This article is about the traditional meaning of 'font'. For the electronic data file, see. For other uses, see. In modern usage, with the advent of, 'font' is frequently synonymous with 'typeface', although the two terms do not necessarily mean the same thing.

In particular, the use of means that different sizes of a typeface can be dynamically generated from one design. Each style may still be in a separate 'font file'—for instance, the typeface ' may include the fonts 'Bulmer ', 'Bulmer ', 'Bulmer ' and 'Bulmer extended'—but the term 'font' might be applied either to one of these alone or to the whole typeface. Contents • • • • • • • • • • • • • • • • Etymology [ ] The word font (traditionally spelled fount in, but in any case pronounced ) derives from fonte '[something that has been] melted; a '. The term refers to the process of casting metal type at a. Metal type [ ] In a manual printing () house the word 'font' would refer to a complete set of that would be used to an entire page. Upper- and lowercase letters get their names because of which case the metal type was located in for manual typesetting: the more distant upper case or the closer lower case.

The same distinction is also referred to with the terms majuscule and minuscule. Unlike a digital typeface, a metal font would not include a single definition of each character, but commonly used characters (such as vowels and periods) would have more physical type-pieces included. A font when bought new would often be sold as (for example in a Roman alphabet) 12pt 14A 34a, meaning that it would be a size 12- font containing 14 uppercase 'A's, and 34 lowercase 'A's. The rest of the characters would be provided in quantities appropriate for the of letters in that language. Some metal type characters required in typesetting, such as, spaces and line-height spacers, were not part of a specific font, but were generic pieces which could be used with any font. Line spacing is still often called ', because the strips used for line spacing were made of (rather than the harder alloy used for other pieces).

The reason for this spacing strip being made from 'lead' was because lead was a softer metal than the traditional forged metal type pieces (which was part lead, antimony and tin) and would compress more easily when 'locked-up' in the printing 'chase' (i.e. A carrier for holding all the type together). In the 1880s–90s, 'hot lead' typesetting was invented, in which type was cast as it was set, either piece by piece (as in the technology) or in entire lines of type at one time (as in the technology). Font characteristics [ ] In addition to the character height, when using the mechanical sense of the term, there are several characteristics which may distinguish fonts, though they would also depend on the (s) that the typeface supports. In European, i.e., and, the main such properties are the, the and the. The regular or standard font is sometimes labeled roman, both to distinguish it from bold or thin and from italic or oblique.

Note of the author. Adobe Caslon Pro Bold - Available to be downloaded from FontsMarket.com. Free For Personal Use. How to install. If the downloaded file is in zip format, extract the file. Windows 10/8/7/Vista: Right-click on the font files >'Install'; Windows XP: Put the font files into C: Windows Fonts; Mac OS X:.

The keyword for the default, regular case is often omitted for variants and never repeated, otherwise it would be Bulmer regular italic, Bulmer bold regular and even Bulmer regular regular. Roman can also refer to the language coverage of a font, acting as a shorthand for 'Western European'. Different fonts of the same typeface may be used in the same work for various degrees of readability and, or in a specific design to make it be of more visual interest. Weight [ ] The weight of a particular font is the thickness of the character outlines relative to their height.

Weights A typeface may come in fonts of many weights, from ultra-light to extra-bold or black; four to six weights are not unusual, and a few typefaces have as many as a dozen. Many typefaces for office, web and non-professional use come with just a normal and a bold weight which are linked together.

If no bold weight is provided, many renderers (browsers, word processors, graphic and DTP programs) support faking a bolder font by rendering the outline a second time at an offset, or just smearing it slightly at a diagonal angle. The base weight differs among typefaces; that means one normal font may appear bolder than some other normal font. For example, fonts intended to be used in posters are often quite bold by default while fonts for long runs of text are rather light. Therefore, weight designations in font names may differ in regard to the actual absolute stroke weight or density of glyphs in the font. Attempts to systematize a range of weights led to a numerical classification first used by with the typeface: 35 Extra Light, 45 Light, 55 Medium or Regular, 65 Bold, 75 Extra Bold, 85 Extra Bold, 95 Ultra Bold or Black.

Deviants of these were the '6 series' (italics), e.g. 46 Light Italics etc., the '7 series' (condensed versions), e.g. 57 Medium Condensed etc., and the '8 series' (condensed italics), e.g.

68 Bold Condensed Italics. From this brief numerical system it is easier to determine exactly what a font's characteristics are, for instance 'Helvetica 67' (HE67) translates to 'Helvetica Bold Condensed'. The first algorithmic description of fonts was perhaps made by in his and system of programs.

The font format introduced a scale from 100 through 900, which is also used in and, where 400 is regular (roman or plain). Regular and bold versions of three common fonts. Has a quite monoline design and all strokes increase in weight; less monoline fonts like and increase the weight of the thicker strokes more and thinner strokes less in bold. In all three designs, the curve on 'n' thins as it joins the left-hand vertical. There are many names used to describe the weight of a font in its name, differing among type foundries and designers, but their relative order is usually fixed, something like this: Names Numerical values Thin / Hairline 100 Ultra-light / Extra-light 200 Light 300 Book / Semilight Normal / regular / plain 400 Medium 500 Semi-bold / Demi-bold 600 Bold 700 Extra-bold / extra 800 Heavy / Black 900 Extra-black Ultra-black / ultra The terms normal, regular and plain, sometimes also book, are being used for the standard weight font of a typeface.

Where both appear and differ, book is often lighter than regular, but in some typefaces it is bolder. Before the arrival of computers, each weight had to be drawn manually.

As a result, many older multi-weight families such as and have considerable differences in styles from light to extra-bold. Since the 1980s, it has become increasingly common to use automation to construct a range of weights as points along a trend, or other parameterized font design.

This means that many modern digital fonts such as and are offered in a large range of weights which offer a smooth and continuous transition from one weight to the next, although some digital fonts are created with extensive manual corrections. As digital font design allows more variants to be created faster, an increasingly common development in professional font design is the use of “grades”: slightly different weights intended for different types of paper and ink, or printing in a different region with different ambient temperature and humidity. For example, a thin design printed on book paper and a thicker design printed on may come out looking identical, since in the former case the ink will soak and spread out more. Grades are typically offered with characters having the same width on all grades, so that a change of printing materials does not affect copyfit. Grades are especially common on serif fonts with their finer details.

Slope [ ] In European typefaces, especially Roman ones, a slope or slanted style is used to emphasise important words. This is called. These designs normally slant to the right in left-to-right scripts. Oblique styles are often called italic, but differ from 'true italic' styles.

Italic styles are more flowing than the normal typeface, approaching a more, style, possibly using more commonly or gaining. Although rarely encountered, a typographic face may be accompanied by a matching calligraphic face ( cursive, script), giving an exaggeratedly italic style. The typeface Avenir Next in condensed and regular widths. Width [ ] Some typefaces include fonts that vary the width of the characters ( stretch), although this feature is usually rarer than weight or stroke.

Narrower fonts are usually labeled compressed, condensed or narrow. In Frutiger's system, the second digit of condensed fonts is a 7. Wider fonts may be called wide, extended or expanded. Both can be further classified by prepending extra, ultra or the like.

These separate fonts have to be distinguished from techniques that alter the to achieve narrower or smaller words, especially for. Uses non-lining or text figures as default, providing upper-case or lining figures as an alternative. Most typefaces either have or (i.e. Typewriter-style) letter widths, if the script provides the possibility. There are, however, superfamilies covering both styles. Some fonts also provide both ( tabular) digits, where the former usually coincide with lowercase and the latter with uppercase.

The width of a font will depend on its intended use. Was designed with the goal of having small width, to fit more text into a newspaper.

On the other hand, has large width to increase readability. The ' on a movie poster often uses extremely condensed type in order to meet union requirements on the people who must be credited and the font height relative to the rest of the poster. Optical size [ ]. Optical sizes in the open-source family. At top, correct use: Green is in a slimmer style designed for text printed large, and authority in a thicker style for text printed small. The bottom pair are the wrong way round: Green looks too thick and authority too thin. Some professional digital typefaces include fonts that are optimised for certain sizes, for instance by using a thinner stroke weight if they are intended for, or by using if they are to be printed at small size on poor-quality paper.

This was a natural feature in the metal type period for most typefaces, since each size would be cut separately and made to its own slightly different design. As an example of this, experienced Linotype designer commented in 1947 that for a type he was working on intended for newspaper use, the 6 point size was not 50% as wide as the 12 point size, but about 71%. However, it declined in use as engraving, and especially phototypesetting and digital fonts made printing the same font at any size simpler. A mild revival has taken place in recent years. Optical sizes are more common for serif fonts, since their typically finer detail and higher contrast benefits more from being bulked up for smaller sizes and made less overpowering at larger ones.

There are several naming schemes for such variant designs. One such scheme, invented and popularized by, refers to the variant fonts by the applications they are typically used for, with the exact point sizes intended varying slightly by typeface: Poster Extremely large sizes, usually larger than 72 point Display Large sizes, typically 19–72 point Subhead Large text, typically about 14–18 point (Regular) Usually left unnamed, typically about 10–13 point Small Text ( SmText) Typically about 8–10 point Caption Very small, typically about 6–8 point. Kerning brings A and V closer with their serifs over each other Metrics [ ] refers to consisting of numeric values relating to size and space in the font overall, or in its individual glyphs. Font-wide metrics include (the height of the capitals), (the height of the lower-case letters) and height, depth, and the font.

Glyph-level metrics include the glyph bounding box, the advance width (the proper distance between the glyph's initial pen position and the next glyph's initial pen position), and sidebearings (space that pads the glyph outline on either side). Many digital (and some metal type) fonts are able to be so that characters can be fitted more closely; the pair 'Wa' is a common example of this. Some fonts, especially those intended for professional use, are duplexed: made with multiple weights having the same character width so that (for example) changing from regular to bold or italic does not affect word wrap. As originally designed was a notable example of this. (This was a standard feature of the Linotype hot metal typesetting system with regular and italic being duplexed, requiring awkward design choices as italics normally are narrower than the roman.) A particularly important basic set of fonts that became an early standard in digital printing was the included in the printing system developed by Apple and Adobe. To avoid paying licensing fees for this set, many computer companies commissioned 'metrically-compatible' knock-off fonts with the same spacing, which could be used to display the same document without it seeming clearly different.

And are notable examples of this, being functional equivalents to the PostScript standard fonts and respectively. Some of these sets were created in order to be freely redistributable, for example 's and Google's, which duplicate the PostScript set and other common fonts used in software such as. It is not a requirement that a metrically compatible design be identical to its origin in appearance apart from width.

's regular and schoolbook versions of a and g. Single-storey characters are more commonly found as default in fonts such as, shown at bottom. Typefaces may be made in variants for different uses. These may be issued as separate font files, or the different characters may be included in the same font file if the font is a modern format such as and the application used can support this. Alternative characters are often called stylistic alternates. These may be switched on to allow users more flexibility to customise the font to suit their needs. The practice is not new: in the 1930s,, a British design, was sold abroad with alternative characters to make it resemble fonts such as popular in other countries, while from the same period has two styles of 'R': one with a stretched-out leg, matching its fifteenth-century model, and one less-common shorter version.

With modern digital fonts, it is possible to group related alternative characters into stylistic sets, which may be turned on and off together. For example, in, a revival of the 18th century font, the default italic forms have many swashes matching the original design. For a more spare appearance, these can all be turned off at once by engaging stylistic set 4., intended for academic publishing, uses ss15 to enable a used in medieval Latin. A corporation commissioning a modified version of a commercial font for their own use, meanwhile, might request that their preferred alternates be set to default. It is common for fonts intended for use in books for young children to use simplified, single-storey forms of the lowercase letters a and g (sometimes also y and l); these may be called infant or schoolbook alternates.

They are traditionally believed to be easier for children to read and less confusing as they resemble the forms used in handwriting. Often schoolbook characters are released as a supplement to popular families such as, and; a well-known font intended specifically for school use is.

Besides alternate characters, in the metal type era the commissioned custom condensed single sorts for common long names that might often appear in news headings, such as,. Numerals [ ]. A set of optical sizes developed. The fonts become thicker and more widely spaced as the point size for which they are designed decreases. Fonts can have different kinds of numerals, including, as described above, proportional (variable width) and tabular (fixed width) as well as lining (upper-case height) and text (lower-case height) figures. They may also include separate styles for superscript and subscript digits. Professional fonts may include even more complex settings for typesetting numerals, such as numerals intended to match the height of.

In addition, some fonts such as Adobe’s Acumin and ’s digitisation offer two heights of lining (upper-case height) figures: one slightly lower than cap height, intended to blend better into continuous text, and one at exactly the cap height to look better in combination with capitals for uses such as UK postcodes. With the OpenType format, it is possible to bundle all these into a single digital font file, but earlier font releases may have only one type per file.

Subsetting [ ] A typical font may contain hundreds or even thousands of glyphs, often representing characters from many different languages. Oftentimes, users may only need a small subset of the glyphs that are available to them. Subsetting is the process of removing unnecessary glyphs from a font file, usually with the goal of reducing file size.

Trust 120 Spacecam Driver Windows 7 X64 more. This is particularly important for web fonts, since reducing file size often means reducing page load time and server load. Alternatively, fonts may be issued in different files for different regions of the world, though with the spread of the OpenType format this is now increasingly uncommon.

See also [ ] • • • • • References [ ]. • The typeface was the “Falcon” design by, ultimately never issued. Further reading [ ] • Blackwell, Lewis.

20th Century Type. Yale University Press: 2004.. • Fiedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal: 1998.. • Lupton, Ellen.

Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students, Princeton Architectural Press: 2004.. • Headley, Gwyn. The Encyclopaedia of Fonts. Cassell Illustrated: 2005.. • Macmillan, Neil. An A–Z of Type Designers.

Yale University Press: 2006.. External links [ ] Look up in Wiktionary, the free dictionary. • on Twitter.

For other uses, see. Garamond Also: Shown here Adobe Garamond Pro (regular style based on Garamond's work; italic on the work of ) Garamond is a group of many, named for sixteenth-century engraver (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 of, the masters used to stamp, the moulds used to cast metal type. His designs followed the model of an influential design cut for Venetian printer by his punchcutter in 1495, and helped to establish what is now called the serif letter design, letters with a relatively organic structure resembling with a, but with a slightly more structured and upright design. Some distinctive characteristics in Garamond's 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. 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 (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 of letters like 'd' have a downward slope and ride above the. 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 based on those created by his contemporary, 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 Garamond's work. The term ' is used by the publishing association 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,, whose noticeably different work was for some years misattributed to Garamond. Modern Garamond revivals also often add a matching and 'lining' numbers at the height of capital letters, neither of which were used in Garamond's time. The most common digital font named Garamond is. Developed in the early 1920s and bundled with many products, it is a revival of Jannon's work.

A page spread from the book De Aetna, printed by Aldus Manutius in 1495. It would become influential in French printing from the 1530s. Garamond cut type in the, in, and. In the period of Garamond's early life roman type had been displacing the 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 1495 for the printer by engraver. This was first used in the book De Aetna, a short work by poet and cleric 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 has assessed De Aetna as something of a, 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 trademark associated with the Garalde style in modern times is the four-terminal 'W', although sixteenth-century French typefaces generally do not include the character as it is. It appears in a 1555 book from printer Andreas Wechel, of German origins.

Plantin's collection of original Garamond punches and matrices survives at the in Antwerp, together with many other typefaces collected by Plantin from other typefounders of the period. The collection has been used extensively for research, for example by historians and Hendrik Vervliet. Carter's son would later describe his research as helping to demonstrate 'that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types.'

Plantin also commissioned punchcutter to create alternate characters for three Garamond fonts with shortened ascenders and descenders to allow tighter linespacing. Robert Granjon [ ].

Main article: Many modern revival fonts based on French renaissance printing are influenced by the work of Robert Granjon (c. 1513-90), particularly in italic. An engraver with a long and wide-ranging career, Granjon’s work seems to have ranged much more widely than Garamond’s focus on roman and Greek type, cutting type in italic, (a cursive blackletter), and for the Vatican type in exotic alphabets including Arabic, Armenian and Hebrew. His career also took in stops in the Netherlands, Switzerland, Germany and finally for the last twelve years of his life Rome, where he ended his career in the service of the Vatican. Vervliet comments that Granjon 'laid the foundation for our image of the way an Italic should look.' Although he was not quite the first designer to use the idea of italics having capitals sloped to complement the roman, he 'solved successfully the problem of a balanced inclination of the capitals, a feature much ahead of the designs with a more irregular slope of his Viennese and Mainz predecessors.and even compared to. Scenes From The Second Storey Rar. Garamont.

A proper optical harmony of the angle of slope is characteristic for all Granjon’s Italics; it allowed the compositor to use whole lines of capitals without causing too much giddiness.' Granjon also cut many, which Vervliet describes as 'deliciously daring' and have often been copied, for instance in Robert Slimbach's revivals for Adobe (discussed below).

Jean Jannon [ ]. A woodcut title page printed by, Robert Estienne's stepfather, in 1526. The font used exemplifies the style preceding the 1530s: a font that is quite dark in, with very wide capitals, tilted 'e's and large dots on the 'i' recalling calligraphy. De Colines, who probably engraved or at least commissioned his own typefaces, developed his style like his stepson to modernise his use of type over his lifetime, slimming down his fonts and increasing the influence of classical Roman capitals. A title page from two decades later shows his style later in life. Various modern revival typefaces using the name 'Garamond'.

The topmost sample (Monotype Garamond), as well as those for Garamond 3 and ITC Garamond, are actually based on the work of Jean Jannon – note the steep, scooped-out serif of 'n'. Based on Garamond's design [ ] Adobe Garamond [ ] Released in 1989, Adobe Garamond is designed by for, based on a Roman type by Garamond and an italic type by Robert Granjon. The font family contains regular, semibold, and bold weights and was developed through viewing fifteenth-century equipment at the. Its quite even, mature design attracted attention on release for its authenticity to Garamond's work, a contrast to the much more aggressive ITC Garamond popular at the time. The version of the font family was released in 2000 as Adobe Garamond Pro, with enhanced support for its alternate glyphs such as, and italic capitals, and is sold through Adobe's system.

It is one of the most popular versions of Garamond in books and fine printing. Garamond Premier [ ] Slimbach started planning for a second interpretation of Garamond after visiting the in 1988, during the production of Adobe Garamond. He concluded that a digital revival would not be definitive unless it offered optical sizes, with different fonts designed for different sizes of text.

Unable to create such a large range of styles practically with the technology and business requirements of the 1980s, he completed the project in 2005 with several optical sizes, each designed in four weights (regular, medium, semibold and bold, with an additional light weight for display sizes) using the OpenType font format. It features glyph coverage for Central European, and characters including. Professor Gerry Leonidas, an expert in Greek-language printing, described it in 2005 as 'bar none, the most accomplished typeface you can get for complex Greek texts'.

Adobe executive Thomas Phinney described it as a 'modernized interpretation' different to their earlier Garamond, which remains on sale. Stempel Garamond [ ] A 1920s adaptation created by the and released for hot metal typesetting by Linotype, that has remained popular. It is sharp, somewhat angular design with a crisp hook rather than a teardrop at top left of the 'a'. Stempel Garamond has relatively short, allowing it to be particularly tightly linespaced. An unusual feature is the digit 0, which has, with the thickest points of the number on the top and bottom of the digit to make it more distinguishable from a 'o'. The credits it to Stempel's head of typeface development Dr.

Main article:, designed by for the English branch of, follows the Garamond/Granjon style of roman and italic, based on a 1582 history textbook. (Warde commented 'It would seem that Garamond's name, having so long been used on a design he never cut, is now by stern justice left off a face which is undoubtedly his.' ) It was the favourite Garamond revival of many in the twentieth century, including Warde and. Jones also developed for Linotype Estienne, a delicate revival based on Robert Estienne's fonts of the 1530s discussed above, with very long ascenders and descenders, which was less popular; as of 2017 it has not been digitised by Linotype. Williamson suggests that in body text it failed to adapt the style of a large letter effectively down to body text size, producing a design with an extremely small x-height.

The open-source EB Garamond font, designed by Georg Duffner, showing the range of styles and two optical sizes. EB Garamond [ ] Released in 2011 by Georg Duffner, EB Garamond is a version of Garamond released under the and available through. Duffner based the design on a specimen printed by Egelnoff-Berner in 1592, with italic and Greek characters based on Robert Granjon's work, as well as the addition of Cyrillic characters and OpenType features such as swash italic capitals and. It is intended to include multiple optical sizes, as of 2014 including fonts based on the 8 and 12 point forms on the 1592 specimen. It has been described as 'one of the best open source fonts' by prominent typeface designer.

Based on Jannon's design [ ] ATF Garamond/Garamond No. 3 [ ] American Type Founders created a revival of the Imprimerie Nationale fonts from around 1917, which was designed in-house by its design department led by under the influence of its historian and advisor. It received a sumptuous showing, marketed especially towards advertisers, in ATF's 1923 specimen book. Also involved in the design's development was book and advertising designer, who created a set of matching borders and ornaments, and according to Warde and Garnett also designed the swash characters. While ATF's handset foundry type release was initially popular, the design became particularly known to later users under the name of 'Garamond No. 3”, as a hot metal adaptation that was licensed to American branch and sold from around 1936.

More practical to use than ATF's handset foundry type, the number distinguished it from two versions of Stempel Garamond which Linotype also sold. It was the Garamond revival preferred by prominent designer. Several digitisations have been made of both ATF's original Garamond and the Linotype adaptation, most notably a 2015 digitisation by van Bronkhorst with optical sizes and the original swash characters. A loose adaptation with sans-serif companion by is the corporate font of. Monotype Garamond [ ]. Monotype Garamond's italic replicates the work of punchcutter quite faithfully, with a variable slant on the capitals and swashes on many lower-case letters. 's 1922-3 design, based on Jannon's work in the Imprimerie Nationale, is bundled with many Microsoft products.

Its italic, faithful to Jannon's, is extremely calligraphic, with a very variable angle of slant and flourishes on several lower-case letters. Its commercial release is more extensive than the basic Microsoft release, featuring additional features such as swash capitals and small capitals, although like many pre-digital fonts these are only included in the regular weight. Popular in the metal type era, its digitisation has been criticised for having too light a on the page for body text if printed with many common printing systems, a problem with several Monotype digitisations of the period. Monotype's 1933 guide to identifying their typefaces noted the asymmetrical T, the sharp triangular serif at top left of m, n, p and r, and a q unlike the p, with a point at top right rather than a full serif.

Monotype's well-known executive wrote in his memoir that the italic was based on Granjon's work, but as annotations of it note, this seems generally to be a mistake. The swash capitals, however, at least, probably are based on the work of Granjon.

Some publicity art for it in the metal period was created by a young. Garamont [ ]. Sample of Monotype Garamont by Goudy, showcased in its magazine in 1923. A revival by for the American branch of Monotype, the name chosen to differ from other revivals. An elegant sample created by was shown in a spring 1923 issue of Monotype's magazine. It like Monotype Garamond features a large range of swash characters, based on Imprimerie Nationale specimen sheets. Mosley has described it as 'a lively type, underappreciated I think.'

Digitisation deliberately maintained its eccentricity and irregularity true to period printing, avoiding perfect verticals. In 1923, Morison at the British branch of Monotype thought it somewhat florid in comparison to the version of his branch which he considered a personal project, noting in a 1923 letter to American printer that 'I entertain very decided opinions about this latest of Mr.

Goudy's achievements. A comparison leaves me with a preference for our version.' He added that he 'could not bring myself to believe' that Garamond himself had cut the swash capitals that 'Mr. Goudy has done his best to reproduce'. Simoncini Garamond [ ] A 1950s version following Jannon by the of Italy, owned by Francesco Simoncini, which sold matrices for Linotype machines.

It is particularly popular in Italian printing. Jannon [ ] 's 2010 revival with optical sizes is one of the few modern revivals of Jannon's work. Štorm also created a matching sans-serif companion design, Jannon Sans. Related fonts [ ]. Three free and open source Garamond revivals.

As one of the most popular typefaces in history, a number of designs have been created that are influenced by Garamond's design but follow different design paths. ITC Garamond [ ] Garamond was created by Tony Stan in 1975, and follows ITC's house style of unusually high. It was initially intended to serve as a display version but has been used for text, in which its tight spacing and high x-height gives it a somewhat hectoring appearance. As a result, it has proven somewhat controversial among designers; it is generally considered poorly proportioned for body text. It remains the corporate font of the system in printed text. As seen below, it was also modified into Apple Garamond which served as Apple's corporate font from 1984 until replacement starting in 2002 with. Publishers using it included and French publisher Actes Sud.

Cormorant [ ] An open-source adaptation of Garamond intended for display sizes, designed by Christian Thalmann and co-released with Google Fonts. It features a delicate style suitable for printing at larger sizes, and considerable contrast in stroke weight in its larger sizes. Thalmann added several unusual alternate designs such as an upright italic and unicase styles, as well as exaggerated, highly slanting accents. Claude Sans [ ] A humanist sans-serif based on the letterforms of Jannon's type, created by Alan Meeks and published by and later.

In popular culture [ ] This list focuses on notable references to Garamond or his typefaces, not including the extremely large number of books printed in them. • In 's novel, the protagonists work for a pair of related publishing companies, Garamond and, both owned by a Mister Garamond. • Garamond is the name of a character in the game.

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 Flipside counterpart, (a probable recognition of the relative suitability of the two fonts for use in book typesetting).

• For many years the masthead of British newspaper used 'The' in Garamond and 'Guardian' in bold. • A of ITC Garamond was adopted by in 1984 upon the release of the, known as Apple Garamond. This was a proprietary font not publicly available, less condensed than the publicly released ITC Garamond Condensed. • One of the initial goals of the literary journal was to use only a single font: Garamond 3. The editor of the journal,, has stated that it is his favourite font, 'because it looked good in so many permutations—italics, small caps, all caps, tracked out, justified or not.' • In Robin Sloan's fantasy novel several character names derive from historical figures associated with the Garamond typeface. • In fantasy novel, one of the realms of is called Garamond.

It is ruled by the Squire of Garamond, whose 'only heir was transformed into a Gruntling Pig-wiggin.' The realm occurs in the idiom 'something is so loud it can be heard from Garamond to Stormhold' and includes an unnamed island in a lake that is the only known origin of a magical herb called Limbus Grass, which compels those who eat it to answer any question truthfully. Printer ink claim [ ] It has been claimed that Garamond uses much less ink than at a similar point size, so changing to Garamond could be a cost-saver for large organizations that print large numbers of documents, especially if using.

Garamond, along with Times New Roman and, has been identified by the as a 'toner-efficient' font. This claim has been criticised as a misinterpretation of how typefaces are actually measured and what printing methods are desirable., the version bundled with, has a generally smaller design at the same notional point size compared to Times New Roman and quite spindly strokes, giving it a more elegant but less readable appearance. To make letters, especially the lower-case, as high as in an equivalent setting of Times New Roman, the text size must be increased, counterbalancing any cost savings. Thomas Phinney, an expert on digital fonts, noted that the effect of simply swapping Garamond in would be compromised legibility: 'any of those changes, swapping to a font that sets smaller at the same nominal point size, or actually reducing the point size, or picking a thinner typeface, will reduce the legibility of the text. That seems like a bad idea, as the percentage of Americans with poor eyesight is skyrocketing.' Professional font designer Jackson Cavanaugh commented 'If we're actually interested in reducing waste, just printing less – using less paper – is obviously more efficient.'

Gallery [ ] •.