Garamond is a group of many serif typefaces, named for sixteenth-century Parisian engraver Claude Garamond, generally spelled as Garamont in his lifetime. Garamond-style typefaces are popular to this day and often used for book printing and body text.
Garamond's types followed the model of an influential typeface cut for Venetian printer Aldus Manutius by his punchcutter Francesco Griffo in 1495, and are in what is now called the old-style of serif letter design, letters with a relatively organic structure resembling handwriting with a pen, but with a slightly more structured, upright design.
Following an eclipse in popularity in the eighteenth and nineteenth century, many modern revival faces in the Garamond style have been developed. It is common to pair these with italics based on those created by his contemporary Robert Granjon, who was well known for his proficiency in this genre. Although Garamond himself is considered a major figure in French printing of the sixteenth century, historical research has increasingly placed him in context as one artisan punchcutter among many active at a time of rapid production of new typefaces in sixteenth-century France, and research has only slowly developed into which fonts were cut by him and which by contemporaries; Robert Bringhurst commented that "it was a widespread custom for many years to attribute almost any good sixteenth-century French font" to Garamond. As a result, while "Garamond" is a common term in the printing industry, the terms "French Renaissance antiqua" and "Garalde" have been used in academic writing to refer generally to fonts on the Aldus-French Renaissance model by Garamond and others.
In particular, many Garamond revivals of the early twentieth century are actually based on the work of a later punchcutter, Jean Jannon, whose noticeably different work was for some years misattributed to Garamond. The most common digital font named Garamond is Monotype Garamond. Developed in the early 1920s and bundled with Microsoft Office, it is a revival of Jannon's work.
Contents
Characteristics
Some distinctive characteristics in Garamond's letterforms are an 'e' with a small eye and the bowl of the 'a' which has a sharp turn at top left. Other general features are limited-but-clear stroke contrast and capital letters on the model of Roman square capitals. The 'M' is slightly splayed with outward-facing serifs at the top (sometimes only on the left) and the leg of the 'R' extends outwards from the letter. The x-height (height of lower-case letters) is low, especially at larger sizes, making the capitals large relative to the lower case, while the top serifs on the ascenders of letters like 'd' have a downward slope and ride above the cap height. The axis of letters like the 'o' is diagonal and the bottom right of the italic 'h' bends inwards. Garamond types have quite expansive ascenders and descenders; printers at the time did not use leading.
Besides general characteristics, writers on type have generally praised the even quality of Garamond's type: John A. Lane describes his work as "elegant and executed with consummate skill…to a higher standard than commercial interest demanded"; H. D. L. Vervliet wrote that in his later Gros-Canon and Parangonne types (meaning sizes of around 40pt and 18pt respectively) he had achieved "a culmination of Renaissance design. The elegant line and subdued emphasis show the classic search for silent and transparent form".
Modern Garamond revivals also often add a matching bold and 'lining' numbers at the height of capital letters, neither of which were used during the Renaissance; Arabic numerals in Garamond's time were engraved as what are now called text figures, styled with variable height like lower-case letters.
History
Garamond’s life and his roman type
Garamond worked as an engraver of punches, the masters used to stamp matrices, the moulds used to cast metal type. Garamond cut types in the 'roman', or upright style, in italic, and Greek. In the period of Garamond's early life roman type had been displacing the blackletter or Gothic type which was used in some (although not all) early French printing. Though his name was generally written as 'Garamont' in his lifetime, the spelling 'Garamond' became the most commonly used form after his death. H. D. L. Vervliet, the leading contemporary expert on French Renaissance printing, uses Garamont consistently.
The roman designs of Garamond which are his most imitated were based on a font cut around 1495 for the Venetian printer Aldus Manutius by engraver Francesco Griffo. This was first used in the book De Aetna, a short work by poet and cleric Pietro Bembo which was Manutius' first printing in the Latin alphabet. Historian Beatrice Warde has assessed De Aetna as something of a pilot project, a small book printed to a higher standard than Manutius' norm. Among other details, this font popularised the idea that in printing the cross-stroke of the 'e' should be level instead of slanting upwards to the right like handwriting, something imitated in almost all type designs since. French typefounders of the 16th century assiduously examined Manutius's work (and, it is thought, De Aetna in particular) as a source of inspiration: Garamond's roman, italic and Greek typefaces were all influenced by types used by Manutius.
An event which was to particularly define the course of the rest of Garamond's career came starting on 6 September 1530, when the printer Robert Estienne began to introduce a set of three roman types adapting the single roman type used in De Aetna to a range of sizes. These typefaces, with their "light colour and precise cut" were extremely influential and other Parisian printers immediately introduced copies. The largest size "Gros-canon" (42.5pt) particularly became a "phenomenon" in Paris: never before had a roman type been cut in so large a size. The designs copied Manutius's type even to the extent of copying the 'M' shown in De Aetna which, whether intentionally or due to a casting defect, had no serif pointing out of the letter at top right. This form was to appear in many fonts of the period, including Garamond's earlier ones, although by the end of his career he had switched to mostly using an M on the Roman capital model with a serif at top right.
The period from 1520 to around 1560, encompassing Garamond's career, was an extremely busy period for typeface creation. Many fonts were cut, some such as Robert Estienne's for a single printer's exclusive use, others sold or traded between them (increasingly over time). The many active engravers included Garamond himself, Granjon, Guillaume Le Bé, particularly respected for his Hebrew fonts, Pierre Haultin, Antoine Augereau (who may have been Garamond's master), Estienne's stepfather Simon de Colines and others. This period saw the creation of a pool of high-quality punches and matrices, many of which would remain used for the next two centuries.
Robert Granjon
Many modern revival fonts based on French renaissance printing are influenced by the work of Robert Granjon (c. 1513–90), particularly in italic. An engraver with a long and wide-ranging career, Granjon's work seems to have ranged much more widely than Garamond's focus on roman and Greek type, cutting type in italic, civilité (a cursive blackletter), and for the Vatican type in exotic alphabets including Arabic, Armenian and Hebrew. His career also took in stops in the Netherlands, Switzerland, Germany and finally for the last twelve years of his life Rome, where he ended his career in the service of the Vatican.
Vervliet comments that Granjon "laid the foundation for our image of the way an Italic should look." Although he was not quite the first designer to use the idea of italics having capitals sloped to complement the roman, he "solved successfully the problem of a balanced inclination of the capitals, a feature much ahead of the designs with a more irregular slope of his Viennese and Mainz predecessors...and even compared to...Garamont. A proper optical harmony of the angle of slope is characteristic for all Granjon’s Italics; it allowed the compositor to use whole lines of capitals without causing too much giddiness." Granjon also cut many swash capitals, which Vervliet describes as "deliciously daring" and have often been copied, for instance in Robert Slimbach's revivals for Adobe (discussed below).
Other French engravers of the sixteenth century
Besides Garamond, Granjon and the "Estienne master", other engravers were active in the French renaissance style.
Pierre Haultin particularly created many types which were very popular and distributed very widely around Europe: as a Protestant, he spent much of his career outside Paris working in Geneva, Lyon and La Rochelle and his nephew Jérôme established a career importing and casting his types in London, where his types were extremely common. In Carter's view Haultin "has been greatly underrated". Another engraver whose types were very popular in London was François Guyot, who moved from Paris to Antwerp and then London.
Jean Jannon
In 1621, sixty years after Garamond's death, the French printer Jean Jannon released a specimen of typefaces in the Garamond/Granjon style. Jannon wrote in his specimen that:
Seeing that for some time many persons have had to do with the art [of printing] who have greatly lowered it ... the desire came upon me to try if I might imitate, after some fashion, some one among those who honourably busied themselves with the art, [men whose deaths] I hear regretted every day [Jannon mentions some eminent printers of the previous century] ... and inasmuch as I could not accomplish this design for lack of types which I needed ... [some typefounders] would not, and others could not furnish me with what I lacked [so] I resolved, about six years ago, to turn my hand in good earnest to the making of punches, matrices and moulds for all sorts of characters, for the accommodation both of the public and of myself.
Jannon was a Protestant in mostly Catholic France. After apparently working with the Estienne family in Paris he set up an independent career as printer in Sedan in what is now north-eastern France, becoming printer for the Protestant Academy. By his report he took up punchcutting seriously in his thirties, although according to Williamson he would have cut decorative material and engravings at least before this. Sedan at the time enjoyed an unstable independence as a principality at a time when the French government had conceded through the Edict of Nantes to allowing a complicated system of restricted liberties for Protestants.
The French Royal Printing Office (Imprimerie Royale) appears to have bought matrices from him in 1641 in three large sizes, roman and italic at roughly 18, 24 and 36 point sizes. (The contract is actually made for one 'Nicholas Jannon', which historians have concluded to be a mistake.) Despite the purchase, it is not clear that the office ever much used Jannon's type: historian James Mosley has reported being unable to find books printed by the Imprimerie that use more than two sizes of italic. His type would later be misattributed to Garamond. Despite this, it is known that authorities in 1644 raided an office in Caen where he had been commissioned to do printing. Warde initially assumed that this was the source of the Jannon materials in the Imprimerie Nationale before the government's purchase order came to light. Jannon's types and their descendants are recognizable by the scooped-out triangular serifs on the top left of such characters as 'm', 'n' and 'r', which curve to a steeper slant in Jannon's design compared to Garamond's. The italics are also very different from Garamond's own or Granjon's, being much more ornate and with considerable variation in angle of the capitals. Opinions of Jannon's engraving quality have varied; Warde found them "so technically brilliant as to be decadent" and "of slight value as a book face" (the surviving Jannon sizes were intended as display faces, cut at 18pt or larger) and Vervliet described them as "famous not so much for the quality of the design but as for the long-term confusion it created", although many reproductions of his work were successful in printing in the twentieth century. Jannon cut far more types than those surviving in the Imprimerie collection: before the misattribution to Garamond, he was particularly respected for his engraving of an extremely small size of type, known for his workplace as sédanoise, which was popular.
The fate of Garamond's work
The old-style typefaces of Garamond and his contemporaries continued to be regularly used and kept in the stock of European typefounders until the end of the eighteenth century and appear in the major French type foundry specimen books of the eighteenth century, of Delacolonge, Lamesle, and Gando. In Delacolonge's book, many fonts were shown "mutilated" or as "bastard" fonts: with replacement characters, specifically cut-down descenders to allow tighter linespacing. According to James Mosley French renaissance romans remained popular for slightly longer than italics, due to a taste for new italics, wider and with flat incoming serifs, introduced by the Romain du roi type and popularised by Simon-Pierre Fournier (see below): "it is common enough, in the second half of the eighteenth century, to find books set in a Garamond roman or a near copy mated with one of Fournier's italics".
A trademark associated with the Garalde style in modern times is the four-terminal 'W', although sixteenth-century French typefaces generally do not include the character as it is not normal in French. Many French renaissance typefaces used abroad had the character added later, along with the 'J' and 'U': these were often very visibly added by lesser craftsmen, producing an obvious mismatch. Granjon added a 'W' and 'w', both with three upper terminals, to Garamond's Breviare roman in 1565 for Plantin.
The foundry of Guillaume Le Bé I which held many of Garamond's punches and matrices passed to Guillaume Le Bé II, and came to be managed by Jean-Claude Fournier, whose son Jean-Pierre in 1730 purchased it. (His younger brother, Simon-Pierre Fournier, rapidly left the family business and became a major exponent of modern ideas in printing, including standardised point sizes and crisp types influenced by contemporary calligraphy.)
In 1756, Jean-Pierre Fournier wrote of his collection of vintage equipment that "I am the owner of the foundry of Garamond, the Le Bé family and Granjon. I shall be happy to display my punches and matrices to all those who are lovers of true beauty ... these are the types that made the reputations of the Estiennes, Plantin and the Elzevirs," and referred to an inventory that he said was in his possession that had been drawn up after Garamond's death in 1561. (The comment was made in a journal during a public dispute with a printer of more modern tastes who preferred to remain anonymous and may have been his younger brother.) The 1561 inventory does not survive, although some later inventories do; by this point Fournier's foundry may have become rather inactive.
Revival era
A revival of interest in 'old-style' serif typefaces took place in the late nineteenth and early twentieth century. This saw a revival of the Imprimerie royale typefaces (the office was now called the Imprimerie nationale following the end of the French monarchy), which, unlike Garamond's own work, had survived in Paris. The attribution came to be considered certain by the Imprimerie's director Arthur Christian, who commissioned the cutting of additional sizes in a matching style.
Early revivals were often based directly on the Imprimerie nationale types, one of the first by Peignot and then by American Type Founders (ATF).
These revivals could be made using pantograph machine engraving systems, which gave a cleaner result than historic typefaces whose master punches had been hand-carved, and allowed rapid development of a family in a large range of sizes. In addition, the new hot metal typesetting technology of the period created increasing availability and demand for new fonts. Among hot metal typesetting companies, Monotype's branches in Britain and the United States brought out separate versions, and the American branch of Linotype licensed that of ATF.
A number of historians began in the early twentieth century to question if the Imprimerie nationale Latin-alphabet type was really the work of Garamond, as the Grecs du Roi undoubtedly were. Doubt was raised by French historian Jean Paillard, but he died during the First World War soon after publishing his conclusions in 1914 and his work remained little-read. ATF's historian Henry Lewis Bullen secretly doubted that the 'Garamond' his company was reviving was really Garamond's work, noting that he had never seen it in a sixteenth-century book. He discussed his concerns with ATF junior librarian Beatrice Warde, who would later move to Europe and become a prominent writer on printing advising the British branch of Monotype.
In a 1926 paper published on the British typography journal The Fleuron, Beatrice Warde revealed her discovery that the Imprimerie nationale type had been created by Jean Jannon, something she had discovered by examining printing credited to him in London and Paris and through reading the work of Paillard, and perhaps with advice from French bibliographer Marius Audin.
By the time Warde's article was published some revivals had been released that were more authentic revivals of Garamond's work, based on period books and printing specimens. The German company Stempel brought out a crisp revival of the original Garamond typefaces in the 1920s, inspired by a rediscovered specimen from the Egenolff-Berner foundry in Frankfurt, as did Linotype in Britain.
Timeline
The Renaissance
1470 – first book printed in France, by a Swiss/German team at the Sorbonne, Paris. Early books printed in France generally use type of a blackletter design or roman type with blackletter characteristics.
1496 – Aldus Manutius publishes De Aetna, a short text of poetry that serves as his first printing in the Latin alphabet. Its roman type sets a standard that would later be imitated by French printers.
Late Renaissance
1510 – Garamond may have been born around this time.
1530 – Robert Estienne begins to publish in a new and more elegant style of 'roman' type, influenced by De Aetna with its asymmetrical 'M'.
1540 – Garamond first clearly enters the historical record, being advanced money to cut the Grecs du Roi type.
1561 – Death of Garamond.
1563 – Christophe Plantin buys matrices and other equipment in Paris at auction, some from Garamond's widow, for his partnership in Antwerp. Other equipment is bought by other Parisian and German printers; a specimen sheet identifying his types is issued by a Frankfurt foundry in 1592.
1560–70s – The work of Garamond and his contemporaries becomes very influential in the Low Countries and western Germany. A decline sets into the production of new typefaces, probably mostly due to simple saturation of the market with typefaces of acceptable quality, and possibly also due to economic and religious factors causing the emigration of printers and typefounders to other countries.
Early modern period
1580 – birth of Jannon
1621 – Jannon issues a specimen of his type.
1640 – Jannon leaves Sedan for Paris.
1641 – foundation of the Imprimerie Royale, which buys matrices from Jannon
1644 – Jannon's printing office in Caen is raided by authorities concerned that he may have been publishing banned material. Jannon is not imprisoned, but returns to Sedan.
1658 – death of Jannon
Eighteenth century
1756 – Parisian printer Jean-Pierre Fournier quotes from the 1561 inventory of Garamond's work and writes about his possession of Garamond's equipment. However, his extensive collections are dispersed after his death in 1783 and ultimately 'traditional' old-style type falls out of use in France around the end of the century.
Early revival era
Late nineteenth century – revival in interest in 'old-style' typefaces such as the Caslon type (1730s, England) and that of Jenson (1470s, Venice).
1912 – revival of the Imprimerie Royale (now Imprimerie nationale, following the revolution) type by the Peignot foundry. A revival by Ollière of "Garamond" type based on photographing sixteenth-century books follows
1914 – Jean Paillard writes and Ollière publishes an essay showcasing Ollière's Garamond revival arguing that the Imprimerie nationale type was not created by Garamond but his work attracts little attention. He is killed serving in the First World War a few months later.
1920 – a copy of the 1592 Berner specimen of typefaces is published in facsimile.
1923 – ATF issues a specimen of their Garamond revival, in development for several years prior. ATF's historian Henry Bullen privately tells Beatrice Warde, then a junior librarian, that he suspects that Garamond had nothing to do with the type, since he had never seen it in a contemporary book, but has no better candidate for its creator. Warde subsequently moves to Europe, becoming a freelance writer on printing and adviser to Monotype in London.
1925 – Based on the Egelhoff-Berner specimen, Stempel Garamond is released in Germany: later also released by Linotype, it is the first Garamond revival actually based on his work.
1923 – Monotype Garamond is published based on the Imprimerie nationale type.
1926 – Warde discovers and reveals that the Imprimerie nationale type was created by Jannon, and that all revivals based on it are not directly based on Garamond's work.
Contemporary versions
Based on Garamond's design
A 1920s adaptation created by the Stempel Type Foundry and released for hot metal typesetting by Linotype, that has remained popular. Its lower case 'a' has a sharp and somewhat angular look with a crisp hook at the top left, in contrast to a teardrop design that is common in many other serif typefaces. Stempel Garamond has relatively short descenders, allowing it to be particularly tightly linespaced. An unusual feature is the digit 0, which has reversed contrast, with the thickest points of the number on the top and bottom of the digit to make it more distinguishable from an 'o'. The Klingspor Museum credits it to Stempel's head of typeface development Dr. Rudolf Wolf.
Garamond No. 1 and Garamond No. 2 are both based on Stempel Garamond, with various differences. Another typeface known as Original Garamond is a clone of Stempel Garamond.
Garamond No. 8 is a freeware version of Stempel Garamond contributed by URW++ to the Ghostscript project; it was included in GhostScript since Stempel Garamond is included as a system font in some implementations of the PostScript standard. It is distributed under the AFP license, which allows it to be copied freely but not sold. It is understood that its license does not place any restriction on whether the typeface is used in commercial settings (as long as the typeface is not distributed in situations where a fee is involved), nor whether printed contents created with it are sold. Garamond No. 8 hence does not have a fully open-source license, but its license does not restrict usage for personal purposes or commercial printing.
Featuring a bold weight, small capitals, optional text figures and automatic ligature insertion, it is particularly popular in the TeX community and is also included on some Linux distributions. Originally released as a PostScript Type 1, it has been converted into the TrueType format, usable by most current software.
Garamond No. 8 is often packaged as "urw-garamond" in the open source communities, but is actually different from another typeface that is simply known as URW Garamond.
Granjon was a 1920s revival designed by George W. Jones for the British branch of Linotype, using a 1582 history textbook as a model and also influenced by Caslon. It was the favourite Garalde of many in the twentieth century, including Warde and Walter Tracy.
Based on Jannon's design
American Type Founders created a revival of the Imprimerie Nationale fonts from around 1917, which was designed in-house by its design department led by Morris Fuller Benton under the influence of its historian and advisor Henry Lewis Bullen. It received a sumptuous showing, marketed especially towards advertisers, in ATF's 1923 specimen book. Also involved in the design's development was book and advertising designer T.M. Cleland, who created a set of matching borders and ornaments and according to Warde and Garnett also advised on the design and designed the swash characters.
While ATF's handset foundry type release was initially popular, the design became particularly known to later users under the name of "Garamond No. 3”, as a hot metal adaptation that was licensed to Linotype's American branch and sold from around 1936. More practical to use than ATF's handset foundry type, the number distinguished it from two versions of Stempel Garamond which Linotype also sold. It was the preferred Garalde font of prominent designer Massimo Vignelli.
Several digitisations have been made of both ATF's Garamond and the Linotype adaptation, most notably a 2015 digitisation by van Bronkhorst with optical sizes and the original swash characters. A loose adaptation with sans-serif companion by Christian Schwartz is the corporate font of Deutsche Bahn.
Images from American Type Founders' 1923 specimen book.
Monotype's 1922–1923 design, based on Jannon's work in the Imprimerie Nationale, is bundled with Microsoft Office. Its italic, faithful to Jannon's, is extremely calligraphic, with a variable angle of slant and flourishes on several lower-case letters. Its commercial release is more extensive than the basic Microsoft release, including additional features such as swash capitals and small capitals, although like many pre-digital fonts these are only included in the regular weight. Popular in the metal type era, its digitisation has been criticised for having too light a colour on the page for body text if printed with many common printing systems, a problem with several Monotype digitisations of the period. Monotype's 1933 guide to identifying their typefaces noted the asymmetrical T, the sharp triangular serif at top left of m, n, p and r, and a q unlike the p, with a point at top right rather than a full serif.
Related fonts
As one of the most popular typefaces in history, a number of designs have been created that are influenced by Garamond's design but follow different design paths.
ITC Garamond was created by Tony Stan in 1975, and follows ITC's house style of unusually high x-height. It was initially intended to serve as a display version but has been used for text, in which its tight spacing and high x-height gives it a somewhat hectoring appearance. As a result, it has proven somewhat controversial among designers; it is generally considered poorly proportioned for body text. It remains the corporate font of the California State University system in printed text. As seen below, it was also modified into Apple Garamond which served as Apple's corporate font from 1984 until replacement starting in 2002 with Myriad. Publishers using it included O'Reilly Media and French publisher Actes Sud.
An open-source adaptation of Garamond intended for display sizes, designed by Christian Thalmann and co-released with Google Fonts. It features a delicate style suitable for printing at larger sizes, and considerable contrast in stroke weight in its larger sizes. Thalmann added several unusual alternate designs such as an upright italic and unicase styles, as well as exaggerated, highly slanting accents.
Several sans-serif typefaces have been published that are based on the proportions of Garamond-style fonts, both as standalone designs or as part of a font superfamily with matching serif and sans-serif fonts. One example is Claude Sans, a humanist sans-serif based on the letterforms of Jannon's type, created by Alan Meeks and published by Letraset and later ITC.
In popular culture
This list focuses on notable references to Garamond or his typefaces, not including the extremely large number of books printed in them.
In Umberto Eco's novel Foucault's Pendulum, the protagonists work for a pair of related publishing companies, Garamond and Manuzio, both owned by a Mister Garamond.
Garamond is the name of a character in the Wii game Super Paper Mario. He appears in the world of Flopside (the mirror-image of Flipside, where the game begins). He is a prolific and highly successful author, unlike his Flipside counterpart, Helvetica.
For many years the masthead of British newspaper The Guardian used "The" in italic 'Garamond' and "Guardian" in bold Helvetica.
A condensed variant of ITC Garamond was adopted by Apple in 1984 upon the release of the Macintosh, known as Apple Garamond. This was a proprietary font not publicly available, less condensed than the publicly released ITC Garamond Condensed.
One of the initial goals of the literary journal Timothy McSweeney's Quarterly Concern was to use only a single font: Garamond 3. The editor of the journal, Dave Eggers, has stated that it is his favourite font, "because it looked good in so many permutations—italics, small caps, all caps, tracked out, justified or not."
In Robin Sloan's fantasy novel Mr. Penumbra's 24-Hour Bookstore several character names derive from historical figures associated with the Garamond typeface.
In Neil Gaiman's fantasy novel Stardust (Being A Romance Within The Realms of Faerie), one of the realms of Faerie is called Garamond. It is ruled by the Squire of Garamond, whose "only heir was transformed into a Gruntling Pig-wiggin." The realm occurs in the idiom "something is so loud it can be heard from Garamond to Stormhold" and includes an unnamed island in a lake that is the only known origin of a magical herb called Limbus Grass, which compels those who eat it to answer any question truthfully.
Printer ink claim
It has been claimed that Garamond uses much less ink than Times New Roman at a similar point size, so changing to Garamond could be a cost-saver for large organizations that print large numbers of documents, especially if using inkjet printers. Garamond, along with Times New Roman and Century Gothic, has been identified by the GSA as a "toner-efficient" font.
This claim has been criticised as a misinterpretation of how typefaces are actually measured and what printing methods are desirable. Monotype Garamond, the version bundled with Microsoft Office, has a generally smaller design at the same nominal point size compared to Times New Roman and quite spindly strokes, giving it a more elegant but less readable appearance. In order to increase the legibility of Garamond, a common approach in typography is to increase text size such that the height of its lower-case characters (i.e., the absolute x-height of the font) matches that of Times New Roman, which counterbalances cost savings. Thomas Phinney, an expert on digital fonts, noted that the effect of simply swapping Garamond in would be compromised legibility: "any of those changes, swapping to a font that sets smaller at the same nominal point size, or actually reducing the point size, or picking a thinner typeface, will reduce the legibility of the text." Professional type designer Jackson Cavanaugh commented "If we're actually interested in reducing waste, just printing less – using less paper – is obviously more efficient."