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Sabon is an old-style serif typeface designed by the German-born typographer and designer Jan Tschichold (1902–1974) in the period 1964–1967. It was released jointly by the Linotype, Monotype, and Stempel type foundries in 1967. The design of the roman is based on types by Claude Garamond (c.1480–1561), particularly a specimen printed by the Frankfurt printer Konrad Berner. Berner had married the widow of a fellow printer Jacques Sabon, the source of the face's name, who had bought some of Garamond's type after his death. The italics are based on types designed by a contemporary of Garamond's, Robert Granjon. It is effectively a Garamond revival, though a different name was chosen as many other modern typefaces already carry this name. A classic typeface for body text, Sabon's longstanding popularity has transcended its origin as a commission to fit a tight set of business requirements. Tschichold was commissioned by a coalition of German printers to create a typeface that could be printed identically on Linotype, Monotype or letterpress equipment, simplifying the process of planning lines and pagination when printing a book. The italic and bold styles were to take up exactly as much space as the roman, a feature that was particularly advantageous with the duplexed hot metal printing equipment of the period. Finally, the new font was to be five per cent narrower than their existing Monotype Garamond, in order to save space and money.〔Cf. S. Garfield, ''Just My Type'', p.251.〕 Sabon's name was therefore appropriate: a Frenchman who had moved to Frankfurt, he had played a role in bringing Garamond's type into use in German printing four hundred years before. Tschichold was well known as an eminent book designer in his own right, having promoted the now-popular ragged right style of book layout. A modernist, after the war, from 1947 to 1949, he played a hugely significant role in British book design, creating a unified, simple and inexpensive layout design for Penguin Books, a publisher which specialised in issuing cheap paperbacks. In his early life, he had lived in Leipzig and in the 1920s had devised a "universal alphabet" for German, improving its non-phonetic spellings and promoting the replacement of the jumble of fonts with a simple sans serif. For the German printers, he crafted Sabon as a font that modernized the classics and honed each letter's fine details, particularly the evenness of the serifs. In doing so, Tschichold took careful account of the added weight needed to form a strong impression on modern paper, with mechanized machines subtly "kissing" the surface with ink rather than stamping or rolling it.〔Cf. S. Garfield, ''Just My Type'', Profile Books, London (2010), pp.251-253.〕 ==History== Sabon was developed in the early 1960s for a group of German printers who were complaining about the lack of a "harmonized" or uniform font that would look the same whether set by hand or on a Monotype or Linotype machine. They were quite specific about the sort of font that might fit the bill, rejecting the modern and fashionable in favour of solid 16th century tradition - something modelled on Garamond and Granjon. The requirement that all weights have the same width was influenced by the 'duplex' system of lead casting Linotype: each Linotype-matrix can cast two different characters: roman or italic, roman or bold, which must have the same width. It also meant that the typeface then only required one set of copyfitting data (rather than three) when compositors had to estimate the length of a text prior to actual typesetting (a common practice before computer-assisted typesetting).〔Cf. A. Bartram, ''Typeforms: A History'', British Library & Oak Knoll Press, London (2007), ''s.v. Sabon''.〕 An early first use of Sabon was the setting of the Washburn College Bible in 1973 by the American graphic designer Bradbury Thompson. All books of the King James biblical text were set by hand in a process called thought-unit typography, where Thompson broke the lines at their spoken syntactical breaks. Sabon was also used as the typeface in the 1979 ''Book of Common Prayer'' of the Episcopal Church (United States), as well as all of that church's secondary liturgical texts (such as the ''Book of Occasional Services'' and ''Lesser Feasts and Fasts''). Sabon was used in 2000s as the official logo typeface of Stanford University until 2012.〔Stanford University Identity Toolkit, (). Retrieved 2012-11-15.〕 It is also used by Örebro University, together with the typeface Trade Gothic.〔Örebro University Design Guidelines, (). Retrieved 2012-05-29.〕 ''Vogue'' and ''Esquire'' use a slightly modified version of it for headlines.〔Cf. S. Garfield, ''Just My Type'', p.253; B. Willen & N. Strals, ''Lettering & Type'', Princeton Architectural Press, New York (2009), ''Sabon and Its Current Usage''.〕 A variety of digital releases of Sabon exist with different prices and licensing, sold by both Adobe and Linotype. Fontsite released a version under the name Savoy, while Bitstream released a less faithful version under the name of Classical Garamond.〔(【引用サイトリンク】url=http://www.fontspring.com/fonts/fontsite/savoy )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Sabon」の詳細全文を読む スポンサード リンク
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