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Claude Garamont (–1561), known commonly as Claude Garamond, was a French type designer, publisher and punchcutting based in Paris. Garamond worked as an Engraving of Punchcutting, the masters used to stamp matrices, the moulds used to cast metal type. He worked in the tradition now called old-style serif design, which produced letters with a relatively organic structure resembling handwriting with a Quill pen but with a slightly more structured and upright design. Considered one of the leading of all time, he is recognised to this day for the elegance of his typefaces. Many old-style serif are collectively known as Garamond, named after the designer.
Garamond was one of the first independent punchcutters, specialising in type design and Punchcutting as a service to others rather than working in house for a specific printer. His career therefore helped to define the future of commercial printing with typefounding as a distinct industry to printing books.
In 1536-1540, Garamond worked as a typefounder for Charlotte Guillard. In her printshop, he met Jean de Gagny, the French king's Almoner. In 1539, when Francis I wanted to create a print shop in Paris to publish greek texts, Garamond was recruited to provide type for the printer Conrad Neobar. Garamond came to prominence around 1540, when three of his Greek typefaces (now called the Grecs du roi (1541)) were requested for a royally-ordered book series by Robert Estienne. Garamond based these types on the handwriting of Angelo Vergecio, the King's Librarian at Fontainebleau. The result is an immensely complicated set of type, including a vast variety of alternate letters and ligatures to simulate the flexibility of handwriting.
Garamond worked for a variety of employers on commission, creating punches for publishers and the government. Garamond's typefaces were popular abroad, and replaced Griffo's original roman type at the Aldine Press in Venice. He also worked as a publisher and bookseller. While his italics have been considered less impressive than his roman typefaces, he was one of the early printers to establish the modern tradition that the italic capitals should slope as the lower case does, rather than remain upright as Roman square capitals do.
Although Garamond himself remains an eminent figure in French printing of the 16th century, historical research over the last century has increasingly placed his work in context. Garamond was one figure among many at a time when new typefaces were rapidly produced in 16th-century France, and these type designers operated within a pre-existing tradition defined by the work of figures such as Aldus Manutius who were active over the preceding half-century. The period from 1520 to around 1560, encompassing Garamond's career as an artisan, was an extremely busy period for typeface creation, with a wide range of fonts created, some apparently for exclusive use by a specific printer, with others sold or traded between them. Many engravers were active over this time, including Garamond, Robert Granjon, Guillaume Le Bé, Antoine Augereau, Simon de Colines, Pierre Haultin and others, creating typefaces not just in the Latin alphabet, but also in Greek and Hebrew for scholarly use. (2025). 9781584562719, Oak Knoll Press. ISBN 9781584562719 This period saw the creation of a pool of high-quality punches and matrices that would supply the French printing industry, to a large extent, for the next two centuries.
Despite Garamond's eminence, he was never particularly financially successful, perhaps due to a surfeit of competition and piracy in the Parisian book industry of the time. In 1545, Garamond entered the publishing trade in a partnership with Jean Barbé, a Parisian bookseller. Garamond French Ministry of Culture and Communication. The first book Garamond published was called, "Pia et Religiosa Meditatio" by David Chambellan.
The only major collection of original Garamond material in the Latin alphabet is that collected soon after his death by Christophe Plantin, based in Antwerp. This collection of punches and matrices now forms a major part of the collection of the Plantin-Moretus Museum in Antwerp, together with many other typefaces collected by Plantin from other typefounders of the period. The collection has been used extensively for research, for example by historians Harry Carter and H. D. L. Vervliet. (2025). 9780907259213, Hyphen. ISBN 9780907259213
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