Duffner's intention was to include multiple optical sizes. In addition the font includes OpenType features such as swash italic capitals and schoolbook alternates. The Greek characters are based on Robert Granjon's work as well. It shows Garamont's roman and Granjon's italic fonts at different sizes. Mayr-Duffner took the letterforms from a scan of a specimen known as the “Berner specimen” which was printed in 1592 by Conrad Berner, son-in-law of Christian Egenolff and his successor at the Egenolff print office. In 2011 the Austrian designer Georg Mayr-Duffner released the EB Garamond under the Open Font License. Implementation history Illustration of the right (upper example) and the wrong (lower example) use of the optical sizes Its name is shortening of Egenolff– Berner Garamond which refers to the fact that the letter forms are taken from the Egenolff–Berner specimen printed in 1592. Both pages also show evidence of past depredation by a bookworm.Claude Garamont, Robert Granjon, Georg Mayr-Duffner, Octavio Pardo and othersĪ part of the Egenolff–Berner specimen printed in 1592 showing the original cuts by Garamont and Granjon (the second type, mislabelled as "Petit Canon de Garamond") ĮB Garamond is a free and open source implementation of Claude Garamond’s typeface, Garamond, and the matching Italic, Greek and Cyrillic characters designed by Robert Granjon. The opening reproduced here includes a decorative head-piece and initial letter, both embellished with Italianate designs of swirling shapes and fantastical figures. However, a number of books that he had already announced or begun working on, such as this edition of Dio Cocceianus, continued to be issued in his name from the Paris press. Estienne’s editions of the Bible, which included new translations alongside the Vulgate text, had brought him into conflict with the theologians of the Sorbonne and were eventually banned in 1547.Īlthough he secured a guarantee of immunity from prosecution in 1548, Estienne fled Paris for Geneva in 1550, where he openly embraced Calvinism. The publication history of the book featured here is curious. Heavily influenced by the great Venetian printer Aldus Manutius (c1452-1515) in both his Roman and Greek type designs, Garamond created a Greek fount whose cursive style and abundant use of ligatures (tied letters) and contractions made it pleasant to the eye but not always easy to read nor straightforward for the printer to adopt.įrançois I of France commissioned Garamond’s Greek type, hence known as the grec du roi, and it was used by the king’s printer Robert Estienne (1503-59) for his Greek New Testament and also for the edition of Xiphilinus’s epitome of Dio Cocceianus’s Historia Romana, shown here. The typefaces designed by the Parisian punch-cutter Claude Garamond (1480-1561) dominated the European market from the 16th to the mid-17th century. Many of the typefaces still in common use today: Baskerville, Bodoni, Caslon, Garamond, to name but a few, bear the names of the type designers who first cut punches of these types hundreds of years ago, their continued popularity a testimony to the enduring value of good design. Both pages also show evidence of past depredation by a bookwormThe vast majority of printers of the hand press era did not manufacture their own type instead they acquired it from specialist type founders, who cut founts, or sets, of metal type. Opening showing a decorative head-piece and initial letter, embellished with Italianate designs of swirling shapes and fantastical figures.
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