Garamond (English Wikipedia)

Adobe Garamond Pro specimen book (PDF). San José: Adobe Systems. 2000. Archived from the original (PDF) on 23 February 2015. Retrieved 9 March 2014.
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Slimbach, Robert. "Garamond Premier Pro character set" (PDF). Adobe Systems. Archived from the original (PDF) on 9 February 2007. Retrieved 11 December 2015.

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Lawson, Alexander (June 1967). "Variations of Garamond". Printing Impressions. Archived from the original on 22 December 2015. Retrieved 11 December 2015.

anagrafi.com

Siskakis, Constantine F. "KS GrequeX". Anagrafi Fonts. Retrieved 15 July 2020.

archive.org

Mosley, James (1960). "New Approaches to the Classification of Typefaces". The British Printer (Reprinted for the United States House Committee on the Judiciary).
Barker 2003, p. 194. Barker, Nicolas (2003). "The Aldine Roman in Paris: 1530–1534". Form and Meaning in the History of the Book : selected essays. London: British Library. pp. 186–214. ISBN 978-0-7123-4777-8.
Barker 2003, pp. 196–198. Barker, Nicolas (2003). "The Aldine Roman in Paris: 1530–1534". Form and Meaning in the History of the Book : selected essays. London: British Library. pp. 186–214. ISBN 978-0-7123-4777-8.
Barker 2003, pp. 198–202. Barker, Nicolas (2003). "The Aldine Roman in Paris: 1530–1534". Form and Meaning in the History of the Book : selected essays. London: British Library. pp. 186–214. ISBN 978-0-7123-4777-8.
Barker 2003, p. 214. Barker, Nicolas (2003). "The Aldine Roman in Paris: 1530–1534". Form and Meaning in the History of the Book : selected essays. London: British Library. pp. 186–214. ISBN 978-0-7123-4777-8.
Clair, Colin (1969). A Chronology of Printing. New York, Praeger. p. 43.
Updike 1922, pp. 6–7, "Chapter 15: Types of the Netherlands, 1500–1800". Updike, Daniel Berkeley (1922). Printing Types: Their History, Forms and Uses: Volume 2. Harvard University Press. Retrieved 18 December 2015.
Morison 1973, p. 129. Morison, Stanley (1973). Carter, Harry (ed.). A Tally of Types. Cambridge: Cambridge University Press. ISBN 978-0-521-09786-4.
Updike 1922, p. ^{[page needed]}, "French Types, 1500–1800". Updike, Daniel Berkeley (1922). Printing Types: Their History, Forms and Uses: Volume 2. Harvard University Press. Retrieved 18 December 2015.
Morison 1973, pp. 129–130. Morison, Stanley (1973). Carter, Harry (ed.). A Tally of Types. Cambridge: Cambridge University Press. ISBN 978-0-521-09786-4.
Barker 2003, p. 190. Barker, Nicolas (2003). "The Aldine Roman in Paris: 1530–1534". Form and Meaning in the History of the Book : selected essays. London: British Library. pp. 186–214. ISBN 978-0-7123-4777-8.
Barker 2003, p. 198. Barker, Nicolas (2003). "The Aldine Roman in Paris: 1530–1534". Form and Meaning in the History of the Book : selected essays. London: British Library. pp. 186–214. ISBN 978-0-7123-4777-8.
Williamson 1956, p. 79. Williamson, Hugh (1956). Methods of Book Design: The Practice of an Industrial Craft. Oxford University Press.
Benton, Morris Fuller; Cleland, Thomas (1923). 1923 American Type Founders Specimen Book & Catalogue. Elizabeth, New Jersey: American Type Founders. pp. 17–31.
Hendel, Richard (1998). On Book Design. New Haven: Yale Univ. Press. p. 79. ISBN 978-0-300-07570-0. Some of my British colleagues who worked with the original version of [Monotype] Garamond consider the digitised version much too light. It doesn't feel so to me.
Goudy, Frederic (1946). A half-century of type design and typography, vol 1. New York: The Typophiles. pp. 121–124. Retrieved 3 December 2015. I made no attempt to eliminate the mannerisms or deficiencies of his famous type, realising that they came not by intention, but rather through the punch-cutter's handling, to his lack of tools of precision and his crude materials, for he worked by eye and not by rule.
I did find it impossible to eliminate, in my own rendition of the letter, that subtle something we call 'personality' that something made up of items so intangible as practically to be imperceptible when individual types are compared, yet clearly manifest when the page they form is viewed as a whole. The subtleties ... I couldn't neglect, yet I did not consciously include them in my own drawings, and these are the touches that mark my face as belonging to the present and not to the sixteenth century.
Rogers, Bruce (January 1923). "Printer's Note". Monotype: A Journal of Composing Room Efficiency: 23. This issue of Monotype is set in a trial font of a new version of Garamond's design ... the type ornaments, modelled on 16th century ones, will also be available.
Walsh, Norman; Muellner, Leonard (1999). "Colophon". DocBook (1st ed.). Cambridge: O'Reilly. ISBN 978-1-56592-580-9. Retrieved 13 December 2015.

archlinux.org

aur.archlinux.org

"AUR (en) - urw-garamond". Retrieved 2 October 2022.

atftype.com

"ATF Collection: Garamond". ATF Collection. Retrieved 3 December 2015.

behance.net

"Cormorant". Behance. Catharsis Fonts. August 2015. Retrieved 19 August 2015.

bertholdtypes.com

"Berthold Garamond Std". Berthold Types. Retrieved 24 February 2021.

bibsoc.org.uk

Vervliet, Hendrik. "Conspectus of French Renaissance Printing Types (online errata)" (PDF). Bibliographical Society of London. Retrieved 14 August 2017.

bnf.fr

gallica.bnf.fr

Paillard, Jean (1914). Claude Garamont, graveur et fondeur de lettres. Paris: Ollière. Retrieved 31 January 2016.

books.google.com

Phil Baines; Andrew Haslam (2005). Type & Typography. Laurence King Publishing. pp. 50–51. ISBN 978-1-85669-437-7.
Dearden, James (1973). Encyclopedia of Library and Information Science: Claude Garamond. New York u.a.: Dekker. pp. 196–199. ISBN 978-0-8247-2109-1. Retrieved 11 December 2015.
Tracy 2003, pp. 58–59. Tracy, Walter (2003). Letters of Credit: A View of Type Design. D.R. Godine. ISBN 978-1-56792-240-0.
Vervliet 2008, p. 223. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Lamesle, Claude (1742). Épreuves générales des caracteres qui se trouvent chez Claude Lamesle. Rue Galande, Paris: Claude Lamesle. Retrieved 2 February 2016.
Nesbitt 1998, p. 100. "It is generally acknowledged that Garamond did not cut a good italic: he does not seem to have been interested in this type form. The two italics he cut for his own venture into the publishing field were poor imitations of the Aldine letter." Nesbitt, Alexander (1998). The History and Technique of Lettering. Mineola, N.Y.: Dover Publications. ISBN 978-0-486-40281-9.
The Aldine Press: Catalogue of the Ahmanson-Murphy Collection of books by or relating to the press in the library of the University of California, Los Angeles incorporating works recorded elsewhere. Berkeley: Univ. of California Press. 2001. p. 23. ISBN 978-0-520-22993-8.
Vervliet 2008, pp. 114–118. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, p. 15. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, pp. 105–111, 113–121. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, pp. 88, 110, 156, 165, 171. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, p. 156. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Armstrong 2011, pp. 51–52. Armstrong, Elizabeth (2011). Robert Estienne, Royal Printer: An Historical Study of the Elder Stephanus. Cambridge University Press. ISBN 978-0-521-17066-6.
Vervliet 2008, p. 1. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, pp. 167–171. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, pp. 164–165. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Armstrong 2011, pp. 48–49. Armstrong, Elizabeth (2011). Robert Estienne, Royal Printer: An Historical Study of the Elder Stephanus. Cambridge University Press. ISBN 978-0-521-17066-6.
Vervliet 2008, p. 178. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, pp. 287–320. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, p. 319. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, p. 346. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, pp. 288–298, 312. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, p. 383. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, p. 386. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Armstrong 2011, p. 52. Armstrong, Elizabeth (2011). Robert Estienne, Royal Printer: An Historical Study of the Elder Stephanus. Cambridge University Press. ISBN 978-0-521-17066-6.
Vervliet 2008, pp. 130–131, 133–134. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
Vervliet 2008, p. 388. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
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Vervliet 2008, p. 220. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
van Uchelen, Ton Croiset; Dijstelberge, P., eds. (2013). Dutch typography in the sixteenth century the collected works of Paul Valkema Blouw. Leiden: Brill. p. 426. ISBN 978-90-04-25655-2.
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Vervliet 2008, p. 322. Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. ISBN 978-90-04-16982-1.
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Shaw 2017, pp. 48–69. Shaw, Paul (18 April 2017). Revival Type: Digital Typefaces Inspired by the Past. Yale University Press. ISBN 978-0-300-21929-6.
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Maag, Karin (2002). "The Huguenot academies: an uncertain future". In Mentzer, Raymond; Spicer, Andrew (eds.). Society and culture in the Huguenot world : 1559–1685. Cambridge: Cambridge University Press. pp. 139–156. ISBN 978-0-521-77324-9. Retrieved 31 January 2016.
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As of 2018^[update], this implementation has 5 weights (Regular, Medium, Semi-Bold, Bold and Extra-Bold), both in regular and italic style. The font files in both common flavours (OTF and TTF) can be downloaded from Pardo's repository^[235] and are also available for embedding on Google Fonts, but in an, according to Duffner, ”utterly outdated” version.^[236]

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