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Adobe Systems Incorpo-rated introduces Ado-be Garamond Pro, a

new font software package in the growing library of Adobe Originalstypefaces, designed specifically for today’s digital technology. Sincethe inception of the Adobe Origi-nals program in , the AdobeOriginals typefaces have been con-sistently recognized throughout theworld for their quality, original-ity, and practicality. they combinethe power of PostScript® language software technology and the mostsophisticated electronic design tools with the spirit of craftsmanshipthat has inspired type designers since Gutenberg. Comprising both

typefaces, Adobe Originals fontsoftware has set a standard for ty-pographic excellence.

What is OpenType?Developed jointly by Adobe and Microsoft, OpenType® is a highlyversatile new font file format that represents a signifi cant advance intype functionality on Macintosh and Windows® computers. Perhapsmost exciting for designers and ty-pographers is that OpenType fontsoff er extended layout features that bring an unprecedented level ofsophistication and control to con-temporary typography. Because an OpenType typeface can incor-porate all glyphs for a pecific style

and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and other relat-ed sets is eliminated. In OpenType savvy applications such as Adobe’s InDesign™, OpenType features organize groups of glyphs accord-ing to their use. Activating these features enables typographic refi nements such as ligatures, small capitals, and oldstyle fi gures, streamlining the difficult and of-ten tedious process of setting and fine-tuning text. In addition, all glyphs in an OpenType font can be accessed in InDesign, whether or not they are covered by a layout feature. OpenType fonts, coupled by a layout feature. OpenType by

a layout feature. OpenType fonts, coupled with the enhanced typo-graphic control off ered by a pro-gram such as InDesign, let type-users take advantage of advanced justifi cation, optical margin alignment, hanging punctuation, and optically sized masters (for fonts with two or more optical masters).Adobe OpenType fonts are some of the most sophisticat-ed typefaces ever off ered, allow-ing designers and typographers to more effectively take advantage of the power of the computer for digital design and typesetting.

Garamond is the name given to a group of old-style serif typefaces named for the punch-cutter Claude Garamond (c. 1480 – 1561). Most of the Garamond faces are more

closely related to the work of a later punch-cutter, Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman ver-

sions of the typefaces Adobe Garamond, Granjon, Sabon, and Stempel Garamond.

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Garamond’s Roman TypesSome of the most widely used and infl uential typefaces in history are those created by the th century type designer Claude Garamond.His roman types are arguably the best conceived typefaces ever designed, displaying a superb ba ance of elegance and practicality. In spite of their historical signifi cance, the genuine Garamond fac-es have only been properly identi-fied in the last years. Until that point, a set of typefaces created in the century after Claude Ga-ramond lived were erroneously thought to be “Garamond”. These th century copies served as the model for many of the

new French italic styles retained some of the character of the Al-dine italics, they were also infl uenced by the handwriting styles of the day. Granjon italics have a more sloped and energetic look that is both dynamic and practi-cal.

Adobe Garamond and Ado-be Garamond ProAs Adobe’s first historical revival, Adobe Garamond is a digital in-terpretation of the roman types of Claude Garamond and the italic types of Robert Granjon. Since its release in , Adobe Garamond has become a typographic staple throughout the world of desktop

typography and design. Adobe type designer Robert Slimbach has captured the beauty and bal-ance of the original Garamond typefaces while creating a typeface family that off ers all the advan-tages of a contemporary digital type family. With the introduc-tion of OpenType font technol-ogy, Adobe Garamond has been reissued as a Pro type family that takes advantage of OpenType’s advanced typographic capabili-ties. Now this elegant type family can be used with even greater effi ciency and precision in OpenType savvy applications such as InDe-sign.

Design ProcessPunchcutters such as Garamond and Granjon created many dif-ferent typefaces during their ca-reers. Because each size of metal type was created independently, the designs within a style varied somewhat from one size to an-other. Therefore, in creating re-vivals of historical typefaces, at least two different approaches are possible. The designs of each size can be examined with an eye to extracting and recreating the es-sential letterforms. Alternatively, a particular size can be used as a model. Slimbach used the latter approach to produce Adobe Ga-ramond. The design process for Adobe Garamond unfolded over a one year period. Slimbach began by studying Garamond samples reproduced in books, as well as a reproduction of the well known Egenolff-Berner specimen sheet of , which displays a number of Garamond’s types. Slimbach chose Garamond’s vraye par-angonne size (approximately point), as the primary model for the roman design. Working from available Garamond specimens, he prepared a set of trial drawings that were digitized and made into a working font. This trial font was reviewed by the Adobe Type Ad-visory Board, including the late designer and type historian Ste-ven Harvard, who also supplied

modern Garamonds. And while many versions of Garamond ex-ist today, most are generations re-moved from the original designs.

The Granjon ItalicsAs Claude Garamond created exceptional roman types, Robert Granjon designed some of the most beautiful italics. Until the middle of the th century, en-tire books were printed in a style of italic known as Aldine (named after their fi rst user, Aldus Ma-nutius). By the time Granjon was cutting types in Paris, italics were being used together with romans, with the italics serving for dis-play and emphasis. Although the

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In order to bring a higher degree of fi delity and authentici-ty to the working design, Robert Slimbach, and Fred Brady from Adobe, with John Lane, noted type expert and histo-rian, traveled to the Plantin Moretus Museum in Antwerp, Belgium, to study fi rst-hand and photograph Garamond’s and Granjon’s types and printed samples.According to Slimbach, “& e experience of studying near fl awless proofs of Garamond’s and Granjon’s types was a revelation which led to a major overhaul of the working design.” Most of the roman design was either modified or redrawn, and the italic design was completely redrawn. The trip also led to the inclusion of swash capitals, which are based on a number of Granjon’s italic fonts, as well as a set of ornaments, ending lowercase characters, historic ligatures, and titling capitals.

Adobe Garamond Pro FamilyAdobe Garamond Pro is a complete composition family, suitable for the most demanding typesetting projects. The roman and italic designs are off ered in three weights—reg-ular, semibold, and bold— giving users a highly functional palette of fonts to choose from. The regular roman font is

the core typeface for composing text, while the additional weights and styles serve to complement the regular de-sign. The semibold and bold designs are used primarily to accentuate words and phrases within regular text. The semibold design off ers a subtle weight diff erence from the regular while the bold makes a more emphatic state-ment; its weight, however, is not so heavy as to disrupt the color of the page. Adobe Garamond Pro makes an impor-tant contribution to typography in the electronic age. It is well-suited to a wide range of applications in newspapers, books, magazines, advertising, technical publications, and corporate communications.

Adobe Garamond Pro GlyphsAdobe Garamond Pro’s large glyph complement was de-signed to further meet the exacting requirements of profes-sional typographers and designers throughout the world. Its diverse international character set encompasses most Latin-based languages. Most of these glyphs can be easily accessed and applied with OpenType savvy applicationssuch as InDesign.

Left to right:1. enlarged lowercase “b” from a printed page of Garamond

types from the 1500s. 2. Detail of the letter “b” 3. Digital version of the same section of the letter, show-ing bezier curves with control points. 4. Digital typesetteroutput of the same detail in the Adobe Gara-

mond “b”

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orn in Paris, France in 1490, Garamond started his career out as an apprentice for the Pa-risian punch-cutter and printer, Antoine Augereau in 1510 . It was during this early part of the 16th century that Garamond and his peers found that the typography industry required unique multi-talented people. This way they could produce fine books. Many of the print-ers during that time period were able to master all or most of the artistic and technical skills of book production from type design to bookbinding. Claude Garamond was first to specialize in type design, punch cutting,

and type-founding in Paris as a ser-vice to many famous publishers. After a decade of success with his types all over Europe, King Francois I of France de-manded that Garamond pro-duce a Greek typeface, which later became known as “Grecs du Roi”. The three fonts were modeled after the handwriting of Angelos Vergetios, and cut the largest size first, on a 16 point body. All three original sets of Royal Greek punches are preserved at the Imprime-rie Nationale in Paris, France.In 1545 Garamond became his own publisher, featuring his own types including a new italic

His first book published was Pia et religiosa Meditatio of Da-vid Chambellan. As publisher, Claude Garamond relied on his creativity harnessed by reasoned discipline to produce superbly well crafted products. He mod-eled his book publishing style after the classic works of the Venetian printers who catered to the absolute elites of high so-ciety. He admired and emulated the works of Aldus Manutius. Garamond insisted on clarity in design, generous page margins, quality composition, paper and printing , which was always ac-centuated with superb binding. Because of the soundness of.

Claude Garamond’s contribu-tion to typography was vast, a true renaissance man. Creating perfection in the type that he crafted his life will live on through his contribution to typography.

CLAUDE GARAMONDParisian

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SPEAK UP: We’re all really big fans of your work.

CLAUDE GARAMOND:Thanks. There are just so many damn typefaces, it’s good to see some of mine appreciated in light of the plurality.

SU: What’s it like designing a typeface?

CG: Exciting. I love words. I like sentences even more. When they all come together in a para-graph, that’s the greatest. And to me, making the material that goes into words, sentences, and paragraphs, well… it’s exciting. Exciting.

SU: That’s good. I’m glad to hear that type design is exciting to somebody. And, you’re a rare breed, Claude. It can be a labo-

rious activity, even painful. But, you know that better than I.

CG: Type is something I’m pas-sionate about. I love letters. I love the unity and variety that’s cre-ated. The drawing is especially exciting.

SU: And what about drawing the letters? How do you arrive at the letters?

CG: Well, I just draw them all, and try to make the family look… like it’s all related. There’s got to be cohesion. Unity is very important.

SU: So what you’re saying is you can’t have an ‘a’ look like a ‘t.’ There’s definitely a fine line between unity and variety.

CG: Exactly.

SU: What happens when one letter does look like another?

CG: Wow, I didn’t expect these kinds of questions. You’re not making this easy, but in truth, that never happens. Well, I take that back. Sometimes… some-times I make a ‘p’ really look like a ‘q,’ and I don’t mean just flip-flopping the ‘p.’ That’s far too easy. It’s hard to explain, but in the end, I can’t really treat the let-ters like that. I can’t abuse them. So when I toy around like that, it’s just for me. There’s no way the world will ever see that. You see, typography serves a purpose. And in a sense, so do I. I create an alphabet that represents the letters of our Roman system. I can’t play games like making one letter look like another, as much as I’d like to. Typography is not expression. Typography is utility.

SU: That’s a very noble way to put it.

CG: It really really is.

SU: Your typefaces are so dif-ferent from the others out there. They’re traditional. I should qualify that. I don’t mean tra-ditional in the upper case ‘T’ sense, like the period between Old Style and Modern during the 1700s. I mean the kind of… well, kind of blobby appearance your face has. You’ve left behind some memory of the metal technology. Even some of the memory of the carved Roman letters and humanistic writing styles of the scribes.

CG: I think you’re confusing Traditional with the Transitional period.

Here, Claude Garamond shares some of his ideals, passions, and excitement

Type design cannot be completed by anyone. It takes a rare breed to sit tirelessly in front of drawings of counters, bridges, shoulders, and punctuation. The complete system of ABC and 123 amounts to a visual communication that is at onetime complex, but when utilized taken for granted. Typographers make language visible. Form is content.

Cl audeGaramond

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Type is some-thing I’m pas-sionate about. I love letters. I love the unity and variety

that’s created. The drawing is especially excit-

ing.

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hins. I was never comfortable with push-ing the envelope like that. It almost makes me uncomfortable thinking about it all. Baskerville and Bodoni… they’re wild.

SU: Wow.

(Laughter)

SU: Claude, tell us, on page three of Arithmetica by Oronce Fine (published by Simon de Colines in Paris) why did you choose to set the heading material in so many variations. You have bold caps, then Roman caps, then smaller Roman caps. Why so much fussing?

CG: Ah. Copernicus and I were discuss-ing this the other day. Simply put, I told him, “I like to play with the type.”

SU: That’s too much.

SU: Oh.

CG: But, you’re absolutely correct about the quality of my letters. They quote the past. They’re about the past.

SU: There are a lot of faces out there that don’t give a care in the world about the old traditions. How do you compare them to yours?

CG: Well, I’m sure they all have their intentions. They all have a reason for not being so… how did you call it?

SU: Blobby.

CG: Yes, blobby. They’re not too blobby. In fact, there’s even more contrast be-tween the thicks and thins. I was never comfortable with pushing the envelope like that. It almost makes me uncomfort-able thinking about it all. Baskerville

I l I k e t op l aywIththet y p e

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sistant told me that it has a radical new way of structuring type families, and even rendering them on screen. I hear it’s all 96dpi. I have to do some more investigation. Chances are, I may have Paul—-my production assistant—-do the research for me.

SU: I can’t blame you. Technology sucks up so much time.

CG: God, ain’t that the truth.

SU: Claude, thanks so much for shar-ing a little bit of yourself. For those of you not familiar with Claude’s work, his Old Style typefaces are available in various sizes and weights: light, book, bold, and ultra (each with an italic).

CG: Yeah, each has an italic, but let’s not forget the condensed versions.

SU: Right. Well, anything you’d like to say before I let you go?

CG: David Carson, if you’re out there, keep up the good work.

(Laughter)

CG: Really. Look, I really believe that design—especially typographic page de-sign—is about the details. And you have to play, to a degree, in order to arrive at weight… then what? I’d be doing some cheap Microsoft Word document. You know? It’s so static. Kind of like Tschich-old.

SU: Right. From his Penguin days.

CG: Whatever. I can never keep track of that man.

SU: Where does Claude Garamond go next? What’s your next challenge?

CG: I’m fascinated by Apple’s new op-erating system, OSX. My production as-sistant told me that it has a radical new way of structuring type families, and even rendering them on screen. I hear it’s all 96dpi. I have to do some more investigation. Chances are, I may have Paul—-my production assistant—-do the research for me.

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lausique!si si,M

La musique est l’art consistant à ar-ranger et à ordonner sons et silences au cours du temps : le rythme est le

support de cette combinaison dans le temps, la hauteur, celle de la combi-naison dans les fréquences, etc. Dans certains cas, l’intrusion de l’aléatoire a cependant dénié tout caractère volon-

taire à la composition.

La musique est un art, celui de la muse Euterpe dans la mythologie grecque. Elle est donc à la fois une

création (une œuvre d’art), une représentation et aussi un mode de

communication. Elle utilise certaines règles ou systèmes de composition, des plus simples aux plus complexes (les notes de musique, les gammes,

etc.). Elle peut utiliser des objets div-ers, le corps, la voix, mais aussi des

instruments de musique spécialement conçus.

La musique est évanescente : elle n’existe que dans l’instant de sa per-ception qui doit en reconstituer son

“unité” dans la durée.

La musique a existé dans toutes les so-ciétés humaines, depuis la préhistoire.

Elle est à la fois forme d’expression humaine individuelle (notamment

l’expression des sentiments), source de rassemblement collectif et de plaisir (fête, chant, danse) et symbole d’une

communauté ou d’une nation (hymne national, style musical officiel, mu-sique religieuse, musique militaire).

Dis-moi ce que t’écoutes, je te dirai qui tu es...

ou presque!

lausique!si si,M

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lausique!si si,M

lausique!si si,M