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Claude Garamond
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Claude Garamond
7 6 5 4 3 2 1
Claude Garamond
France, a leading influence in printing and typography
Garamond, an excellence in type design
Garamond’s innovations
Garamond as a publisher
Shortly after Garamond’s death
Sources
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7
9
11
12
14
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{ Table of Contents {
7 6 5 4 3 2 1
Claude Garamond
France, a leading influence in printing and typography
Garamond, an excellence in type design
Garamond’s innovations
Garamond as a publisher
Shortly after Garamond’s death
Sources
6
7
9
11
12
14
.4.
6
.5.
{ Table of Contents {
C
None of these great Frenchmen, however, with the single exceptions of Claude Garamond, can be said to have exercised any great impression upon the history of type design.
years of the sixteenth century is well known as “the golden age of French typography”. During that period there lived and worked Claude Garamond, Geoffroy Tory, a professor of philosophy at the college of Burgundy, who produce type faces and ornaments which were “something of departure from anything that had appeared before and which for beauty of design have never been surpass”, Antoine Augereau, a Paris punch-cutter and printer, Simon de Colines, French printer who pioneered the use of italic types in France, and others almost equally distinguished for remarkable productions.
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laude Garamond was born on Paris, France in 1480. With so many key figures in the history of typography, the know details of Garamond’s personal history are scarce or not well documented, but the record of his accomplishments is clear and definite. Hardly any details regarding Garamond’s name are found in books and magazines. However, according to Lane, Garamond was originally spelled with a “t” at the end, but under the influence of standardized French spelling, the “d” became customary and stuck. Garamond was a French type founder, publisher, punch cutter, and type designer, who under the training of Geoffroy Tory, Simon de Colines and Antoine Augereau, “was one of the first to cut punches for the roman character which gradually replaced the gothic black letters”, and is reasonable to assume that he worked for numerous printers. His productive years lie between 1540 and 1561 the latter year after his death. France became a leading influence in printing and typography by the 16th century. The first sixty
Garamond had long been regarded as an excellence in type design of the century that followed Gutenberg’s invention of movable type, and Manutius’s innovation in publishing. While the typographic form was basically a copy of hand lettering, “Garamond was perhaps the first to consider the qualities of letterform design as distinct from earlier manuscript styles. Thus his designs, while based on the Venetian types, introduced subtle and delicate refinements: more
C
None of these great Frenchmen, however, with the single exceptions of Claude Garamond, can be said to have exercised any great impression upon the history of type design.
years of the sixteenth century is well known as “the golden age of French typography”. During that period there lived and worked Claude Garamond, Geoffroy Tory, a professor of philosophy at the college of Burgundy, who produce type faces and ornaments which were “something of departure from anything that had appeared before and which for beauty of design have never been surpass”, Antoine Augereau, a Paris punch-cutter and printer, Simon de Colines, French printer who pioneered the use of italic types in France, and others almost equally distinguished for remarkable productions.
.7.
.6.
laude Garamond was born on Paris, France in 1480. With so many key figures in the history of typography, the know details of Garamond’s personal history are scarce or not well documented, but the record of his accomplishments is clear and definite. Hardly any details regarding Garamond’s name are found in books and magazines. However, according to Lane, Garamond was originally spelled with a “t” at the end, but under the influence of standardized French spelling, the “d” became customary and stuck. Garamond was a French type founder, publisher, punch cutter, and type designer, who under the training of Geoffroy Tory, Simon de Colines and Antoine Augereau, “was one of the first to cut punches for the roman character which gradually replaced the gothic black letters”, and is reasonable to assume that he worked for numerous printers. His productive years lie between 1540 and 1561 the latter year after his death. France became a leading influence in printing and typography by the 16th century. The first sixty
Garamond had long been regarded as an excellence in type design of the century that followed Gutenberg’s invention of movable type, and Manutius’s innovation in publishing. While the typographic form was basically a copy of hand lettering, “Garamond was perhaps the first to consider the qualities of letterform design as distinct from earlier manuscript styles. Thus his designs, while based on the Venetian types, introduced subtle and delicate refinements: more
open lower case characters with generous counters, larger capitals, and a delicate grace to the curved strokes”. He took the Roman and Italics of his predecessors Manutius and Colines, and “added grace and elegance to them”, and although the product of his pen and pencil was limited to few designs, “soon his types were used by printers everywhere on the continent”. Using Aldus Manutius’s roman type as his inspiration, Garamond had cut his first letters for a 1530 edition of Erasmus. It was so well regarded that “the French king Francois I commissioned Garamond to design an exclusive face, the Grecs du Roi”. According to Arthur Tilley, the edition is “among the most finished specimens of typography that exist.” Garamond’s Roman was created shortly after, and his influence rapidly spread throughout and beyond France during the 1540s.
G
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Garamond’s innovations established many of today’s typographic conventions. His appreciation of the Aldine italic was such that “he felt it to be a suitable complement to all of his Roman types”. Soon after, for each roman typeface he created, he also designed a complimentary italic style. This concept was universally accepted that the italic became a standard variation to Roman types. He also established the concept of the commercial type founder.
.9.
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open lower case characters with generous counters, larger capitals, and a delicate grace to the curved strokes”. He took the Roman and Italics of his predecessors Manutius and Colines, and “added grace and elegance to them”, and although the product of his pen and pencil was limited to few designs, “soon his types were used by printers everywhere on the continent”. Using Aldus Manutius’s roman type as his inspiration, Garamond had cut his first letters for a 1530 edition of Erasmus. It was so well regarded that “the French king Francois I commissioned Garamond to design an exclusive face, the Grecs du Roi”. According to Arthur Tilley, the edition is “among the most finished specimens of typography that exist.” Garamond’s Roman was created shortly after, and his influence rapidly spread throughout and beyond France during the 1540s.
G
◊
Garamond’s innovations established many of today’s typographic conventions. His appreciation of the Aldine italic was such that “he felt it to be a suitable complement to all of his Roman types”. Soon after, for each roman typeface he created, he also designed a complimentary italic style. This concept was universally accepted that the italic became a standard variation to Roman types. He also established the concept of the commercial type founder.
.9.
.8.
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D E
C
F
When a printer created a particularly popular typeface, other printers were quick to copy the designs for their own typecasting. Whether Garamond wished to preserve the integrity of his own designs, or make additional profit is unknown, but he initiated the practice of casting his types for retail sale to other printers. This led to the establishment of independent businesses, which “were
exclusively devoted to the design, cutting, and casting of type for sale to the printing trade”. These establishments, called type foundries, became sources of type for many printers and were instrumental in the widespread acceptance and distribution of new designs. Garamond also worked as a publisher, first with Pierre Gaultier and later with Jean
Barbe from 1545 onwards. The first book he published was “Pia et Religiosa Meditatio” by David Chambellan. The books are set using typefaces designed by him. After his death, Christoph Plantin from Antwerp, the Le Bé type foundry and the Frankfurt foundry Egenolff-Bermer, acquire a large proportion of Garamond’s original punches and matrices. The typefaces Garamond
produced between 1530 and 1545 are considered the typographical highlight of the 16th century. His career was active until the day of his death in 1561 and “no great name emerges for the mediocre level of European typographic history from shortly after his death to the end of the sixteenth century and throughout the whole of the seventeenth” stated Steinberg.
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A B
D E
C
F
When a printer created a particularly popular typeface, other printers were quick to copy the designs for their own typecasting. Whether Garamond wished to preserve the integrity of his own designs, or make additional profit is unknown, but he initiated the practice of casting his types for retail sale to other printers. This led to the establishment of independent businesses, which “were
exclusively devoted to the design, cutting, and casting of type for sale to the printing trade”. These establishments, called type foundries, became sources of type for many printers and were instrumental in the widespread acceptance and distribution of new designs. Garamond also worked as a publisher, first with Pierre Gaultier and later with Jean
Barbe from 1545 onwards. The first book he published was “Pia et Religiosa Meditatio” by David Chambellan. The books are set using typefaces designed by him. After his death, Christoph Plantin from Antwerp, the Le Bé type foundry and the Frankfurt foundry Egenolff-Bermer, acquire a large proportion of Garamond’s original punches and matrices. The typefaces Garamond
produced between 1530 and 1545 are considered the typographical highlight of the 16th century. His career was active until the day of his death in 1561 and “no great name emerges for the mediocre level of European typographic history from shortly after his death to the end of the sixteenth century and throughout the whole of the seventeenth” stated Steinberg.
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A B
typefaces were scattered throughout Europe” and though “he achieved a great place for himself in the history of typography, he died in poverty”, according to Chappell. Fonts named Garamond, are related to the alphabets of Claude Garamond as well as to the work of Jean Jannon, but, much of which were attributed to Garamond. His fonts have been widely copied throughout the world, are still produced and in use in today’s word processing softwares such as Microsoft Word.
f
...though Garamond achieved a great place for himself in the history of typography, he died in poverty.
a b c d e f g h i j k l m n o p q r s t uvwxyzABCDE F G H I J K L M NOPQRSTUVWXYZ
His fonts have been widely copied, are still produced and in use in today’s word-processing softwares.
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e g A career of such magnitude in his time would seem to guarantee fame and fortune such as those of his colleagues, but with Garamond this was not the case. Although Garamond’s typefaces were very popular during his lifetime and were copied constantly, like many of the early type designers, his work didn’t bring him much financial benefits. He was 81 years old and had been living on at “Pot Casse”, the house that Tory had once occupied. When Garamond died, “his widow was forced to sell his punches, and his
typefaces were scattered throughout Europe” and though “he achieved a great place for himself in the history of typography, he died in poverty”, according to Chappell. Fonts named Garamond, are related to the alphabets of Claude Garamond as well as to the work of Jean Jannon, but, much of which were attributed to Garamond. His fonts have been widely copied throughout the world, are still produced and in use in today’s word processing softwares such as Microsoft Word.
f
...though Garamond achieved a great place for himself in the history of typography, he died in poverty.
a b c d e f g h i j k l m n o p q r s t uvwxyzABCDE F G H I J K L M NOPQRSTUVWXYZ
His fonts have been widely copied, are still produced and in use in today’s word-processing softwares.
.13.
.12.
e g A career of such magnitude in his time would seem to guarantee fame and fortune such as those of his colleagues, but with Garamond this was not the case. Although Garamond’s typefaces were very popular during his lifetime and were copied constantly, like many of the early type designers, his work didn’t bring him much financial benefits. He was 81 years old and had been living on at “Pot Casse”, the house that Tory had once occupied. When Garamond died, “his widow was forced to sell his punches, and his
o u
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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 Loxley, Simon. “Claude Garamond.” uddle: When is a 16th-century typeface not a 16th-century typeface? NO. 6, MAY 2006 <http://www. lostmag.com/issue6/garamond.php>.
.14.
“Claude Garamond.” Linotype. <http://www.linotype.com/en/414/ claudegaramond.html?PHPSESSID =e829dd00e64f9dd4a15462671c69 52e5>. “French/Garamond” An Introduction to Type. <http://graphicdesign. spokanefalls.edu/tutorials/process/ type_basics/type_families.htm>.
“Typography.” Museum PlantinMoretus/Prentenkabinet. <http:// museum.ant werpen.be/plantin_ moretus/collectie1_EN.html>.
e
s
Clair, Colin, A Chronology of Printing, (Cassell & Company LTD, 1969)
Chappell, Warren, A History of the Printed Word, (New York, Alfred A Knopf, 1970) pp. 100-3
Steinberg, S. H. Five Hundred Years of Printing, (The British Library & Oak Knoll Press, 1996) pp. 16, 75
“Garamond Premier Pro.” Adobe. < ht t p://w w w. a dob e .c om /t y p e / browser/landing/garamond/garamond.html>.
" Layout and Design in Adobe Creative Suite 3, InDesign, Illustrator and Photoshop. Set in 12 point Adobe Garamond Pro and Garamond Premier Pro. Cover printed on glossy paper and content on coated paper. This edition is limited to two copies.
.15.
S
o u
r c
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 Loxley, Simon. “Claude Garamond.” uddle: When is a 16th-century typeface not a 16th-century typeface? NO. 6, MAY 2006 <http://www. lostmag.com/issue6/garamond.php>.
.14.
“Claude Garamond.” Linotype. <http://www.linotype.com/en/414/ claudegaramond.html?PHPSESSID =e829dd00e64f9dd4a15462671c69 52e5>. “French/Garamond” An Introduction to Type. <http://graphicdesign. spokanefalls.edu/tutorials/process/ type_basics/type_families.htm>.
“Typography.” Museum PlantinMoretus/Prentenkabinet. <http:// museum.ant werpen.be/plantin_ moretus/collectie1_EN.html>.
e
s
Clair, Colin, A Chronology of Printing, (Cassell & Company LTD, 1969)
Chappell, Warren, A History of the Printed Word, (New York, Alfred A Knopf, 1970) pp. 100-3
Steinberg, S. H. Five Hundred Years of Printing, (The British Library & Oak Knoll Press, 1996) pp. 16, 75
“Garamond Premier Pro.” Adobe. < ht t p://w w w. a dob e .c om /t y p e / browser/landing/garamond/garamond.html>.
" Layout and Design in Adobe Creative Suite 3, InDesign, Illustrator and Photoshop. Set in 12 point Adobe Garamond Pro and Garamond Premier Pro. Cover printed on glossy paper and content on coated paper. This edition is limited to two copies.
.15.
S
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" Cesar Sanchez DAI 322 â&#x20AC;&#x201D; Computer Graphics: Imaging San Francisco State University Fall 2008