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Garamond, Claude

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Garamond, Claude (klōd gärämôN`), 1480–1561, Parisian designer and maker of printing types. According to tradition he learned his art from Geofroy Tory Tory, Geofroy , c.1480–1533, Parisian printer, typographer, and author, b. Bourges. After study in Italy, he won distinction as a professor in Paris and became editor to the printer Henri Estienne.
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. Types designed by Garamond were used in the printeries of the Estienne Estienne, Étienne , or, Latinized, Stephanus , family of Parisian and Genevan printers of the 16th and 17th cent., distinguished through five generations in scholarship as well as in their craft.
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 family, Colines Colines, Simon de , d. 1546, Parisian printer. He was associated with the elder Henri Estienne and continued his work. Colines used elegant roman and italic types and a Greek type, with accents, that was superior to its predecessors.
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, Plantin Plantin, Christophe , 1514–89, printer. Plantin left his native France for Belgium because of religious persecution. In Antwerp his work, at first as a bookbinder, began in 1549. He began the production and publishing of books in 1555.
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, and Bodoni Bodoni, Giambattista , 1740–1813, Italian printer b. Piedmont. He was the son of a printer and worked for a time at the press of the Vatican. Under the patronage of the duke of Parma, he produced stately quartos and folios with impressive title pages and
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, and types used by the Elzevir Elzevir, Louis , 1540–1617, Dutch printer and bookseller, whose name also appeared as Elsevier or Elzevier. He produced his first book at Leiden in 1583. Under his descendants, the business was continued until 1791.
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 family were based on his designs. His royal Greek type (grecs du roi), designed for Francis I, imitated the Greek writing of a scholar of his time (Angelos Vergetios). His roman and italic types, however, were innovations in being designed as metal types, not as imitations of handwriting. His roman letter forms won general acceptance in France and elsewhere and were a chief influence in establishing the roman letter as standard, in place of the gothic or black letter. Some modern type designs given his name are not closely related to his, but are based on types that were mistakenly attributed to him.


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