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The period from to around , encompassing Garamond's career, was an extremely busy period for typeface creation. Many fonts were cut, some such as Robert Estienne's for a single printer's 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.
While some records such as Christophe Plantin 's exist of what exact types were cut by Garamond himself, many details of his career remain uncertain: early estimates placed Garamond's date of birth , but modern opinion proposes much later estimates.
Greek[ edit ] Garamond's original punches for the Grecs du roi type, owned by the French government. Garamond designed type for the Greek alphabet from the beginning of his attested career, but his most celebrated work in Greek, the Grecs du roi fonts, commissioned for the French government in ,  are very different to his Latin designs: they attempt to simulate the elegant handwriting of Cretan scribe Angelo Vergecio and include a vast variety of alternate letters and ligatures to achieve this.
The grecs du roi type, the contract for which survives, is the type with which Garamond enters the historical record, although it is clearly not the work of a beginner. Earlier fonts that may have been cut by Garamond have been suggested but the attribution is less certain.
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After Garamond's death[ edit ] Garamond died in and his punches and matrices were sold off by his widow. It appears in a book from printer Andreas Wechel, of German origins.
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.
The 'J' is a later addition. In , sixty years after Garamond's death, the French printer Jean Jannon released a specimen of typefaces that had some characteristics similar to the Garamond designs.
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The contract is actually made for one 'Nicholas Jannon', which historians have concluded to be a mistake. Jannon was a Protestant in mostly Catholic France. After apparently working with the Estienne family in Paris he set up an independent career as printer in Sedan in what is now north-eastern France, becoming printer for the Protestant Academy.
By his report he took up punchcutting seriously in his thirties, although according to Williamson he would have cut decorative material and engravings at least before this.
The italics are also very different to Garamond's own or Granjon's, being much more ornate and with considerable variation in angle of the capitals. Carter in the s followed this conclusion.
The Didot family's extremely influential type style , now called Didot, displaced the old-style serif type of Garamond, Jannon and others in the late eighteenth and early nineteenth centuries. The old-style typefaces of Garamond and his contemporaries and successors remained in use in printing for over two hundred years after Garamond's death, and became influential on Dutch printing during the period known as Dutch golden age , when Dutch printing was itself very influential across Europe.
I shall be happy to display my punches and matrices to all those who are lovers of true beauty Punches rust, and the copper of matrices is recyclable.
No relics of them were saved anywhere, except in commercial centres that had become relative backwaters, like Antwerp, where the Plantin-Moretus printing office piously preserved the collection of its founder This saw a revival of the Imprimerie royale typefaces the office was now called the Imprimerie nationale following the end of the French monarchy , which, unlike Garamond's own work, had survived in Paris.
The attribution came to be considered certain by the Imprimerie's director Arthur Christian, who commissioned the cutting of additional sizes in a matching style.
Among hot metal typesetting companies, Monotype's branches in Britain and the United States brought out separate versions, and the American branch of Linotype licensed that of ATF. You can also downloads other fonts: If you like this font don't forget share them with you friends!
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After apparently working with the Estienne family in Paris he set up an independent career as printer in Sedan in what is now north-eastern France, becoming printer for the Protestant Academy. This font software is licensed to you by Ascender Corporation for your personal or business use on up to five personal computers.
So, what makes a font bad for the web? Various The German company Stempel brought out a crisp revival of the original Garamond typefaces in the s, inspired by a rediscovered specimen from the Egenolff-Berner foundry in Frankfurt, as did Linotype in Britain.
Century Gothic also differs because it is a sans-serif font, meaning it has no serif look at the top of letter M for example. Curly