- MD5值：
Monotype Garamond
英文名字:GARAIT.TTF
字體介紹
Monotype Garamond
品牌：Monotype
設計師：Monotype Design Studio
發行時間：2018
字庫編碼：Unicode
分類：襯線體
字體屬性：
Monotype Garamond是一個非常精致的設計，並且無疑是Garamond字體風格最優雅的詮釋之一。Monotype Garamond在筆畫字重、開放的字懷和精致的襯線上形成瞭鮮明的對比，它非常清晰易讀，幾乎可以設置為任何尺寸。Roman和Bold字重之間的對比非常完美。
當然，這種示例性的字體復興是對卓越模型的致敬。事實證明，這種模型是受Claude Garamond啟發而設計的，而並非由他而設計。
二十世紀三十年，在Stanley Morison的領導下，Monotype進行瞭歐洲當時最激進的字體開發計劃，之前從未有過。該程序包括原始字體和對舊設計的解釋。它最終會產生諸如Centaur、Gill Sans、Perpetua和Ehrhardt這樣的字體，以及Monotype的Bembo、Baskerville、Fournier版本，當然還有Monotype Garamond的版本。
Monotype Garamond字體切割於1922年，是Morison著名的字體復興的第一個版本。它是仿照French Imprimerie Nationale的字體而制作的，French Imprimerie Nationale是法國政府印刷百年歷史的辦公室（大致相當於US Government Printing Office或英國Her Majesty’s Stationery Office）。
長期以來，人們一直認為Imprimerie字體是Claude Garamond在16世紀早期的作品。直到1926年，Monotype和許多其他鑄造廠的Garamond“字體發佈後，字體歷史學傢Beatrice Warde才發現這種字體是法國Sedan的Jean Jannon的作品。Jannon是後來的一位設計師，他的作品比Garamond字體晚瞭大約80年。（為瞭扭轉對這個錯誤的信息，沃Warde以“Paul Beaujon”的筆名發表瞭她的這一發現）。
就像Monotype後來的三個Century一樣，Jannon的目標是模仿偉大的羅馬字體大師的風格並將他們的設計提供給當時那個時代的印刷商。顯然他成功瞭，法國Imprimerie購買瞭他的字體，隨著時間的推移，Jean Jannon的名字逐漸被淡忘，人們開始相信這些字體確實是出自早期的雕刻大師之手。
在Monotype Garamond中，就像對該字體的其他說明一樣，字符筆畫粗細應力是傾斜的，最明顯的部分大約在兩點和八點鐘方向。頭部襯線（字符筆畫的頂部）看起來像小橫幅，基線襯線往往較長而略呈杯狀，末端柔和圓滑。
Monatype Garamond字體傢族包括兩個Roman字重以及它的補充斜體設計。這個傢庭還提供小型大寫字母、老式數字以及一傢族斜體替代字符。雖然主要用於文本合成，但Monotype Garamond是獨特的、活潑的，並在大尺寸下非常通用。”
Monotype Garamond is a design of remarkable sophistication, and is certainly one of the most elegant interpretations of the Garamond type style. With its distinct contrast in stroke weights, open counters and delicate serifs, Monotype Garamond is exceptionally legible and can be set at virtually any size. The contrast between the Roman and Bold weights is nothing short of ideal.
Such an exemplary type revival is, of course, a tribute to the excellence of the model. As it turns out, the model in this case was inspired – but not designed – by Claude Garamond.
It was under Stanley Morison’s leadership, in the third decade of the twentieth century, that Monotype undertook the most aggressive program of typeface development ever attempted in Europe up to that time. The program encompassed original typefaces and interpretations of old designs. It would ultimately produce such faces as Centaur, Gill Sans, Perpetua, and Ehrhardt, as well as Monotype’s versions of Bembo, Baskerville, Fournier and of course, Monotype Garamond.
Cut in 1922, Monotype Garamond was the first of Morison’s celebrated typeface revivals. It was patterned after type from the archives of the French Imprimerie Nationale, the centuries-old office of French government printing (broadly equivalent to the US Government Printing Office, or Her Majesty’s Stationery Office in the UK).
The Imprimerie type was long believed to be the early-16th-century work of Claude Garamond. It was only in 1926, after Garamond" fonts from Monotype and many other foundries had been released, that type historian Beatrice Warde discovered the type was the work of Jean Jannon, of Sedan, France. Jannon was a later designer who produced his work some eighty years after the fonts of Garamond. (In an added twist to this mistaken-identity plot, Warde published her discovery under the pseudonym "Paul Beaujon.")
Jannon’s goal, much like Monotype’s three centuries later, was to imitate the style of the great masters of roman type and make their designs available to printers of his own day. Obviously, he succeeded. The French Imprimerie purchased his types and, over time, as the name of Jean Jannon faded, came to believe they were indeed fonts from the earlier master punch cutter.
In Monotype Garamond, as with other interpretations of the face, character stroke-weight stress is canted, with the heaviest parts at approximately the two and eight o’clock positions. Head serifs (those at the top of character strokes) look like little banners, and baseline serifs tend to be long and slightly cupped, with soft, rounded terminals.
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