In the 1970s, Garamond left behind its status as a typeface for body type, and entered the arena of visual communication; it began appearing in logos, advertisements, publicity campaigns, and so on. In 1977, the New York-based International Typeface Corporation (ITC) published a "multi-function" Garamond designed by Tony Stant. It included bold and condensed version – variants unknown in the 16th century, and considered by traditional type designers to be "heresies". Like all of the ITC's reinterpretations, Stant's Garamond set itself apart from its glorious ancestor by its larger eye (the difference between upper- and lowercase being less) and its tighter tracking. The letters are somewhat manhandled and the grace of the original is barely perceptible in this version, which lacks the pretensions of certain of its competitors, but which nevertheless is one of the most functional and economical Garamonds.
Garamond in the era of phototypesetting.
On the other end of the spectrum, Matthew Carter's Galliard from 1978 looks back to Granjon and the typefaces of the 16th century. Carter's design combines a robust outline, classical proportions and a very contemporary strength; the italic is particularly recognisable. In 1972, Günter Gerhard Lange designed a Garamond for the Berthold foundry. In many ways it was comparable to the Stempel Garamond, although slightly thicker and more solid. As it was designed for phototypesetting, the constraints of traditional typography no longer applied. This is particularly evident if one compares the italic "f"s. The one in the Stempel Garamond is less inclined than the other characters, with very short loops, while Lange's "f" playfully unfurls above and below its neighbouring letters.