Brioso Pro

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 An Adobe® Original

Brioso Pro
 umanistic Composition aily

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©  Adobe Systems Incorporated. Al rights reserved.
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For more information about OpenType please refer to Adobe’s web site at www.adobe.com/type/opentype.
is  document was designed to be viewed on-screen or printed duplex and assemled as a booklet.


Adobe Originals
Adobe Systems Incorporated introduces Brioso Pro, a new font
soware package in the growing library of Adobe Originals typefaces,
designed ecicaly for today’s digital technology. Since the inception
of the Adobe Originals program in , Adobe Originals typefaces
have been consistently recognized for their quality, originality, and
praicality. They combine the power of PostScript® lanuage soware
and the most sophisticated electronic design tools with the spirit
of crasmanship that has inspired type designers since Gutenberg.
Comprising both new designs and revivals of classic typefaces, Adobe
Originals font soware has set a standard for typographic excelence.

What is OpenType?
Developed jointly by Adobe and Microso, OpenType is a highly
versatile new font le format that represents a signicant advance
in type functionality on Windows® and Mac OS computers. Perhaps
most exciting for designers and typographers is that OpenType fonts
offer extended layout features that bring unprecedented control and
sophistication to contemporary typography.
Because OpenType can incorporate al glyphs for a ecic style
and weight into a single font, the need for separate expert, alternate,
swash, non-Latin, and related glyph sets is eliminated. In aplications
which suport OpenType layout features, such as Adobe’s InDesign®
soware, glyphs are grouped according to their use. Activating these
features enales typographic renements such as ligatures, smal
capitals, and oldstyle ures, streamlining the process of seing and
ne-tuning text. In adition, al glyphs in an OpenType font can be
accessed in InDesign, whether or not they are covered by a layout
feature. OpenType fonts, coupled with the enhanced typographic
control offered by a program such as InDesign, let type-users take
advantage of advanced justication, optical margin alignment, hang-
ing punctuation, and opticaly sized masters (for fonts with two or
more optical masters). OpenType fonts from Adobe are some of the
most sophisticated and easy to use typefaces ever offered, alowing
designers and typographers to more effectively take advantage of the
power of the computer for digital design and typeseing.


 aigrahy is freean
ABCDEFG
n ich the freeo
HIJKLMN
s so reconcied with ode
OPQRSTU
hat te understanding ey

V WX Y Z
s pleased to contelate i.
  


 Brioso Pro
Brioso Pro is a new typeface family designed in the caligraphic tradi-


tion of our Latin alphabet, evoking the look of a nely-penned roman
and italic script, retaining the immediacy of hand leering while

a
having the scope and functionality of a contemporary composition
family. Brioso lends the humanity of wrien forms with the clarity

 of digital design, alowing type users to set pages of rened elegance.

Designed by Robert Slimbach, this energetic type family is mod-

Aa eled on his formal roman and italic script. In the modern caligra-
pher’s repertoire of leering styles, roman script is the hand that

A most closely mirors the oldstyle types that we commonly use today;


it is also among the most chalenging styles to master. Named aer
the Italian word for ‘lively’, Brioso moves rhythmicaly across the
page with an energy that is tempered by an ordered structure and
lucid form.

An OpenType Composition Faily

Brioso Pro is an extended type family consisting of integrated weights,
styles and optical masters. Its rich glyph palee is offered in ve
weights ranging from light to bold, in four optical size ranges. e
glyph set includes al the charaers normaly found in expert and
standard sets, as wel as an expanded accented charaer comple-
ment featuring aditional monetary and math symbols, a colection
of alternate glyphs, swash italic glyphs, and a set of ornaments. Brioso
also includes a ecial Light Poste font in roman and italic styles. e
Poster fonts are a bit more stylized than the reular designs and are
intended for use at very large sizes. e Brioso Pro family covers the
ectrum of font styles used in modern typography. As a ful-featured
OpenType family, Brioso’s vast aray of glyphs can be aivated, either
individualy or as a group, in page layout programs using the font’s
OpenType features.
Brioso Pro can be used anywhere one wants to convey a sense of
spontaneity and sophistication. It is ideal for use in personal core-
spondence, cookbooks, poetry, menus, smal press books, movie titles,
limited edition leerpress books, weding announcements, signage,
and advertising copy.


 Designing Brioso by Robert Slimbac
“Soon aer I became interested in type design in the early s, I
began to study the humanist caligraphy of the Italian renaissance as a
means of beer understanding the roots of oldstyle text types. ese
praical handwriting styles, which evolved out of the Carolingian
writing disciplines of the th–th centuries, were commonly used
for the transcription of books. e rst designers of roman typefaces
Humanist minuscules used these Italian manuscript hands as the primary model for their
(th century), Jenson’s
Venetian roman of . new types. By also incorporating features from the inscriptional
capitals of ancient Rome, early type designers created typefaces of
exceptional beauty and praicality. As a testament to their durability,
oldstyle roman typefaces have changed lile over the last  years,
being as relevant today as in the past.
Utopia “Because the principled strokes of the broad-edged quil and
Utopia Italic brush dene the very shape of our Latin alphabet, I am continualy
drawn to the caligraphic heritage as a source of inspiration in my
Minion own type design work. Al of my typeface designs, even the more
Minion Italic utilitarian ones like Utopia,® Minion,® Kepler,® and Cronos,® have subtle
caligraphic overtones, which ad warmth and depth to otherwise
Kepler less organic designs.
Kepler Italic “e concept of making a roman book face with an overtly hand-
wrien apearance has been a preoccupation of mine for as long as
Cronos I’ve been designing type. Over the years I’ve designed many praice
Cronos Italic alphabets with the intent of merging the essence of my personal
hand leering style with the praical requirements of the modern
composition family. ese ongoing exercises have been a great
learning experience, providing a means of reconciling the division
between the purely organic form of wrien leers and the more
methodicaly constructed form of a digital text type. With Brioso,
I wanted to aply what I’ve learned about the design of digital
composition families, caligraphy, and the history of leerforms to a
single, very personal design. e result is a typeface that retains the
basic form and detailing of my hand leering, but in a more rened
and idealized form. Alignments, spacing, and charaer shapes were
fashioned with the praical requirements of composition in mind.


 “Much of the form of Brioso is derived from the eed in which I
pen Roman script, where passages of text are wrien in a careful but
expeditious manner. For the efficient progression of my text, I use
an economy of strokes to form leers; stems, serifs, and bowl shapes
are made using a series of individual pen strokes, minimizing built-
up shapes. By modulating pen pressure and angle, straight strokes
are oen bowed and the serifs are wedge-shaped. In the creation of
(below) Slimbach’s
manuscript pages today, as in the past, the scribe’s goal is to balance
formal roman script . vitality with precision to create araive and legile text.

“Brioso Roman has much in common with the Venetian roman

Velocity types of the late eenth century in that they share a common
caligraphic foundation, Jenson’s roman type being a prime example.
Velocity Venetian types, however, also show a marked engraved quality as
Sample leers from Adobe a result of the type cuing process and the punchcuer’s personal
Jenson Pro and Brioso Pro.
design style. With Brioso, I wanted the design to possess a pure
caligraphic basis with a high degree of delity.
e italic fonts of Brioso form an energetic counterpoint to the
roman and are reminiscent of the chancery italic scripts of the
eenth and sixteenth centuries. Chancery script originated as a
slanted and more anular variation of the upright humanist hands
of the same period. Although chancery italic was usualy used on its


 own for corespondence and official documents among the artistic
and educated elite, it would later become the model for the rst italic
(below) Various samples types and eventualy lead to the pairing of roman and italic fonts in
of Slimbach’s humanistic
hanleering. the same typeface family, around the mid-sixteenth century.

 
Brioso Pro Weights
As an extended type family, Brioso Pro includes ve weights: Light,
Light Reula, Medium, Seibold, and Bold – for each of the four optical size
ranges: Caption, Text, Suhea, and Display – giving designers a highly
Reular functional palee of fonts to choose from. e various weights and
Medium optical sizes can be compared to the caligrapher’s use of different-
width pen nib widths to produce leers of varied weight and size. e
Semibold reular roman text font is the core typeface for seing composition, so
its weight and proportions have been tailored for the utilitarian and
Bold æsthetic requirements of legibility. e aditional weights and optical
masters serve to complement the reular text design according to
principles of hierarchy in typography. e medium serves as a slightly
heavier alternate to the standard text weight. e semibold and bold


text designs are used primarily to accentuate words and passages
within reular text. e semibold offers a subtle weight difference
from the reular design which can be quite elegant when aplied
in spacious seings. e bold is designed to make a more emphatic
statement; its weight, however, is not so heavy as to disrupt the color
of the page.

Light Caption
Light Italic Caption
Caption
Light
Italic Caption Light Italic Light Suhead
Medium Caption Reular
Medium Italic Caption
Italic
Light Italic Suhea Light Display
Semibold Caption
Suhead
Seibold Italic Caption
Bold Caption
Bold Italic Caption
Medium
Medium Italic Italic Suhea Light Italic Display
Semibold
Seibold Italic
Medium Suhead Display
Medium It. Suhea
Bold
Bold Italic Semibold Suhead Italic Display
Seibold It. Suhea Medium Display
Reular Bold Suhead
Bold Italic Suhea Medium Italic Display
Semibold Display
Seibold Italic Display

Light Poster Bold Display

Bold Italic Display

Light talic oste

Brioso Pro Optical Masters
Beginning in the sixteenth century, type designers oen cut a series of
point sizes for a particular type style in order to form a cohesive range
of type sizes. For every size that was hand-sculpted in metal, subtle
adjustments were made to leer proportion, weight, contrast, and
spacing so that the type would be comfortale to read.
With the advent of photo and digital type technologies, most type
manufacturers abandoned the design of optical masters, because it
was economicaly more viale to produce a single master which was
then scaled photographicaly or algorithmicaly to each point size.
Unfortunately, typefaces generated from a single master usualy have
a limited range at which they look their best. For example, a type-
face that performs wel at text sizes may apear light and cramped at
smaler sizes, while larger sizes may apear heavy and ungraceful.


 In Brioso Pro, the four optical ranges for each of the four weights

Hmfg
provide greatly enhanced æsthetic apeal and readability for al point
sizes, from text sizes that are clear and easy to read, to display sizes
Caption
that are rened and elegant.
Hmfg
Text
Brioso Pro’s four optical ranges are intended to cover the ful ec-
trum of usage in modern typography. e sturdy non-idiosyncratic

Hmfg
Suhead
forms of the caption fonts are designed for maximum legibility
and work best for - to -point type.

Hmfg
Display
A comparison of the caption,
text, suhead, and display
reular optical masters scaled
to the same point size.
POSTER
e text fonts are the cornerstone of Brioso Pro and are intended
for - to -point type. eir weights and proportions have been care-
fuly balanced for reading comfort at the most commonly-used point
sizes for seing extended text.
e suhead fonts are best for seing phrases in - to -point
type and are wel suited for use as a complement to body text.
e suhead fonts represent a midle ground between text and
display type, maintaining the praical concerns of readability, while
displaying a greater degree of delicacy relative to body text.
e display masters are designed to showcase the elegance of the
leerforms and to complement the smaler size ranges as a lighter
and more rened version of the typeface. e display masters are
designed with subtle and oen stylized detailing, elegant proportions,

G nimate
Specialized
ecorati
and increased stroke contrast to help give larger sizes enhanced visual
apeal. e display fonts are intended for type sizes above -point.
In adition to the system of fonts that form the basic composition
family, Brioso also includes a Light Poster design in both roman and
italic styles. ese fonts are lighter and more stylized than the light
display designs and are designed for use at very large sizes.

Contextual Alternates
e contextual glyphs in Brioso work in conjunction with OpenType
font technology to beer emulate the natural apearance of sponta-
neous hand leering. In aplications that suport OpenType layout
features, the contextual and stylistic alternate glyphs and ligatures
are substituted automaticaly according to a set of embeded rules
dened by the type designer – improving leert and ading variety
of form to text. As leers are typed, the font program continualy up-
dates the text with the proper leer and ligature variations. Because


 Brioso is, foremost, a composition family, the contextual alternates
are intended for subtle aesthetic effect and, therefore, their design
features are rather restrained.

           
ese alternates prevent awkwad coisions caused by the lowecase f and t, and
the upecase T.

eodore esian LILE Boicei aer

      b              
ese alternates provide aiation hen sae-lee pairs occu within text. e lee
designs are slightly different and the projectors are offset.

epe saden ree falen bega saphire

 stst          
e caigraphe may occasionay ad more personalized lee aiations fo
aesthetic effect. In Bioso, these stylistic aiants are tastefuy distibuted within text
to ad furthe aiety of for and to convey the wite’s sense of balance and taste.

roceste aion espa estate bracish ate


 Brioso Pro Glyphs
Brioso Pro’s large glyph complement was designed to further meet
the exaing requirements of professional typographers and designers
throughout the world. Its diverse glyph complement includes such
typographic niceties as swash capitals, smal capitals, oldstyle ures,
ornaments, alternate forms, international monetary symbols, and an
expanded set of mathematical symbols.

  ese ures are designed with ascenders and

descenders and have features and proportions compatile with the
lowercase charaers of the typeface. Oldstyle ures, also known as
hanging ures, are typicaly used for text seing because they lend
in wel with the lowercase. In Brioso Pro they are availale in both
ed and tabular versions.
         
         
  ese ures are designed to be compatile
with the capital leers. ey are usualy capital height or slightly
smaler and are typicaly designed with identical widths. e reular
ures are also commonly used in tabular seings such as in nancial
reports. e Brioso Pro reular ures are availale in both ed and
tabular versions.
1 2 3 4 5 6 7 8 9 0 &
1 2 3 4 5 6 7 8 9 0 &
  ese leerforms are smaler versions of the
normal capitals and are designed to be visualy compatile with the
lowercase charaers of the typeface. ey can be used to introduce
the rst few words at the beginning of a story, or to highlight key
words within text. Brioso Pro includes smal capitals in al the roman
weights for the Latin fonts.




   Swash capitals, which originated in the italic
handwriting of the Italian Renaissance, were adapted as typeforms
during the early sixteenth century. Since then, swash leers have
evolved along with new handwriting and typeface styles. Brioso
Pro contains a complete set of Latin swash capitals for al the italic
weights and optical sizes. Swash capitals can be used effectively for
expressive passages of text, or for titles and signage when an elegant
accent is caled for.



   ese charaers have longer and

more decorative projectors than the normal lowercase and are used
primarily with the swash capitals.
aceimnorstuvwxz
- Al Brioso Pro fonts contain a ful set of f-ligatures.
ese glyphs are designed to corect awkward combinations where
leers may colide. ese ligatures are automaticaly implemented in
aplications which suport OpenType layout features.
  ff ffi ffl    
  ff ffi ffl             

 roughout typographic history type designers have

created ornaments to accompany their typefaces. ese devices
ad a personal signature to the type family and can be used as title
page decoration, paragraph markers, dividers for locks of text, or as
repeated bands and borders. Brioso Pro contains thirty-eight orna-
ments, including owers, leaves, bulets, brackets, and contemporary
graphic decorations.




  Al Brioso Pro fonts include nine of the most com-
monly used fraions; they are easier to use than constructed fraions,
which are made from numerator and denominator ures.
1⁄8 3⁄8 5⁄8 7⁄8 1⁄3 2⁄3 1⁄4 3⁄4 1⁄2
1⁄8 3⁄8 5⁄8 7⁄8 1⁄3 2⁄3 1⁄4 3⁄4 1⁄2
  Superior leers are used in mathematics and
in English, French and Spanish for abreviating words, such as
second, ⁿ, Madame, M, compagnie, C, and seundo, .
        ⁿ    
        ⁿ    
   ese glyphs have a beginning
ourish and are used at the beginning of a word or phrase as a design
embelishment. ey work best in text copy that is center-justied,
with the beginning charaers used at the beginning of the line and
the ending glyphs at the end.
 
 
   ese glyphs usualy have an end-
ing ourish and are used at the end of a word or phrase as a design
embelishment. Because of their decorative quality, they are best used
in moderation.

           
  ese glyphs serve either to corect
awkward leer combinations or as aesthetic enhancements within
text. ey are implemented automaticaly according to a set of pre-
determined contextual rules.
æ œ  st      Æ Œ
æœstb    
            ÆŒ 


    ese include the
symbols for cent ¢, dolar $, euro €, colon ₡, orin ƒ, franc ₣, lira ₤,
peseta ₧, sterling £, yen ¥, curency ¤, and rupiah . Also included
are oldstyle versions of most of the monetary symbols, which are
designed to be compatile with the oldstyle ures.
¢ $ € ₡ ƒ £ ₤ ¥ ₣ ₧  No # ¤
           No  ¤
  ese alternate forms were designed to give
words and phrases a slightly more animated and informal apearance.
ey can be implemented individualy using programs like InDesign.
  
            
  e large number of accented glyphs
in Brioso Pro suport a broad range of Latin-based lanuages around
the world. e accents are availale in upercase, lowercase, and smal
capital versions.
ÁĂÂÄÀĀĄÅÃáăâäàāãąå
ÁĂÂÄÀĀĄÅÃáăâäàāãąå

, , ,  

e numerator and denominator ures can be used with the fraion
bar to construct aditional fraions. e superior and inferior ures
are used for footnote references and as mathematical exponents – for
example, E = mc².
               
               
  Brioso Pro contains an expanded set of math sym-
bols designed eecialy for the family. is set contains some of the
more common symbols used in mathematics.

∂ℓ∆Ω∏∑µπ℮∫√◊^=÷×+¬±<>~≈≠≤≥∞
∂ℓ∆Ω∏∑µπ℮∫√◊^=÷×+¬±<>~≈≠≤≥∞


 Roman Glyphs in Brioso Pro
Basic Latin Glyphs ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz

&1234567890

Aditional Glyphs ÆŒÐØŁÞæœðøłþstß

ffffifflſ

[$¢ƒ£₤€₡¥₣₧No#¤%‰°] {}
⁽⁾₍₎¹²³⁴⁵⁶⁷⁸⁹⁰₁₂₃₄₅₆₇₈₉₀ 

(1⁄41⁄23⁄41⁄83⁄85⁄87⁄81⁄32⁄3 ⁄ ) ⁿ
!?¡¿ℓ℮∂∆Ω∏∑µπ√∞∫^=÷×+¬±<>~≈≠≤≥◊§†‡¶*
•·«»‹›-−—‒_\/|¦@©®™.,:;’‘”“‚„…‥․



Accented Glyphs áăâäàąåāãćçčđéêěëėèēęíîï

ìīįļńňņñóôöòőōõŕřŗśšşťţ
úûüùűųůūýÿźžż`´ˆˇ˜¯˘˙¨˚˝



ÁĂÂÄÀĀĄÅÃĆÇČĎÉÊĚËĖÈĒĘĐĞĢÍÎÏİÌĪĮ
ĶĹĽĻŁŃŇŅÑÓÔÖÒŐŌÕØŔŘŖŚŠŞ
ŤŢÚÛÜÙŰŪŲŮÝŸŹŽŻ 


 Italic Glyphs in Brioso Pro
Basic Latin Glyphs ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklnopqrstuvwxyz
&1234567890
Aditional Glyphs ÆŒÐØŁÞæœðøłþstß
ffffifflſ


[$¢ƒ£₤€₡¥₣₧No#¤%‰°] {#%‰}
⁽⁾₍₎¹²³⁴⁵⁶⁷⁸⁹⁰₁₂₃₄₅₆₇₈₉₀ 

(1⁄41⁄23⁄41⁄83⁄85⁄87⁄81⁄32⁄3 ⁄ ) ⁿ
!?¡¿ℓ℮∂∆Ω∏∑µπ√∞∫^=÷×+¬±<>~≈≠≤≥◊§†‡¶*
•·«»‹›-−—‒_\/|¦@©®™.,:;’‘”“‚„…‥․


Swash Italic Glyphs 
aceilnorstuvwxz&1234567890


Accented Glyphs áăâäàāąåãćçčďđéěêëėè
ēęíîïìīįĺľļłļńňņñóôöòőōõø
ŕřŗśşţúûüùűūųů
ýÿźžż `´ˆˇ˜¯˘˙¨˚˝
ÁĂÂÄÀĀĄÅÃĆÇČĎÉÊĚËĖÈĒĘĐĞĢÍÎÏİÌĪĮĶĹĽ
ĻŁŃŇŅÑÓÔÖÒŐŌÕØŔŘŖŚŠŞŤŢÚÛÜÙŰ
ŪŲŮÝŸŹŽŻ ˙¨˚˝¸˛





 Brioso Pro Basic Typefaces
Light ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890
abcdefghijklmnopqrstuvwxyz&

Light Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

abcdefghijklnopqrstuvwxyz&
Reula ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890
abcdefghijklmnopqrstuvwxyz&

Reula Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

abcdefghijklnopqrstuvwxyz&
Medium ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890
abcdefghijklmnopqrstuvwxyz&

Medium Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

abcdefghijklnopqrstuvwxyz&
Seibold ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890
abcdefghijklmnopqrstuvwxyz&

Seibold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

abcdefghijklnopqrstuvwxyz&
Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890
abcdefghijklmnopqrstuvwxyz&

Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

abcdefghijklnopqrstuvwxyz&
Poste ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890
abcdefghijklmnopqrstuvwxyz&

Poste Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

abcdefghijklnopqrstuvwxyz&


 Text Seings

ab c d e fghij klmn o p q


/    
For , years, man has communicated through wrien symbols. e
evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeavor, affording us a window to the past. e alphabet
we know today was estalished during the Italian Renaissance. e
elegant and praical scripts of this time evolved from earlier writing
systems and derived their charaer from the broad-edged quil. ese
scripts, in al their forms, had a sweeping inuence on society and led
to the creation of the roman and italic leerfors that e use toay. In
the early th century, with the avent of coperplate engraing as a means
of reroucing leerfors and iustrations, italic handwiting evolved to
/    
For , years, man has communicated through wrien symbols. e
evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of documenting
human endeavor, affording us a window to the past. e alphabet we
know today was estalished during the Italian Renaissance. e elegant
and praical scripts of this time evolved from earlier writing systems
and derived their charaer from the broad-edged quil. ese scripts,
in al their forms, had a sweeping inuence on society and led to the
creation of the roman and italic leerfors that e use toay. In the early
th century, with the avent of coperplate engraing as a means of rero-
ducing leerfors and iustrations, italic handwiting evolved to eulate
/    
F , ,   communicated through wrien sym-
bols. e evolution of handwriting, from the earliest pictograms to
our curent alphabet, has been driven by a quest for simplicity and
efficiency. For centuries, wrien lanuage has been the primary means
of documenting human endeavor, affording us a window to the past.
e alphabet we know today was estalished during the Italian Renais-
sance. e elegant and praical scripts of this time evolved from earlier
writing systems and derived their charaer from the broad-edged quil.
ese scripts, in al their forms, had a sweeping inuence on society and
led to the creation of the roman and italic leerfors that e use toay. In
the early th century, with the avent of coperplate engraing as a means of
reroucing leerfors and iustrations, italic handwiting evolved to eu-
/    
F , ,   communicated through wrien symbols.
e evolution of handwriting, from the earliest pictograms to our cur-
rent alphabet, has been driven by a quest for simplicity and efficiency.
For centuries, wrien lanuage has been the primary means of docu-
menting human endeavor, affording us a window to the past. e alpha-
bet we know today was estalished during the Italian Renaissance. e
elegant and praical scripts of this time evolved from earlier writing
systems and derived their charaer from the broad-edged quil. ese
scripts, in al their forms, had a sweeping inuence on society and led
to the creation of the roman and italic leerfors that e use toay. In
the early th century, with the avent of coperplate engraing as a means
of reroucing leerfors and iustrations, italic handwiting evolved to
/    
F , ,   communicated through wrien sym-
bols. e evolution of handwriting, from the earliest pictograms to
our curent alphabet, has been driven by a quest for simplicity and
efficiency. For centuries, wrien lanuage has been the primary
means of documenting human endeavor, affording us a window to
the past. e alphabet we know today was estalished during the
Italian Renaissance. e elegant and praical scripts of this time
evolved from earlier writing systems and derived their charaer
from the broad-edged quil. ese scripts, in al their forms, had
a sweeing inuence on society and led to the creation of the roman
and italic leerfors that e use toay. In the early th century, with
the avent of coperplate engraing as a means of reroucing let-

/    
For , years, man has communicated through wrien
symbols. e evolution of handwriting, from the earliest pic-
tograms to our curent alphabet, has been driven by a quest
for simplicity and efficiency. For centuries, wrien lanuage
has been the primary means of documenting human endeavor,
affording us a window to the past. e alphabet we know today
was estalished during the Italian Renaissance. e elegant
and praical scripts of this time evolved from earlier writ-
ing systes and deied thei carae from the broa-edged qui.
ese scipts, in a thei fors, ha a sweeing inuence on society
and led to the creation of the roman and italic leerfors that e
/    
For , years, man has communicated through wrien
symbols. e evolution of handwriting, from the earliest pic-
tograms to our curent alphabet, has been driven by a quest
for simplicity and efficiency. For centuries, wrien lanuage
has been the primary means of documenting human endeavor,
affording us a window to the past. e alphabet we know today
was estalished during the Italian Renaissance. e elegant
and praical scripts of this time evolved from earlier writing
systes and deied thei carae from the broa-edged qui.
ese scipts, in a thei fors, ha a sweeing inuence on society
and led to the creation of the roman and italic leerfors that e
/    
For , years, man has communicated through wrien
symbols. e evolution of handwriting, from the earliest
pictograms to our curent alphabet, has been driven by a
quest for simplicity and efficiency. For centuries, wrien
lanuage has been the primary means of documenting human
endeavor, affording us a window to the past. e alphabet we
know today was estalished during the Italian Renaissance.
e elegant and praical scripts of this time evolved from
earlie witing systes and deied thei carae from the
broa-edged qui. ese scipts, in a thei fors, ha a sweeing
inuence on society and led to the creation of the roman and italic
/    
For , years, man has communicated through wrien
symbols. e evolution of handwriting, from the earliest
pictograms to our curent alphabet, has been driven by a
quest for simplicity and efficiency. For centuries, wrien
lanuage has been the primary means of documenting
human endeavor, affording us a window to the past. e
alphabet we know today was estalished during the Italian
Renaissance. e elegant and praical scripts of this time
evolved from earlie witing systes and deied thei carae
from the broa-edged qui. ese scipts, in a thei fors, ha
a sweeing inuence on society and led to the creation of the
/    
For , years, man has communicated through wrien
symbols. e evolution of handwriting, from the earliest
pictograms to our curent alphabet, has been driven by a
quest for simplicity and efficiency. For centuries, wrien
lanuage has been the primary means of documenting
human endeavor, affording us a window to the past. e
alphabet we know today was estalished during the Italian
Renaissance. e elegant and praical scripts of this time
evolved from earlie witing systes and deied thei carac-
te from the broa-edged qui. ese scipts, in a thei fors,
ha a sweeing inuence on society and led to the creation of
/    
For , years, man has communicated through wrien
symbols. e evolution of handwriting, from the earliest pic-
tograms to our curent alphabet, has been driven by a quest
for simplicity and efficiency. For centuries, wrien lanuage
has been the primary means of documenting human endeavor,
affording us a window to the past. e alphabet we know today
was estalished during the Italian Renaissance. e elegant and
praical scipts of this time evolved from earlie witing systes
and deied thei carae from the broa-edged qui. ese
scipts, in a thei fors, ha a sweeing inuence on society and
/    
For , years, man has communicated through wrien
symbols. e evolution of handwriting, from the earliest pic-
tograms to our curent alphabet, has been driven by a quest
for simplicity and efficiency. For centuries, wrien lanuage
has been the primary means of documenting human endeavor,
affording us a window to the past. e alphabet we know today
was estalished during the Italian Renaissance. e elegant and
praical scipts of this time evolved from earlie witing systes
and deied thei carae from the broa-edged qui. ese
scipts, in a thei fors, ha a sweeing inuence on society and
/    
For , years, man has communicated through wrien
symbols. e evolution of handwriting, from the earliest pic-
tograms to our curent alphabet, has been driven by a quest
for simplicity and efficiency. For centuries, wrien lanuage
has been the primary means of documenting human endeavor,
affording us a window to the past. e alphabet we know today
was estalished during the Italian Renaissance. e elegant and
praical scipts of this time evolved from earlie witing systes
and deied thei carae from the broa-edged qui. ese
scipts, in a thei fors, ha a sweeing inuence on society and
/    
For , years, man has communicated through wrien sym-
bols. e evolution of handwriting, from the earliest picto-
grams to our curent alphabet, has been driven by a quest
for simplicity and efficiency. For centuries, wrien lanuage
has been the primary means of documenting human en-
deavor, affording us a window to the past. e alphabet we
know today was estalished during the Italian Renaissance.
e elegant and praical scipts of this time evolved from ea-
lie witing systes and deied thei carae from the broa-
edged qui. ese scipts, in a thei fors, ha a sweeing
/    
For , years, man has communicated through wrien
symbols. e evolution of handwriting, from the earliest
pictograms to our curent alphabet, has been driven by
a quest for simplicity and efficiency. For centuries, writ-
ten lanuage has been the primary means of documenting
human endeavor, affording us a window to the past. e
alphabet we know today was estalished during the Italian
Renaisance. e elegant and praical scipts of this time
evolved from earlie witing systes and deied thei carae
from the broa-edged qui. ese scipts, in a thei fors,

/    
For , years, man has communicated through wrien
symbols. e evolution of handwriting, from the earliest
pictograms to our curent alphabet, has been driven by a
quest for simplicity and efficiency. For centuries, wrien
lanuage has been the primary means of documenting
human endeavor, affording us a window to the past. e
alphabet e know toay as estalished duing the Italian
Renaisance. e elegant and praical scipts of this time
evolved from earlie witing systes and deied thei carae
/    
For , years, man has communicated through wrien
symbols. e evolution of handwriting, from the earliest
pictograms to our curent alphabet, has been driven by a
quest for simplicity and efficiency. For centuries, wrien
lanuage has been the primary means of documenting
human endeavor, affording us a window to the past. e
alphabet e know toay as estalished duing the Italian
Renaisance. e elegant and praical scipts of this time
evolved from earlie witing systes and deied thei carae
/    
For , years, man has communicated through writ-
ten symbols. e evolution of handwriting, from the
earliest pictograms to our curent alphabet, has been
driven by a quest for simplicity and efficiency. For cen-
turies, wrien lanuage has been the primary means of
documenting human endeavor, affording us a window
to the past. e alphabet e know toay as estalished
duing the Italian Renaisance. e elegant and praical
scipts of this time evolved from earlie witing systes and
/    
For , years, man has communicated through writ-
ten symbols. e evolution of handwriting, from the
earliest pictograms to our curent alphabet, has been
driven by a quest for simplicity and efficiency. For cen-
turies, wrien lanuage has been the primary means of
documenting human endeavor, affording us a window to
the past. e alphabet e know toay as estalished du-
ing the Italian Renaisance. e elegant and praical scipts
of this time evolved from earlie witing systes and deied
/    
For , years, man has communicated through writ-
ten symbols. e evolution of handwriting, from the
earliest pictograms to our curent alphabet, has been
driven by a quest for simplicity and efficiency. For cen-
turies, wrien lanuage has been the primary means of
documenting human endeavor, affording us a window
to the past. e alphabet e know toay as estalished
duing the Italian Renaisance. e elegant and praical
scipts of this time evolved from earlie witing systes and
/    
For , years, man has communicated through wrien symbols. e evolution
of handwriting, from the earliest pictograms to our curent alphabet, has been
driven by a quest for simplicity and efficiency. For centuries, wrien lanuage has
been the primary means of documenting human endeavor, affording us a win-
dow to the past. e alphabet we know today was estalished during the Italian
Renaisance. e elegant and praical scipts of this time evolved from earlie witing
systes and deied thei carae from the broa-edged qui. ese scipts, in a thei
fors, ha a sweeing inuence on society and led to the creation of the roman and italic

/    

For , years, man has communicated through wrien symbols. e evo-
lution of handwriting, from the earliest pictograms to our curent alphabet,
has been driven by a quest for simplicity and efficiency. For centuries, writ-
ten lanuage has been the primary means of documenting human endeavor,
affording us a window to the past. e alphabet we know today was estab-
lished duing the Italian Renaisance. e elegant and praical scipts of this time
evolved from earlie witing systes and deied thei carae from the broa-
edged qui. ese scipts, in a thei fors, ha a sweeing inuence on society and

/    

For , years, man has communicated through wrien symbols. e evo-
lution of handwriting, from the earliest pictograms to our curent alphabet,
has been driven by a quest for simplicity and efficiency. For centuries, writ-
ten lanuage has been the primary means of documenting human endeavor,
affording us a window to the past. e alphabet we know today was estalished
duing the Italian Renaisance. e elegant and praical scipts of this time evolved
from earlie witing systes and deied thei carae from the broa-edged qui.
ese scipts, in a thei fors, ha a sweeing inuence on society and led to the

/    

For , years, man has communicated through wrien symbols. e evo-
lution of handwriting, from the earliest pictograms to our curent alphabet,
has been driven by a quest for simplicity and efficiency. For centuries, writ-
ten lanuage has been the primary means of documenting human endeavor,
affording us a window to the past. e alphabet we know today was estab-
lished duing the Italian Renaisance. e elegant and praical scipts of this time
evolved from earlie witing systes and deied thei carae from the broa-
edged qui. ese scipts, in a thei fors, ha a sweeing inuence on society

/    

For , years, man has communicated through wrien symbols. e evo-
lution of handwriting, from the earliest pictograms to our curent alphabet,
has been driven by a quest for simplicity and efficiency. For centuries, writ-
ten lanuage has been the primary means of documenting human endeavor,
affording us a window to the past. e alphabet we know today was estalished
duing the Italian Renaisance. e elegant and praical scipts of this time
evolved from earlie witing systes and deied thei carae from the broa-
edged qui. ese scipts, in a thei fors, ha a sweeing inuence on society


/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeavor, affording us a window to the past. e alphabet
e know toay as estalished duing the Italian Renaisance. e elegant
and praical scipts of this time evolved from earlie witing systes and

/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeavor, affording us a window to the past. e alphabet
e know toay as estalished duing the Italian Renaisance. e elegant
and praical scipts of this time evolved from earlie witing systes and

/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeavor, affording us a window to the past. e alphabet we
know toay as estalished duing the Italian Renaisance. e elegant and
praical scipts of this time evolved from earlie witing systes and deied

/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeavor, affording us a window to the past. e alphabet
e know toay as estalished duing the Italian Renaisance. e elegant
and praical scipts of this time evolved from earlie witing systes and

/    

For , years, man has communicated through wrien symbols.

e evolution of handwriting, from the earliest pictograms to our
curent alphabet, has been driven by a quest for simplicity and effi-
ciency. For centuries, wrien lanuage has been the primary means
of documenting human endeavor, affording us a window to the past.
e alphabet e know toay as estalished duing the Italian Renais-
sance. e elegant and praical scipts of this time evolved from earlie


/    

For , years, man has communicated through wrien symbols. e evolution of
handwriting, from the earliest pictograms to our curent alphabet, has been driven
by a quest for simplicity and efficiency. For centuries, wrien lanuage has been
the primary means of documenting human endeavor, affording us a window to
the past. e alphabet we know today was estalished during the Italian Renais-
sance. e elegant and praical scipts of this time evolved from earlie witing systes
and deied thei carae from the broa-edged qui. ese scipts, in a thei fors,

/    

For , years, man has communicated through wrien symbols. e evolution
of handwriting, from the earliest pictograms to our curent alphabet, has been
driven by a quest for simplicity and efficiency. For centuries, wrien lanuage has
been the primary means of documenting human endeavor, affording us a window
to the past. e alphabet we know today was estalished during the Italian Renais-
sance. e elegant and praical scipts of this time evolved from earlie witing systes
and deied thei carae from the broa-edged qui. ese scipts, in a thei fors,

/    

For , years, man has communicated through wrien symbols. e evolution
of handwriting, from the earliest pictograms to our curent alphabet, has been
driven by a quest for simplicity and efficiency. For centuries, wrien lanuage has
been the primary means of documenting human endeavor, affording us a window
to the past. e alphabet we know today was estalished during the Italian Renais-
sance. e elegant and praical scipts of this time evolved from earlie witing systes
and deied thei carae from the broa-edged qui. ese scipts, in a thei fors,

/    

For , years, man has communicated through wrien symbols. e evo-
lution of handwriting, from the earliest pictograms to our curent alphabet,
has been driven by a quest for simplicity and efficiency. For centuries, writ-
ten lanuage has been the primary means of documenting human endeavor,
affording us a window to the past. e alphabet we know today was estalished
duing the Italian Renaisance. e elegant and praical scipts of this time evolved
from earlie witing systes and deied thei carae from the broa-edged qui.
/    

For , years, man has communicated through wrien symbols. e evolu-
tion of handwriting, from the earliest pictograms to our curent alphabet, has
been driven by a quest for simplicity and efficiency. For centuries, wrien lan-
uage has been the primary means of documenting human endeavor, afford-
ing us a window to the past. e alphabet we know today was estalished
during the Italian Renaisance. e elegant and praical scipts of this time
evolved from earlie witing systes and deied thei carae from the broa-


/    

For , years, man has communicated through wrien symbols. e evo-
lution of handwriting, from the earliest pictograms to our curent alphabet,
has been driven by a quest for simplicity and efficiency. For centuries, writ-
ten lanuage has been the primary means of documenting human endeavor,
affoding us a window to the past. e alphabet e know toay as estalished
duing the Italian Renaisance. e elegant and praical scipts of this time evolved

/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeao, affoding us a window to the past. e alphabet e know
toay as estalished duing the Italian Renaisance. e elegant and prai-

/    

For , years, man has communicated through wrien symbols. e evo-
lution of handwriting, from the earliest pictograms to our curent alphabet,
has been driven by a quest for simplicity and efficiency. For centuries, writ-
ten lanuage has been the primary means of documenting human endeavor,
affoding us a window to the past. e alphabet e know toay as estalished
duing the Italian Renaisance. e elegant and praical scipts of this time

/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of documenting
human endeao, affoding us a window to the past. e alphabet e know
toay as estalished duing the Italian Renaisance. e elegant and prac-

/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeao, affoding us a window to the past. e alphabet e
know toay as estalished duing the Italian Renaisance. e elegant and


/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeavor, affording us a window to the past. e alphabet we
know toay as estalished duing the Italian Renaisance. e elegant and

/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeavor, affording us a window to the past. e alphabet we
know toay as estalished duing the Italian Renaisance. e elegant and
/    

For , years, man has communicated through wrien sym-

bols. e evolution of handwriting, from the earliest pictograms to
our curent alphabet, has been driven by a quest for simplicity and
efficiency. For centuries, wrien lanuage has been the primary
means of documenting human endeavor, affording us a window to
the past. e alphabet e know toay as estalished duing the Italian
/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeavor, affording us a window to the past. e alphabet
e know toay as estalished duing the Italian Renaisance. e elegant

/    

For , years, man has communicated through wrien symbols.

e evolution of handwriting, from the earliest pictograms to our
curent alphabet, has been driven by a quest for simplicity and effi-
ciency. For centuries, wrien lanuage has been the primary means
of documenting human endeavor, affording us a window to the past.
e alphabet e know toay as estalished duing the Italian Renais-


 /     

For , years, man has communicated through wrien symbols. e evo-
lution of handwriting, from the earliest pictograms to our curent alpha-
bet, has been driven by a quest for simplicity and efficiency. For centuries,
wrien lanuage has been the primary means of documenting human
endeao, affoding us a window to the past. e alphabet e know toay as
/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of documenting
human endeao, affoding us a window to the past. e alphabet e know to-
/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeao, affoding us a window to the past. e alphabet e know
/    

For , years, man has communicated through wrien symbols. e

evolution of handwriting, from the earliest pictograms to our curent
alphabet, has been driven by a quest for simplicity and efficiency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeao, affoding us a window to the past. e alphabet e

/    

For , years, man has communicated through wrien symbols.

e evolution of handwriting, from the earliest pictograms to our
curent alphabet, has been driven by a quest for simplicity and effi-
ciency. For centuries, wrien lanuage has been the primary means
of documenting human endeao, affoding us a window to the past. e


     

ine anwitin is a ra

ort o miration
Simplicity and Efficiency
e evoution o anwitin, rom te
eariest ictoras to ou cuent aaet
Cancearsca Forata
e Mystery of the Creative Process
& Typographic Protocol
ien in a traitiona o unconventiona manne

Charmed Combination
Oldstyle roman typefaces of the Italian Renaissance


Formal and Freestyle Scripts
Tools of the Trae
A VARIETY OF INSTRUMENTS

ia raesues
Vernacular of their Time
umanistic oo ans
Professionals and Amateurs
Window to the Past

 / , , ,     

aron iana Colby akota arlene elice ain oy ndigo eet arena ogan iranda
elson desa ey uinn acel imone aylo rsula alentina ile iomara vonne acary

aron iana Colby akota arlene elice ain oy ndigo eet arena ogan iranda
elson desa ey uinn acel imone aylo rsula alentina ile iomara vonne acary

aron iana Colby akota arlene elice ain oy ndigo eet arena ogan iranda
elson desa ey uinn acel imone aylo rsula alentina ile iomara vonne acary

aron iana Colby akota arlene elice ain oy ndigo eet arena ogan iranĮa
elson desa ey uinn acel imone aylo rsula alentina ile iomara vonne acary

aron iana Colby akota arlene elice ain oy ndigo eet arena ogan iranda
elson desa ey uinn acel imone aylo rsula alentina ile iomara vonne acary

/ , , ,     

aron iana Conno akota arlene elice ain oy ndigo

eet arena ogan iranda elson desa ey uinn acel
imone aylo rsula alentina ile iomara vonne acary

aron iana Conne akota arlene elice ain oy ndigo

eet arena ogan iranda elson desa ey uinn acel
imone aylo rsula alentina ile iomara vonne acary

aron iana Conne akota arlene elice ain oy ndigo

eet arena ogan iranda elson desa ey uinn acel
imone aylo rsula alentina ile iomara vonne acary

aron iana Conne akota arlene elice ain oy ndigo

eet arena ogan iranda elson desa ey uinn acel
imone aylo rsula alentina ile iomara vonne acary

aron iana Conne akota arlene elice ain oy ndigo

eet arena ogan iranda elson desa ey uinn acel
imone aylo rsula alentina ile iomara vonne acary

           

 / , , ,     

aron iana olby akota arl elice ain

oy ndigo eel arena ogan iranda
elson desa ey uinn acel ue aylo
rsula ia ile iomara vonne acary
aron iana olby akota arl elice ain
oy ndigo eet arena ogan iranda
elson desa ey uinn acel ue aylo
rsula ia ile iomara vonne acary

aron iana olby akota arl elice ain

oy ndigo eet arena ogan iranda

/ , , ,     

nne iana olby an ma elice

eorgianna oy ndigo eel arena
ogan iranda elson desa atic
uinlan acel usan aylo rsula
era ile iomara vonne ac

           

POSTER
    

ools of the rae

Shaping oughts
aiet o nstruments
Numerous Overtones
Praical Scripts
ariest ictogras
e Creative Process

    

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

rstuv wxyz
  


 Saple Art




Carla Sandoval
Director Museo Nacional
Banco Centrale
Bogotá, Columbia

Dear Ms. Sandoval,

On a recent trip I had the pleasure of ending several hours looking at
your ne colection of pre-Columbian gold work. My company develops
and sels electronic equipment for the archaeological profession, and,
although I am not an expert on pre-Columbian gold work, I have absorbed
quite a bit of knowledge and have been ale to colect a number of pieces.
While in the south wing, I noticed a doule bat-head ure pendant,
dated th to th century, from central Panama (no. --). I
am familiar with its style because in  I purchased a single bat-
head pendant (slide enclosed) that looks like it was made by the same
craerson. e overal design, texture, quality of nish, and color of the
gold aloy bear an uncanny resemlance to the piece I own.
I am very aached to this piece, however, I feel it is my responsibility
to offer it as a gi to the museum. Your colection is so beautifuly
displayed, while my piece sits in a dusky vault; it’s almost a sin. I wil be in
South America at the end of February and would like the oportunity to
meet and show you the piece. If you are interested, please write or cal at
--. I look forward to hearing from you.

Sincerely,

Charles Brand

A   Fih Street  San Diego,  


Jean Sibelius
oola’s aughte • e wan of uonel
apiola • n aga • alse tist

West Coast Phiharmonic • Herbert eo Price

Gravitas Music Works - Stereo  -

E L 
eirre imer


 Zueignung

IHR nat euc wiee, scwankende Gestalten,

ie früh sic einst de trübe lic gezeigt.
ersuc’ ic wohl, euc diesmal festzuhalten?
ühl’ ic mein Herz noc jene an geneigt?
Ih drängt euc zu! nun ut, so mögt ih alten,
ie ih aus Dunst und Nebel um mic steigt;
ein Busen fühlt sic jugenlic erscüert
om Zauberhauc, de euren ug umwiert.
Ih bingt mit euc die Bilde frohe Tage,
Und mance liebe Scaen steigen auf;
Gleic eine alten, halbverkungnen Sag
omt erst Lieb’ und reundsca mit herauf;
De Scmerz wid neu, es widerholt die Klag
es Lebens labyinthisc ien Lauf,
Und nennt die uten, ie, um scöne Stunden
om Glüc getäusct, o mi hinwegescwunden.
Sie hören nict die folgenden Gesänge,
ie Seelen, denen ic die ersen sang;
Zerstoben ist das freunlice Gedränge,
erklungen, ac! de erst Widerklang.
Mein Lie ertönt de unekannten enge,
h Beifa selbst mact meine erzen ban,
Und as sic sonst an meine Lied erfreuet,
enn es noc lebt, it in de Welt zerstreue.

.


 enaisanc anwitin
Manuscripts from the J. B. Harvard Collection
Leda James Memorial Library
July  through September , 

Sponsored by the Arts Council of Silicon Valley

uovico ei ii

iovannantonio aient
ennaino ataneo
easiano miare


 Iluminated Anatomy
Photographs from the Beyer Institute

Walter Hedreen
with esays by
Judith R. Lyons
Stuart Clifford

Seager Galey, Seale


 omeie’s Seleion, ines By the las
C
on-Vintage rut, eims
A complex nose of aple, citrus, and caramel folowed by crisp
ful avors with a slightly spicy nish. .

S B
apa 
Fruit avors and good mouth feel, complex, crisp and balanced.
Medium body with anise, citrus, and pineaple avors. .

C
usian Rie, Sonoma 
A ful-body and ripe wine with aromas of pear, aple, and caramel. Creamy
avor with hints of toast and tropical fruit. .

P N
Rusian ie, Sonoma 
Elegant, medium body and light oak. Aromas of chery and cinnamon,
avors of raspbery, cranbery, tea, and spicy notes. .

C S
Napa Vaey 
Balanced, rich, and ripe. Aromas of cassis and cedar with avors
of plum, vanila, coffee and spice. .

C C
iserva, uscany 
Beautiful ruby red, intense bouquet. Complex with spicy, roasted, and
resinous avors. Wel structured and harmonious. .


 


 Peter Van Dargan
Architect
--


Aldo Dion Bionics


1256 Glaiola Street
Cupertino, California

: 408 229 6008

: 408 229 6002



 Type Development at Adobe
Type is developed at Adobe by a ful-time staff of type design pro-
fessionals. Each member of this group has ecialized skils
in type design and the use of tools needed to develop digital type. e
Adobe type staff has a working relationship with many outside pro-
fessionals, whose expertise represents a broad ectrum of historical,
scholarly, and praical knowledge of typography and the graphic arts.

Robert Slimbach, who joined Adobe in , began working seriously

on type and caligraphy four years earlier in the type drawing depart-
ment of Autologic in Newbury Park, California. Since then, Slimbach
has concentrated primarily on designing digital text faces, drawing
inspiration from classical sources while utilizing state-of-the-art
typeface technology. He has designed typefaces for the International
Typeface Corporation, as wel as Adobe Originals typeface families
including Adobe Garamond®, Adobe Jenson®, Kepler®, Cronos®, Caisch
Script®, Minion®, Minion Pro, Poetica®, Sanvito®, Utopia®, Warnock® Pro,
and Myriad® (co-designed with Carol Twomly).



Further Reading
Atkins, Kathryn A. Masters of the Italic Lee. Boston: David R. Godine, .
Blumenthal, Joseph. Art of the Pinted Book -. Boston: David R. Godine, Pub-
lisher in association with e Pierpont Morgan Library, .
Fairbank, Alfred and Wolpe, Bertold. Renaisance Handwiting, An Anthology of Italic
Scipts. London: Faber and Faber Limited, .
Morison, Stanley and Day, Kenneth. e Typographic Book -. London: e
University of Chicago Press, .
Mediavila, Claude. Caigraphy, From Caigraphy to Abstract Painting. Wommelgem,
Belgium. Scirpus Pulications, .
Updike, Daniel Berkeley. Pinting Types, ei History, Fors, and Use. New York:
Dover Pulications, Inc. .

Acknowledgements
Specimen book design and production by Robert Slimbach.
Aditional production by Fred Brady and Christopher Slye.
Text wrien by Fred Brady and Robert Slimbach.

Sample art designed by:

Fred Brady, pages , .
Robert Slimbach, pages , , , and .
Min Wang, page .

Special thanks to David Parsons, Christopher Slye, and Jim Wasco for their assistance
with the nal production of the Brioso Pro typeface family. anks also to Kely Davis,
Kat Gatzke, Harold Grey, Donna Kolnes, David Lemon, Ernie March, Jim Mildrew,
and omas Phinney for their helpful comments.

Aditional Information
is ecimen book was produced using InDesign™, Ilustrator®, and Photoshop®, so-
ware from Adobe. e typeface is Brioso Pro, designed by Robert Slimbach.
PDF created on June , .

Brioso Pro, patent pending.

Adobe, the Adobe logo, the Adobe Originals logo, Ilustrator, InDesign, Photoshop, PostScript, Caisch Script,
Adobe Garamond, Adobe Jenson, Kepler, Minion, Myriad, Poetica, Sanvito, Utopia, Warnock, and Brioso are
either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other
countries. Mac OS is a trademark of Aple Computer, registered in the United States and other countries.
OpenType and Windows are either registered trademarks or trademarks of Microso Corporation in the
United States and/or other countries. Al other trademarks are the property of their reective owners.

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Adobe Systems Incorporated
 Park Avenue
San Jose, CA -

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