![]() ![]() The contrast between full and loose strokes is also very interesting, relatively unmarkerd. The rounded forms are of a distinctly drawn character that could never be mistaken for the output of a quill the hook of the is of an almost constant width and the same letter’s counter, much thinner compared to the higher portion of the character, seems almost to be falling over. The serifs are set in a manner one might almost call clumsy, differing from letter to letter, and even within the same character (capital and lower-case both bear witness). Monotype’s Garamond is resolutely different (again, click to enlarge). Here are a few lines written in these different versions of Garamond (click on the images to expand to optimal size): Here are the different traces of the G of Garamond, arranged such that we can see they are in fact completely different models, whose curves do not superimpose - and so I feel compelled to give you the keys of an analysis so that your eyes may come to compare these characters a grid of reference that may equally help you with other typefaces. Berthold too, taking a design similar to the Garamond of Deberny and Peignot, committed to type a design that would remain among the closest to the original, whose punches are currently carefully arranged in the punches cabinet presently closed to the public in the Imprimerie Nationale. In the 20thcentury we were blessed by audacious foundries and Bezier curves with roughly 5-6 declinations from the original drawn by Claude Garamond.įrancesco Simoncini’s Garamond (of the Simoncini foundry of Bologna, 1958), and that of the Stempel foundry (which later became Linotype), designed in 1924 in Frankfurt the Garamond developed by Monotype in 1922 by Fritz Max Steltzer at Salfords and more recently, thanks to Postscript and Bezier curves, that of Adobe, drawn up by Robert Slimbach in San Francisco in 1988, preceded by Tony Stan’s very elegant Garamond of 1970 for the International Typeface Corp in New York. In rupture with the drawing of humanist typefaces, these were the work of designers who used the pantograph to punch minutely aligned designs, quite unlike the humanist typefaces that were still the work of scriptoriums, drawn by quill on vellum. Garamonds of the Garalde family, as opposed to their humanist and realist counterparts, date back to the 16th century. We then have two schools of thought, two methods of approaching typographic critique, and one could not chose one over the other, such is the importance of securing the symbiosis of creativity and innovation with the promotion of ancestral traditions. ![]() ![]() By backwards, the accomplished work of hundreds of craftsmen of alphabetic forms who have strived for centuries to better writing and its legibility. These fonts can be seen used live on a Motor Yacht named catch me made by our signage company. By forward, we are to understand the modern expression of a new era of telecoms and digital technology. ![]() I’m thinking of the typefaces of Zuzana Licko who while developing, using the only methods available at the time, bitmap fonts for Macintosh in the ’80s, made a leap both backwards and forwards in character creation. There is that method of painstakingly drawing by hand (handtooling) that gives characters that crafted aspect that gives off an air of the terroir and rural furnishings and then there’s the modern method, far more conceptual, contemporary art in such a stark break with tradition and received wisdom - which isn’t to say that they are any less beautiful: But their raison-d’être is no longer simply to be so, but to arrest, and even shock. Ofcourse the answer is in the way one approaches type creation. You could just as easily say a car is beautiful and immediately ask yourself why. How many times have you heard someone exclaim “Isn’t a Garamond such a beautiful thing!”… Without a doubt, it’s a beautiful typeface mostly used for yacht lettering and luxury items, even if I hate to use that expression. ![]()
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