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143:, had worked to itemise the museum's extensive collection of sixteenth-century punches and matrices in the 1950s, with his son occasionally helping. Work continued on the typeface, sporadically, through the 1960s and 1970s. The typeface was released in 1978. With a glittering, crisp design, Galliard has been used both for body text and for headings. Galliard is notable for its 'pelican-beak' letter 'g', based on Granjon's Double Pica italic of 1570.
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The family includes 4 fonts in 2 weights (regular, bold) and 1 width, with complementary italics. Character set support include. OpenType features include case sensitive forms, fractions, ligatures, lining/old style figures, localized forms, ordinals, small caps. Character set supports include Adobe
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In 1954 Carter was persuaded...to take up the appointment of
Archivist at the Oxford University Press...a part of Carter's brief was therefore to look into collections...it had gradually become known that Plantin's stock of punches and matrices had also survived intact...Carter became a member of
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Galliard has robust strokes, but also sharp details and incisive contrast between thick and thin strokes. According to Lawson, "While the designers of the regenerated
Garamonds were attempting to bring fidelity in their copies, Carter preferred simply to bring to Galliard his interpretation of the
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after Mike Parker had given ITC exclusive rights to
Galliard. Matthew Carter drew the four roman weights and complementary italic designs while at Mergenthaler Linotype, and a suite of small caps for the Roman and Bold weights. ITC Galliard was introduced by Mergenthaler Linotype Company in 1978,
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was a lively dance of the period." Explaining what drew him to
Granjon's work, Carter wrote on some of his more characteristic letterforms: "looking at them, adjectives like 'spirited, 'tense' and 'vigorous' come to mind...it is easy to admire Granjon's work."
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OpenType features include case sensitive forms, numerators/denominators, fractions, ligatures, lining/old style/proportional/tabular figures, localized forms, ordinals, scientific inferiors, superscript, small caps, diphthongs, stylistic alternates (set 1).
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the small team of researchers who performed the task of sorting and cataloguing the materials...his experience at
Antwerp involved handling punches...and original matrices, from which he cast sample types, using the traditional hand mould.
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It is a version of ITC Galliard optimised for on-screen use, designed by Carl
Crossgrove. Changes include increased lowercase heights, increased inter-character spacing, more open counters, adjusted thicks to thins ratio.
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Robert
Granjon's Ascendonica italic, the model for Galliard's, shown in a 1611 book. The 'pelican' 'g' is used in the second line and a conventional two-storey 'g' in other parts of the text.
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124:. According to Alexander Lawson, "The name Galliard stems from Granjon's own term for an 8-point font he cut about 1570. It undoubtedly refers to the style of the face, for the
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The family includes 8 fonts in 4 weights and 1 width, with complementary italics. OpenType features include fractions, ligatures, ordinals, superscript.
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with public availability for ITC subscribers beginning on
January 15, 1982 (as announced in December 1981 (volume 8-4) issue of U&lc magazine).
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Atrebatis cvrae posteriores, seu, Plurimarum non antè cognitarum, aut descriptarum stirpium, peregrinorumq́ue aliquot animalium
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in
Antwerp. Matthew Carter, who joined Mergenthaler Linotype as a typeface designer in 1965, was also an admirer. His father,
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135:, Director of Typographic Development at Mergenthaler Linotype, had been inspired by seeing the types of Granjon at the
500:(2003). "Reviving the Classics: Matthew Carter and the Interpretation of Historical Models". In Re, Margaret (ed.).
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of a
Granjon original...Galliard thus possesses the authentic sparkle that is lacking in the current Garamonds."
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The Palaeotypography of the French Renaissance: Selected papers on sixteenth-century typefaces. 2 vols
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Granjon's punches for the italic Galliard is based on. The second row shows both forms of the 'g'.
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It is a version of ITC Galliard with characters that support Central European languages.
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ITC Galliard eText family - Designed by Matthew Carter in 2013 Carl Crossgrove in 2013
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Galliard was a typeface used in the graphic identity and standards of
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eText Typefaces: Typefaces for High-Quality e-Reading Experiences
504:(2. ed.). New York: Princeton Architectural. pp. 31–6.
581:"An Italic for Uccello [Comments on TypeDrawers thread]"
279:, Charles Bigelow, editor, Bedford Arts, 1989, pp. 13–16.
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Galliard was one of twenty-three typefaces acquired by the
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Typographically Speaking: The Art of Matthew Carter
258:Galliard is the font found on the official logo of
120:Galliard is based on the sixteenth-century type of
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225:until it was replaced in 2007 by Matthew Carter's
311:"Galliard: A Revival of Types of Robert Granjon"
229:which was itself inspired in part by Galliard.
525:U&lc. VOLUME EIGHT, NUMBER FOUR, DEC. 1981
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644:International Typeface Corporation typefaces
109:is the name of a serif typeface designed by
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454:A View of Early Typography up to about 1600
421:"ITC Classics: ITC Galliard - ITCFonts.com"
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358:. Leiden: Koninklijke Brill NV. pp.
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236:in 2011 and subsequently exhibited in
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639:Typefaces designed by Matthew Carter
245:Galliard is the house typeface of
161:International Typeface Corporation
91:International Typeface Corporation
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288:, Godine, 1990, pp. 141–146.
410:, Charles Bigelow, editor, 1989.
557:. Antwerp: Officina Plantiniana
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159:It is a version re-issued by
115:Mergenthaler Linotype Company
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609:ITC Classics: ITC Galliard
321:(1): 77–98. Archived from
260:Baylor College of Medicine
113:and issued in 1978 by the
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634:Old style serif typefaces
183:ITC Galliard eText (2013)
147:ITC Galliard (1978, 1982)
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456:. London: Hyphen Press.
309:Carter, Matthew (1985).
16:Not to be confused with
171:ITC Galliard Pro (2010)
476:"Reconstructing Harry"
348:Vervliet, Hendrik D.L.
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137:Plantin-Moretus Museum
390:Anatomy of a Typeface
285:Anatomy of a Typeface
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234:Museum of Modern Art
579:(31 October 2018).
387:Lawson, Alexander,
325:on 30 December 2017
282:Lawson, Alexander,
239:Standard Deviations
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577:Blokland, Frank E.
478:. Hoefler & Co
408:Fine Print on Type
402:Bigelow, Charles,
362:–230, 321–2, 356.
277:Fine Print on Type
271:Bigelow, Charles,
253:Library of America
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18:galliard type size
472:Hoefler, Jonathan
248:The New Criterion
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614:ITC Galliard Pro
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111:Matthew Carter
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75:Matthew Carter
71:Robert Granjon
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54:Classification
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27:ITC Galliard
585:TypeDrawers
251:and of the
192:Western 2.
133:Mike Parker
66:Designer(s)
628:Categories
482:14 October
431:2012-06-20
293:References
273:Galliard,
196:Reception
59:Old-style
551:(1611).
448:(2002).
404:Galliard
350:(2008).
266:See also
255:series.
126:galliard
87:Linotype
42:Category
590:5 March
561:5 March
452:(ed.).
82:Foundry
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329:19 May
217:Usages
211:spirit
47:Serif
592:2019
563:2019
506:ISBN
484:2017
364:ISBN
331:2017
100:1978
406:in
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
