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In the period of Garamond's early life roman type had been displacing the blackletter or Gothic type which was used in some although not all early French printing. The roman designs of Garamond which are his most imitated were based on a font cut around for the Venetian printer Aldus Manutius by engraver Francesco Griffo.
Historian Beatrice Warde has assessed De Aetna as something of a pilot project , a small book printed to a higher standard than Manutius' norm.
His graceful and delicate typefaces, based on the work of Aldus Manutius thirty-five years earlier, redefined practices in French printing; never before had a complete roman typeface been made to such a large size, and the use of multiple sizes cut in the same style allowed harmony between headings and body text. His typefaces were either cut by or defined the style in which Garamond worked. French typefounders of the 16th century assiduously examined Manutius's work and, it is thought, De Aetna in particular as a source of inspiration.
The Griffo font was only cut in a single size, so French punchcutters made modified versions of the design to suit different sizes, with a more delicate structure at larger sizes. The period from to around , encompassing Garamond's career, was an extremely busy period for typeface creation.
Many fonts were cut, some such as Robert Estienne's for a single printer's exclusive use, others sold or traded between them. Confusion about which engravers created which typefaces is natural since many were active over this time, creating typefaces not just in the Latin alphabet in roman and italic, but also in Greek and Hebrew for scholarly use.
While some records such as Christophe Plantin 's exist of what exact types were cut by Garamond himself, many details of his career remain uncertain: early estimates placed Garamond's date of birth , but modern opinion proposes much later estimates. Greek[ edit ] Garamond's original punches for the Grecs du roi type, owned by the French government. Garamond designed type for the Greek alphabet from the beginning of his attested career, but his most celebrated work in Greek, the Grecs du roi fonts, commissioned for the French government in ,  are very different to his Latin designs: they attempt to simulate the elegant handwriting of Cretan scribe Angelo Vergecio and include a vast variety of alternate letters and ligatures to achieve this.
The grecs du roi type, the contract for which survives, is the type with which Garamond enters the historical record, although it is clearly not the work of a beginner.
Earlier fonts that may have been cut by Garamond have been suggested but the attribution is less certain. After Garamond's death[ edit ] Garamond died in and his punches and matrices were sold off by his widow. It appears in a book from printer Andreas Wechel, of German origins. His career also took in stops in the Netherlands, Switzerland, Germany and finally for the last twelve years of his life Rome, where he ended his career in the service of the Vatican. Vervliet comments that Granjon "laid the foundation for our image of the way an Italic should look.
The 'J' is a later addition. In , sixty years after Garamond's death, the French printer Jean Jannon released a specimen of typefaces that had some characteristics similar to the Garamond designs. The contract is actually made for one 'Nicholas Jannon', which historians have concluded to be a mistake. Jannon was a Protestant in mostly Catholic France. After apparently working with the Estienne family in Paris he set up an independent career as printer in Sedan in what is now north-eastern France, becoming printer for the Protestant Academy.
By his report he took up punchcutting seriously in his thirties, although according to Williamson he would have cut decorative material and engravings at least before this. The italics are also very different to Garamond's own or Granjon's, being much more ornate and with considerable variation in angle of the capitals.
Carter in the s followed this conclusion. The Didot family's extremely influential type style , now called Didot, displaced the old-style serif type of Garamond, Jannon and others in the late eighteenth and early nineteenth centuries.