Lyon_Text-family-9-864-xxx_q87.jpg' alt='Font Lyon Text' title='Font Lyon Text' />Garamond Wikipedia. Garamond is a group of many old styleseriftypefaces, named for sixteenth century Parisian engraver Claude Garamond generally spelled as Garamont in his lifetime. Garamond style typefaces are popular and often used, particularly for printing body text and books. Garamond worked as an engraver of punches, the masters used to stamp matrices, the moulds used to cast metal type. His designs followed the model of an influential design cut for Venetian printer Aldus Manutius by his punchcutter Francesco Griffo in 1. Some distinctive characteristics in Garamonds letterforms are an e with a small eye and the bowl of the a which has a sharp hook upwards at top left. Other general features are limited but clear stroke contrast and capital letters on the model of Roman square capitals. 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. 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 axis of letters like the o is diagonal and the bottom right of the italic h bends inwards. Following an eclipse in popularity in the eighteenth and nineteenth century, many modern revival faces in the Garamond style have been developed. 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. 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. Therefore, a Garamond revival font in modern use can in practice often be understood to mean one based on the general appearance of early modern French printing, not necessarily specifically Garamonds work. The term Garalde is used by the publishing association ATyp. I to generally refer to designs on the Aldus French renaissance model. In particular, many Garamond revivals of the early twentieth century are actually based on the work of a later punch cutter, Jean Jannon, whose noticeably different work was for some years misattributed to Garamond. Modern Garamond revivals also often add a matching bold and lining numbers at the height of capital letters, neither of which were used in Garamonds time. The most common digital font named Garamond is Monotype Garamond. Developed in the early 1. Logo-Lyon-Healy-logo-1.jpg' alt='Font Lyon Text' title='Font Lyon Text' />Microsoft products, it is a revival of Jannons work. HistoryeditGaramonts life and careeredit. A Great Primer type c. Garamond, cast from surviving matrices in the Plantin Moretus Museum. Acknowledgements. Credit for much of the written history of the parish of Lyonshall must go to Mrs Shan Preddy of Church House, Lyonshall, who painstakingly put. Windows Script Host Version 5.8. A page spread from the book De Aetna, printed by Aldus Manutius in 1. It would become influential in French printing from the 1. Garamond cut type in the roman, or upright style, in italic, and Greek. In the period of Garamonds early life roman type had been displacing the blackletter or Gothic type which was used in some although not all early French printing. Though his name was generally written as Garamont in his lifetime, the spelling Garamond became the most commonly used form after his death. Professor Hendrik Vervliet, the leading contemporary expert on French Renaissance printing, uses Garamont consistently. The roman designs of Garamond which are his most imitated were based on a font cut around 1. Font Lyon Text' title='Font Lyon Text' />Venetian printer Aldus Manutius by engraver Francesco Griffo. This was first used in the book De Aetna, a short work by poet and cleric Pietro Bembo which was Manutius first printing in the Latin alphabet after a long series of publications of classics of Greek literature that won him an international reputation. Historian Beatrice Warde has assessed De Aetna as something of a pilot project, a small book printed to a higher standard than Manutius norm. Among other details, this font popularised the idea that in printing the cross stroke of the e should be level instead of slanting upwards to the right like handwriting, something imitated in almost all type designs since. A book printed by Robert Estienne in 1. His graceful and delicate typefaces, based on the work of Aldus Manutius thirty five years earlier, redefined practices in French printing never before had a complete roman typeface been made to such a large size, and the use of multiple sizes cut in the same style allowed harmony between headings and body text. His typefaces were either cut by or defined the style in which Garamond worked. French typefounders of the 1. Manutiuss work and, it is thought, De Aetna in particular as a source of inspiration. This examination extended to in some cases copying his first M shown in De Aetna which had no serif pointing out of the letter at top right, a design considered very eccentric. Sur les hauteurs de Sainte FoylsLyon, se trouve le centre de remise en forme Calico. De loin, son dme imposant et ses grandes verrires sont facilement. It has been suggested to be the result of defective casting, especially since Manutius later fonts do not show it. The Griffo font was only cut in a single size, so French punchcutters made modified versions of the design to suit different sizes, with a more delicate structure at larger sizes. The period from 1. Garamonds career, was an extremely busy period for typeface creation. Many fonts were cut, some such as Robert Estiennes for a single printers exclusive use, others sold or traded between them. Confusion about which engravers created which typefaces is natural since many were active over this time, creating typefaces not just in the Latin alphabet in roman and italic, but also in Greek and Hebrew for scholarly use. These included Garamond himself, Granjon, Guillaume Le B, particularly respected for his Hebrew fonts,2. Pierre Hautin, Antoine Augereau who may have been Garamonds mentor, Estiennes stepfather Simon de Colines and others. This period saw the creation of a pool of high quality punches and matrices that would supply the French and European printing industry, to a large extent, for the next two centuries. Very little is known about Garamonds life or work before 1. He worked for a variety of employers on commission, creating punches and selling matrices to publishers and the government. Garamonds typefaces were popular abroad, and replaced Griffos original roman type at the Aldine Press in Venice. He also worked as a publisher and bookseller. By 1. 54. 9, a document from theologian Jean de Gagny specified that the goldsmith Charles Chiffin, who had cut an italic for his private printing press, should receive payment at the rate of the best punchcutter in this city after master Claude Garamont, clearly showing that he was considered the pre eminent punchcutter in Paris at this time. While some records such as Christophe Plantins exist of what exact types were cut by Garamond himself, many details of his career remain uncertain early estimates placed Garamonds date of birth 1. A document called the Le B Memorandum based on the memories of Guillaume Le B, but collated by one of his sons around 1. Garamond finished his apprenticeship around 1.