Ornate
Plain
About
Garton emerged from a single typewritten letter, dated November 1, 1894, from the Garton Brewery in Bristol – a piece of ephemera that waited years in our archives before finding new life as a typeface.
While typewriter fonts are a loved tool in designers' arsenals, few explore the potential for elegance within their mechanical constraints. Garton comes in two distinct styles: Ornate brings a refined and decorative element to the design, with curved strokes that soften its mechanical origins, while Plain offers a more conventional interpretation for everyday use.
Each style is available in five weights with corresponding italics, and both include extensive OpenType features and stylistic alternates that expand their creative possibilities.
Technical
Designed by: ,
Year: 2022
Styles: 20
Encoding: Latin Extended
Formats: OTF, WOFF, WOFF2
Source Material
Ornate • Regular
GRACE
Plain • Regular
GRACE
Plain • Bold
Uniformity of quality
Ornate • SemiLight
Alexandra Albert Christopher Edgar Fuller Grace Herbert James Jessica Jimmy John Maxwell Norman Paul Ralph Richard Robert Sandra Steve Stewart Thomas Virginia
Ornate • Light
GOLDEN ALE
Plain • Bold Italic
TONIC BEER
Ornate • Italic
Cash and Carry
Plain • Regular
…you will be unwilling to drink any other
Ornate • Medium
The creative mind requires both freedom and constraint, working within established patterns while discovering new possibilities for expression and understanding.
Plain • Regular
The path to understanding comes through direct experience, not through conversation alone. We must recognize that while the world appears chaotic, patterns emerge naturally through careful observation and thoughtful design. As creators and makers, we have the power to shape these patterns, to find meaning in complexity, and to build tools that transform how humans interact with their environment. The process requires both freedom and constraint, working within established forms while discovering new possibilities. Through this delicate balance of order and creativity, structure and spontaneity, we begin to see that everything is already connected - we simply need to reveal the inherent relationships.
Plain • SemiLight
The path to understanding comes through direct experience, not through conversation alone. We must recognize that while the world appears chaotic, patterns emerge naturally through careful observation and thoughtful design. As creators and makers, we have the power to shape these patterns, to find meaning in complexity, and to build tools that transform how humans interact with their environment. The process requires both freedom and constraint, working within established forms while discovering new possibilities. Through this delicate balance of order and creativity, structure and spontaneity, we begin to see that everything is already connected - we simply need to reveal the inherent relationships.
Plain • SemiLight Italic
The path to understanding comes through direct experience, not through conversation alone. We must recognize that while the world appears chaotic, patterns emerge naturally through careful observation and thoughtful design. As creators and makers, we have the power to shape these patterns, to find meaning in complexity, and to build tools that transform how humans interact with their environment. The process requires both freedom and constraint, working within established forms while discovering new possibilities. Through this delicate balance of order and creativity, structure and spontaneity, we begin to see that everything is already connected - we simply need to reveal the inherent relationships.
Type Tester
OpenType Features
CASE SENSITIVE
FRACTIONS
LINING NUMERALS
PLAIN
Glyphs
Supported Languages • 211
Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Atayal, Aymara, Bashkir, Basque, Belarusian, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic, Greenlandic Old Orthography, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Inari, Sami Lule, Sami Northern, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Ukrainian, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.
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