![]() The roman designs of Garamond which are his most imitated were based on a font cut around 1495 for the Venetian printer Aldus Manutius by engraver Francesco Griffo. Its roman type was the model for Garamond's. ĭe Aetna, printed by Aldus Manutius in 1495. Modern Garamond revivals also often add a matching bold and 'lining' numbers at the height of capital letters, neither of which were used during the Renaissance Arabic numerals in Garamond's time were engraved as what are now called text figures, styled with variable height like lower-case letters. The elegant line and subdued emphasis show the classic search for silent and transparent form". Vervliet wrote that in his later Gros-Canon and Parangonne types (meaning sizes of around 40pt and 18pt respectively) he had achieved "a culmination of Renaissance design. Lane describes his work as "elegant and executed with consummate skill.to a higher standard than commercial interest demanded" H. īesides general characteristics, writers on type have generally praised the even quality of Garamond's type: John A. Garamond types have quite expansive ascenders and descenders printers at the time did not use leading. The axis of letters like the ‘o’ is diagonal and the bottom right of the italic 'h' bends inwards. The x-height (height of lower-case letters) is low, especially at larger sizes, making the capitals large relative to the lower case, while the top serifs on the ascenders of letters like 'd' have a downward slope and ride above the cap height. ![]() ![]() The 'M' is slightly splayed with outward-facing serifs at the top (sometimes only on the left) and the leg of the 'R' extends outwards from the letter. Other general features are limited but clear stroke contrast and capital letters on the model of Roman square capitals. Some distinctive characteristics in Garamond's letterforms are an 'e' with a small eye and the bowl of the 'a' which has a sharp turn at top left. 18 pt) by Garamond, cast from surviving matrices in the Plantin Moretus Museum
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