![]() He was the first to deviate from a purely handwritten-style to make letters that would read better when printed. Garamond was the first to craft letters to the medium. Prior to Garamond’s work, the practice of making type was to make as exact as possible replicas of a scribe’s handwriting. While seeing the differences between many of the old-style typefaces today can be hard for the untrained eye, it is important to note the true significance of Claude Garamond’s place in the history of type. Some are modern interpretations, some are recreations of typefaces from the late 1500’s modeled after the original punches and a few are faithful modern recreations based on the original punches. It should also be said that not all of the Garamond’s in the world are the same. After his death, sets of his punches found their way into the hands of foundries and served as inspirations for many different typefaces in addition to the many variations of Garamond. The original punches, long slender metal rectangles with individual letterforms carved into the ends, were finely-tuned and perfected during the early to mid 1500’s up until Claude’s death in 1561. What we now know as Garamond are modern interpretations of fonts that were inspired by drawings which were modeled after the punches of Claude Garamond. ![]() Named for the French punch-cutter Claude Garamond, the typeface in its current form has a foggy past. Like David, Garamond came quietly into the world yet has been a marker to which everything that has come after it is measured. It is elegant while never feeling overly ornate or showy.Ĭlassic and classy, Garamond has maintained a high level of admiration and continued use that is very unlikely since it pre-dates all other typefaces. Reading its beautifully imperfect letters feels like reading a renaissance manuscript. It puckers and bloats in delicate ways like ink swelling within paper fibers. Even in today's digital forms, Garamond evokes the hand. It is a timeless masterpiece created by a classical craftsman and to this day is a cherished piece of history. Garamond is Michelangelo's David to the type world. This is a work in progress, so expect bugs! The quality of the fonts still varies widely! You can see every font’s current state in its *-Glyphs.pdf file in the specimen section.Contact Copyright © 2013-2022 Jonathan Cunningham. Smallcaps font for programs that ignore opentype features (12pt) Italic font for design size 8pt (very rough spacing!)Īll smallcaps font for programs that ignore opentype featuresīold font for design size 12pt (very rough/unusable not included in releases) Workbench for Initials fonts (not included in releases) Webfont hosters like googlefonts or fontsquirrel might provide better solutions. But be aware that they are not subset but contain the whole fonts, which might result in undesirably big files. For the use on the web via the make-script produces eot and woff files which can be found in the web section. The fonts make heavy use of opentype features for specialities like small caps or different number styles as well as for imitating renaissance typography.įor the use with Xe- and LuaLaTeX I’m working on a configuration for mycrotype. There are also fonts containing initials based on those found in a 16th century french bible print. In the end, the fonts shall cover extended latin, greek and cyrillic scripts in different styles (regular, italic, bold, bolditalic) and design sizes. ![]() This project aims at providing a free version of the Garamond types, based on the Designs of the Berner specimen from 1592.
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