“In the early 1960s, the German masterprinters’ association
requested that a new typeface be designed and produced in identical
form on both Linotype and Monotype machines [as well as for hand
composition] so that text and technical composition would match.
Walter Cunz at Stempel responded by commissioning Jan Tschichold to
design the most faithful version of Claude Garamond’s serene and
classical roman yet to be cut. The boldface and particularly the
italic are limited by the twin requirements of Linotype and
Monotype hot metal machines.” — MyFonts
In addition to the digital Sabon and Bitstream’s
Classical Garamond, More…
“In the early 1960s, the German masterprinters’ association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines [as well as for hand composition] so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design the most faithful version of Claude Garamond’s serene and classical roman yet to be cut. The boldface and particularly the italic are limited by the twin requirements of Linotype and Monotype hot metal machines.” — MyFonts
In addition to the digital Sabon and Bitstream’s Classical Garamond, there is also a revisited and expanded version by Jean-François Porchez, Sabon Next.
