EB Garamond
Regular
Italic
400
Medium
Italic
500
Semi Bold
Italic
600
Bold
Italic
700
Extra Bold
Italic
800
Characters
EB Garamond was initiated by German designer Georg Duffner as a scholarly, open-source revival aimed at restoring the authentic sixteenth-century punches of Claude Garamont to the digital commons. Rather than synthesizing the smoothed compromises of twentieth-century foundry adaptations, Duffner returned to the definitive primary source: the celebrated 1592 specimen sheet issued by the Egenolff-Berner foundry in Frankfurt, which showcased Garamont’s roman types alongside companion italics cut by Robert Granjon. Released under the SIL Open Font License and later expanded by Octavio Pardo to introduce variable weights and broader linguistic coverage, the project stands as one of the most historically faithful and textually sensitive digital recreations of the Garalde archetype.
Anatomically, the design preserves the organic, calligraphic cadence of the broad-nib pen, resisting the mechanical standardization common to commercial revivals. Proportions are governed by a historically restrained x-height paired with tall, graceful ascenders and deep descenders, establishing an airy, unhurried rhythm along the measure. The strokes follow a gentle diagonal stress, supported by softly cupped, bracketed serifs that give the baseline a rooted, steady foot. Terminals on letters like c, f, and r swell into delicate teardrops, while the lowercase e features a high, slender crossbar that bounds a compact eye. In its Granjon-derived italic, the face shifts into an authentic, flowing cursive hand characterized by varying angles of inclination and long, sweeping descenders. Furnished with true small capitals, historical ligatures, and proportional oldstyle figures, the family weaves a warm, textured page that allows ambient light to circulate freely through the line.
This adherence to sixteenth-century proportions directly defines its proper domain. Because of its generous extenders and delicate hairlines, EB Garamond requires disciplined leading and breathing room; crowded into compact interface modules, dense mobile navigation, or coarse signage, its slender strokes easily wash out and its vertical extremities risk colliding. It belongs unequivocally to sustained literary and academic typography—book publishing, scholarly monographs, poetry collections, and long-form digital essays where the eye is meant to dwell across extended passages of text. Within the open catalog, EB Garamond remains an indispensable classic: an alphabet that captures the quiet warmth, human irregularity, and lasting balance of Renaissance bookmaking.
Words
Questography
difficult waffles
Havana Plywood
Château d’Yquem
Högertrafikomläggningen
hamburgevontpids
Headlines
Regular · 400
Brawny gods just flocked up to quiz and vex him
Regular Italic · 400
Brawny gods just flocked up to quiz and vex him
Regular Small Caps · 400
Brawny gods just flocked up to quiz and vex him
Medium · 500
Amazingly few discotheques provide jukeboxes
Medium Italic · 500
Amazingly few discotheques provide jukeboxes
Medium Small Caps · 500
Amazingly few discotheques provide jukeboxes
Semi Bold · 600
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Semi Bold Italic · 600
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Semi Bold Small Caps · 600
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Bold · 700
Grumpy wizards make a toxic brew for the jovial queen
Bold Italic · 700
Grumpy wizards make a toxic brew for the jovial queen
Bold Small Caps · 700
Grumpy wizards make a toxic brew for the jovial queen
Extra Bold · 800
Jackie will budget for the most expensive zoology equipment
Extra Bold Italic · 800
Jackie will budget for the most expensive zoology equipment
Extra Bold Small Caps · 800
Jackie will budget for the most expensive zoology equipment
Paragraphs
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
Small Capitals
font-feature-settings: 'smcp';
Petite Capitals
font-feature-settings: 'pcap';
Standard Ligatures
font-feature-settings: 'liga';
Discretionary Ligatures
font-feature-settings: 'dlig';
Historical Ligatures
font-feature-settings: 'hlig';
Figures
1234567890
Tabular Lining (default)
1234567890
Proportional Lining: 'pnum'
1234567890
Proportional Oldstyle: 'onum', 'pnum'
1234567890
Tabular Oldstyle: 'onum', 'tnum'
1/2 3/4
Fractions: 'frac'
H123
Numerators: 'numr'
H123
Denominators: 'dnom'
H123
Subscripts: 'subs'
H123
Scientific Inferiors: 'sinf'
H123
Superscripts: 'sups'
Ordinals
font-feature-settings: 'ordn';
Swashes
font-feature-settings: 'swsh';
Stylistic Sets
font-feature-settings: 'ss--';
'ss01' · Petite capitals
'ss02' · Symbols
'ss03' · Arrows
'ss04' · Ornaments
'ss05' · Alternate eszett
'ss06' · Long-tailed Q
'ss07' · Historical forms
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