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Garamond Insisted on Clarity in Design, Generous Page Margins, Quality Ripe Type Magazine|NovemberMagazine|November 09 Ripe Type Magazine|NovemberMagazine|November 09 letters were more asymmetrical and irregular in slope and axis. After the French government had raided Jannon’s printing office, Cardinal Richelieu named the Jannon’s type as Caractere de l’Universite, and it became the house style of Royal Printing Office. In 1825, the French National Printing Office Meditatio of David Chambellan. As pub- adapted the type used by Royal Printing Office lisher, Claude Garamond relied on his creativity in the past, and claimed the type as the work of harnessed by reasoned discipline to produce su- Claude Garamond perbly well crafted products. He modeled his In 1919, Thomas Maitland Cleland and Morris rinter book publishing style after the classic works of Fuller Benton produced the first 20th Century the Venetian printers who catered to the absolute commercial Garamond based on the Jannon’s elites of high society. He admired and emulated design, called Garamond #3. the works of Aldus Manutius. Garamond insist- ed on clarity in design, generous page margins, Revivals quality composition, paper and printing, which Revivals of the Garamond Type can be found was always accentuated with superb binding. as early as 1900, when a typeface based on the Because of the soundness of Garamond’s de- work of Jean Jannon was introduced at the Paris signs, his typefaces have historical staying power, World’s Fair as ‘Original Garamond,’ where and they are likely to remain the day-to-day after many type foundries began to cast similar tools of professional typographers, as long as types, beginning a wave of revivals that would western civilization survives. Reading a well set uncher continue throughout the 20th Century. Revivals Garamond text page is almost effortless, a fact of Garamond in 20th century followed the de- that has been well known to book designers for signs from Claude Garamond or Jean Jannon. over 450 years. The Baskerville face exhibits a greater The designs of italic fonts primarily came from a Claude Garamond’s contribution to typogrra- version produced by Robert Granjon. In a 1926 contrast between thick and thin strokes than phy was vast. He was a true renaissance man. He article in The Fleuron by Beatrice Warde, it re- that found in old-style faces. For its melding created perfection in the type that he crafted his vealed many of the revivals claimed to be based life and it will live on through his contribution of old-style and modern characteristics, the on Claude Garamond’s designs were actually to typography. Baskerville face is one of the earliest to be designed by Jean Jannon. However, by that time Garamond came to prominence in the 1540’s, the Garamond name had stuck. classified as transitional. first for a Greek typeface he was commissioned Known digital versions include Adobe to create for the French King Francisco I, to be Garamond and Garamond Premier (both used in a series of books by Robert Estienne. History designed by Robert Slimbach), Monotype The french court later adopted Garamond’s Garamond, Simoncici Garamond, and Stempel Born in Paris, France in 1940, Garamond Roman types for their printing and the type- ublisher Garamond. The typefaces Granjon and Sabon started his career out as an apprentice for the face influenced type across France and Western (designed by Jan Tschichold) are also classified as Parisian punch-cutter and printert, Antoine Europe. Garamond had likely seen Venetian Garamond revivals. Augereau in 1510. It was during this early part old style types from the printing shops of Aldus A version called ITC Garamond, designed by of the 16th century that Garamond and his peers Manutius. Garamond based much of the design Tony Staan (1917-1988) was released in 1977. found that the typography industry required of his lowercase on the handwriting of Angelo The design of ITC Garamond, more than any unique multitalented people. This way they Vergecio, librarian to Francis I. The italics of other digital versions, takes great liberty with Garamond is the name given to a group of could produce fine books. Many of the printers most contemporary versions are based on the Garamond’s original design by following a old style serif typefaces named for the punch- during that time period were unable to master italics of Garamond’s assistant Robert Granjon. formulary associated with the International all or most of the artistic and technical skills of cutter Claude Garamond (c. 1480-1561). A Typeface Corporation (ITC), that being an exag- book production from type design to bookbind- Original Type Garamond insisted on clarity inmajority design, of the typefaces named Garamond gerated increase in the x-height, and a wide range ing. Claude Garamond was first to specialize in When Claude Garamond died in 1561, his of weights from light to ultra bold, and a con- are more closely related to the work of a later type design, punch cutting, and type-founding punches and matrices were sold to Christopher densed width also in weights from light to ultra punch-cutter Jean Jannon. A direct relation- in Paris as a service to many famous publishers. generous page margins, quality composition, Plantin in Antwerp, which enabled the bold. After a decade of success with his types all over ship between Garamond’s letterforms and Garamond fonts to be used on many printers. Europe, King Francois I of France demanded that This version because popular in Europe. contemporary type can be found in the Roman Garamond produce a greek typeface, which later paper and printing, which was The only complete set of the original versions of the typefaces Sabon, Granjon, became known as “grecs du Roi.” Three fonts Garamond dies and matrices can be found at the P Stempel Garamond, and Adobe Garamond. were modeled after the handwriting of Angelos Plantin-Moretus Museum in Antwerp, Belgium. always accentuated with Garamond’s letterforms convey a sense of Vergetios, and cut the largest size first, on a 16 point body. All three original sets of Royal Letterform Characteristics fluidity and consistency. Some unique char- Greek Punches are preserved at the Imprimerie superb binding. acteristics in his letters are the small bowl of National in Paris, France. In 1621, sixty years after Garamond’s death, the a and the small eye of the e. Long extend- In 1545 Garamond became his own publisher, the French printer Jean Jannon issued a speci- “ featuring his own types including a new italic. men of typefaces that had some characteristics ::: 33 :: : ers and top serifs have a downward slope. His first book published was Pia et religiosa similar to the Garamond designs, though his : 2 :: ...........................ˮ ............................
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