The digital technologies that appeared in the final quarter of the 20th century have also generated their share of reinterpretations of Garamont's typefaces. The vast majority of typefaces in lead and those used in phototypesetting have been digitised over time, while digital workshops have been responsible for new creations. Robert Slimbach drew inspiration for his Adobe Garamond (1989) from a series of proofs in the collections of the Musée Plantin-Moretus in Antwerp, and the face is grounded in an in-depth study of historical sources.
Adobe Garamond is designed from a series of proofs in the collections of the Musée Plantin-Moretus.
It is a very extensive font, and includes not only Latin characters but also Greek and Cyrillic. Although Claude Garamont did indeed cut punches for Greek characters, the Cyrillic letters are freely based on the Latin model. This very handsome Garamond is probably the most-used version today (if only because it is distributed free with Adobe software). In 2005, Garamond Premier was added to the series (which was renamed Garamond Premier Pro in its OpenType version). A bit "rougher" and more free in its design, Garamond Premier has several "weights" adapted for different usages, including Caption (for footnotes), Text (for body type), Subhead (for titles), Display (very large fonts). The black, wide, simple and rugged design of the smaller type sizes becomes progressively more slender up to the elegant Display face, which is narrow, refined, contrasted and delicately cut.
The first "strictly digital" Garamonds also include Augereau, named in memory of the "master" of Garamond, Antoine Augereau. Designed by George Abrams between 1989 and 1997, Augereau is a full, regular typeface with a restrained italic.