Garamond Premier Pro Semi Bold Italic Caption

by Creative Alliance

This font is available in the following packages (best values are at the top):

Garamond Premier™ Pro	34 fonts
Garamond Premier Pro Semi Bold Italic Caption	1 font | $35.00

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• About Garamond Premier Pro Semi Bold Italic Caption

  Font # 145831

• Available Formats

  Choose format(s) during checkout.

  1. OpenType What is OpenType?

• OpenType User Guides (PDF)

  1. Learn more about OpenType

• Designers

  1. Claude Garamond
  2. Robert Slimbach

• Foundry

  Creative Alliance

• License Information

  View font license agreements for Creative Alliance.

• Supported OpenType Features

  Show All Characters
  1. Access All Alternates This feature makes all variations of a selected character accessible. This serves several purposes: An application may not support the feature by which the desired glyph would normally be accessed; the user may need a glyph outside the context supported by the normal substitution, or the user may not know what feature produces the desired glyph. Since many-to-one substitutions are not covered, ligatures would not appear in this table unless they were variant forms of another ligature.
  2. Contextual Alternates In specified situations, replaces default glyphs with alternate forms which provide better joining behavior. Used in script typefaces which are designed to have some or all of their glyphs join.
  3. Case-Sensitive Forms Shifts various punctuation marks up to a position that works better with all-capital sequences or sets of lining figures; also changes oldstyle figures to lining figures. By default, glyphs in a text face are designed to work with lowercase characters. Some characters should be shifted vertically to fit the higher visual center of all-capital or lining text. Also, lining figures are the same height (or close to it) as capitals, and fit much better with all-capital text.
  4. Capital Spacing Globally adjusts inter-glyph spacing for all-capital text. Most typefaces contain capitals and lowercase characters, and the capitals are positioned to work with the lowercase. When capitals are used for words, they need more space between them for legibility and esthetics. This feature would not apply to monospaced designs. Of course the user may want to override this behavior in order to do more pronounced letterspacing for esthetic reasons.
  5. Contextual Swash This feature replaces default character glyphs with corresponding swash glyphs in a specified context. Note that there may be more than one swash alternate for a given character.
  6. Discretionary Ligatures Replaces a sequence of glyphs with a single glyph which is preferred for typographic purposes. This feature covers those ligatures which may be used for special effect, at the user's preference.
  7. Denominators Replaces selected figures which follow a slash with denominator figures.
  8. Terminal Forms Replaces glyphs at the ends of words with alternate forms designed for this use. This is common in Latin connecting scripts, and required in various non-Latins like Arabic.
  9. Fractions Replaces figures separated by a slash with 'common' (diagonal) fractions.
  10. Historical Forms Some letterforms were in common use in the past, but appear anachronistic today. The best-known example is the long form of s; others would include the old Fraktur k. Some fonts include the historical forms as alternates, so they can be used for a 'period' effect. This feature replaces the default (current) forms with the historical alternates. While some ligatures are also used for historical effect, this feature deals only with single characters.
  11. Kerning Adjusts amount of space between glyphs, generally to provide optically consistent spacing between glyphs. Although a well-designed typeface has consistent inter-glyph spacing overall, some glyph combinations require adjustment for improved legibility. Besides standard adjustment in the horizontal direction, this feature can supply size-dependent kerning data via device tables, "cross-stream" kerning in the Y text direction, and adjustment of glyph placement independent of the advance adjustment. Note that this feature may apply to runs of more than two glyphs, and would not be used in monospaced fonts. Also note that this feature does not apply to text set vertically.
  12. Standard Ligatures Replaces a sequence of glyphs with a single glyph which is preferred for typographic purposes. This feature covers the ligatures which the designer/manufacturer judges should be used in normal conditions.
  13. Localized Forms
  14. Numerators Replaces selected figures which precede a slash with numerator figures, and replaces the typographic slash with the fraction slash.
  15. Oldstyle Figures This feature changes selected figures from the default lining style to oldstyle form.
  16. Ordinals Replaces default alphabetic glyphs with the corresponding ordinal forms for use after figures. One exception to the follows-a-figure rule is the numero character (U+2116), which is actually a ligature substitution, but is best accessed through this feature.
  17. Ornaments This is a dual-function feature, which uses two input methods to give the user access to ornament glyphs (e.g. fleurons, dingbats and border elements) in the font. One method replaces the bullet character with a selection from the full set of available ornaments; the other replaces specific "lower ASCII" characters with ornaments assigned to them. The first approach supports the general or browsing user; the second supports the power user.
  18. Proportional Figures Replaces figure glyphs set on uniform (tabular) widths with corresponding glyphs set on glyph-specific (proportional) widths. Tabular widths will generally be the default, but this cannot be safely assumed. Of course this feature would not be present in monospaced designs.
  19. Stylistic Alternates Many fonts contain alternate glyph designs for a purely esthetic effect; these don't always fit into a clear category like swash or historical. As in the case of swash glyphs, there may be more than one alternate form. This feature replaces the default forms with the stylistic alternates.
  20. Scientific Inferiors Replaces lining or oldstyle figures with inferior figures (smaller glyphs which sit lower than the standard baseline, primarily for chemical or mathematical notation). May also replace lowercase characters with alphabetic inferiors.
  21. Optical size
  22. Small Capitals This feature turns lowercase characters into small capitals. This corresponds to the common SC font layout. It is generally used for display lines set in Large & small caps, such as titles. Forms related to small capitals, such as oldstyle figures, may be included.
  23. Stylistic Set 1 In addition to, or instead of, stylistic alternatives of individual glyphs (see 'salt' feature), some fonts may contain sets of stylistic variant glyphs corresponding to portions of the character set, e.g. multiple variants for lowercase letters in a Latin font. Glyphs in stylistic sets may be designed to harmonise visually, interract in particular ways, or otherwise work together. Examples of fonts including stylistic sets are Zapfino Linotype and Adobe's Poetica. Individual features numbered sequentially with the tag name convention 'ss01' 'ss02' 'ss03' . 'ss20' provide a mechanism for glyphs in these sets to be associated via GSUB lookup indexes to default forms and to each other, and for users to select from available stylistic sets.
  24. Stylistic Set 2
  25. Stylistic Set 3
  26. Superscript Replaces lining or oldstyle figures with superior figures (primarily for footnote indication), and replaces lowercase letters with superior letters (primarily for abbreviated French titles).
  27. Swash This feature replaces default character glyphs with corresponding swash glyphs. Note that there may be more than one swash alternate for a given character.
  28. Tabular Figures Replaces figure glyphs set on proportional widths with corresponding glyphs set on uniform (tabular) widths. Tabular widths will generally be the default, but this cannot be safely assumed. Of course this feature would not be present in monospaced designs.
  29. Slashed Zero Some fonts contain both a default form of zero, and an alternative form which uses a diagonal slash through the counter. Especially in condensed designs, it can be difficult to distinguish between 0 and O (zero and capital O) in any situation where capitals and lining figures may be arbitrarily mixed. This feature allows the user to change from the default 0 to a slashed form.