Stempel Garamond

Monotype Stempel Garamond The faithful interpretation

A History of

part one From 19th—century origins to today’s Monotype : The evolution of a global typographic leader Four centuries after Gutenberg, inventor Tolbert Lanston founded one of the precursor companies to today’s Monotype and in the process helped give birth to the age of mechanical typesetting. This era of the late 1800s was marked by extraordinary innovations in science and technology, a restless commitment to creativity that has informed and inspired Monotype to the current day.

In 1960, Compugraphic Corporation was founded with the intention of applying computer technology to the typesetting process. Monotype Typography and Compugraphic signed a cross-licensing agreement for a mutual exchange of proprietary typefaces in 1989.

That same year, Agfa-Gevaert acquired Compugraphic and the expanded company became Agfa Corporation.

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Stempel Garamond

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THE

INTERPRE Stempel Garamond

Stempel Garamond

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faithful ETATION Stempel Garamond comprises two weights, Regular and Bold. Both have an italic counterpart for a total of four fonts.

The family offers 408 glyphs.

The family is available as OpenType速 Pro fonts, which provide for the ability to easily insert typographic features such as ligatures, fractions and alternate characters. Pro fonts also offer an extended character set to support most Central European languages.

First issued: 1925 Foundry: D . Stempel ag

First released by D. Stempel AG in 1925, Stempel Garamond ™ was based on the Egenolff-Berner specimen of 1592 and was therefore a revival of the genuine Garamond types.

It is one of the most famous Garamond interpretations, and since its introduction in 1925, it has been one of the most frequently used text typefaces for bookwork, especially in Germany. Stempel Garamond has its own unique temperament, with a rhythm and sharpness that set it apart from other Garamonds.

Many designers regard the Italics in the Stempel Garamond family as the most beautiful “Garamond” Italics.

There is a common misconception which still abides today regarding Garamond typefaces. The missconception that all Garamond types were based on the typefaces cut by Claude Garamond in the sixteenth century. In fact, the Garamond label is quite often a misnomer, as many of the Garamond fonts in existence today were in fact modeled after a later contributor to the world of type: Jean Jannon.

The Stempel Garamond variety is the most faithful interpretation of the original 16th century design.

Its angular details, vivid contrast in stroke thickness, small x-height and traditional wide capitals create a crisp and lively texture on the page.

A rhythm and sharpness that set it apart from other Garamonds

Stempel Garamond

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Jannon, an engraver by trade, was born in 1580 in Switzerland – exactly one century after Garamond and nineteen years after the famous publisher’s death. His typographic life began after he decided to create his own type to avoid having to have an alphabet shipped from Paris or Germany which at that time was quite difficult.

His existing type was also wearing out; a brand new typeface was finished around 1615, based on the Garamond of the previous century.

Thus, the confusion around Garamond and Jannon began. Misidentification of the Jannon type as Garamond’s work, while flattering, was later proven inaccurate. Therefore the many Garamond variations in existence today are often based on Jannon or are a typographical hybrid of the Jannon/Garamond types.

However, the Stempel Garamond font was based on a 1592 Garamond specimen by printer Egenolff-Berner, so the inspiration for it was indeed the original engraver and not Jannon. The Monotype Garamond™ font family, released three years earlier (1922) is an example of a Jannonbased typeface.

grave An accent used with vowels - à è ì ò ù in French, Italian, Portuguese, Catalan, Veitnamese and many other languages.

tilde A diacritic used on vowels - ã õ - in many languages Estonian, Kikuyu, Portuguese, Twi, Veitnamese and many other languages.

forèmost

flõw pacê rhythmiçal

cedilla A dia-critic used with consonants, such as - Ç -in Catalan, French, Nahuatl and Portuguese. Not to be confused with the ogonek or nasal hook.

Stempel Garamond

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angülar

diaeresis / umlaut A diacritic used with vowels - ä ë ï ö ü in many languages, including Albanian, Dinka, Estonian, Finnish, German, Swedish, Turkish, Welsh, and frequently less also in English, Greek, Spanish, Portuguese and French.

acute An accent used on vowels - á é í ó ú in Czech, French, Gaelic, Hungerian, Icelandic, Italian, Navajo, Spanish, and other languages.

circumflex A diacritic used on vowels - â ê î ô û - in Cree, French, Portuguese, Romanian, Veitnamese, Welsh and many other languages.

elégance

trûe beåutiful

vívid cøntrãst

ring Also called kroužek.

A diacritic used in Arikara, Cheyenne, Czech, Danish, Norwegian, Swedish and other languages.

Defenition of diacritics within Stemple Garamonds Glyph palette.

ABCD EFGH IJKLM NOPQ RSTUV WXYZ abcde fghijk lmnop qrstuv wxyz Stempel Garamond is the only one of the Garamonds in which the italic as well as the roman is based on a genuine Garmond.

The rhythm and proportions of the stempel face are, however, much changed from the original, and the f 's are deformed.

The deformation is down to a missguided attempt to escape the need for ligatures.

Stempel Garamond

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01234 56789 01234 56789 !$£¢% &*<=> ?{|}~¤ ¥§¼½¾ Æ挜 Ωμπ∞≈≠ Ω ∂ fi ∑ ≤ ≥ sort A single peice of metal type; thus a character in one particular face and size.

In the world of digital type, where letters have no physical existence until printed, the word sort has been largely displaced by the word glyph. A glyph is a version - a conceptual, not material incarnationof the abstract symbol called a character.

First released by

D Stempel ag

in 1925 Stempel Garamond ™ was based on the

Egenolff - Berner specimen of 1592 and was therefore a revival of the

genuine

Garamond types Stempel Garamond

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51 point Roman

60 point Bold

125 point Italic

20 point Bold

31 point Bold Italic

20 point Roman

101 point Bold

51 point Italic

Garamond surpassed them in smoothness and readability

Garamond is a typeface that appears in the print workshop of Robert Estienne in 1530. Inspired by the romans created

by Aldus Manutius in Venice between 1495 and 1500, Garamond surpassed them in smoothness and readability.

With stronger contrast between upand downstrokes, and with lighter serifs than in previous roman typefaces, it gave the text an excellent ventilation and a brand-new rhythm, opening up an era of typography that was detached from manuscripts, and perfectly suited for reading books, particularly small-format works. In 1535, Claude Garamont began working on punches for several romans in the style of Estienne's, and he sold them to the best printers of his time. This style of typeface, so emblematic of the French Renaissance, was used in Europe until the eighteenth century. Since the beginning of the twentieth century, there have been many versions.

Simoncini Garamond

Stempel Garamond

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Berthold Garamond

Monotype Garamond

The

True Garamond~ Garamond's romas are stately High Renaissance forms with a humanist axis, moderate contrast and long extenders.

He cut several beautiful italics as well, with some of the first sloped capitals, but he took no apparent interest in the radical new idea of actually pairing italics with romans. Revivals of his roman faces are oftern mated instead with italics based on the work of a younger artist, Robert Granjon. Stempel Garamond is a stand out Garmond revival.

Stempel Garamond

Adobe Garamond

ITC Garamond

Regular 10pt 127 points ≈ 44.8 mm 12pt 153 points ≈ 53.9 mm 14pt 179 points ≈ 63.1 mm 18pt 230 points ≈ 81.1 mm

Italic 10pt 12pt 14pt 18pt

126 points ≈ 44.4 mm 151 points ≈ 53.2 mm 176 points ≈ 62.1 mm 227 points ≈ 80.1 mm

Copy fitting example 60,000 words English prose manuscript into 224 page ~ 60,000 ÷ 224 = 268 words per page ~ 419,500 ÷ 224 = 1873 characters per page * There are on average, 1 mark of punctuation for every 10–12 words ~ 60,000 ÷ 10-12 ≈ 5,500 For ever word, there is a space ~ 60,000 (assuming an average of 10 words on a line, every tenth word space will not be needed at the line end) ~ 60,000 - 6,000 = 54,000 ~ 54,000 + 5,500 = 59,500 additional key strokes taking the average word to be 6 characters long (This may not be true with technical texts, texts with foreign words or phrases, but it is a good average for English prose)

Stempel Garamond

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Bold 10pt 12pt 14pt 18pt

133 points ≈ 46.9 mm 160 points ≈ 56.4 mm 188 points ≈ 66.3 mm 240 points ≈ 84.6 mm

Bold Italic 10pt 128 points ≈ 45.2 mm 12pt 153 points ≈ 53.9 mm 14pt 179 points ≈ 63.1 mm 18pt 230 points ≈ 81.1 mm

~ 60,000 × 6 = 360,000 characters in the typescript 59,500 extra key stokes add about 1/6 or 16% to actual length ~ 360,000 + 59,500 = 419,500 characters in the manuscript *419,500 ÷ 224 = 1873 characters per page Average per line, 10 words plus spacing and punctuation ~ 60 + 9 + 1 = 70 ~ 419,500 ÷ 70 = 5,993 lines 30 lines per page ~ 5,993 ÷ 30 = 200 pages (leaving 24 pages for prelims and endmatter) ~ 70 × 30 = 2,100 characters per page

Anwser typeface = Stempel Garamond Regular point size = 10pt measure = 26 picas leading = 2pt (10pt/12pt) column depth = 30 lines total pages of composed type = 200

Anything from 45 to 74 characters is widely regarded as a satisfactory length of line for a single-column set in serifed text face in a text size. The 66-character line (counting both letters and spaces) is widely regarded as ideal. For multiplecolumn work, a better average is 40 to 50 characters.

If the type is well set and printed, lines of 85 to 90 characters will pose no problem in diccontinous texts, such as bibliographies, or, with generous leading, in footnotes. But evenwith generous leading, a line that averages more than 75 or 80 characters is likely to be too long for continuous reading.

A reasonable working minimun for justified text in English is the 40-character line. Shorter lines may compose perfectly well with sufficient luck and patience, but in the long run, justified line averaging less than 38 or 40 characters will lead to white acne or pig bristles: a rash of erratic and splotchy word spaces or an epidemic of hyphenations.

When the line is short, the text should be set ragged left.

In large doses, even ragged-right composition may look anorexic if the line falls bellow 30 characters, but in small and isolated patches - ragged marginal notes, for example the minimum line (if the language is English) can be as little as 12 or 15 characters.

These line lengths are in every case averages, and they include empty spaces and punctuation as well as letters. The simplest way of computing them is with a copy fitting table (see inside back cover for copy table. Measure the length of the basic lowercase alphabet -abcdefghijklmnopqrstuvwxyzin any face and size you are considering, and the table will tell you the average number of characters to expect on a given line. In most text faces, the 10pt roman alphabet will run between 120 and 140 points in lenght, while a 10pt bold might run to 160.

The 12pt alphabet is, of course, about 1.2 times the length of the 10pt alphabet - but not exactly so unless it is generated from the same master design and letterfit is unchanged.

On a conventional book page, the measure, or length of line, is usually around 30 times the size of the type, but lines as little as 20 or as much as 40 times the type size fall within the expectable range. If, for example, the type size is 10pt, the measure might be around 30 × 10 = 300pt, which is 300/12 = 25 picas. A typical lower case alphabet length for a 10 pt text font is 128 pt, and the copyfitting table tells us that such a font set 25-pica measure will yield roughly 65 characters per line.

Casting off A the term given to the mathematical conversion of lines of copy into lines of type. The simplest method is to estimate the number of words in the copy and multiply this by six (the average words in English prose contains five letters plus one space) which represents the total number of 'characters'.

If a more accurate cast-off is essential, then the quickest way to count the actual number of characters is to drawn a line down through the typewritten copy level with the shortest line. Type written characters are normally the same width. The number contained in the shortest line is multiplied by the number of lines and the remainder are counted individually and added to arrive at a total.

1cm = 1 2.216312056737 26.59574468085 0.393700787401 10 2.362204724409 2.371062992126 28.346456692913 28.452755905512

Centimeter Ciceros * Didot's point * inch millimeter pica (PostScript, DTP, computer * pica (printer's) * PostScript (DTP) * printers point (American) *

* Approximately equal, to nearest twelve decimal places.

1 Centimeter 1 Ciceros 1 Didot's point 1 inch 1 millimeter 1 pica (PostScript, DTP, computer 1 pica (printer's) 1 PostScript (DTP) 1 printers point (American)

Stempel Garamond

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= ≈ ≈ = = ≈ ≈ ≈ ≈

1 cm 0.4512 cm 0.0376 cm 2.54 cm 0.1 cm 0.4233333333333 cm 0.42175176421752 cm 0.035277777777778 cm 0.03514598035146 cm

marginal mark new matter followed by strike through unwanted letter/s stet

meaning insert

ital

change to italics

s.c.

change to small caps

caps

change to caps

bold

change to bold type

l.c.

change to lower-case

encircle letter/s

rom

change to roman

encircle letter/s

w.f.

wrong font

text mark

under characters under characters under characters under characters under characters encircle letter/s

delete leave as printed

encircle letter/s

invert type

encircle letter/s

linking characters

change damaged type

between top

of letters around letters

close up #

insert space

letter #

letterspace

trs

transpose indent one em indent two ems

around letters between paragraphs before

first word

over and

under lines

over and

under lines between lines

move run on

move to the position indicated no new paragraph

n.p.

begin new paragraph

raise

raise lines

lower

lowever lines

2pts

insert leading (2pt)

Proof Correctionsâ&#x20AC;&#x192; A code of signs and abbreviations is fairly universal to printers and the chart to the left show the most common and useful marks for the designr in specifying layouts and correcting proofs. â&#x20AC;&#x192; Corrections are shown in the margins of proofs and where there is more than one error in a line each mark is separated by a diagonal line and read from left to right in sequence with the mark in the text.

Avalible formats ~OpenType (CFF) ~TrueType ~WOFF/EOT/SVG ~Mac & PC monotype.com

Jonathan Speak

Copy fitting table

Read down, in the left column: lowercase alphabet length in points.

Read across, in the top row: line length in mm.

80 85 90 95 100 105 110 115 120 125 130 135 140 145 150 155 160 165 170 175 180 185 190 195 200 210 220 230 240 250 260 270 280 290 300 320 340 360

42

51

59

68

76

85

93 102 110 119 127 135 144 152 161 169

40 38 36 34 33 32 30 29 28 27 26 25 24 23 23 22 22 21 21 20 20 19 19 18 18 17 16 15 15 14 14 13 13 12 12 11 10 10

48 45 43 41 40 38 37 35 34 32 31 30 29 28 28 27 26 25 25 24 23 23 22 22 21 20 19 18 17 17 16 16 15 15 14 13 13 12

56 53 50 48 46 44 43 41 39 38 36 35 34 33 32 31 30 30 29 28 27 27 26 25 25 23 22 21 20 20 19 18 18 17 17 16 15 14

64 60 57 55 53 51 49 47 45 43 41 40 39 37 37 36 35 34 33 32 31 30 30 29 28 27 25 24 23 22 22 21 20 20 19 18 17 16

72 68 64 62 59 57 55 53 50 48 47 45 44 42 41 40 39 38 37 36 35 34 33 32 32 30 29 27 26 25 24 23 23 22 21 20 19 18

80 76 72 69 66 63 61 59 56 54 52 50 48 47 46 45 43 42 41 40 39 38 37 36 35 33 32 30 29 28 27 26 25 24 24 22 21 20

88 83 79 75 73 70 67 64 62 59 57 55 53 51 51 49 48 46 45 44 43 42 41 40 39 37 35 33 32 31 30 29 28 27 26 25 23 22

96 104 112 120 128 136 144 152 160 91 98 106 113 121 129 136 144 151 86 93 100 107 115 122 129 136 143 82 89 96 103 110 117 123 130 137 79 86 92 99 106 112 119 125 132 76 82 89 95 101 108 114 120 127 73 79 85 92 98 104 110 116 122 70 76 82 88 94 100 105 111 117 67 73 78 84 90 95 101 106 112 65 70 75 81 86 91 97 102 108 62 67 73 78 83 88 93 98 104 60 65 70 75 80 85 90 95 100 58 63 68 73 77 82 87 92 97 56 61 66 70 75 80 84 89 94 55 60 64 69 74 78 83 87 92 54 58 63 67 72 76 81 85 90 52 56 61 65 69 74 78 82 87 51 55 59 63 68 72 76 80 84 49 53 57 62 66 70 74 78 82 48 52 56 60 64 68 72 76 80 47 51 55 59 62 66 70 74 78 46 49 53 57 61 65 68 72 76 44 48 52 56 59 63 67 70 74 43 47 50 54 58 61 65 68 72 42 46 49 53 56 60 63 67 70 40 43 47 50 53 57 60 63 67 38 41 45 48 51 54 57 60 64 36 40 43 46 49 52 55 58 61 35 38 41 44 46 49 52 55 58 34 36 39 42 45 48 50 53 56 32 35 38 41 43 46 49 51 54 31 34 36 39 42 44 47 49 52 30 33 35 38 40 43 45 48 50 29 32 34 37 39 41 44 46 49 28 31 33 35 38 40 42 45 47 27 29 31 34 36 38 40 43 45 25 27 29 32 34 36 38 40 42 24 26 28 30 32 34 36 38 40

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