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Per year, an impressive number considering that TheseĪmount to some 2,500 punches, averaging 250 punches Romans, 9 italics, 2 Greeks, and 2 musics, and 12įleurons (typographic “flowers” or ornaments).
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Letter-cutting in Paris, Granjon cut around 24 fonts: 11 In France, but also in Italy, Switzerland, Spain,Īnd the Low Countries. Renaissance humanism, became popular not only When French romans and italics, betokening fashionable The types of Granjon became internationally popular Vatican, until a few months before his death in 1590. Two dozen non-Latin types and printers’ flowers for the Granjon movedīack to Paris in 1570, to Lyons from 1575 to 1578,Īnd then to Rome, where he cut punches for some Where he sold types and custom cuttings to Christophe Geneva and Strasbourg, and in 1564 moved to Antwerp, HeĪpparently left Lyons around 1562, worked for a time in Moved to Lyons and later married Antoinette Salomon,ĭaughter of Bernard Salomon, an eminent illustrator,Įngraver, and book designer for De Tournes. To printers there, especially Jean de Tournes, for whom Though working in Paris from aroundġ542 to 1552, Granjon traveled to Lyons and sold types Today) in 1542 and an Italic on “English” body ( ≈ 14 Him are a Roman on “Long Primer” body ( ≈ 10 point The earliest types reliably attributed to Was apprenticed to a goldsmith and afterward turned to In Paris, son of a bookbinder and publisher. Of Granjon’s typefaces, Vervliet provides a biography In addition to plentiful details, dates, and examples This chancery style is the italic in the Galliard
GRANJON ROMAN FONT FREE MANUALS
Those of writing manuals by Arrighi and Tagliente. Resembled models of Italian chancery cursive like Produced for Monotype and Linotype hot-metalĬomposition machines and then adapted to photo-Īnd digital type. Revival of Garamond roman and Granjon italic, Modified by Jan Tschichold for Sabon, a modern His “droite” isĪ narrower and more upright style, revived and Slanted style that has most often been revived as aĬompanion to Garamond romans. His “pendante” or “couchée” is a strongly Thirty different italics in at least three different Invention in cutting italics, which could be moreĮxuberant and stylish because they did not need to Roman gave Granjon greater freedom of expression and Perhaps paradoxically, the subordination of italic to Hence, though Granjon’s italics have oftenīeen imitated in Garamond type revivals, they are Roman in type families, a practice continuing to Seventeenth century, italic was commonly paired with Italic was used in subordination to roman-usually a Often used in body text instead of roman, but later, Review is typeset in Galliard, both roman and italic.)īefore and during Granjon’s early career, italic was Point) roman that Granjon cut around 1570. “Gaillard”, the original name of a small (around 8 Granjon’s roman and his italic designs is not named “Granjon” but “Galliard”, the English spelling of That authentically, and brilliantly, embodies both Roman based on a Garamond design with an italicīased on a Granjon design. Granjon’s name, though well known in his time, isīorne today by only one type family, which combines a Garamond or Garamont, though many are not based More than fifty digital type families today are named Was Claude Garamond, renowned for his roman types. Of Typography the most famous letter-cutter of the era The sixteenth century has been called the Golden Age Regularity, clarity, good taste, and grace in typeĭesign and evidently saw those qualities in Granjon’s “Maestro Robert Granjon was the best letter-cutterĮver.” Bodoni, a preeminent type artist himself, prized Writing two centuries after Granjon’s death, that: Latin alphabet, as well as Greek, Cyrillic, Arabic,Īrmenian, Hebrew, and Syriac among non-Latin Including romans, italics, and cursive blackletters in the Granjon was both astonishingly versatile andĪmazingly productive, cutting around ninety fonts, Of the French Renaissance but among the greatest of all Granjon can now be ranked not only among the finest Of the illustrious sixteenth century French typeĭesigner Robert Granjon. These two books tell us essentially all that we know Vervliet, Granjon’s Flowers: An Enquiry Into Granjon’s, Giolito’s, and De Tournes’ Ornaments, 1542–1586. Vervliet, Robert Granjon, letter-cutter 1513–1590: an oeuvre catalogue. Book reviews: Robert Granjon, letter-cutter,