Serif: Garalde

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches... Read More

Jan Tschichold designed Sabon™ in 1964, and it was produced jointly by three foundries: D. Stempel AG, Linotype and Monotype. This was in response to a request from German master printers to make a font family that was the same design for the three metal type technologies of the time: foundry type for hand composition, linecasting, and single-type machine composition. Tschichold turned to the... Read More

ITC Galliard font is a work of Matthew Carter and a contemporary adaptation of Robert Granjon's 16th century design. "The result was not a literal copy of any one of Granjon's faces, more a reinterpretation of his style," says Carter. ITC Galliard font captures the vitality of Granjon's work in a graceful, modern typeface. eText fonts - the optimum of on-screen text qualityWith our new eText... Read More

ITC Galliard font is a work of Matthew Carter and a contemporary adaptation of Robert Granjon's 16th century design. "The result was not a literal copy of any one of Granjon's faces, more a reinterpretation of his style," says Carter. ITC Galliard font captures the vitality of Granjon's work in a graceful, modern typeface. eText fonts - the optimum of on-screen text qualityWith our new eText... Read More

Granjon™ was designed by George W. Jones for the English branch of Linotype in 1928. The bold weight was added by American Chauncey H. Griffith in 1930. For his model, Jones used a type cut by Claude Garamond that was used in a book printed by the Parisian Jean Poupy in 1592. Because several other Garamonds were on the market in the 1920s, Jones decided to name his type Granjon. Many of the... Read More

In designing Minion font, Robert Slimbach was inspired by the timeless beauty of the fonts of the late Renaissance. Minion was created primarily as a traditional text font but adapts well to today's digital technology, presenting the richness of the late baroque forms within modern text formats. This clear, balanced font is suitable for almost any use.

FF Reminga offers a fresh take on the Garamond tradition, rather sober (for Xavier Dupré’s work) and particularly readable at 10–12 points. It also comes in a narrower Titling version which is adds an even more elegant and calligraphic variation to the family. Dupré made significant improvements to FF Reminga’s letterforms for its 2008 OpenType re-release.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches... Read More

Xavier Dupré’s FF Yoga mixes the harshness of a blackletter with the balanced rhythm and round shapes of the Renaissance Roman. Its sturdy serifs are a good choice for body text; They also serve as an effective headline face given their subtly chiseled counters. FF Yoga Sans is a contemporary alternative to the quintessential humanist sans (Gill Sans) and a steady companion to FF Yoga... Read More

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches... Read More

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches... Read More

The design of Sabon Next™ by Jean François Porchez, a revival of a revival, was a double challenge: to try to discern Jan Tschichold´s own schema for the original Sabon, and to interpret the complexity of a design originally made in two versions for different typecasting systems. The first was designed for use on Linotype and Monotype machines, and the second for Stempel hand composition.... Read More

Sabon was designed by Jan Tschichold and released in 1967. Sabon was created in response to the specific needs of a group of German printers who wanted a typeface that would be identical in form when produced by three different metal-casting technologies. Named after Jacques Sabon, a sixteenth century typefounder whose widow married another typefounder, Konrad Berner, who is credited with... Read More