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Claude Garamond cont'd

Garamond was known as "the father of type founders" (NY Times). Garamond was the first to specialize in type design and punch-cutting as a service to others. Source Citation  (MLA 7th Edition) "Claude Garamond." Science and Its Times. Ed. Neil Schlager and Josh Lauer. Vol. 3: 1450 to 1699. Detroit: Gale, 2001. 485. Gale Virtual Reference Library. Web. 23 Oct. 2013. As the first type designer and punch-cutter to sell his punches in retail to other printers, Garamond led on the trend that established many other typographers, punch-cutters, printers, and publishers to make the same sales (Steinberg). Garamond's designs of type were used by many, such as the Estienne family, Colines, Plantin, and Bodoni. The Elzevir family also used types based off of Garamond's work. "Claude Garamond." Columbia Electronic Encyclopedia, 6Th Edition (2013): 1. Academic Search Complete. Web. 30 Oct. 2013.

CAREER

Robert Esteinne had commissioned Garamond for cutting types at a publishing firm. Garamond's first roman font had been requested upon for the publication of the book "Paraphrasis in Elegantiarum Libros Laurentii Vallae" by Erasmus. Garamond's main influence for his first roman font was taken from Aldus Manutius' roman font, which gained recognition by King Francais I to commission Garamond for his own exclusive lettering to be created. Loxley, Simon. Type: The Secret History of Letters. London: I.B. Tauris, 2004. Print. Garamond's Greek font, Grecs du Roi, was used as King Francais I own personal font. Garamond had also published his own typefaces as well as his own new italic typeface. Source Citation  (MLA 7th Edition) "Claude Garamond." Science and Its Times. Ed. Neil Schlager and Josh Lauer. Vol. 3: 1450 to 1699. Detroit: Gale, 2001. 485. Gale Virtual Reference Library. Web. 23 Oct. 2013. Garamond's italic fonts were influenced by the Aldine italic, which he felt complimented his roman types (French/Garamond). The first book Garamond published was called, "Pio et Religiosa Meditatio" by David Chambellan (linotype).

It was difficult for Garamond to receive any credibility for his typefaces because there were so many who were influenced by his work. Since Garamond's work was copied often, it was hard for him to benefit financially off of his typefaces. His wife was forced to sell his punches, which caused the typefaces of Garamond to nearly disappear for two centuries. In Europe, it became the standard to use Garamond Roman typefaces at the end of the sixteenth century, and carried on its usage 200 years later. (Tselentis) Garamond's punches and matrices were acquired by Christoph Plantin, Frankfurt Foundry Egenolff-Bermer, and Le Bè Type Foundry. However, Garamond was not lost due to the fact that the French National Printing Service in the 19th Century had called upon having their own typeface be a work of Claude Garamond, and here started a new revival era for Garamond's type. Unfortunately, it was a short-lived revival, but it was not only through the French National Printing Service. There were others after World War I that had recreated Garamond's fonts, such as American Type Founders, a type designer Frederic Goudy with his own recreation in 1921, Garamont, Monotype from England offered theirs in 1924, and lastly there was Linotype's entry of Granjon. Even long after there was another notable interpretation after the Second World War called Stempel Garamond by a German foundry called, Egenolff-Berner. After, Paul Beaujon, an assistant librarian at the American Type Founders, visited the North Library of the British Museum and found that all of the 20th century Garamond fonts were all based off of Frenchman Jean Jannon's type. Loxley, Simon. Type: The Secret History of Letters. London: I.B. Tauris, 2004. Print. Garamond's typefaces left his name with greatness for having a comeback at the end of the sixteenth century throughout the seventeenth century as well (Steinberg).

Notable Typefaces

Garamond Grecs du Roi Granjon Sabon

Revivals

Along the 20th century, there are roughly five to six different interpretations or works based off of the original Garamond typefaces (Garbor). Robert Slimbach, an Adobe senior type designer, visited the Plantin-Moretus museum in Antwerp, Belgium to study Garamond's typefaces. Slimbach enhanced and prepared his interpretations of Garamond's types in 1988. Slimbach wanted to preserve to original body of Garamond's types, but added modern subtleties to the new type, which would be Garamond Premier Pro. From the Simoncini foundry of Bologna, there is Francesco Simoncini's Garamond Simoncini. Simoncini Garamond was based off of a Jean Jannon typeface similar to Garamond, and works both for display and text. It is a lighter, more delicate Garamond type (linotype). There is Stempel Garamond, from the German foundry, Egenolff-Berner, Monotype's Garamond produced by Fritz Max Steltzer, Garamond Monotype, Tony Stan's ITC Garamond, and Garamond Berthold by Hermann Berthold. Stempel Garamond, first released by D. Stempel AG, is one of the most famous Garamond recreations. It is mostly favorable as a book typeface, specifically in Germany. Its curved bodies and sharpness sit it apart from other Garamond recreations, and many are fond of Stempel in italics for its grace (linotype). Garamond Monotype, based off of Jean Jannon, have different specifications on their serifs and strokes. The top serifs look like banners, and the base serifs hold a small and subtle curve with rounded terminals. The strokes' heaviest parts are carried at a 2 and 8 o' clock position. Monotype was designed especially for text composition, but is very likable in large sizes. (linotype). ITC Garamond, another typeface based off of Jean Jannon, is created by Tony Stan. ITC Garamond is loosely based from the original Garamond's of the sixteenth century. The letters are tightly curned and have a taller x-height. In the 1970's, this was a very popular typeface for advertising in New York and was Apple's packaging and branding typeface for a long timeframe (linotype).

In Popular Culture

Garamond is the name of a character in the Wii game Super Paper Mario. 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, Helvetica (a probable recognition of the relative suitability of the two fonts for use in book typesetting). The large picture books of Dr. Seuss are set in a version of Garamond. In 1988 British newspaper The Guardian redesigned its masthead to incorporate "The" in Garamond and "Guardian" in bold Helvetica. This led to a repopularising of Garamond in the UK. Nvidia uses it in their scientific PDF documents.[5] All of the American editions of J. K. Rowling’s Harry Potter books are set in twelve-point Adobe Garamond, except Harry Potter and the Order of the Phoenix, which is set in 11.5-point Adobe Garamond[6][7] because that book is longer. The popular Hunger Games trilogy is set in Adobe Garamond Pro, as is the Shiver trilogy by Maggie Stiefvater. The Everyman's Library publication of 'The Divine Comedy is set in twelve-point Garamond. A rare infant version—with single-story versions of the letters a and g—is available in the UK from DTP Types. A variation on the Garamond typeface was adopted by Apple in 1984 upon the release of the Macintosh. For branding and marketing the new Macintosh family of products, Apple's designers used the ITC Garamond Light and Book weights and digitally condensed them twenty percent. The result was not as compressed as ITC Garamond Light Condensed or ITC Garamond Book Condensed. Not being a multiple master font, stroke contrast in some characters was too light, and some of the interior counters appeared awkward. To address these problems, Apple commissioned ITC and Bitstream to develop a variant for their proprietary use that was similar in width and feeling, but addressed the digitally condensed version’s shortcomings. Designers at Bitstream produced a unique digital variant, condensed approximately twenty percent, and worked with Apple to make the face more distinct. Following this, Chuck Rowe hinted the TrueTypes. The fonts delivered to Apple were known as Apple Garamond.[8] Main article: Typography of Apple Inc. One of the initial goals of the literary journal Timothy McSweeney's Quarterly Concern was to use only a single font: Garamond 3. The editor of the journal, Dave Eggers, has stated that it is his favorite font, "because it looked good in so many permutations—italics, small caps, all caps, tracked out, justified or not."[9] Many O’Reilly Media books are set in ITC Garamond Light. The logo of clothing company Abercrombie & Fitch uses a variation of the Garamond typeface.

Citations

"Claude Garamond." Columbia Electronic Encyclopedia, 6Th Edition (2013): 1. Academic Search Complete. Web. 30 Oct. 2013.

"Claude Garamond." Science and Its Times. Ed. Neil Schlager and Josh Lauer. Vol. 3: 1450 to 1699. Detroit: Gale, 2001. 485. Gale Virtual Reference Library. Web. 23 Oct. 2013.

Loxley, Simon. Type: The Secret History of Letters. London: I.B. Tauris, 2004. Print.

"Garamond Premier Pro." Adobe. .

Steinberg, S. H. Five Hundred Years of Printing, (The British Library & Oak Knoll Press, 1996) pp. 16, 75

Chappell, Warren, A History of the Printed Word, (New York, Alfred A Knopf, 1970) pp. 100-3

Clair, Colin, A Chronology of Printing, (Cassell & Company LTD, 1969)

Tselentis, Jason. "Claude Garamond." Typography, Referenced: A Comprehensive Visual Guide to the Language, History, and Practice of Typography. Gloucester, Mass.: Rockport Publishers, 2012. 74. Print.

Oswald, John Clyde, A History of Printing, Its Development Through Five Hundred Years, (New York and London: D. Appleton and Company, 1928) pp. 144, 289-90, 302

"THE FACES OF THE TYPES." The New York Times - Breaking News, World News & Multimedia. N.p., n.d. Web. 8 Oct. 2013. 

"Claude Garamond" Linotype. .

"Just What Makes a Garamond a Garamond?" Linotype. 

Garbor, Peter. "Garamond v Garamond: Physiology of a Typeface." Le Monde. 

"About Simoncini Garamond Font Family." Linotype 

Bringhurst, Robert. The Elements of Typographic Style, Fourth Edition. Hartley & Marks, 2012.

Carter, Rob; Ben Day, Philip Meggs. Typographic Design: Form and Communication, Second Edition. Van Nostrand Reinhold, Inc: 1993.

Updike, Daniel Berkeley. Printing Types: Their History, Forms and Use. Dover Publications, Inc: 1937, 1980.