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Primo Serif is based on an anonymous sixteenth-century roman. Galien’s design synthesizes multiple Renaissance-era sources, for instance, and Lyon is based on Robert Granjon’s types.

Not all of these are directly inspired by Claude Garamond’s work. From top to bottom, these are Chassi S Regular, Garalda Regular, Galien Regular, Lyon Text Regular, and Primo Serif Regular. This very website is set with Lyon Text, for instance.ĪbcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyzĪbcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz Five upright “Garamond”-style fonts from Fontstand’s selection. Since they were designed for on-screen reading environments, twenty-first-century typefaces like R-Typography’s Chassi or Commercial Type’s Lyon – each based on French Renaissance models – may prove just as popular online as last century’s Garamonds did for books. There’s a good chance that Garamond-style typefaces will continue to play an almost “default” role in texts intended for immersive reading, especially in print.

Yet, one also finds the fonts used for setting magazines’ text, and even in a few newspapers. Throughout the last century, book designers have favored Garamond-style typefaces.

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Many typefaces with “Garamond” in their names come from twentieth-century typesetting-equipment companies: type foundries, hot-metal typesetting and phototype machine manufacturers, and software developers, too. Lyon Text is the serif typeface used right here on Fontstand News. Unlike many of the earlier revivals, Lyon is very usable on-screen. Lyon must be the most successful twenty-first-century Granjon interpretation. Yet, Granjon cut excellent upright roman types as well. In twentieth and twenty-first-century “Garamond” revivals, the italics are often based on Granjon’s work. The Egenolff-Berner foundry – whose 1592 specimen is reproduced above – also carried many Granjon types. Like Claude Garamond, he was a sixteenth-century French punchcutter. Verè languores nostros ipse tulit, & dolores nostros portauit, nos Autem reputauimus Eum plagis affectum, Percussum à Three styles from Kai Bernau’s Lyon family, published by Commercial Type: Lyon Text Regular, Lyon Text Regular Italic, and Lyon Display Regular. A carcere & iudicio sublatus est: & Gene rationem eius Quis enarrabit, Quia abcissus est è terra viuentium, propter præuaricationem populi Mei plaga fuit ei. Despectus fuit & Reiectus inter virus vir dolorum, & expertos Infirmitatem, And at least one of the twentieth-century’s most faithful Garamond–Granjon revivals – Sabon – wasn’t named after either punchcutter.Īspeximus autem eum, & non erat aspectus, & Non desiderauijus eum videre. The italic designs look to types from another punchcutter: Robert Granjon. Even in the families like Stempel Garamond that were based directly on Claude Garamond’s oeuvre, his inspiration only flowed into the upright fonts. Many of them have “Garamond” in their typeface names – although some of the most widely-used twentieth-century Garamonds like ATF Garamond and Monotype Garamond were not based on Claude Garamond’s work at all, but rather on the types from a seventeenth-century punchcutter named Jean Jannon. The question of how those revival typefaces should be named proved difficult. Many type designers consulted it when developing Garamond revivals, including the Stempel foundry’s Rudolf Wolf, Adobe’s Robert Slimbach, and Jean François Porchez. This broadsheet may be the most famous specimen of Garamond, Granjon, Sabon and Pierre Haultin’s typefaces. As for the rest? Jacob Sabon worked over the Garamond capitals in the second line, and Robert Granjon cut the “Petit Canon de Garamond.” Granjon also cut the Greek and Italic types. Claude Garamond cut about half the types visible in this cropping. The 1592 specimen from the Egenolff-Berner typefoundry in Frankfurt, digitized by the Universitätsbibliothek Johann Christian Senckenberg, Frankfurt am Main.