon. This printer and punch-cutter, who had contact with types of Garamond, moved from Paris to a position with Protestant Academy at Sedan in 1611; and there, because of difficulty in securing materials for his work, cut a type face of his own. As stated earlier, this type face was so much like the roman letter previously cut by Claude. Garamond that it has become one of the causes for long living argument over our living model for the contemporary Garamonds. After the cutting of the Jean Jannon design, specimen material illustrating the face was issued. About 1640 the Academy at Sedan came under the Direction of Cardinal Richelieu, who acquired a ll of Jannon’s types and material. Richelieu organised a French national printing office, and used the Jannon face, referred to as the Charactéres de l’Univetsité, in the printing of his book, Les Principaux Points de la Foy Catholique Défendus. Upon completion of his book, the Jannon type was placed in the archives of French government printing office, where it remained nearly for two centuries. In 1845 original Jannon type was rediscovered and brought out for use by the Imprimérie National at Paris, which in 1847, printed a specimen book showing some of the types from the Jannon punches and loosely identifying them as faces cut by Garamond. Fifty years later this question of who was the original designer of our Garamond types was brought up when Arthur Christian, then director the French Naitional printing office, studied the available material, and then an-nounced that the punches upon which our Garamond’s are based were cut by Claude Garamond. But a directly opposite stand was taken later by Mrs. Beatrice Warde, who, after conducting her own research, came tp the conclusion that since the Charactéres de l’Univetsité were definitely the Jannon letter, Jannon proved the model for our contemporary Garamond. The dispute still goes on.

About GaramondGaramond is an elegant old style type face which owes its name to the distin-guished 16th century French Type founder, Claude Garamond. It is one of the most influential typeface from that period. Garamond types are arguably the best conceived typeface ever designed, displaying a superb balance of elegance and practicality. In keeping with the strong beauty of roman, the italics are not too ornamental and, in fact suggest simplicity.

Characteristics Of Garamond The structure of serifs is an unmistakeable clue to Garamond. In the uppercase the serifs are rather long but they appear shorter because they blend softly into the stem. Although the serifs rest flush against the cap lines (top and bottom), they join stems by means of wedge shaped brackets very evident in M. The serifs in the lower case are of two distinct kinds. The serifs on top are upright stems and all ascender are slanted wedges, while the bottom serifs are square with the baseline. In the caps the accented of the round letters is the hori-zontal centre, but this is not followed thought consistently in the lowercase. Indeed one of the most important clues of this type is the diagonal stress of the bowls of c,d,e,etc. Another clue to Garamond is the high cross-bar of 'e' and the sloped triangular two storied bowl of the 'a'. Other points of identification are the pointed apex of A and the high cross bar; the elongated swash of the J which terminates an ovular ball; the slightly splayed M, the cat's tail swash of the Q and the cross bar of W. Garamond lends grace and dignity to any page of copy, and is a let-ter of high legibility

Different Type Faces Which Belong To The Garamond FamilySince Claude Garamond made his first font more than 450 years ago in France, there have been so many versions of his typestyle that it's a challenge to know them all without a full scale database. In foundry type, machine type, proto-type and now even in digital type, literally hundreds of Garamond designs have graced over centuries. Although there are many different Garamond typefaces, they are all the descendants of the original 16th century design, and like mem-bers of most families, the have similar traits. For example, the stress in their angle and their soft rounded ends. Head serifs look like little banners and the baseline serif tend to be long and slightly cupped. Another feature shared by every Garamond is the bi directional serifs on the top of capital T. The Garamond family tree developed two distinct branch-es: One American and the other European. When Garamond dies in 1561, his punches and matrices were sold to Christopher Plantin in Antwerp who, in turn, enabled the Garamond fonts to be used by many printers. These became the European branch of the family. Type faces on the American branch mostly resemble Jean Jannon's design where as the European branch follows the origi-nal Claude Garamond design. It is not hard, when the typefaces are seen side-by-side, to identify differences between the various Garamonds, and to perceive (broadly) two different "families"; but the similarities are quite striking too.

Based on Garamond: Stempel GaramondAdobe GaramondLinotype GranjonSabonITC GaramondApple Garamond

Based on Jannon: Monotype GaramondSimoncini GaramondATF Garamond (Linotype Garamond 3)LTC Garamont Storm Jannon Antiqua

Abobe Garamond ProAn Adobe Originals design, and Adobe’s first historical revival, Adobe Garamond is a digital interpretation of the roman types of Claude Garamond and the italic types of Robert Gran-jon.Since its release in 1989, Adobe Garamond has become a typographic staple throughout the world of desk-top typography and design.Adobe type designer Robert Slim-bach has captured the beauty and balance of the original Garamond typefaces while creating a typeface family that offers all the advantages of a contemporary digital type family.With the introduction of OpenType font technology, Adobe Garamond has been reissued as a Pro type family that takes advantage of OpenType’s advanced typographic capabilities. Now this elegant type family can be used with even greater efficiency and precision in OpenType-savvy applica-tions such as Adobe InDesign.

ITC GaramondDrawn by Tony Stan, ITC Garamond was first released in 1975 in Book and Ultra weights only. These were intended as display faces to comple-ment existing text designs from other foundries. (In fact, many of ITC’s interpretations of traditional type-faces began as display counterparts for existing text designs.)These first weights of ITC Gara-mond became so popular, however, that ITC released the Light and Bold weights and a suite of condensed faces in 1977. Now, the complete ITC Garamond family features sixteen members: four weights of roman and italic in normal width and four weights of roman and italic in companion condensed versions. The family resemblance is there, but ITC Gara-mond’s unique provenance gives it an unmistakable, one-of-a-kind appeal.

ITC Garamond Light CondensedITC Garamond Light Condensed ItalicITC Garamond Light NarrowITC Garamond Light Narrow ItalicITC Garamond Book CondensedITC Garamond Book Condensed ItalicITC Garamond Book NarrowITC Garamond Book Narrow ItalicITC Garamond LightITC Garamond Light ItalicITC Garamond BookITC Garamond Book ItalicITC Garamond Ultra NarrowITC Garamond Ultra NarrowITC Garamond BoldITC Garamond Bold ItalicITC Garamond Ultra CondensedITC Garamond Ultra Condensed ItalicITC Garamond UltraITC Garamond Ultra

Comparisions

ApplicationGaramond is considered to be among the most legible and readable serif typefaces for use in print (offline) applications and for this reason it is often used in novels, children’s books, magazines and other printed materials. The design is also an excellent choice for most ther forms of continous text. Magazines, news, annual reports, lengthy advertising. It is not considered appropriate for the web because of the current display technologies, its not a good font to use in web copy.

Application

Bibliography J.I.Biegeleisen: Work book of Typefaces, 1963Stanley C. Hlasta : Printing Types and how to use them, 1950R.S.Hutchings :The western heritage of type design, 1963Harry Carter: A view of early typography, 1968

www.wikepedia.orgwww.chiselbrushandpen.comwww.imagemaking.uswww.google.comhttp://www.garamond.culture.fr

Chetan Bhagat writes all his novels in Garamond on Microsoft Word

The logo of clothing company Abercrombie & Fitch uses a variation of the Garamond typeface

Garamond is the name of a character in the Nintendo 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 Flip-side counterpart, Helvetica (a probable recognition of the relative suitability of the two fonts for use in book typesetting).

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