As a result, while 'Garamond' is a common term in the printing industry, the terms 'French Renaissance antiqua' and ' Garalde' have been used in academic writing to refer generally to fonts on the Aldus-French Renaissance model by Garamond and others.

However, although Garamond himself remains considered a major figure in French printing of the sixteenth century, historical research has increasingly placed him in context as one artisan punchcutter among many active at a time of rapid production of new typefaces in sixteenth-century France, and research has only slowly developed into which fonts were cut by him and which by contemporaries Robert Bringhurst commented that 'it was a widespread custom for many years to attribute almost any good sixteenth-century French font' to Garamond. It is common to pair these with italics based on those created by his contemporary Robert Granjon, who was well known for his proficiency in this genre. Garamond's types followed the model of an influential typeface cut for Venetian printer Aldus Manutius by his punchcutter Francesco Griffo in 1495, and are in what is now called the old-style of serif letter design, letters with a relatively organic structure resembling handwriting with a pen, but with a slightly more structured, upright design.įollowing an eclipse in popularity in the eighteenth and nineteenth century, many modern revival faces in the Garamond style have been developed. Garamond-style typefaces are popular and particularly often used for book printing and body text.

Garamond is a group of many serif typefaces, named for sixteenth-century Parisian engraver Claude Garamond, generally spelled as Garamont in his lifetime. Adobe Garamond Pro (regular style based on Garamond's work italic on the work of Robert Granjon)

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