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  • Full type case

  • The printer's workshop.

    Illuminated version of Josse Bade's trademark, in Chants royaux sur la Conception, vers 1530, (...)
  • Trademark of the Parisian printer Josse Bade, presenting his printing shop.

    Two of the printing press workers are visible on the left: one is turning the screw, while the (...)
  • Gutenberg-style printing press.

    Gutenberg-style printing press at the Musée de l’Imprimerie in Lyon.
  • Mozarabic Missal, Toledo, 1500.

    The colophon of this Spanish missal provides a good illustration of how printed books were (...)
  • Printing establishments in Europe from 1470 to 1500.

    Maps by Philippe Nieto. In: Le Berceau du livre imprimé. Autour des incunables, Brepols, 2010, (...)
  • The comparative mobility of printers from Lyon and Paris in the 15th century.

    By convention, a printer's travels are indicated by a line representing the shortest, or most (...)
  • Watermarks on paper from the Amboise city archives (15th century).

    The watermark is a pattern created by a wire shape attached to the paper mould. Paper over the (...)
  • Origin of printers from Lyon and Paris in the 15th century.

  • Gasparinus Barzizius

    Epistolae. Ed. Johannes Heynlin dit "de Lapide", Paris, Ulrich Gering, Martin Crantz et Michael (...)
  • Catalogue des livres de Robert Estienne, 1544..

  • Portrait of Ulrich Gering

    17th-century engraving, based on a portrait (now lost) in the Collège de Montaigu.
  • Letters of naturalisation by Louis XI for the three typographers, February 1474/1475.

  • Stained-glass window from the Manufacture de Sèvres

    Stained-glass window depicting the Renaissance, of the inventions, discoveries and works that (...)
  • Tristant chevalier de la Table ronde nouvellement imprimé à Paris, Vérard, 1496.

  • Roman de Tristan, Antoine Vérard, 1496

    This copy of Roman de Tristan, printed in Paris by Antoine Vérard in 1496, resembles a (...)
  • New Testament, Lyon, Buyer, 1476

    Early printed books did not have a title page. This edition of the New Testament (Lyon, Buyer, (...)
  • Latin Bible with Glossa Ordinaria (Strasbourg, ca. 1480)

    A layout typical of medieval manuscripts is here adopted for the first edition of the Latin (...)
  • Francesco Filelfo, Epistolae, Leyde, Johannes Severi, 1509

    In the late 15th and early 16th centuries, title pages were often complex, and devoid of any (...)
  • Textura typeface

    The stiffest and most formal variant of Gothic script, Textura primarily consists of thick (...)
  • Bâtarde

    A cursive face that was used for French 15th century incunabula.
  • Les Quatre livres de Caton

    Les Quatre livres de CatonParis, R. Breton et Ph. Danfrie, 1559, 8°. Robert Granjon's "lettre (...)
  • Rotunda typeface

    A rounded, flexible typeface used for all types of books printed in Latin (legal and (...)
  • First roman typeface

    A copy of Italian humanist script, this typeface was used by Konrad Sweyheim and Arnold (...)
  • First italic type.

    Description: Engraved by Francesco Griffo for Aldus Manutius in 1499, this typeface was based (...)
  • Geoffroy Tory, Champ Fleury. Art & Science de la deue & vraye Proportion des Lettres. Paris, 1529.

  • First roman typefaces: Interview with Roxane Jubert, 15 june 2011, 1'27''

    A type designer's view of the first roman typefaces
  • Henry de Saint-Didier, Traité...

    Henry de Saint-Didier, Traité contenant les secrets du premier livre sur l’espee seule, (...)
  • Béroalde de Verville, Le Tableau des riches inventions…

    Béroalde de Verville, Le Tableau des riches inventions… from Poliphilo's Strife of Love in a (...)
  • Vésale, De humani corporis fabrica, 1543

    A masterpiece of woodblock printing in one of the most important Renaissance treatises on (...)
  • A page from Andrea Alciato's Emblemata.

    Andrea Alciato's Emblemata (Lyon, Macé Bonhomme, 1551). Emblem books were a very popular (...)
  • Francesco Colonna, Hypnerotomachia Poliphili.

    Aldus Manutius, Venise, 1499.
  • Changes in the design of books printed in Paris between 1530 and 1560 (2) Interview with Geneviève Guilleminot, 8 July 2011, 5’18, 4'41

  • Pedlar selling alphabets books of hours.

    Coloured woodblock print in Anciens cris de Paris, 16th century.
  • Le Grant pardon de Nostre Dame de Reims.

    Paris, Jean du Pré or Guy Marchant, 1482.This is without doubt the earliest French poster that (...)
  • L'homme anatomique, Thielman Kerver, 1520

    Books of hours published in Paris in the second half of the 16th century often featured an (...)
  • La terrible et merveilleux signe qui a esté veu sur la Ville de Paris. Paris.

  • Guillaume Budé, Commentarii linguae graecae, Paris, Josse Bade

  • Erasmus published by Johann Froben

  • De Asse, Guillaume Budé

    Paris Josse Bade, 1527 The second of Josse Bade's typographic marks.
  • François I, king of France

    Painting by Jean Clouet, oil on wood, 16th century..
  • Thucydide (translated by Claude de Seyssel).

    Title page, Paris, Josse Bade, 1527
  • Duodecim Prophetae Malachias cum commentariis Rabbi David Kimhi

    [Hebrew Bible], 1539. (24x16). At the bottom of the page is the inscription Cum privilegio (...)
  • Geoffroy Tory, Champ Fleury

    1529, f. 8
  • Défense et illustration de la langue francoyse

    Joachim Du Bellay, Paris, printed for Arnoul L’Angelier, 1549. Download the document
  • Prologue des Chroniques de France

    Paris, Pasquier Bonhomme, 16 january 1476/1477
  • Ordinance of Villers-Cotterêt, 6 September 1539, feuillet 1 r.; feuillet XX r.

    This ordinance prescribes the use of French for all judicial acts and legal documents.
  • The type founder

    By Jost Amman, plate from Das Ständebuch (Book of Trades), 1568.The type founder is pouring (...)
  • A paper-maker's workshop

    By Jost Amman, plate from Das Ständebuch (Book of Trades), 1568.
  • The printer, by Jost Amman, plate from Das Ständebuch (Book of Trades), 1568.

  • Albrecht Dürer, Sujet satirique, dessin à la plume, 20,4x29,8 cm, 1511

  • Jacques Toussain

    Lexicon Graecolatinum, Paris, Ch. Guillard, 1552, 2°. The register, often printed at the back (...)
  • Upper board of a binding by Geoffroy Tory

    Among the ornamentation one can make out Tory's "broken jar" mark.
  • La galerie du Palais

    Engraving by Abraham Bosse, circa 1638. The Galerie du Palais was an arcade with shops where (...)
  • Green Morocco leather binding with gilt interlaced decoration and tooling

    This binding was created for Jean Grolier, Jean Picard workshop, circa 1540 for a work by (...)
  • The bookbinder

    By Jost Amman, plate from Das Ständebuch (Book of Trades), 1568.
  • Binding with unicorn decoration.

    In: Les aphorismes d’Hippocrate, prince des médecins, Kerver, 1558.
  • Sunken-cord binding

    Sunken-cord binding in brown Morocco leather with arabesque decoration and bearing the coat of (...)
  • La Nef des fols du monde

    Sébastien Brandt, Basel, 1494. Woodblock print identified as the work of Albrecht Dürer.
  • Reading room of the Leyden library in 1610.

    In this engraving by W. Swaenenburgh, after J.C. Wondenus, even though the books are still (...)
  • A copyist

    In: Les Sermons de saint Augustin, Paris, Gering and Rembolt, circa 1498.
  • Danse Macabre by Mattias Huss.

    The first depiction of a printing workshop.
  • Anonmyous engraving.

    Depicting a printing workshop in the 16th century
  • Robert Estienne's mark.

    In: Dictionarium Latino Gallicum, 1546. Robert Estienne chose an olive tree as a sign of (...)
  • Printer's mark of Sébastien Gryphe

    In: In canonica apostolorum septem epistolas collatio. iuxta eruditorum sententiarium facto per (...)
  • André Wechel's printer's mark.

    In: Grammaire de P. de La Ramée, lecteur du roi à l’université de Paris, 1573.
  • Liber Receptoris Nationis Alamaniæ Book of Tax [Receivers of the German Nation] for the years 1494 to 1530.

  • Liber Receptoris Nationis Alamaniæ Book of Tax [Receivers of the German Nation] for the years 1494 to 1530.

  • Gering and Rembolt's printer's mark

    A mark showing Gering and Rembolt holding the Golden Sun made its first appearance in 1494.
  • Heures à l’usage de Rome

    Title page illuminated by Étienne Colaud. Page of a work co-published by Geoffroy Tory and (...)
  • Jacques Toussain

    Lexicon Graecolatinum, Paris, Charlotte Guillard, 1552, 2°. PréfaceIn this preface, the only (...)
  • Bernardus

    Opera, Paris, B. Rembolt, 1513, 2°.In the lower right-hand part of this engraving, the printer (...)
  • Edict faict par le roy

    Edict faict par le roy, sur certains articles, faictz par la faculté de Theologie de (...)
  • Cathalogue des livres condamnez et censurez par la faculté de théologie de Paris.

  • Antoine Marcourt, Placard against the Catholic mass, Pierre de Vingle, Neuchâtel, 1534.

    One of the posters from 18 October 1534 written by Antoine Marcourt, a pastor from Neuchatel, (...)
  • Robert Estienne: a new concept of lettering. Interview with Hendrik L. Vervliet, 27 April 2011, 3’57

  • The role of Claude Garamont. Interview with Hendrik L. Vervliet, 27 avril 2011, 7’.

  • Grégoire de Naziance, Orationes lectissimae, XVI..

    Venise, Aldus Manutius, 1516. 8°.
  • Aldus Manutius, Institutionum grammaticarum libri quatuor.

    Venise, Aldus Manutius, 1514. 4°.
  • Augustin, De Civitate Dei.

    Subiaco, Sweynheim and Pannartz, 1465. 2°.
  • Lucanus, De Bello Civili

    Lyon, 1504.Lyon counterfeit of Aldus Manutius's italic typeface .
  • Roman alphabet, created by Guillaume Le Bé in Italy between 1546 and 1547.

    Guillaume Le Bé, collection of Hebrew letters. 27 pages of handwritten annotations of the (...)
  • In canonicas apostolorum septem epistolas collatio.

    Luxta eruditorum sententiarum facto per S. Theologiae Doctorem Claudium Guilliaudum (...)
  • Damian Marafi

    Figure del Vecchio Testamento con versi Toscani, Jean de Tournes, Lyon, 1554. — Title page.
  • Virgilii Maronis Opera, Robert Estienne, 1532

    A remarkable work whose title page employs the various font sizes that Robert Estienne created.
  • De figuris sententiarum ac verborum, Robert Estienne, 1530.

    One of the first uses of modern roman type, which was available in three sizes by the end of 1530.
  • Champ fleury, by Geoffroy Tory, 1529.

    Presentation of the letter M.
  • La Politique d’Aristote

    Greek manuscript on parchment bound in crimson Moroccan leather.
  • Arbre généalogique de Claude Garamont

    Fils d’imprimeur, Claude Garamont a pour beau-frère l’imprimeur Pierre Gaultier, frère de (...)
  • Receipt for compensation for an act of aggression committed by Claude Garamont against Catherine Godet, a serving girl of the chaplain of Saint-Benoît-le-Betourné, 5 July 1541.

  • Sales contract of matrices by Claude Garamont to Mathurin Du Puy, 6 april 1541

  • Claude Garamont rents a house out on rue Saint-Denis in Paris, June 1552

    30 June 1552. Claude Garamont, punch-cutter, living in the rue des Carmes, tutor of Guillaume (...)
  • Jehan Petit's debt settlement to Claude Garamont, November 1552

    4 November 1552. Claude Garamont, punch-cutter and type founder, bourgeois of Paris and Jehan (...)
  • Claude Garamont settles the printer Étienne Mesviere's succession, January 1554.

    5 January 1554 (n. st.). Claude Garamont, punch-cutter and type founder, bourgeois of Paris, (...)
  • Claude Garamont and Jacques Lefèvre, his brother in law, sign a financial agreement.

    16 June 1554. Jacques Lefèvre, merchant living in Cluny, heir of the late merchant Guillaume (...)
  • Estate of Jeanne Lescherye, Claude Garamont's mother-in-law, 1555

    30 April 1555. Jacques Lefèvre, merchant living in Cluny, and Claude Garamont, punch-cutter, (...)
  • Claude Garamont rents a house in the rue Saint-Denis in Paris, July 1558

    4 July 1558. Claude Garamont, punch-cutter, Paris bourgeois, rents a house in the rue (...)
  • Claude Garamont states that he is the owner of a vineyard in Paris in August 1558.

    August 1558. Claude Garamont, punch-cutter, Paris bourgeois, living in the rue des Carmes, at (...)
  • Apprenticeship contract for Paterne Robelot, apprenticed to Claude Garamont, 21 September 1558

  • Claude Garamont states that he is the owner of a house in the rue Saint-Denis in Paris in 1559.

  • Apprenticeship contract for Jehan De Preau, apprenticed to Claude Garamont, 22 September 1557

  • Claude Garamont states that he is the owner of a house in rue Saint-Denis in Paris in 1552.

    3 November 1552. Claude Garamont, punch-cutter, living in the rue des Carmes, at the sign of (...)
  • Apprenticeship contract for Pierre Legat, apprenticed to Claude Garamont, august 1543.

  • Sale by Françoise Barbier, wife of Yvon Garamour [Garamont].

    Of a pièce de vigne at Picpus, 31 July – 2 October 1528. This recently-discovered archive (...)
  • Order for the grecs du roi.

    2 November 1540
  • Receipt by Robert Estienne

    Receipt by Robert Estienne acknowledging receipt of 225 livres tournois that he paid to Claude (...)
  • David Chambellan, Pia et religiosa meditatio in sanctam Iesu Christi crucem et eius vulnera.

  • Portrait of Claude Garamont.

    Portrait engraved in 1582 by Léonard Gaultier for his Pourtraictz de plusieurs hommes (...)
  • Hebrew type specimen with annotations by Guillaume Le Bé (1545-1592).

    Guillaume Le Bé stated that he cut the punches for these letters in 1551 "for Monsieur Claude (...)
  • Apprenticeship contract for Anselme Le Bigot

    Apprenticeship contract for Anselme Le Bigot, apprenticed to Claude Garamont, 13 May 1551
  • Sale of a pair of matrices by Claude Garamont to Estienne Mesviere

    Sale for 50 livres tournois, 18 September 1543.
  • Diodore de Sicile

    L’histoire des successeurs de Alexandre le Grand quelque peu de vies escriptes par (...)
  • Juvencus (Gaius Vettius Aquilinus), Historia euangelica, versu heroico descripta.

  • The History of the War between the Peloponnesians and the Athenians.

    Trad. Claude de Seyssel. — Jean Barbé, Claude Garamond, Pierre Gaultier. 16°. RENOUARD, (...)
  • Cassianus (Johannes), De incarnatione Domini Libri VII. iam recens æditi [et S. CYRILLUS ALEXANDRINUS, Sermo de eo quòd verbum deifactum sit homo].

  • Hugues de Saint-Cher, Postilla seu diuina Expositio in altos quatuor Euangeliorum apices… Quinta pars.

  • Lanspergius (Joannes Justus), Enchiridion militiæ christianæ…

    Jean Barbé, Claude Garamond, Pierre Gaultier. 8°.
  • Hessus (Helius Eobanus), Psalterium vniuersum carmine elegiaco redditum atque explicatum

  • Portrait of Jean de Gagny

    Jean de Gagny is the kneeling figure depicted as a donor.
  • Lactantius Firmianus (Lucius Coelius), Diuinarum Institutionum libri septem.

  • Inventaire of Garamont's possessions

    By Fournier, 1756.
  • Claude Garamont's will, dated 23 September 1561.

  • Alphabetum Græcum, Robert Estienne, 1539

  • Alphabetum Græcum

    Robert Estienne, 1543.
  • Alphabetum Græcum, Robert Estienne, 1550.

    The Alphabetum of 1550 was printed with the three Grecs du roi fonts.
  • Alphabetum Græcum

    Chrétien Wechel, 1545
  • Ecclesiasticae historiae, Eusèbe de Césarée, Paris, Robert Estienne, 1544

  • Manuscript by Angelo Vergezio: Hero of Alexandria, grotto with artificial fountain. .

  • Nouum testamentum ex Bibliotheca regia. Paris, Robert Estienne, 1549 16°

  • Works in Greek in the catalogues of Robert Estienne. Interview with Geneviève Guilleminot, 8 July 2011, 3'43

  • Greek editions in Paris in the 1530s. Interview with Geneviève Guilleminot, 8 July 2011, 4’38.

  • Greek editions in Paris in the 1540s. Interview with Geneviève Guilleminot, 8 July 2011, 5'31.

  • Alphabetum Graecum, Robert Estienne, 1550, printed with Grecs du Roi. Interview with Geneviève Guilleminot, 8 July 2011, 2'

  • Greek publication by Conrad Néobar, 1540

  • The Grecs du roi. Sheet presenting the characters and ligatures, by Franck Jalleau, Imprimerie nationale.

  • Original matrices of Garamont's moyen canon.

  • Original matrices, with Greek capitals and fleuron.

    The fleuron is one of the rare decorative elements in Garamont's work.
  • Matrices of the Saint-Augustin roman created from Garamont's punches.

  • Register containing a collection of typefaces sent by Le Bé to Jean Moretus.

    Register containing a collection of typefaces sent by Le Bé to Jean Moretus. Double canon by (...)
  • Le Bé-Moretus type specimen, 1598.

    Register containing a collection of typefaces sent by Le Bé to Jean Moretus. The so-called (...)
  • Anonymous type specimen of the real "Parangonne" roman

    Attributed to Claude Garamont, ca. 1570
  • Dexippus, In defensionem Praedicamentorum Aristotelis

    Paris M. de Vascosan, 1549.Work composed in an italic typeface designed by Claude Garamont in 1545.
  • List of materials purchased by Christophe Plantin and his "brother"

    List of materials purchased by Christophe Plantin and his "brother" (Pierre Porret, Plantin's (...)
  • Christophe Plantin printing workshop in Antwerp.

    Interview with L. Vervliet, 27 April 2011, '2’22
  • Dictionnaire français-latin, 1549. (30x20).

  • Traicté de la Grammaire française

    Robert Estienne, Jacques Dupuis & Robert II Estienne, Paris, 1569.
  • Biblia, 1546. (39x26).

  • Chiromance & Physiognomie par le regard des membres de Lhomme, faire par Ian de Indagine

  • In canonicas apostolorum septem epistolas collatio.

    Iuxta eruditorum sententiarum facto per S. Theologiae Doctorem Claudium Guilliaudum (...)
  • Summa totius Sacrae Scripturae.

    Decem Dei verba, sive praecepta, Parisiis, ex officina Roberti Stephani M. D. XLII
  • Arias M Benedictus, Humanae Salutis Monum

    Anvers, Plantin, 1571 (13x21).
  • Bible polyglotte

    Anvers, Plantin, 1570, tome 1. Museum Plantin-Moretus [B 65]. Christophe Plantin's Biblia (...)
  • Guyot type specimen sent to Christophe Plantin

    (Reproduction)
  • Kruydtboeck (herbier) de Mathias de L’Obel

    Anvers, Plantin, 1568. A handsome illustrated book, emblematic of the learned editions (...)
  • Index sive specimen characterum Christophori Plantini

    Anvers, 1567. Title page of original type specimen by Christophe Plantin
  • Egenolff-Berner type specimen.

    Frankfurt, 1592. Reproduction, Universität Bibliothek, Frankfurt-am-Main
  • Punches for the Grecs du roi

    Punches for the Grecs du roi, size 20
  • Punches for the Grecs du roi, size 20.

  • Jean Jannon's matrices purchased by Sébastien Cramoisy in 1641.

    24 and 36 point, attributed to Garamont.
  • Jean Jannon's matrices, purchased from Sébastien Cramoisy in 1641, size 24 and 36, attributed to Garamont.

  • Espreuve des caractères nouvellement taillez

    A Sedan, par Ian Iannon, Imprimeur de l’Académie, 1621. [Édition fac-similé The 1621 (...)
  • Espreuve des caractères nouvellement taillez.

    A Sedan, by Ian Iannon, Imprimeur de l’Académie, 1621. [Facsimile edition] The 1621 Specimen (...)
  • Typographia Regia

    Reproduction by the Imprimerie Nationale. Paris, 1913. Fac-similé.
  • Publii Virgili Maronis Opera

    Imprimerie Royale, 1641.
  • JA Comenii, Ianva Linguarum

    Elzevier, 1649.
  • Geraldi Vassiti, Velleius Paterculis

    Elzevier, Leyde, 1639.
  • Willems, Alphonse, Les Elzevier, Bruxelles, Paris, Van Trigt, Labitte, 1880.

  • Épreuve du neuvième alphabet droit & penché gravé par Philippe Grandjean pour l’Imprimerie royale en 1699.

  • Punch for the romain du roi typeface, cut by Philippe Grandjean.

    Size 120.
  • Proof of the first alphabet in droit et penché, with frames and cartouches.

  • Roman Grandjean font printed from plates engraved by Simonneau.

  • Plates for romain du roi engraved by Simonneau and Grandjean font printed from the plates.

  • Les caractères de l’imprimerie

    By Fournier le jeune, 1764, in 8°.
  • L’intérieur d’une imprimerie

    In: Charles Jean François Hénault, Nouvel abrégé de l’histoire de France, Paris, Prault (...)
  • Les caractères et les vignettes de la fonderie du Sieur Delacolonge

    Les caractères et les vignettes de la fonderie du Sieur Delacolonge, Lyon, 1773.
  • Specimen of Caslon, 1723.

  • Proofs of a new font for the Imprimerie Impériale.

    In Paris, engraved by Firmin Didot, 1812.
  • Je suis le véritable père Duchesne, foutre, by Jacques René Hébert.

  • Complete type specimen (upper and lowercase) "Augustaux characters"

    Louis Perrin and Rey, circa 1860..
  • Type specimen for Augustaux

    Filed with the Bibliothèque Royale, 1846.
  • Pierre Jannet, Spécimen des nouveaux caractères destinés à l’impression de la Bibliothèque elzevirienne

  • Histoire de l’imprimerie

    by Anatole Claudin, Imprimerie nationale, 1900.
  • Punches for 16-point Garamond cut by Jules Hénaffe in 1900.

  • Characters by Jean Jannon created in the 16th century (18, 24 and 36 point) and characters by Jules Hénaffe created in 1900 (other fonts).

  • Parallèlement, by Verlaine and Bonnard

    Paris, Vollard, 1900.
  • Parallèlement, by Verlaine et Bonnard

    Paris, Vollard, 1900.
  • Specimen Book and Catalogue

    American Type Founders Company, 1923
  • Garamond, Stempel foundry, [s; d.].

  • Prospectus for the Berthold Garamond.

  • Garamond type specimen.

  • Page composed in Garamond illustrating an engraving by Larmessin

    From La Bruyère's Caractères.
  • Le Caractère Garamont, Deberny and Peignot

    [ca 1932]
  • Specimen book for the Fonderie Typographique Française

    Paris, undated [1st quarter of the 20th century]
  • Garamond, a Specimen of Classic Face

    Monotype, 1923
  • Specimen Book Linotype Faces

    p. 339, 403, 430, 339, 443, 445, 464, 465. Mergenthaler linotype Company, [ca 1935].
  • An example of Monotype Garamond

    An example of Monotype Garamond: the publication by the Atelier du Livre d’Art et l’Estampe (...)
  • Garamond No. 3 specimen

  • Garamond specimen by the Ludlow foundry.

  • Garamond Monotype Series 156 specimen.

  • “The Garamond types”, by Paul Beaujon.

    In : The Fleuron, n° V, 1926.
  • Page of the Times composed in Times New Roman.

  • Type specimen for Plantin Monotype, created in 1913 by Frank Hinman Pierpont (1860–1937), based on matrices from the Museum Plantin-Moretus.

  • Garamond Simoncini type specimen.

  • "Sabon regroupement" type specimen.

  • Garaldus type specimen.

  • Jan Tschichold, Sabon antiqua

  • ITC Garamond type specimen.

  • Galliard type specimen.

  • Garamond (ITC), U&lc

    1985, n°12.
  • Advertising "Think different" in Apple Garamond.

  • Gustave Flaubert, Œuvres

    T. I, Gallimard, collection "La Pléiade", Paris, 2003.Work set in Peignot Garamond.
  • The Vox classification.

    Sketch by Maximilien Vox of his typeface classification, created in 1963. Document published in (...)
  • Advertising using Adobe Garamond

    From the brochure Adobe Garamond, 1989, p. 13
  • Garamond Premier Pro: a contemporary adaptation by Robert Slimbach

    2005, p.2, 26, 36, 37
  • Sabon Next type specimen.

  • Comparison of the Le Bé II and the Sabon Next type specimens.

  • The revolution won’t be set in Garamond

    "The revolution won’t be set in Garamond" In: Slanted, nº 11, 2010.
  • Lead-type composition held together with string before a proof print.

  • Gutenberg in his workshop

    Painting, 19th century
  • Steel punches (upper left), copper matrices (centre) and lead type.

    Caractère Marcellin-Legrand
  • Type case (ornamental) characters

  • Mould for casting type.

  • Punches for an italic Didot.

  • Typometers, typographic measuring tools

  • Title page from Martin-Dominique Fertel's manual La science pratique de l’imprimerie.

  • Plates from Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers, by Diderot and d’Alembert on printing.

  • Plate from Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers, by Diderot and d’Alembert, on paper-making.

  • Plate from Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers, by Diderot and d’Alembert, on paper-making.

  • Plate from Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers, by Diderot and d’Alembert, on paper-making.

  • Plate from Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers, by Diderot and d’Alembert, on paper-making.

  • Plate from Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers, by Diderot and d’Alembert, on paper-making.

  • Stereotypes of images

  • Header for the Le Républicain Lorrain newspaper, type composition (bottom) and stereotyped cliché (top).

  • Polytyped letters

  • Winkler, Fallert & Cie Stereotype, Berne, undated (circa 1910).

  • Stereotyping components (printing French lottery documents).

    Type composition
  • Lithograph printing and intaglio printing.

    Lithograph by P. Bineteau.
  • Nouvel album d’enseignes à l’usage des peintres par L. Ramade, professeur à l’école Sieber, location and date unknown.

  • Colour lettering. Ferdinand Sère, interior placard for various card, circa 1840.

  • L.A.C. Hodebert (ou Haudebert), Le Lithographe, oil on canvas, 1898.

  • Caractères de fantaisie, Laurent & Deberny foundry, 1862

  • Operator using a pantograph to cut a punch.

  • Type-casting machine.

  • Machine for cutting punches using a pantograph

  • A 19th-century type foundry.

  • Linotype machines.

    Linotype machines were quickly adopted by daily newspapers. Typesetting workshops generally had (...)
  • Linotype blocks of text.

  • Linotype machine

  • Linotype machine.

    In: Catalogue général des machines of the Société Linotype française L&M, Paris, date unknown.
  • Duplexed Linotype matrix.

  • Monotype in the Imprimerie Nationale.

    Monotype perforated strip.
  • Monotype matrix-plate.

  • Cast Monotype characters

  • Monotype typecaster.

  • Monotype keyboard/perforator.

  • Administrative document composed on a typewriter in 1936.

  • Coxhead justifying typewriter

    US, 1950s.
  • Oliver typewriter

  • Font imitating typewriter letters (including strikeouts and corrections).

    Type specimen, Warnery foundry, date unknown.
  • Diagramme of how telecomposition worked.

  • Teletypesetter operator (or electrotypography).

  • Monophoto matrix holder.

  • Diagram showing the first-generation phototypesetting process (using a Linotype machine).

  • French-made Lumitype 100 keyboard and photo unit.

  • Characters on film.

  • Advertising for the Photon.

  • The Monophoto machine, a first-generation phototypesetter (added onto a Monotype machine).

  • Diagram showing the phototypesetting process.

  • The first third-generation phototypesetter.

    In third-generation phototypesetting, fonts are stored and manipulated in algorithm form.
  • Computerised typesetting installation at Computaprint.

    London, 1940s.
  • Garamond Stempel, 72 point, pixelated and blown up.

  • Sheets of partially-used transfer letters.

  • Mecanorama's catalogue of transfer letters.

  • Letraset catalogue, Montreuil, 1986. MIL, SDD 2655.

    Advertising inside the catalogue
  • Daisywheel printhead for a word processing system (1980s).

  • Box for Apple's word processing programme MacWrite.

  • Box for Microsoft Word

  • Disquettes.

  • Mac Classic computer, with keyboard and mouse.

  • Disquettes for the Macintosh computer.

  • Packaging for Adobe Photoshop software, 1989.

  • First page of Scribus DTP software (freeware).

  • Cover of book about DTP typography and layout.

    François Richaudeau, Manuel de typographie et de mise en page, Du papier à l’écran, Retz, (...)
  • Comparison of Helvetica (in black) and Arial (in red).

    Arial is a cheaper version of Helvetica, which it largely copies, adapted to on-screen reading.
  • Clip. Artist: Alex Gopher Title: The Child Réalistation : H5 (A. Bardou-Jacquet & L. Houplain)

    1999 Production : Le Village.
  • Plate from the Unicode consortium for Deseret.

    Deseret is a phonetic alphabet developed by a group of Mormon pastors in the late 19th century, (...)
  • Plate from the Unicode consortium for Devanagari.

    Devanagari, although not well known in the West, is one of the principal writing systems of (...)
  • Universal Declaration of Human Rights in Latvian, Lithuanian and Esperanto.

    In: The modern suite, Shintype, Toronto, 2008.
  • Plate from the Unicode consortium for Shavian.

    Shavian is an English phonetic alphabet created by Ronald Kingsley Read, and named after George (...)
  • Digital Greek version of Times.

    Bernd Holthusen, Scangraphic digital type collection, vol. II, Scangraphic DR. Böger GMBH, (...)
  • Some of the Garamonds available from the web site Myfonts.

    See
  • One of many glyphs belonging to Garamond Premier Pro.

  • Roselyne and Michel Besnard, preparatory sketch for the font Mickros.

    Hand-drawn ampersat, with small tengents for positioning the Bezier curves.
  • Adobe Type Library packaging

  • Digitisation of Garamond Simoncini.

    At left, True Type curves. At right, Bezier curves. Font: Garamond Simoncini.
  • The Monotype Garamond

    Garamond fonts (here, Garamond Monotype) top the list of typographic "classics". Given its (...)
  • Garamond

    Interview with Philippe Apeloig, 12 juillet 2011, 6’
  • Interview with Alice Savoie.

    29 March 2011, 3’.
  • Interview with Malou Verlomme

    6 May 2011, 4’
  • Garamond: a long lineage.

    Interview with Matthieu Cortat, 29 March 2011, 3’30.
  • Garamond in the 16th, 20th and 21st centuries.

    Interview with Matthieu Cortat, 29 March 2011, 3’..
  • Designing contemporary typefaces..

    Interview with Pierre Di Sciullo, 6 avril 2011, 4’14.
  • What is the truth about Garamond?

    Interview with Pierre Di Sciullo, 6 avril 2011, 4’03.
  • Gararond, an homage to Garamond.

    Interview with Pierre Di Sciullo, 6 April 2011, 2’27.
  • The genesis of Gararond (2) .

    Interview with Pierre Di Sciullo, 6 avril 2011, 3’48
  • The discovery of Garamond.

    Interview with Xavier Dupré, 6 May 2011, 1’55.
  • Designing a Garamond today.

    Interview with Xavier Dupré, 6 May 2011, 4’39.
  • The Grecs du roi. Interview with Franck Jalleau, Imprimerie nationale, 21 April 2011, 1'38

  • Garamond, a part of world heritage.

    Interview with Franck Jalleau, 21 April 2011, 0’54.
  • The rehabilitation of Garamond.

    Interview with Franck Jalleau, 21 April 2011, 2'50.
  • Rehabilitating typefaces at the Imprimerie Nationale.

    Interview with Franck Jalleau, 21 April 2011, 3'11.
  • Interview with Jean-Baptiste Levée.

    19 April 2011, 2'50.
  • The Garamond renaissance in the 1990s.

    Interview with Muriel Paris, 4 July 2011, 3’47.
  • Interview with Jean Francois Porchez.

    4 July 2011, 1’18.
  • What is Garamond?

    Interview with Jean Francois Porchez, 4 July 2011, 2’44.
  • Sabon Next (1)

    Interview with Jean Francois Porchez, 4 July 2011.
  • Sabon Next (2).

    Interview with Jean Francois Porchez, 4 July 2011.
  • Sabon Next (3).

    Interview with Jean Francois Porchez, 4 July 2011.
  • Garamond, or the invention of typography.

    Interview with Mathieu Réguer, 23 February 2011, 3’ 57’’.
  • The identity of a character.

    Interview with Mathieu Réguer, 23 February 2011, 3 12’’.
  • Freddy

    A multi-script font created for a children’s television channel.
  • Ysobel

    A large family of characters created for book publishing by Alice Savoie and Robin Nicholas.
  • Camille typeface

  • Ecam typeface

  • Personal composition with Ecam.

  • Ficus typeface.

  • Lorraine, typographic character, 2005.

  • Octobre, typographic character, 1994

  • Geoffroy Tory, graphiste avant la lettre

    Musée national de la Renaissance, Écouen, 2011, exhibition poster, 118 x 175 cm.Font: (...)
  • Conservatoire national supérieur d’art dramatique (CNSAD), brochures, 11 x 15 cm.

    Font: Sabon Promotion 1999
  • Collection “Exquis d’écrivains”.

    Font: Galliard, 11 x 17,5 cm. Denis Grozdanovitch, Minuscules extases, 2008
  • Octobre ouvre la saison en musique, Octobre in Normandy

    1995, poster, 118 x 175 cm.Font: Octobre
  • Typo/ Typé. Affiches de Philippe Apeloig

    Musée d’Art Russe, Kiev, 2005, affiche, 118 x 175 cm.Font: Lorraine
  • Bonesana, font.

  • Henry, font

  • Liberté

    Workshop with Dutch typographers from Underware.
  • Stuart, font.

  • Tristram, font.

  • Signage created by the Atelier Pierre Di Sciullo for the Bibliothèque Nationale de France, Richelieu site.

  • Gararond by Pierre di Sciullo.

  • Minimum

    "The matrix for this series, Minimum for the screen, was designed pixel by pixel using only (...)
  • Renaissance

    "Renaissance is a contemporary interpretation of the Université Garamond from 1540. Its serifs (...)
  • Absara typeface.

    (from the Focus FF Absara fascicule).
  • Angkoon, typeface.

  • Personal compositions by Xavier Dupré in Megano.

  • Parango, typeface.

  • Sanuk, typeface.

  • Personal composition in Yoga.

  • Garamont, unpublished, in development.t

  • SIPAR Apsara typeface.

    Consonants, consonant feet, vowels, complete vowels, numbers & other characters.
  • Personal compositions in Malaga.

  • Région Bretagne, typographic characters (commission)

    Narrow version
  • Vista Slab used in a brochure.

  • Carrefour Origin typeface

  • Cogito typeface.

  • Dogon typeface

  • Enfantine typeface

  • Gemelli typeface

  • Panorama typeface

  • Le Petit Manuel de composition typographique by Muriel Paris, version 3

  • Special issue of Signes

    Devoted to visual identity via the mail.
  • Apoline PTF typeface.

  • Ardoise PTF typeface.

  • Le Monde typeface.

  • Robert Louis Stevenson, Virginibus puerisque

    Allia, 2003"A good typeface is not seen, it is read. It should carry the words and highlight (...)
  • Henry Bauchau, Le Boulevard périphérique

    Actes Sud, janvier 2008.The book is set in ITCgaramond, as are all novels published by Actes (...)
  • Dorny / Michel Butor Caractères

    Paris, Imprimerie nationale, 1993, 28 p. ISBN : 2-7433-0136-8
  • Dictionnaire encyclopédique du livre, under dir. of Pascal Fouché

    Paris, Cercle de la librairie 1989-1991 . Garamond was used for the Dictionnaire (...)
  • Raffi Kaiser / Kenneth White, Le Livre des roches et des nuages

    Paris, Imprimerie nationale, 1994, 26 triptyques ISBN : 2-11-081188-9
  • Publication by Monsieur Toussaint Louverture in the Garamond of Robert Slimbach.

  • Metro station Parvis de Saint-Gilles in Brussels.

  • Concorde metro station

  • Metro station Parque in Lisbon.

  • Metro station Siquiera Campos in the Vidigal favela.

  • Metro station Universitetet in Stockholm

  • Espace Typographie #1 workshop with Jérôme Knebusch, 2009.

  • Typeface by Estelle Bizet, 2010.

  • Workshop with Alejandro Lo Celso, 2011.

  • Messine Typeface

    Evolution of Messine (titrage Salon), Typeface by the École Supérieure d'Art de Lorraine, (...)
  • Publication Metzbau, 2009.

    Exhibition in homage of Kurt Schwitters. Centre Pompidou-Metz co-production, 2009.
  • Publication Metzbau, 2009.

    Exhibition in homage of Kurt Schwitters. Centre Pompidou-Metz co-production, 2009.
  • Typeface by Maxime Le Moing, 2010.

  • Typeface with self-printing by Audrey Pereira, 2011.

  • Pause. Léa Siat's bench, 2010.

  • Typography workshop at the Ecole Supérieure d’Art et de Design in Amiens.

  • Typography workshop at the Ecole Supérieure d’Art et de Design in Amiens.

  • Interview with Jean-Philippe Bazin

    Jean-Philippe Bazin taught at the Atelier National de Création Typographique in the 1990s and (...)
  • Interview with Roxane Jubert

    Roxane Jubert is a former ANRT student.
  • Exhibition by the 923A collective, Ecole Régionale des Beaux-Arts, Besançon, February 2011.

    An initiative of Roseline Cunin, Arnaud Wink & Jérémy Joncheray, members of the collective.
  • Exhibition Ultralight by Harmen Liemburg / March 2011 / ERBA Besançon

    Harmen Liemburg, a graphic artist and printer has designed an extremely compact travelling (...)
  • Analog workshop with students from the Ecole Supérieure d’Art et de Design in Amiens, November 2010–April 2011.

  • Analog workshop with students from the Ecole Supérieure d’Art et de Design in Amiens, November 2010 – April 2011.

  • The "Fonderie des Glaces", a workshop in the forest with Mathias Schweyzer and Laurent Tixador, 9–13 May 2011.

  • Exhibition 100 Beste Plakate 2009, Ecole régionale des beaux-arts de Besançon, 6 April–6 May 2011.

  • Jean Dupuy exhibition, Ecole Régionale des Beaux-Arts, Besançon, 10 November–15 December 2010.

    To mark the visit of Jean Dupuy to the school's exhibition of his work, the first-year students (...)
  • Type workshop with an elementary school class, a teacher training college, the Ecole Saint-Claude de Besançon and the Ecole Régionale des Beaux-Arts.

  • Exhibition Helvetica Forever, Story of a Typeface, Ecole régionale des beaux-arts de Besançon, 12–15 May 2011.

  • BA_magazine

    Biannual publication of the Ecole des Beaux-Arts, Bordeaux.
  • DESIR. Exhibition poster and catalogue of DNSEP diplomas (Diplôme National Supérieur d’Expression Plastique), 2009.

  • Edit! Standards, Formats, Media.

    International conference held at Ecole des Beaux-Arts, Bordeaux, March 2009. Held within the (...)
  • École supérieure des arts et médias de Caen

  • Camille Blanchemain, project to revive 19th century American woodcut characters, with the goal of incorporating them into the identity of a post-punk festival.

  • Julien Foulon, Last Century & Last Century Sans : typographic design.

  • Juliette Hoefler, Layout and editorial research for a work devoted to Noam Chomsky.

  • Anne Jacquinot, photographic reportage on the destruction of buildings.

  • Mickaël Martin, research, development and use of a logo in the context of a project to create a graphic journal.

  • Nicolas Millot's project, Ecole Supérieure d’Art, Cambrai.

    In Tahitian, the word parau can mean speech, word, speak, and language, as well as paper, the (...)
  • Projet by Alexandre Dumas de Rauly, Ecole Supérieure d’Art, Cambrai.

  • Publication by Alexandre Dumas de Rauly and Michel Wlassikoff, Futura, Paris, Norma, 2011.

  • Nicolas Millot's project, Ecole Supérieure d’Art, Cambrai.

    In Tahitian, the word parau can mean speech, word, speak, and language, as well as paper, the (...)
  • Work by second-year students at the Ecole d’Art in Épinal.

    The second-year students of the Epinal and Metz art schools took a quotation and gave it new (...)
  • Work by second- and third-year students at the Ecole d’Art in Épinal.

    For an approach to OuTypoPo, we offered second- and third-year students workshops determined by (...)
  • Work by second-year students at the Ecole d’Art in Épinal.

    Since 2000, the two art schools in Metz and Epinal have teamed up to share skills and foster (...)
  • École Estienne, outside view

    École Estienne
  • École Estienne, screen printing

    École Estienne
  • École Estienne, typesetting

    École Estienne
  • École Estienne, lithography

    École Estienne
  • À propos de Claude Garamont

    Typographic posters designed in a limited time (4 hours) on the theme: "What can you say about (...)
  • Julien Priez, the Montreuil typeface

    This type system is meant to update the communication of the town of Montreuil, and represent (...)
  • Julien Priez, the Montreuil typeface

    This type system is meant to update the communication of the town of Montreuil, and represent (...)
  • Julien Priez, the Montreuil typeface

    This type system is meant to update the communication of the town of Montreuil, and represent (...)
  • Julien Priez, the Montreuil typeface

    This type system is meant to update the communication of the town of Montreuil, and represent (...)
  • Title of the exhibition "Vernaculairement parlant" (Vernacularly Speaking) using the typeface Franciscopolis.

  • Monogram of Le Havre made with the alphabet designed collectively by the students.

  • Oulipo workshop: writing exercises and creation of typographic posters.

    An example of "Rewriting".
  • Creative workshop led by Malou Verlomme

  • Creative workshop led by Malou Verlomme

    Each student created an alphabet during the session.
  • Architecture & Typographie, Prototype, 2010.

    Published by B42: August 2011
  • Samuel Rambaud: publication on the Dada movement.

    Student in the Diplôme National d’Arts et Techniques programme (2009).
  • Samuel Rambaud: publication on the Dada movement.

  • Alaric Garnier, installation for a series of conferences at the École Nationale Supérieure des Beaux-Arts in Lyon. Painted lettering on various supports

  • Alaric Garnier, installation for a series of conferences at the École Nationale Supérieure des Beaux-Arts in Lyon. Painted lettering on various supports

  • Thomas Leblond, posters created around the issue of popular graphic design.

    Student in the Diplôme National d’Arts et Techniques programme (2010)
  • Thomas Leblond, conference poster.

    Student in the Diplôme National d’Arts et Techniques programme (2010)
  • Points de Vue. Formes de l’édition contemporaine.

    Event co-organised with the Ecole Supérieure d'Art in Grenoble, the Ecole Régionale des (...)
  • Tony Simoës Relvas, monograph on Roger Excoffon.

    Student in the Diplôme National d’Arts et Techniques programme (2008).
  • Holzwege Chemins qui ne mènent nulle part, 2010.

    A co-production of the École Supérieure Metz Métropole, centre d'art contemporain La (...)
  • Wei Chang, école nationale supérieure d'art de Nancy, communication option, third year.

    "This work of animated typography is based on a poem by Raymond Queneau, "Une facilité de (...)
  • Antoine Dupuy, école nationale supérieure d’art de Nancy, communication option, third year.

    Passage is a typographical experiment having to do with matter and words. The ones I selected (...)
  • Workshop with Bertrand Duplat.

    Interactive book project. Augmented reality made with Processing. Screen printing on the cover (...)
  • The front page of Le Monde in Braille, creating a system of typographic hierarchy.

  • Modulaire typeface.

  • Study of habits at ESAD, survey and publication

  • Political awakening, graphic design and activism.

  • Typography(ies), playful and educational presentation of four characters.

  • Instant dialogue interface, typography. Gesture

  • "Nothing left but the bones" (after Charles Dobzynski), poetry and the urban zone.

  • Parametric type design

  • ADT (typographic cut-out workshop).

    In 1998, a group of students spontaneously decided on a project involving copyright-free (...)
  • Mademoiselle Berthe: draft design and finished work

    (Sandra Chamaret, graphic communication, 1997).
  • Garamond & Co

    A survey conducted by Alexandre Brand (visual training, 2009).This project was developed in the (...)
  • Bizeau Sans: digital typeface for signage (Sébastien Delobel, graphic communication, 1997)

  • Hachures: or how to cut up telephone directories

    (Maud Guerche, graphic communication, 2009).
  • Light, normal and bold, the Voyageurs font by Julien Laureau

    (Visual training, 2011).
  • Prototyp-o

    With Prototyp-o, Yannick Mathey designed a typographic concept generator using Processing an (...)
  • Stanislas: an experiment with subtitling and type design using "supersigns" for fast, intuitive reading, by Sandrine Nugue (graphic communication, 2011).

  • Modulo: from a design sketchbook to publication by Linotype

    (Olivier Umecker, graphic communication,1997–1998)
  • Fontzéro examines the relationship between language, writing and typography

    (Vivien Philizot, Raphaël Tardif, graphic communication, 2000).
  • Exhibition "Górowski / Kunce / Pluta"

    Three Polish poster designers teaching at the Krakow School of Fine Arts, presented at the (...)
  • Variants and chromatic choices for Apocalypse.

    A publication designed by students in the Communication option of the Ecole Supérieure des (...)
  • Double-page from Apocalypse.

    Design: the Communication option from the Ecole Superieure des Beaux-Arts in Toulouse, 2010. (...)
  • Type specimen of "Garonne", shown at the exhibition N-1 of the Biennale internationale de Design, Saint-Étienne, 2010.

  • View of exhibition (June to October 2009) of the "Garonne" typeface, organized in collaboration with the city of Toulouse.

  • Jenson Rotunda workshop led by Alejandro Lo Celso with students in the communciation option at Ecole Supérieure des Beaux-Arts in Toulouse.

  • Translation & layout by Joris Livrieri, 2009 The Crystal Goblet, by Beatrice Warde, 1925

  • AATO – Atelier Typographie & Offset (Type and Offset Workshop). Fabrice Belot, Annick Lantenois, David Poullard, Samuel Vermeil.

  • Sébastien Biniek, NDSI — Digitisation of an unstable force.

    Student project for the Diplôme National d’Arts et Techniques (DNAT) for the October 2011 (...)
  • Valentin Barry, Typographical Research, 2007-09 .

    Booklet, 48 pages, 18 x 25 cm, duotone."I have had the experience of focusing some of my (...)
  • Maxime Foisseau et Charlotte Gauvin, Typrocessing — Tools for Typographical Creation.

  • Adrien Vasquez, Valences Project for the DNSEP, June 2010

    "Four variations of my typeface Valence were developed through a fictional identity of the (...)
  • Valentin Barry, We Are, 2008.

    Flash Animation and sound track, 3’.This animation project is “approached in a spirit of (...)
  • The Atelier du livre d’Art et de l’Estampe

  • The Atelier du livre d’Art et de l’Estampe

  • The Musée de l’Imprimerie

    The Musée de l’Imprimerie is located in Lyon, in the Hôtel de la Couronne.
  • The collections of the Musée de l’Imprimerie in Lyon.

    Interview with Alan Marshall, 29 March 2011, 4’30.
  • The mission of the Musée de l’Imprimerie in Lyon.

    Interview with Alan Marshall, 29 March 2011, 3’21.
  • A gallery in the Musée de l’Imprimerie with a Gutenberg-style printing press.

  • Museum Plantin-Moretus. Small library.

  • Courtyard of the Museum Plantin-Moretus (Antwerp).

  • Museum Plantin-Moretus. Large library.

  • The Museum Plantin-Moretus.

  • Aristote, Aristotelis rhetoricorum ad Theodecten

    Paris, Simon de Colines, 1540, octavo.Title page bearing the celebrated printer's mark of Simon (...)
  • Historic Typefaces and Teaching

    Interview with Franck Jalleau, instructor at the Ecole Estienne, 21 April 2011, 0'35
  • Interview with Jean-Baptiste Levée, instructor at the École Supérieure d'Arts et Médias in Caen, 0'56

  • The uses of Helvetica, Times and Garamond: the Clothing Metaphor.

    Interview with Muriel Paris, instructor at the École Supérieure de Design, d'Art Graphique et (...)
  • Study of a Typographical Family: The Garaldes.

    Interview with Muriel Paris, instructor at the École Supérieure de Design, d'Art Graphique et (...)
  • Interview with Michel Wlassikoff, instructor at the Ecole Estienne, 15 June 2011, 7'25''

  • Interview with Michel Wlassikoff, 15 June 2011. 3'30

  • Garamond and Sreen Displays. Interview with Roxane Jubert, 15 June 2011, 2'06''

  • Garamond in the digital era. Interview with Roxane Jubert, 15 June 2011, 4'

  • Choosing and comparing typefaces. Interview with Roxane Jubert, 15 June 2011, 4'26''

  • Books and the book trade in Paris in 1540

    The so-called "Basle Map" of Paris (also known as the Truchet-Hoyau map) offers an accurate (...)
  • Type design

  • Printing with Robert Estienne

    Animation showing the printing process as developed by Gutenberg.