EB Garamond

Regular

Italic

400

Medium

Italic

500

Semi Bold

Italic

600

Bold

Italic

700

Extra Bold

Italic

800

Characters

Aa
Bb
Cc
Dd
Ee
Ff
Gg
Hh
Ii
Jj
Kk
Ll
Mm
Nn
Oo
Pp
Qq
Rr
Ss
Tt
Uu
Vv
Ww
Xx
Yy
Zz
Åå
Ææ
Çç
Éé
Øø
Ññ
Üü
Žž
1234567890
‘¿?’
“!”
- – —
(&)
[*]
{@}
€£¥$¢
:;,.
<>+÷×=

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?”

Stylistic sets
Size128
Weight400

Small Capitals

font-feature-settings: 'smcp';

AbcdeAbcde

Petite Capitals

font-feature-settings: 'pcap';

AbcdeAbcde

Standard Ligatures

font-feature-settings: 'liga';

ffff
fifi
flfl
ffiffi
fflffl

Discretionary Ligatures

font-feature-settings: 'dlig';

ThTh
ctct
stst
QyQy

Historical Ligatures

font-feature-settings: 'hlig';

ſtſt
ſiſi
ſſiſſi

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';

1st1st
3a3a

Swashes

font-feature-settings: 'swsh';

ABCABC
QRSQRS

Stylistic Sets

font-feature-settings: 'ss--';

abcabc

'ss01' · Petite capitals

okok

'ss02' · Symbols

arrowrightarrowright

'ss03' · Arrows

*()*()

'ss04' · Ornaments

ßß

'ss05' · Alternate eszett

QQ

'ss06' · Long-tailed Q

JjsJjs

'ss07' · Historical forms

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