Garamond Premier Pro had its genesis in 1988 when Adobe senior type designer Robert Slimbach visited the Plantin-Moretus Museum in Antwerp, Belgium, to study their collection of Claude Garamond’s metal punches and type designs.

More…

Condé Nast commissioned the FB version of this popular oldstyle for Traveler magazine.

More…

An Adobe Originals design, and Adobe’s first historical revival, Adobe Garamond is a digital interpretation of the roman types of Claude Garamond and the italic types of Robert Granjon.

More…

A revival design by Malcolm Wooden of DTP Types Limited.

More…

Some of the most popular typefaces in history are those based on the types of the sixteenth-century printer, publisher, and type designer Claude Garamond, whose sixteenth-century types were modeled on those of Venetian printers from the end of the previous century.

More…

The Stempel foundry in Germany produced this version of Garamond in 1925 as a replica of a typeface of a French punchcutter Claude Garamond (middle of the 16th century).

More…

Claude Garamond began as an apprentice to a Paris printer in the early 1500s. Later he was one of the first to specialize in designing and casting type at a time when it was most common for those functions to be melded with that of printer and publisher. His designs became standards in 16th century Europe and have inspired countless versions over the centuries.

More…

Designed by R.H. Middleton for Ludlow, circa 1929-30. Digitally engineered by Steve Jackaman.

More…

This family was inspired by the pure Garamond pattern set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of sixteen century. All the experts said it was the best and more complete set of the time. The italic style used with was Granjon’s, like in 1543 Humane Jenson. Added are a few fleurons from the same printers.

More…

A classical proportioned text font - with a Celtic twist! Perfect for that oldstyle look, but still very readable.

More…

Some of the most popular typefaces in history are those based on the types of the sixteenth-century printer, publisher, and type designer Claude Garamond, whose sixteenth-century types were modeled on those of Venetian printers from the end of the previous century.

More…

Some of the most popular typefaces in history are those based on the types of the sixteenth-century printer, publisher, and type designer Claude Garamond, whose sixteenth-century types were modeled on those of Venetian printers from the end of the previous century.

More…

Some of the most popular typefaces in history are those based on the types of the sixteenth-century printer, publisher, and type designer Claude Garamond, whose sixteenth-century types were modeled on those of Venetian printers from the end of the previous century.

More…

DTC FunWorks consists of 450 extraordinary fonts divided into eight chapters: seven of which include 50 fonts each, and one of which includes 100 fonts*:

More…

Based on custom design work by DTP Types Limited in 1992.

More…

The TYMA Garamont Roman was inspired by the Berner-Egenolff type sample from the 1560s. The Italic was inspired by a sample from Robert Granjon, also from the 1560s. The name TYMA is short for AB Typmatriser, a Swedish company founded 1948, because the Second World War stopped all import of matrices for Linotype and Intertype typesetting machines. It took until 1951-52 before the import was up to speed again. Until then, Sweden had to fend for itself.

More…

Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.

More…

Frederic Goudy joined Lanston as art advisor in 1920. One of his first initiatives was to design a new version of Garamond based on original Garamond designs of 1540. Goudy intended his free-hand drawings to be cut exactly as he had drawn them and fought with the workmen at Lanston to keep them from “correcting” his work. This new type was called Garamont (an acceptable alternate spelling) to distinguish it from other Garamonds on the market. (The other Garamonds on the market at that time were later confirmed to be the work of Jean Jannon.)

More…

A descendant of the types of Claude Garamond, Sabon was designed by Jan Tschichold in 1964 and jointly released by Stempel, Linotype, and Monotype foundries. The roman design is based on a Garamond specimen printed by Konrad F. Berner, who was married to the widow of another printer, Jacques Sabon. The italic design is based on types by Robert Granjon, a contemporary of Garamond’s.

More…

This family is distinguished by its historical forms and by the numerous stylistic effects. Compared to Le Monde Livre, this typeface is not anymore invisible. The italic includes two levels of ornamentation: standard & swash. The bold is a bit lighter than the Bold from the reference, Le Monde Livre.

More…

Created for our friend and Beatsville Collaborator, Mr. Rod McKuen. This font has the unique feature of being a very readable roman at small point sizes and when used at larger sizes, becomes very decorative and sketchy.

More…

Old Claude was drawn by Paul Shaw to simulate an old cut of the classic Garamond type designs of the 16th and 17th centuries. The pronounced rough edges and coarse letter shapes simulate the effect of traditional letterpress printing where old foundry type meets handmade paper.

More…

Named for Antoine Augereau, teacher of Claude Garamond, this much admired rendition of the classic Garamond typeface was created by George Abrams and released in 1997.

More…

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally designed by Frederick Goudy for the original Life magazine, circa 1908.

More…

Claudium started as an attempt to create a sans serif version of Garamond. As time went on it gradually became a meditation on the nature of French typography from Garamond to Excoffon. It was especially influenced by Cassandre’s type for the Orly airport which seems to epitomize certain aspects of the French character—at least in typography. Attempts to create an italic met with disaster. Gradually, after lots of Cotes du Rhone, a cursive, based on Garamond’s Greek forms, emerged. It came at a time when I was looking at lot at Victor Hammer’s uncial and Andromaque cursive. So Claudium Cursive was developed as a lower case only and mated to the Claudium Regular caps ala Griffo’s original italic type. In keeping with the cursive lowercase there are cursive oldstyle numbers.

More…

Adobe Jenson Pro captures the essence of Nicolas Jenson’s roman and Ludovico degli Arrighi’s italic typeface designs. The combined strength and beauty of these two icons of Renaissance type result in an elegant typeface suited to a broad spectrum of applications.

More…

Ronald Arnholm began work on ITC Legacy in 1982. Released in 1993, ITC Legacy is a revival of Nicolas Jensen’s types as seen in the 1470 Eusebius.

More…

Bembo was modeled on typefaces cut by Francesco Griffo for Aldus Manutius’ printing of De Aetna in 1495 in Venice, a book by classicist Pietro Bembo about his visit to Mount Etna. Griffo’s design is considered one of the first of the old style typefaces, which include Garamond, that were used as staple text types in Europe for two hundred years.

More…

Scottish typefounders exerted a strong influence on the development of “transitional” typefaces, the bridge from “oldstyle” (Jenson, Garamond) to “modern” (Bodoni, Didot) designs. Scotch Roman designs were first cut by Englishman Richard Austin and cast by the Scottish typefounder Alexander Wilson and Son in Glasgow.

More…

Granjon was designed in 1928 for Linotype by George Jones.

More…

Tribute is a new typeface by German type designer Frank Heine. This is Heine’s fourth release with Emigre Fonts. Remedy, released in 1991, was a major commercial success. It’s curlicue, free-style, comic appearance, provided a perfect counter to Emigre’s then primarily modular type designs. Dalliance, a classic roman and script combo based on handwriting from a photocopy of a 1799 battle map, was released in 2002 and became an instant classic.

More…

Linotype’s Serlio looks like a text face, but it is a display type with small capitals in place of lowercase letters. It has a narrow width and fine, delicate serifs and hairlines.

More…

ITC Giovanni was designed by Robert Slimbach and released by the International Typeface Corporation in 1989. Beginning at the drawing board and then moving to a computer, Slimbach based his design on classic oldstyle typefaces such as Garamond and Bembo. He then gave the typeface more contemporary proportions and weights, which resulted in a lively and legible text typeface.

More…

Inspired by the ancient carvings chiselled into Trajan’s column in Rome, Byington pays homage to Trajan’s venerable lines but strips away the subtle nuances usually associated with the classic design. Fortified to withstand the requirements of video and other low resolution applications, Byington’s strength lies in its beefier serifs and speedier transitional curves. And what’s this? Recent excavations revealed a lowercase, ten meters below the column’s foundation. Just kidding! Byington’s lowercase is interfused with Sabon and Garamond, mirroring the pared down simplicity of the capitals.

More…

This fine, roman sans serif typeface is rather conservative, compared to the extravagant style of its italic counterpart. The proportions of the letters are based on those of Claude Garamond’s original Garamond typeface. Designed by British artist Alan Meeks for use alone or in conjunction with the Letraset Claude Sans Italic and Claude Sans Bold typefaces.

More…

In searching for a Roman to use there were bits of Bembo,Times,Garamond etc., that I liked and bits that I did not. So I set out to take the best bits of all my favorite Romans and tried to create the ultimate Roman typeface.

More…

Melancholia is a delicate sans serif with an alternative set of swash characters normally only used in calligraphic serif fonts. The italic is not a redrawn sloped version of the roman, it is based on ‘original italics’ such as Garamond.

More…

From 1702 to 1811 the French “Royal”, then “Imperial”, Printers, neglected Garamond and Fournier's designs and used only the font called “Romain du Roy”, carved (1693 to 1723) by Philippe Grandjean by order of the king Louis XIV.

More…

This family was inspired by a font carved circa 1590 for a Polish editor. We don't know who was the punchcutter, nor the printer’s name. We have added the special East European diacritics (Czech, Hungarian, Romanian, Croatian, Slovak, Slovenian, Sorbian )as the original font has only the Polish accents.

More…

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. He was born in 1580, apparently in Switzerland. He trained as punch-cutter in Paris. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult.

More…

Artane, Tony Fahy’s first typeface for Bitstream Inc., has a specific philosophy at the core of it’s creation. He decided he would try to create a Roman sans that would have the elegance of a serifed italic, such as Stempel Garamond, Bembo, or Baskerville.

More…

The typeface was designed at the Polygraphmash type design bureau in 1986 by Isay Slutsker, Svetlana Yermolaeva, Emma Zakharova. Based on Polytizdatkaya type family, 1966, by Vera Chiminova, inspired by the typefaces of the French mid-16th century punchcutter Claude Garamond. The family was initially developed for Mysl Publishers, Moscow. For use in text matter.

More…

This family was inspired by the eroded and tired fonts used by printers from the sixteenth century to the early years of twentieth for cheap or fleeting works, like almanacs, adverts, gazettes or popular novels.

More…

Apolline received a Morisawa Award in 1993 (Japan).

More…

Think of Garamouche as Garamond’s drunken cousin. This font replicates a long lost document ravaged by time and the elements (with a little sloppy printing for good measure.)

More…

Classica: a self-explanatory name. Its capital letters find their roots in the Latin inscriptions of the first century, its lower cases in the chancery writings and books of Renaissance. Classica belongs to the Garalde family from which the everlasting Garamond, this “Vivaldi’s four seasons” of typography, is the archetype.

More…

Usurp is a cut-rubber freak-out with . . . with . . . what were we talking about? Okay, yeah! It’s got letters, man. Lots of freaky letters that are all like whoa and rainbows trails shooting out and what have you. The OpenType format features autoligs which automatically swap common letter pairs with variations to create a more realistic, less repetitive effect. Usurp is based on Garamond letterforms if you think about it.

More…

This font is a collection made with the largest part of the ornaments contained in the GLC foundry medieval and renaissance period fonts. It was made for the use of customers who wish to embellish their works without buying our complete catalog!

More…

Sans-serif typefaces compensate for their basic handicap – an absence of serifs – with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs.

More…

The spectacular Libceves gravestone dating from 1591 is completely - from top to bottom, from one side to theother - covered with lettering. It attests to the fact that in Bohemia, thirty years after Garamond's death, inscriptions were cut in popular type faces which were quite different from the Renaissance Roman type face. I was interested in the type face and I tried to digitalize it, expecting similarly poor results as if I had tried to cut a computer font. In spite of the fact that I did not succeed in capturing the vivacity of the model, an interesting display type face arose which, hopefully, may distract and please its users.

More…

This set of initial letters is an entirely original creation, inspired by French renaissance patterns used by Bordeaux printers circa 1580-1590.

More…

DTC FunWorks consists of 450 extraordinary fonts divided into eight chapters: seven of which include 50 fonts each, and one of which includes 100 fonts*:

More…

Escoffier Capitaux is named for culinary legend Auguste Escoffier (1846-35) and inspired by lettering used in vintage French advertising – including the work of commercial illustrator/fashion designer Ernst Dryden (1887-1938)

More…

DTC FunWorks consists of 450 extraordinary fonts divided into eight chapters: seven of which include 50 fonts each, and one of which includes 100 fonts*:

More…

This family was created inspired from the Garamond patern set of fonts used by S. Millanges “imprimeur ordinaire du Roy”, in Bordeaux, circa 1580-1590. Especially for reprint L'instruction des curés (Instructions to parish priests), from Jean Gerson.

More…

DTC FunWorks consists of 450 extraordinary fonts divided into eight chapters: seven of which include 50 fonts each, and one of which includes 100 fonts*:

More…

DTC FunWorks consists of 450 extraordinary fonts divided into eight chapters: seven of which include 50 fonts each, and one of which includes 100 fonts*:

More…

DTC FunWorks consists of 450 extraordinary fonts divided into eight chapters: seven of which include 50 fonts each, and one of which includes 100 fonts*:

More…

DTC FunWorks consists of 450 extraordinary fonts divided into eight chapters: seven of which include 50 fonts each, and one of which includes 100 fonts*:

More…

DTC FunWorks consists of 450 extraordinary fonts divided into eight chapters: seven of which include 50 fonts each, and one of which includes 100 fonts*:

More…

Tribute is a new typeface by German type designer Frank Heine. This is Heine’s fourth release with Emigre Fonts. Remedy, released in 1991, was a major commercial success. It’s curlicue, free-style, comic appearance, provided a perfect counter to Emigre’s then primarily modular type designs. Dalliance, a classic roman and script combo based on handwriting from a photocopy of a 1799 battle map, was released in 2002 and became an instant classic.

More…

The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute “Transitional”, as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This “transition” was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a “transition” from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so.

More…

The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute “Transitional”, as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This “transition” was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a “transition” from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so.

More…

The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute “Transitional”, as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This “transition” was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a “transition” from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so.

More…

This reproduction of Claude Garamond’s famous 16th century designs was executed by Wm Ross Mills. It is alone among the many, so-called Garamond ‘revivals’ in being strictly based on the printed appearance of the original metal types. The 1530 design follows Garamond’s earliest work as a punchcutter, revealing both the influence of his teachers, Augereau and Tory, and the genesis of his own mature style.

More…

Based on the series of Claude Garamond romans shown in the Egenolff-Berner specimen sheet printed in 1592, this design is a good sharp cut; it suffers from very short descenders made to fit it on the German standard alignment of the period, which was based on Blackletter proportions.

More…