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C :cca Adobe Systems Incorporated. All rights reserved.
An Adobe Original
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Ior more information about Open1ype please refer to Adobe’s web site at www.adobe.com/type/opentype.
1is ÞD: document was designed to be viewed on-screen or printed duplex and assembled as a booklet.
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Adobe Driginals
Adobe Systems Incorporated introduces Brioso Pro, a new font
sonware package in the growing library of Adobe Originals typefaces,
designed secincally for today’s digital technology. Since the inception
of the Adobe Originals program in .oso, Adobe Originals typefaces
have been consistently recognized for their quality, originality, and
pracicality. 1hey combine the power of PostScript language sonware
and the most sophisticated electronic design tools with the spirit
of cransmanship that has inspired type designers since Gutenberg.
Comprising both new designs and revivals of classic typefaces, Adobe
Originals font sonware has set a standard for typographic excellence.
Vhat is DpenType:
Developed jointly by Adobe and Nicroson, Open1ype is a highly
versatile new font nle format that represents a signincant advance
in type functionality on Vindows and Nac OS computers. Perhaps
most exciting for designers and typographers is that Open1ype fonts
oner extended |ayout jcaturcs that bring unprecedented control and
sophistication to contemporary typography.
Because Open1ype can incorporate all glyphs for a secinc style
and weight into a single font, the need for separate expert, alternate,
swash, non-Latin, and related glyph sets is eliminated. In applications
which support Open1ype layout features, such as Adobe’s InDesign
sonware, glyphs are grouped according to their use. Activating these
features enables typographic rennements such as ligatures, small
capitals, and oldstyle ngures, streamlining the process of seuing and
nne-tuning text. In addition, all glyphs in an Open1ype font can be
accessed in InDesign, whether or not they are covered by a layout
feature. Open1ype fonts, coupled with the enhanced typographic
control onered by a program such as InDesign, let type-users take
advantage of advanced justincation, optical margin alignment, hang-
ing punctuation, and optically sized masters (for fonts with two or
more optical masters). Open1ype fonts from Adobe are some of the
most sophisticated and easy to use typefaces ever onered, allowing
designers and typographers to more enectively take advantage of the
power of the computer for digital design and typeseuing.
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Brioso Pro
Brioso Pro is a new typeface family designed in the calligraphic tradi-
tion of our Latin alphabet, evoking the look of a nnely-penned roman
and italic script, retaining the immediacy of hand leuering while
having the scope and functionality of a contemporary composition
family. Brioso blends the humanity of wriuen forms with the clarity
of digital design, allowing type users to set pages of renned elegance.
Designed by Robert Slimbach, this energetic type family is mod-
eled on his formal roman and italic script. In the modern calligra-
pher’s repertoire of leuering styles, roman script is the hand that
most closely mirrors the oldstyle types that we commonly use today;
it is also among the most challenging styles to master. Named aner
the Italian word for ‘lively’ , Brioso moves rhythmically across the
page with an energy that is tempered by an ordered structure and
lucid form.

An Open1ype Compos:t:on Iam:!y
Brioso Pro is an extended type family consisting of integrated weights,
styles and optical masters. Its rich glyph paleue is onered in nve
weights ranging from light to bold, in four optical size ranges. 1e
glyph set includes all the characers normally found in expert and
standard sets, as well as an expanded accented characer comple-
ment featuring additional monetary and math symbols, a collection
of alternate glyphs, swash italic glyphs, and a set of ornaments. Brioso
also includes a secial |:gnt Postcr font in roman and italic styles. 1e
Poster fonts are a bit more stylized than the regular designs and are
intended for use at very large sizes. 1e Brioso Pro family covers the
sectrum of font styles used in modern typography. As a full-featured
Open1ype family, Brioso’s vast array of glyphs can be acivated, either
individually or as a group, in page layout programs using the font’s
Open1ype features.
Brioso Pro can be used anywhere one wants to convey a sense of
spontaneity and sophistication. It is ideal for use in personal corre-
spondence, cookbooks, poetry, menus, small press books, movie titles,
limited edition leuerpress books, wedding announcements, signage,
and advertising copy.

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Designing Brioso ly Rolert S!:mlach
“Soon aner I became interested in type design in the early .osos, I
began to study the humanist calligraphy of the Italian renaissance as a
means of beuer understanding the roots of oldstyle text types. 1ese
pracical handwriting styles, which evolved out of the Carolingian
writing disciplines of the sth–..th centuries, were commonly used
for the transcription of books. 1e nrst designers of roman typefaces
used these Italian manuscript hands as the primary model for their
new types. By also incorporating features from the inscriptional
capitals of ancient Rome, early type designers created typefaces of
exceptional beauty and pracicality. As a testament to their durability,
oldstyle roman typefaces have changed liule over the last ·oo years,
being as relevant today as in the past.
“Because the principled strokes of the broad-edged quill and
brush denne the very shape of our Latin alphabet, I am continually
drawn to the calligraphic heritage as a source of inspiration in my
own type design work. All of my typeface designs, even the more
utilitarian ones like Utopia, Ninion, Kepler, and Cronos, have subtle
calligraphic overtones, which add warmth and depth to otherwise
less organic designs.
“1e concept of making a roman book face with an overtly hand-
wriuen appearance has been a preoccupation of mine for as long as
I’ve been designing type. Over the years I’ve designed many pracice
alphabets with the intent of merging the essence of my personal
hand leuering style with the pracical requirements of the modern
composition family. 1ese ongoing exercises have been a great
learning experience, providing a means of reconciling the division
between the purely organic form of wriuen leuers and the more
methodically constructed form of a digital text type. Vith Brioso,
I wanted to apply what I’ve learned about the design of digital
composition families, calligraphy, and the history of leuerforms to a
single, very personal design. 1e result is a typeface that retains the
basic form and detailing of my hand leuering, but in a more renned
and idealized form. Alignments, spacing, and characer shapes were
fashioned with the pracical requirements of composition in mind.
Utopia
Utopia Italic
Minion
Minion Italic
Kepler
Kepler Italic
Cronos
Cronos Italic
Humanist minuscules
(.6th century), )enson’s
Venetian roman of ..;c.
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“Nuch of the form of Brioso is derived from the seed in which I
pen Roman script, where passages of text are wriuen in a careful but
expeditious manner. Ior the emcient progression of my text, I use
an economy of strokes to form leuers; 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 onen bowed and the serifs are wedge-shaped. In the creation of
manuscript pages today, as in the past, the scribe’s goal is to balance
vitality with precision to create auracive and legible text.
“Brioso Roman has much in common with the Venetian roman
types of the late nneenth century in that they share a common
calligraphic foundation, Jenson’s roman type being a prime example.
Venetian types, however, also show a marked engraved quality as
a result of the type cuuing process and the punchcuuer’s personal
design style. Vith Brioso, I wanted the design to possess a pure
calligraphic basis with a high degree of ndelity.
1e italic fonts of Brioso form an energetic counterpoint to the
roman and are reminiscent of the chancery italic scripts of the
nneenth and sixteenth centuries. Chancery script originated as a
slanted and more angular variation of the upright humanist hands
of the same period. Although chancery italic was usually used on its
(below) Slimbach’s
formal roman script .

Sample leuers from Adobe
)enson Pro and Brioso Pro.
Velocity
Velocity
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own for correspondence and omcial documents among the artistic
and educated elite, it would later become the model for the nrst italic
types and eventually lead to the pairing of roman and italic fonts in
the same typeface family, around the mid-sixteenth century.
Brioso Pro Veights
As an extended type family, Brioso Pro includes nve weights: |:gnt.
Pcgu|ar. Mcá:um. ·cm:|o|á. and 8o|á – for each of the four optical size
ranges: caµt:ou. lcxt. ·u|ncaá. and O:sµ|ay – giving designers a highly
functional paleue of fonts to choose from. 1e various weights and
optical sizes can be compared to the calligrapher’s use of dinerent-
width pen nib widths to produce leuers of varied weight and size. 1e
regular roman text font is the core typeface for seuing composition, so
its weight and proportions have been tailored for the utilitarian and
æsthetic requirements of legibility. 1e additional weights and optical
masters serve to complement the regular text design according to
principles of hierarchy in typography. 1e medium serves as a slightly
heavier alternate to the standard text weight. 1e semibold and bold
Light
l..u|ar
Medium
Semibold
Bold
(below) Various samples
of Slimbach’s humanistic
handleuering.


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text designs are used primarily to accentuate words and passages
within regular text. 1e semibold oners a subtle weight dinerence
from the regular design which can be quite elegant when applied
in spacious seuings. 1e bold is designed to make a more emphatic
statement; its weight, however, is not so heavy as to disrupt the color
of the page.
Brioso Pro Dptical Masters
Beginning in the sixteenth century, type designers onen cut a series of
point sizes for a particular type style in order to form a cohesive range
of type sizes. Ior every size that was hand-sculpted in metal, subtle
adjustments were made to leuer proportion, weight, contrast, and
spacing so that the type would be comfortable to read.
Vith the advent of photo and digital type technologies, most type
manufacturers abandoned the design of optical masters, because it
was economically more viable to produce a single master which was
then scaled photographically or algorithmically to each point size.
Unfortunately, typefaces generated from a single master usually have
a limited range at which they look their best. Ior example, a type-
face that performs well at text sizes may appear light and cramped at
smaller sizes, while larger sizes may appear heavy and ungraceful.

Light Poster
... ..... ·..·
Light Caption
!:gnt !ta|:c cart:on
Caption
Ira|íc Capríon
MediumCaption
Medium Italic Caption
Semibold Caption
Scmíbcld Italíc Captícn
Bold Caption
Bold ltalíc Captíon
Iight
!:g't !ta!:.
Regular
|ta|:c
Nedium
Mco:um |ta|:c
Semibold
Sem:lo!J tta!:c
Bold
ßcld Italic
Light Suhead
.:,': î:.!:. ·:o'..:
>ubhead
Ita!:. ·uo|caó
Medium Suhead
Mcá:um |t. ·uo|caa
Semibold Suhead
-emì!o!á |t. -u!neaá
Bold Suhead
8o!J Ita!:c SuoheaJ
Light Display
Light Italic Display
li·¡|a·
î:.!.. J.·¡!.y
Medium Display
\.+.u» |ta|.. Ð.·¡|ay
Semibold Display
·c».oo|å |ta|.. Ð.sp|ay
Bold Display
Bold Italic Display
Regular
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POSTER

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Specialized
..·..·.
In Brioso Pro, the four optical ranges for each of the four weights
provide greatly enhanced æsthetic appeal and readability for all point
sizes, from text sizes that are clear and easy to read, to display sizes
that are renned and elegant.
Brioso Pro’s four optical ranges are intended to cover the full sec-
trum of usage in modern typography. 1e sturdy non-idiosyncratic
forms of the caption fonts are designed for maximum legibility
and work best for e- to s-point type.
1e text fonts are the cornerstone of Brioso Pro and are intended
for o- to ..-point type. 1eir weights and proportions have been care-
fully balanced for reading comfort at the most commonly-used point
sizes for seuing extended text.
1e subhead fonts are best for seuing phrases in ..- to a.-point
type and are well suited for use as a complement to body text.
1e subhead fonts represent a middle ground between text and
display type, maintaining the pracical concerns of readability, while
displaying a greater degree of delicacy relative to body text.
1e display masters are designed to showcase the elegance of the
leuerforms and to complement the smaller size ranges as a lighter
and more renned version of the typeface. 1e display masters are
designed with subtle and onen stylized detailing, elegant proportions,
and increased stroke contrast to help give larger sizes enhanced visual
appeal. 1e display fonts are intended for type sizes above a.-point.
In addition to the system of fonts that form the basic composition
family, Brioso also includes a Light Poster design in both roman and
italic styles. 1ese fonts are lighter and more stylized than the light
display designs and are designed for use at very large sizes.
Contextual Alternates
1e contextual glyphs in Brioso work in conjunction with Open1ype
font technology to beuer emulate the natural appearance of sponta-
neous hand leuering. In applications that support Open1ype layout
features, the contextual and stylistic alternate glyphs and ligatures
are substituted automatically according to a set of embedded rules
denned by the type designer – improving leuernt and adding variety
of form to text. As leuers are typed, the font program continually up-
dates the text with the proper leuer and ligature variations. Because
A comparison of the caption,
text, subhead, and display
regular optical masters scaled
to the same point size.
Hmfg
Hmfg
Hmfg
imt,
Caption
1ext
Subhead
Display
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Brioso is, foremost, a composition family, the contextual alternates
are intended for subtle aesthetic enect and, therefore, their design
features are rather restrained.

u 1 1 u m n ) ( l n m h m
1csc a|tcruatcs µrcvcut aw|wará cou:s:ous causcá |y tnc |owcrcasc j auá t. auá
tnc upµcrcasc l.
b d c l p r o ó ó o g | | o o ð ¡ ! a m p · s
1csc a|tcruatcs µrov:ác var:at:ou wncu samc-|cncr µa:rs occur w:tn:u tcxt. 1c |cncr
ács:gus arc s|:gnt|y á:ncrcut auá tnc µro¡cctors arc onsct.


c s st c s s st | | o · r v . o o | | / | | r v ·
1c cau:graµncr may occas:ouauy aáá morc µcrsoua|:zcá |cncr var:at:ous jor
acstnct:c cncct. |u 8r:oso. tncsc sty|:st:c var:auts arc tastcjuuy á:str:|utcá w:tn:u tcxt
to aáá jurtncr var:cty oj jorm auá to couvcy tnc wr:tcr’s scusc oj |a|aucc auá tastc.
.
1.odor. (csp:a· li1ll 8on:.c!: au.r
(cppcr ·aed.n ·coocr ta||.n o..,.· ·a¡¡|ir.
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Brioso Pro Glyphs
Brioso Pro’s large glyph complement was designed to further meet
the exacing requirements of professional typographers and designers
throughout the world. Its diverse glyph complement includes such
typographic niceties as swash capitals, small capitals, oldstyle ngures,
ornaments, alternate forms, international monetary symbols, and an
expanded set of mathematical symbols.
oiDs+vir Iioivrs 1ese ngures are designed with ascenders and
descenders and have features and proportions compatible with the
lowercase characers of the typeface. Oldstyle ngures, also known as
hanging ngures, are typically used for text seuing because they blend
in well with the lowercase. In Brioso Pro they are available in both
nued and tabular versions.
vroii\v Iioivrs 1ese ngures are designed to be compatible
with the capital leuers. 1ey are usually capital height or slightly
smaller and are typically designed with identical widths. 1e regular
ngures are also commonly used in tabular seuings such as in nnancial
reports. 1e Brioso Pro regular ngures are available in both nued and
tabular versions.
s·\ii c\vi+\is 1ese leuerforms are smaller versions of the
normal capitals and are designed to be visually compatible with the
lowercase characers of the typeface. 1ey can be used to introduce
the nrst few words at the beginning of a story, or to highlight key
words within text. Brioso Pro includes small capitals in all the roman
weights for the Latin fonts.
\ v c D r I o L i i k i · × o v o v s + i v v x v :
n s c o v v c u I ) « I m × o v c x s i u v v× v z
.. .·
sv\sL c\vi+\is Swash capitals, which originated in the italic
handwriting of the Italian Renaissance, were adapted as typeforms
during the early sixteenth century. Since then, swash leuers have
evolved along with new handwriting and typeface styles. Brioso
Pro contains a complete set of Latin swash capitals for all the italic
weights and optical sizes. Swash capitals can be used enectively for
expressive passages of text, or for titles and signage when an elegant
accent is called for.
iovrvc\sr sv\sL i+\iic 1ese characers have longer and
more decorative projectors than the normal lowercase and are used
primarily with the swash capitals.
I-iio\+ivrs All Brioso Pro fonts contain a full set of f-ligatures.
1ese glyphs are designed to correct awkward combinations where
leuers may collide. 1ese ligatures are automatically implemented in
applications which support Open1ype layout features.
ov×\·r×+s 1roughout typographic history type designers have
created ornaments to accompany their typefaces. 1ese devices
add a personal signature to the type family and can be used as title
page decoration, paragraph markers, dividers for blocks of text, or as
repeated bands and borders. Brioso Pro contains thirty-eight orna-
ments, including nowers, leaves, bullets, brackets, and contemporary
graphic decorations.
n n n m m n m n m
n n n m m n m n m n n n m m n m n m
l( J7jt +I ] 1l^( J( 1· 71'+A\2
71t 1JJu +I ] 11·^J (¿ 1· (1'1A\7
a | c ð c j a | : ¡ | | m u o p a r s t u v w x y z
C~(¬·¹¬÷«(-`=_·~=-+c
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Iv\c+io×s All Brioso Pro fonts include nine of the most com-
monly used fracions; they are easier to use than constructed fracions,
which are made from numerator and denominator ngures.
sivrviov ir++rvs Superior leuers are used in mathematics and
in Lnglish, Irench and Spanish for abbreviating words, such as
second, aⁿ', Nadame, N÷·, compagnie, C··, and segundo, a·.
iovrvc\sr vroi××i×o oivvLs 1ese glyphs have a beginning
nourish and are used at the beginning of a word or phrase as a design
embellishment. 1ey work best in text copy that is center-justined,
with the beginning characers used at the beginning of the line and
the ending glyphs at the end.
iovrvc\sr r×Di×o oivvLs 1ese glyphs usually have an end-
ing nourish and are used at the end of a word or phrase as a design
embellishment. Because of their decorative quality, they are best used
in moderation.
co×+rx+i\i \i+rv×\+rs 1ese glyphs serve either to correct
awkward leuer combinations or as aesthetic enhancements within
text. 1ey are implemented automatically according to a set of pre-
determined contextual rules.
÷ 1 | ¬ ¬ ¬ a + u · ·
. . : + ¬ ¬ ¬ ¬ + : : v w .
· ' ' · ' · ' ÷ ⁿ · · · ·
· ' ¹ · ' · ' · ⁿ · ·
/ / ¼ ¯ / / / / ¬
/ : : ¯ ¬ ¬ ¬ / ¬
a d c g h l m n o r t u
o ì c g n | m n o r t u
æ œ c s st u b d g l p r ÷ Œ 11
a œ c ( s st n r | å á | g n k u m p r r s v . | | á o ð
j a | | ¡ ¡ | | | u v p a v w y v ÷ Œ G 1 7 l
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·iscrii\×rois ·o×r+\vv sv·vois 1ese include the
symbols for cent ¢, dollar $, euro €, colon ₡, norin ƒ, franc ₣, lira ₤,
peseta ₧, sterling £, yen +, currency ·, and rupiah D. Also included
are oldstyle versions of most of the monetary symbols, which are
designed to be compatible with the oldstyle ngures.
\i+rv×\+r oivvLs 1ese alternate forms were designed to give
words and phrases a slightly more animated and informal appearance.
1ey can be implemented individually using programs like InDesign.
\ccr×+rD cL\v\c+rvs 1e large number of accented glyphs
in Brioso Pro support a broad range of Latin-based languages around
the world. 1e accents are available in uppercase, lowercase, and small
capital versions.
sivrviovs, i×Irviovs, ×i·rv\+ovs, \×D Dr×o·i×\+ovs
1e numerator and denominator ngures can be used with the fracion
bar to construct additional fracions. 1e superior and inferior ngures
are used for footnote references and as mathematical exponents – for
example, L = mc´.
·\+L sv·vois Brioso Pro contains an expanded set of math sym-
bols designed esecially for the family. 1is set contains some of the
more common symbols used in mathematics.
¢ $ € ₡ ƒ £ ₤ + ₣ ₧ D H - ·
c s c c ) t t \ i r D H = ·
I O R k × o v
k P c ¡ | | á j c | | | o
A Ă A A A Ā Ą A A á ă â a a ā ã ą å \ \ \ ¨ \ \ \ \ \
ÁĂÂÄÀĀĄÀÂâ ă à a a ā a ą a
· . . · . · » - » . ·
. . ·
. . . · . - « · . . ·
. . .
∂ ℓ ∆ Ω ∏ ∑ µ π ℮ ∫ √ ◊ ` = ÷ × ÷ ¬ + < > - ≈ ≠ ≤ ≥ ∞
∂ ℓ ∆ Ω ∏ ∑ µ π ℮ ∫ √ ◊ ^ = ÷ × + ¬ £ · > - ≈ ≠ ≤ ≥ ∞
.s .o
Roman Glyphs in Brioso Pro
ABCDLIGHIJKLNNOPORS1UVVXY2
abcdefghijklmnopqrstuvwxyz
\vcDrIoLiiki·×ovovs+ivvxv:x
.a..·e·soo81234-67890
÷ŒDØŁÞIOR11æœðøøłlþcsstßk
AoDøI:×ov+nnnmmnmnmüſ
÷1|¬¬¬a+u··adcghlmnortubdglpr
[$¢ƒ£₤€₡+₣₧HD-·¯‰°¹ {sc)ttcc\ir=»==]
¹·³···¯·°`⁽·'⁾·..·.·»-»

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!:¡,::,.0ℓ℮∂∆Ω∏∑µπ√∞∫`=÷×÷¬+<>-≈≠≤≥◊.†‡¤'
•·«»‹›-−—-‒\/|¦mC™.,:;’‘”“‚„…‥․
C~(¬·¹¬÷«(-`=_·
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ááăãââaäaaąaååāãããćçčdđdéêěëėèēęçgggíîï
ìīįkllļńňņnnóóôôööòòőoōõõõŕrřîŗrśšşťţ
úúûûuüùùűuųuůuūuyÿźižíż.`ˆˇ˜¯˘˙¨˚˝¸¸
\\\¨\\\\\cccDrIIIrIriDooIIïIII¡kIiiI
××××oooOöooøvvvssss1¡DòDDDiiDvv
222´´´`¯¨¯``¯¸¸
AĂAAAĀĄAAĆCČĎLLĚLĖLĒĘĐĞĢIIIİIĪĮ
ĶIĹĽĻŁŃŇŅNOOOOŐŌOØŔRŘRŖRŚŠŞ
ŤŢUUUUŰŪŲŮYŸŹŽŻ ¸¸
Basíc |arín G|ypns
Aâaíríona| G|ypns
Acccnrca G|ypns
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Italic Glyphs in Brioso Pro
A8cO£|GH|)||MNcPcP·lU\\Xl2
a|cácjgn:¡||muoµarstuvwxyz
.:,.·e;:eo:12¹+-o¯890
÷Œ|7ŁÞkcPl1aœðøøł|prc(sst||
nnmmnmnmnſnnnmmnmnmn|rn
..:¬¬¬+::..oìcgn|mnortu
|åá¡gn|kmpvrrsvx
[$¢ƒí₤€₡)₣₧\m-·¬‰`] {sc]ttcc.rr-»¬‰¡
¹`¯·¯·¯·¯·⁽·¹⁾...·.-«·.

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|.,,ðℓ℮∂∆Ω∏∑µπ√∞∫^=÷×+¬£·>-≈≠≤≥◊·†‡¶`
•·«»‹›-−—-‒\´|¦@C´™..::’‘”“‚„…‥․
C~(.¬'·÷´(+`¸_'
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l(J7jt+I]1l^(J(1·71'+A\2
a|cácja|:¡||muoparstuvwxyz.:,.·e;:eo:12¹+-o¯890
7|||ðááðojjaac|||¡¡+|||||||pnoaaryvð||||||
¡¬vw¡n||
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For o,ooo years, man has communicated through wriuen
symbols. Me evolution of handwriting, from the earliest
pictograms to our current alphabet, has been driven by a
quest for simplicity and emciency. For centuries, wriuen
language has been the primary means of documenting
human endeavor, auording us a window to the past. Me
alphabet we know today was established during the Italian
Renaissance. Me elegant and pracical scripts of this time
cvolvcd from carlícr wrítíng systcms and dcrívcd thcír charac-
tcr from thc broad-cdgcd quíü. 1csc scrípts, ín aü thcír forms,
had a swccpíng ínßucncc on socícty and lcd to thc crcatíon of
6/8 uoID c»Þ+:o× v:+u :+»I:c
Fox o,ooo ±±nxs, mn× uns communicated through wriuen sym-
bols. Me evolution of handwriting, from the earliest pictograms to
our current alphabet, has been driven by a quest for simplicity and
emciency. For centuries, wriuen language has been the primary
means of documenting human endeavor, auording us a window to
the past. Me alphabet we know today was established during the
Italian Renaissance. Me elegant and pracical scripts of this time
evolved from earlier writing systems and derived their characer
from the broad-edged quill. Mese scripts, in all their forms, had
a swccpíng ínßucncc on socícty and lcd to thc crcatíon of thc roman
and ítalíc lcucrforms that wc usc today. ln thc carly s;th ccntury, wíth
thc advcnt of coppcrplatc cngravíng as a mcans of rcproducíng lct-
6/8 srw:uoID c»Þ+:o× v:+u :+»I:c
Iox e,ooo xv»xs, m»× u»s communicated through wriuen symbols.
1e evolution of handwriting, from the earliest pictograms to our cur-
rent alphabet, has been driven by a quest for simplicity and emciency.
Ior centuries, wriuen language has been the primary means of docu-
menting human endeavor, anording us a window to the past. 1e alpha-
bet we know today was established during the Italian Renaissance. 1e
elegant and pracical scripts of this time evolved from earlier writing
systems and derived their characer from the broad-edged quill. 1ese
scripts, in all their forms, had a sweeping inßuence on society and led
tc thc crcatícn cj thc rcman and ítalíc lcucrjcrms that wc usc tcday. In
thc carly +-th ccntury, wíth thc advcnt cj ccppcrplatc cngravíng as a mcans
cj rcprcducíng lcucrjcrms and íüustratícns, ítalíc handwrítíng cvclvcd tc
;/o srw:uoID c»Þ+:o× v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen
symbols. 1e evolution of handwriting, from the earliest
pictograms to our current alphabet, has been driven by a
quest for simplicity and emciency. Ior centuries, wriuen
language has been the primary means of documenting
human endeavor, anording us a window to the past. 1e
alphabet we know today was established during the Italian
Renaissance. 1e elegant and pracical scripts of this time
cvclvcd jrcm carlícr wrítíng systcms and dcrívcd thcír charadcr
jrcm thc brcad-cdgcd quíü. 1csc scrípts, ín aü thcír jcrms, had
a swccpíng ínnucncc cn sccícty and lcd tc thc crcatícn cj thc
6/8 urccI»u c»Þ+:o× v:+u :+»I:c
Ior 6,ccc years, man has communicated through wriuen symbols. 1e
evolution of handwriting, from the earliest pictograms to our current
alphabet, has been driven by a quest for simplicity and emciency. Ior
centuries, wriuen language has been the primary means of documenting
human endeavor, anording us a window to the past. 1e alphabet we
know today was established during the Italian Renaissance. 1e elegant
and pracical scripts of this time evolved from earlier writing systems
and derived their characer from the broad-edged quill. 1ese scripts,
in all their forms, had a sweeping innuence on society and led to the
crcaríon or rnc roman ana íra|íc |cucrrorms rnar wc nsc roåay. In rnc car|y
./rn ccnrnry, wírn rnc aåvcnr or conpcrp|arc cngravíng as a mcans or rcnro-
ancíng |cucrrorms ana íünsrraríons, íra|íc nanawríríng cvo|vca ro cmn|arc
;/o urccI»u c»Þ+:o× v:+u :+»I:c
Ior 6,ccc years, man has communicated through wriuen
symbols. 1e evolution of handwriting, from the earliest pic-
tograms to our current alphabet, has been driven by a quest
for simplicity and emciency. Ior centuries, wriuen language
has been the primary means of documenting human endeavor,
anording us a window to the past. 1e alphabet we know today
was established during the Italian Renaissance. 1e elegant
and pracical scripts of this time evolved from earlier writing
sysrcms ana acrívca rncír cnaraocr rrom rnc nroaå-cagca qníü.
1csc scríprs, ín aü rncír rorms, naå a swccníng ínnncncc on socícry
ana |ca ro rnc crcaríon or rnc roman ana íra|íc |cucrrorms rnar wc
;/o I:cu+ c»Þ+:o× v:+u :+»I:c
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 efciency. For centuries, wrien lanuage
has been the primary means of documenting human endeavor,
afording 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-
:ng systcms ane ecr:vce tnc:r c|araccr rrom tnc iroao-cegce qu:!.
1csc scr:rts. :n a! tnc:r rorms. nao a swccp:ng :nnucncc on soc:cty
ane |ce to tnc crcat:on or tnc roman ane :ta|:c |cncrrorms tnat wc
6/8 I:cu+ c»Þ+:o× v:+u :+»I:c
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 efciency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeavor, afording 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 tnc crcat:on or tnc roman ane :ta|:c |cncrrorms tnat wc usc tooay. !n
tnc car|y .;tn ccntury. w:tn tnc aovcnt or coprcrr|atc cngrav:ng as a mcans
or rcproouc:ng |cncrrorms ane :!ustrat:ons. :ta|:c nanewr:t:ng cvo|vce to
6/8 wrD:cw c»Þ+:o× v:+u :+»I:c
Iou o,ccc v:«us, m«× n«s communicated through wriuen sym-
bols. 1e evolution of handwriting, from the earliest pictograms to
our current alphabet, has been driven by a quest for simplicity and
emciency. Ior centuries, wriuen language has been the primary means
of documenting human endeavor, anording us a window to the past.
1e alphabet we know today was established during the Italian Renais-
sance. 1e elegant and pracical scripts of this time evolved from earlier
writing systems and derived their characer from the broad-edged quill.
1ese scripts, in all their forms, had a sweeping innuence 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-
;/o wrD:cw c»Þ+:o× v:+u :+»I:c
Ior o,ccc years, man has communicated through wriuen
symbols. 1e evolution of handwriting, from the earliest
pictograms to our current alphabet, has been driven by a
quest for simplicity and emciency. Ior centuries, wriuen
language has been the primary means of documenting human
endeavor, anording us a window to the past. 1e alphabet we
know today was established during the Italian Renaissance.
1e elegant and pracical 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
aa a.
o/.. uoID +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through writ-
ten symbols. Ie evolution of handwriting, from the
earliest pictograms to our current alphabet, has been
driven by a quest for simplicity and emciency. Ior cen-
turies, wriuen language has been the primary means of
documenting human endeavor, añording us a window
tc thc past. 1c alphabct wc kncw tcday was cstaolishcd
during thc Italian kcnaissancc. 1c clcgant and pradical
scripts cj this timc cvclvcd jrcm carlicr writing systcms and
8/.c uoID c»Þ+:o× v:+u :+»I:c
For o,ooo years, man has communicated through wriuen
symbols. Me evolution of handwriting, from the earliest
pictograms to our current alphabet, has been driven by
a quest for simplicity and emciency. For centuries, writ-
ten language has been the primary means of documenting
human endeavor, auording us a window to the past. Me
alphabet we know today was established during the Italian
Rcnaíssancc. 1c clcgant and pradícal scrípts of thís tímc
cvolvcd from carlícr wrítíng systcms and dcrívcd thcír charadcr
from thc broad-cdgcd quíü. 1csc scrípts, ín aü thcír forms,
8/.c srw:uoID c»Þ+:o× v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen sym-
bols. 1e evolution of handwriting, from the earliest picto-
grams to our current alphabet, has been driven by a quest
for simplicity and emciency. Ior centuries, wriuen language
has been the primary means of documenting human en-
deavor, anording us a window to the past. 1e alphabet we
know today was established during the Italian Renaissance.
1c clcgant and pradícal scrípts cj thís tímc cvclvcd jrcm car-
lícr wrítíng systcms and dcrívcd thcír charadcr jrcm thc brcad-
cdgcd quíü. 1csc scrípts, ín aü thcír jcrms, had a swccpíng
o/.. srw:uoID +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through writ-
ten symbols. 1e evolution of handwriting, from the
earliest pictograms to our current alphabet, has been
driven by a quest for simplicity and emciency. Ior cen-
turies, wriuen language has been the primary means of
documenting human endeavor, anording us a window to
the past. 1e a!phalet we know toJay was estan!:sheJ Jur-
:ng the tta!:an Rena:ssance. 1e e!egant anJ prau:ca! scr:pts
oj th:s t:me evo!veJ jrom ear!:er wr:t:ng systems anJ Jer:veJ
o/.. urccI»u +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen
symbols. 1e evolution of handwriting, from the earliest
pictograms to our current alphabet, has been driven by a
quest for simplicity and emciency. Ior centuries, wriuen
language has been the primary means of documenting
human endeavor, anording us a window to the past. 1e
a|µna|ct wc |uow toáay was csta||:sncá áur:ug tnc |ta|:au
Pcua:ssaucc. 1c c|cgaut auá µrac:ca| scr:µts oj tn:s t:mc
cvo|vcá jrom car|:cr wr:t:ug systcms auá ácr:vcá tnc:r cnaraccr
8/.c urccI»u c»Þ+:o× v:+u :+»I:c
Ior 6,ccc years, man has communicated through wriuen
symbols. 1e evolution of handwriting, from the earliest pic-
tograms to our current alphabet, has been driven by a quest
for simplicity and emciency. Ior centuries, wriuen language
has been the primary means of documenting human endeavor,
anording us a window to the past. 1e alphabet we know today
was established during the Italian Renaissance. 1e elegant and
praoíca| scríprs or rnís rímc cvo|vca rrom car|ícr wríríng sysrcms
ana acrívca rncír cnaraocr rrom rnc nroaå-cagca qníü. 1csc
scríprs, ín aü rncír rorms, naå a swccníng ínnncncc on socícry ana
8/.c I:cu+ c»Þ+:o× v:+u :+»I:c
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 efciency. For centuries, wrien lanuage
has been the primary means of documenting human endeavor,
afording us a window to the past. e alphabet we know today
was estalished during the Italian Renaissance. e elegant and
praoíca| scríprs or rnís rímc cvo|vca rrom car|ícr wríríng sysrcms
ana acrívca rncír cnaraocr rrom rnc nroaå-cagca qníü. 1csc
scríprs, ín aü rncír rorms, naå a swccníng ínnncncc on socícry ana
o/.. I:cu+ +r×+ v:+u :+»I:c
Ior e,ccc vears, man has communicated through wriuen
svm|o|s. 1e evo|ution of handwriting, from the ear|iest
pictograms to our current a|pha|et, has |een driven |v a
quest for simp|icitv and emciencv. Ior centuries, wriuen
|an.uage has |een the primarv means of documenting
human endeavor, anording us a window to the past. 1e
a!r'ao.t w. '·cw tcaay wa· .stao!:·'.a a:·:·g t'. !ta!:a·
!.·a:·sa·... 1. .!.ga·t a·a r·a.:.a! ·.·:rt· c| t':· t:r.
.·c!·.a |·cr .a·!:.· w·:t:·g ·y·t.r· a·a a.·:v.a t'.:· .'a·a..·
o/.. wrD:cw +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through writ-
ten symbols. 1e evolution ot handwriting, trom the
earliest pictograms to our current alphabet, has been
driven by a quest tor simplicity and emciency. Ior cen-
turies, wriuen language has been the primary means ot
documenting human endeavor, anording us a window
to tnc µast. 1c a|µnalct wc know to1ay was cstaí|:snco
our:ng tnc |ta|:an Pcna:ssancc. 1c c|cgant ano µrad:ca|
scr:µts or tn:s t:mc cvo|vco rrom car|:cr wr:t:ng systcms ano
8/.c wrD:cw c»Þ+:o× v:+u :+»I:c
Ior o,ccc years, man has communicated through wriuen
symbols. 1e evolution of handwriting, from the earliest pic-
tograms to our current alphabet, has been driven by a quest
for simplicity and emciency. Ior centuries, wriuen language
has been the primary means of documenting human endeavor,
anording us a window to the past. 1e alphabet we know today
was established during the Italian Renaissance. 1e 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
a. a·
.c/.: I:cu+ +r×+ v:+u :+»I:c
Ior e,ccc vears, man has communicated through wriuen svm|o|s. 1e evo|ution
of handwriting, from the ear|iest pictograms to our current a|pha|et, has |een
driven |v a quest for simp|icitv and emciencv. Ior centuries, wriuen |an.uage has
|een the primarv means of documenting human endeavor, anording us a win-
dow to the past. 1e a|pha|et we |now todav was estab|ished during the Ita|ian
!.·a:·sa·... 1. .!.ga·t a·a r·a.:.a! ·.·:rt· c| t':· t:r. .·c!·.a |·cr .a·!:.· w·:t:·g
·y·t.r· a·a a.·:v.a t'.:· .'a·a..· |·cr t'. o·caa-.ag.a o::!. 1.·. ·.·:rt·. :· a! t'.:·
|c·r·. 'aa a ·w..o:·g :·n:.·.. c· ·c.:.ty a·a !.a tc t'. .·.at:c· c| t'. ·cra· a·a :ta!:.
·o/·a mro:Dm :rx: v::u ::\I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e evo-
lution ot handwriting, trom the earliest pictograms to our current alphabet,
has been driven by a quest tor simplicity and emciency. Ior centuries, writ-
ten language has been the primary means ot documenting human endeavor,
anording us a window to the past. 1e alphabet we know today was established
our:ng tnc |ta|:an Pcna:ssancc. 1c c|cgant ano µrad:ca| scr:µts or tn:s t:mc cvo|vco
rrom car|:cr wr:t:ng systcms ano ocr:vco tnc:r c|aradcr rrom tnc lroa1-cogco qu:ú.
1csc scr:µts, :n aú tnc:r rorms, na1 a swccp:ng :nnucncc on soc:cty ano |co to tnc
.c/.: srw:uoID +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e evo-
lution of handwriting, from the earliest pictograms to our current alphabet,
has been driven by a quest for simplicity and emciency. Ior centuries, writ-
ten language has been the primary means of documenting human endeavor,
anording us a window to the past. 1e alphabet we know today was estab-
!:sheJ Jur:ng the tta!:an Rena:ssance. 1e e!egant anJ prau:ca! scr:pts oj th:s t:me
evo!veJ jrom ear!:er wr:t:ng systems anJ Jer:veJ the:r charauer jrom the lroaJ-
eJgeJ qu:u. 1ese scr:pts, :n au the:r jorms, haJ a sweeµ:ng :nnuence on soc:ety
.c/.: uoID +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. Ie evo-
lution of handwriting, from the earliest pictograms to our current alphabet,
has been driven by a quest for simplicity and emciency. Ior centuries, writ-
ten language has been the primary means of documenting human endeavor,
añording us a window to the past. Ie alphabet we know today was established
during thc Italian kcnaissancc. 1c clcgant and pradical scripts cj this timc
cvclvcd jrcm carlicr writing systcms and dcrivcd thcir charadcr jrcm thc brcad-
cdgcd quiü. 1csc scripts, in aü thcir jcrms, had a swccping innucncc cn sccicty
.c/.: urccI»u +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e evo-
lution of handwriting, from the earliest pictograms to our current alphabet,
has been driven by a quest for simplicity and emciency. Ior centuries, writ-
ten language has been the primary means of documenting human endeavor,
anording us a window to the past. 1e alphabet we know today was estab-
|:sncá áur:ug tnc |ta|:au Pcua:ssaucc. 1c c|cgaut auá µrac:ca| scr:µts oj tn:s t:mc
cvo|vcá jrom car|:cr wr:t:ug systcms auá ácr:vcá tnc:r cnaraccr jrom tnc |roaá-
cágcá au:u. 1csc scr:µts. :u au tnc:r jorms. naá a swccp:ug :unucucc ou soc:cty auá
a. a·
../.a I:cu+ +r×+ v:+u :+»I:c
Ior e,ccc vears, man has communicated through wriuen svm|o|s. 1e
evo|ution of handwriting, from the ear|iest pictograms to our current
a|pha|et, has |een driven |v a quest for simp|icitv and emciencv. Ior
centuries, wriuen |an.uage has |een the primarv means of document-
ing human endeavor, anording us a window to the past. 1e a|pha|et
w. '·cw tcaay wa· .stao!:·'.a a:·:·g t'. !ta!:a· !.·a:·sa·... 1. .!.ga·t
a·a r·a.:.a! ·.·:rt· c| t':· t:r. .·c!·.a |·cr .a·!:.· w·:t:·g ·y·t.r· a·a
../.a urccI»u +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e
evolution of handwriting, from the earliest pictograms to our current
alphabet, has been driven by a quest for simplicity and emciency. Ior
centuries, wriuen language has been the primary means of document-
ing human endeavor, anording us a window to the past. 1e alphabet
wc |uow toáay was csta||:sncá áur:ug tnc |ta|:au Pcua:ssaucc. 1c c|cgaut
auá µrac:ca| scr:µts oj tn:s t:mc cvo|vcá jrom car|:cr wr:t:ug systcms auá
../.a srw:uoID +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e
evolution of handwriting, from the earliest pictograms to our current
alphabet, has been driven by a quest for simplicity and emciency. Ior
centuries, wriuen language has been the primary means of document-
ing human endeavor, anording us a window to the past. 1e alphabet
we know toJay was estan!:sheJ Jur:ng the tta!:an Rena:ssance. 1e e!egant
anJ prau:ca! scr:pts oj th:s t:me evo!veJ jrom ear!:er wr:t:ng systems anJ
../.a uoID +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols.
Ie evolution of handwriting, from the earliest pictograms to our
current alphabet, has been driven by a quest for simplicity and em-
ciency. Ior centuries, wriuen language has been the primary means
of documenting human endeavor, añording us a window to the past.
1c alphabct wc kncw tcday was cstaolishcd during thc Italian kcnais-
sancc. 1c clcgant and pradical scripts cj this timc cvclvcd jrcm carlicr
../.a wrD:cw +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e
evolution ot handwriting, trom the earliest pictograms to our current
alphabet, has been driven by a quest tor simplicity and emciency. Ior
centuries, wriuen language has been the primary means ot document-
ing human endeavor, anording us a window to the past. 1e alphabet we
know to1ay was cstaí|:snco our:ng tnc |ta|:an Pcna:ssancc. 1c c|cgant ano
µrad:ca| scr:µts or tn:s t:mc cvo|vco rrom car|:cr wr:t:ng systcms ano ocr:vco
ae a·
.:/.. I:cu+ +r×+ v:+u :+»I:c
Ior e,ccc vears, man has communicated through wriuen svm|o|s. 1e evo|ution of
handwriting, from the ear|iest pictograms to our current a|pha|et, has |een driven
|v a quest for simp|icitv and emciencv. Ior centuries, wriuen |an.uage has |een
the primarv means of documenting human endeavor, anording us a window to
the past. 1e a|pha|et we |now todav was estab|ished during the Ita|ian Renais-
·a·... 1. .!.ga·t a·a r·a.:.a! ·.·:rt· c| t':· t:r. .·c!·.a |·cr .a·!:.· w·:t:·g ·y·t.r·
a·a a.·:v.a t'.:· .'a·a..· |·cr t'. o·caa-.ag.a o::!. 1.·. ·.·:rt·. :· a! t'.:· |c·r·.
.:/.. urccI»u +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e evolution
of handwriting, from the earliest pictograms to our current alphabet, has been
driven by a quest for simplicity and emciency. Ior centuries, wriuen language has
been the primary means of documenting human endeavor, anording us a window
to the past. 1e alphabet we know today was established during the Italian Renais-
saucc. 1c c|cgaut auá µrac:ca| scr:µts oj tn:s t:mc cvo|vcá jrom car|:cr wr:t:ug systcms
auá ácr:vcá tnc:r cnaraccr jrom tnc |roaá-cágcá au:u. 1csc scr:µts. :u au tnc:r jorms.
.:/.. wrD:cw +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e evolution
ot handwriting, trom the earliest pictograms to our current alphabet, has been
driven by a quest tor simplicity and emciency. Ior centuries, wriuen language has
been the primary means ot documenting human endeavor, anording us a window
to the past. 1e alphabet we know today was established during the Italian Renais-
sancc. 1c c|cgant ano µrad:ca| scr:µts or tn:s t:mc cvo|vco rrom car|:cr wr:t:ng systcms
ano ocr:vco tnc:r c|aradcr rrom tnc lroa1-cogco qu:ú. 1csc scr:µts, :n aú tnc:r rorms,
.:/.. uoID +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. Ie evolu-
tion of handwriting, from the earliest pictograms to our current alphabet, has
been driven by a quest for simplicity and emciency. Ior centuries, wriuen lan-
guage has been the primary means of documenting human endeavor, añord-
ing us a window to the past. Ie alphabet we know today was established
during thc Italian kcnaissancc. 1c clcgant and pradical scripts cj this timc
cvclvcd jrcm carlicr writing systcms and dcrivcd thcir charadcr jrcm thc brcad-
.:/.. srw:uoID +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e evo-
lution of handwriting, from the earliest pictograms to our current alphabet,
has been driven by a quest for simplicity and emciency. Ior centuries, writ-
ten language has been the primary means of documenting human endeavor,
anording us a window to the past. 1e alphabet we know today was established
Jur:ng the tta!:an Rena:ssance. 1e e!egant anJ prau:ca! scr:pts oj th:s t:me evo!veJ
jrom ear!:er wr:t:ng systems anJ Jer:veJ the:r charauer jrom the lroaJ-eJgeJ qu:u.
ae a·
.a/., I:cu+ +r×+ v:+u :+»I:c
Ior e,ccc vears, man has communicated through wriuen svm|o|s. 1e evo-
|ution of handwriting, from the ear|iest pictograms to our current a|pha|et,
has |een driven |v a quest for simp|icitv and emciencv. Ior centuries, writ-
ten |an.uage has |een the primarv means of documenting human endeavor,
anc·a:·g :· a w:·acw tc t'. rast. 1. a!r'ao.t w. '·cw tcaay wa· .stao!:·'.a
a:·:·g t'. !ta!:a· !.·a:·sa·... 1. .!.ga·t a·a r·a.:.a! ·.·:rt· c| t':· t:r. .·c!·.a
.a/., urccI»u +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e
evolution of handwriting, from the earliest pictograms to our current
alphabet, has been driven by a quest for simplicity and emciency. Ior
centuries, wriuen language has been the primary means of document-
:ug numau cuácavor. anorá:ug us a w:uáow to tnc µast. 1c a|µna|ct wc |uow
toáay was csta||:sncá áur:ug tnc |ta|:au Pcua:ssaucc. 1c c|cgaut auá µrac:-
.a/., srw:uoID +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e
evolution of handwriting, from the earliest pictograms to our current
alphabet, has been driven by a quest for simplicity and emciency. Ior
centuries, wriuen language has been the primary means of documenting
human enJeavor, añorJ:ng us a w:nJow to the past. 1e a!phalet we know
toJay was estan!:sheJ Jur:ng the tta!:an Rena:ssance. 1e e!egant anJ prac-
.a/., uoID +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. Ie
evolution of handwriting, from the earliest pictograms to our current
alphabet, has been driven by a quest for simplicity and emciency. Ior
centuries, wriuen language has been the primary means of document-
ing human cndcavcr, añcrding us a windcw tc thc past. 1c alphabct wc
kncw tcday was cstaolishcd during thc Italian kcnaissancc. 1c clcgant and
.a/., wrD:cw +r×+ v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e evo-
lution ot handwriting, trom the earliest pictograms to our current alphabet,
has been driven by a quest tor simplicity and emciency. Ior centuries, writ-
ten language has been the primary means ot documenting human endeavor,
anoro:ng us a w:noow to tnc µast. 1c a|µnalct wc know to1ay was cstaí|:snco
our:ng tnc |ta|:an Pcna:ssancc. 1c c|cgant ano µrad:ca| scr:µts or tn:s t:mc
as ao
../.6 I:cu+ scuur»D v:+u :+»I:c
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 efciency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeavor, afording us a window to the past. e alphabet we
··.· :.:.y ·.· .st.o!:·'.. .:·:·, :'. î:.!:.· !.·.:··.·.. .. .!.,.·: .·.
../.6 urccI»u scuur»D v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e
evolution of handwriting, from the earliest pictograms to our current
alphabet, has been driven by a quest for simplicity and emciency. Ior
centuries, wriuen lancuage has been the primary means of document-
ing human endeavor, anording us a window to the past. 1e alphabet we
|·o: toóay ·as cstao!:s|có óu·:·g t|c Ita!:a· "c·a:ssa·.c. )c c!cga·t a·ó
../.6 srw:uoID scuur»D v:+u :+»I:c
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 efciency. For
centuries, wrien lanuage has been the primary means of document-
ing human endeavor, afording us a window to the past. e alphabet
we kuo× toáay was esta!!ìsneá áurìug tne |ta!ìau Peuaìssauce. 1e e!egaut
../.6 uoID scuur»D v:+u :+»I:c
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 ef-
ciency. For centuries, wrien lanuage has been the primary means
of documenting human endeavor, afording us a window to the past.
1e a!phaoet we kuo× toJay was estao!:sheJ Jur:ug the Ita!:au Reua:s-
·./·e mro:Dm sDvur\o v::u ::\I:c
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
efciency. For centuries, wrien lanuage has been the primary
means of documenting human endeavor, afording us a window to
t|c past. )c a|p|aoct wc |no× toaay was cstao|:s|cá áur:ng t|c |ta|:an
as ao
.6/.8 I:cu+ scuur»D v:+u :+»I:c
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 efciency. For centuries,
wrien lanuage has been the primary means of documenting human
.·...·.·. .|.·.:·, :· . ·:·..· :. :'. p.st .. .!p'.o.: ·. ··.· :.:.y ·.·
.6/.8 urccI»u scuur»D v:+u :+»I:c
Ior e,ooo years, man has communicated through wriuen symbols. 1e
evolution of handwriting, from the earliest pictograms to our current
alphabet, has been driven by a quest for simplicity and emciency. Ior
centuries, wriuen lancuage has been the primary means of documenting
|uma· c·ócavor. anoró:·g us a ::·óo: to t|c past. )c a!p|aoct ·c |·o: to-
.6/.8 srw:uoID scuur»D v:+u :+»I:c
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 efciency. For
centuries, wrien lanuage has been the primary means of document-
ìug numau euáeavor, añoráìug us a ×ìuáo× to tne µast. 1e a!µna!et we
.6/.8 uoID scuur»D v:+u :+»I:c
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 ef-
ciency. For centuries, wrien lanuage has been the primary means
oj Jocumeut:ug humau euJeavor, aµorJ:ug us a ×:uJo× to the past. 1e
.6/.8 wrD:cw scuur»D v:+u :+»I:c
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 efciency. For
centuries, wrien lanuage has been the primary means of document-
:ng |uman cnácavor. anorá:ng us a ×:náo× to t|c past. )c a|p|aoct wc |no×
.o ..
}.». +a»`«·.t.»¡ .· a (·aµ
(.·t/· .| `».·at..»
(. .·.|ut..» .| /a»`«·.t.»¡. |·.» t/.
.a·|..·t r..t.¡·a»· t. .u· .u·.»t a|r/ao.t
cao.cäars.a |or»ata
Simplicity and Efciency
Charmed Combination
e Mystery of the Creative Process
& Typographic Protocol
ien in a traitiona o unconventiona manne
D:sÞI». csr »+ v»u:ocs s:zrs
Oldstyle roman typefaces of the Italian Renaissance
.o ..
·. ··.·..·
!uoao.st.. Too| !aoas
lorma| and lr..·t·|. ·.ri¡t·
Professionals and Amateurs
Vernacular of their Time
Tools of the Trae
A VARIETY OF INSTRUMENTS
W.oåo« to t|c |ast
.a ..
8/.: I:cu+, urccI»u, srw:uoID, »×D uoID sv»su :+»I:c c»Þ+:o×
·aron Jr:ana co|iy Oa'ota ·ar|cnc jc|:cc cav:n ·o!y íne:go !crct 1arcna .ogan ¨:ranea
¨c|son :ecssa Jcry (u:nn lac|c| ·:monc ay|or lrsu|a 'a|cnt:na ':|cm ´:omara ·vonnc .ac|ary
·aron 1ríana Co|ny 4akora ²ar|cnc jc|ícc Cavín ;oüy Inaígo 1c¬cr 1arcna 0ogan ¨íranaa
7c|son :acssa Jc¬y (nínn lacnc| Símonc Jay|or 1rsn|a 'a|cnrína 'í|cm ·íomara 'vonnc 2acnary
·aron 1ríana Co|ny 4akora ²ar|cnc jc|ícc Cavín ;oüy Inaígo 1c¬cr 1arcna 0ogan ¨íranaa
7c|son :acssa Jc¬y (nínn lacnc| Símonc Jay|or 1rsn|a 'a|cnrína 'í|cm ·íomara 'vonnc 2acnary
7arcn 1ríana Cclby 1akcta +arlcnc (clícc Cavín +cüy Indígc ]c¬ct 1arcna 1cgan ¨íranĮa
7clscn Odcssa (c¬y 0uínn 1achcl Símcnc (aylcr 1rsula 'alcntína +ílcm Xícmara ¬vcnnc 7achary
½aron 1ríana Colby 1akota +arlcnc 1clícc qavín +oüy 1ndígo )c¬ct 1arcna 1ogan Oíranda
7clson udcssa 1c¬y 0uínn 1achcl 5ímonc 1aylor 1rsula +alcntína 1ílcm Xíomara !vonnc 2achary

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.:/.6 I:cu+, urccI»u, srw:uoID, »×D uoID sv»su :+»I:c +r×+
a·c· ´·:a·a .c··c· 4a'cta ´a·!.·. j.!:.. :av:· ·c!y !·a:gc
'.·.t ±a·.·a ·cga· ¨:·a·aa .!·c· :a.·sa .·y (::·· la.'.!
·:rc·. ay!c· 1··:!a 'a!.·t:·a ':!.r `:cra·a ¹·c··. .a.|a·y
arou lr:aua couucr Ja|ota 7ar|cuc jc|:cc tav:u +ouy Iuá:go
]crct 1arcua logau :rauáa ^c|sou (ácssa Jcry (u:uu 1acnc|
·:mouc 7ay|or 1rsu|a 'a|cut:ua +:|cm A:omara \vouuc 2ackary
arou lr:aua couucr Ja|ota 7ar|cuc jc|:cc tav:u +ouy Iuá:go
]crct 1arcua logau :rauáa ^c|sou (ácssa Jcry (u:uu 1acnc|
·:mouc 7ay|or 1rsu|a 'a|cut:ua +:|cm A:omara \vouuc 2ackary
7aron 1r:ana Conner 1akota Jar!ene Je!:ce uav:n +ouy InJ:go
]eret 1arena 1ogan ·:ranJa ^e!son JJessa (ery ¿u:nn 1ache!
·:mone (ay!or 1rsu!a 'a!ent:na 1:!em A:omara \vonne 7ackary
·arcn 1riana tcnncr 1akcta Jarlcnc 1clicc uavin ¬cüy 1ndigc
)crct 1arcna 1cgan Oiranda ^clscn odcssa (cry 0uinn 1achcl
·imcnc laylcr 1rsula +alcntina !ilcm Aicmara ¬vcnnc 2ackary
.a ..

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ac/a8 I:cu+, urccI»u, srw:uoID, »×D uoID sv»su :+»I:c D:sÞI».
nne iana olby an ma elice
:..·,..··. +.!y :·+.,. ).·.! 1.·.·.
1.ga» .·a»+a .|·.» .+.·sa (at·..|
Ou.o|ao Ta.|c| ·usao (ay|or (rsu|a
era ile iomara vonne ac
:c/:, I:cu+, urccI»u, srw:uoID, »×D uoID sv»su :+»I:c scuur»D
.·.· ´·:.·. ..!oy .·.:. l.·! ·.!:.. c.·:·
+.!y .·.:,. ).·.! ·.·.·. l.,.· :·.·..
c!so· (ócssa (c·y 0u:·· 1a.|c! ·uc (ay!or
(·su!a ':!a 1:!cm ·:oma·a \·o··c 2a.|a·y
aron 1r:ana (o|oy Ja|ota lar| (c|:cc cav:n
+oay Iná:go )crct )arcna logan :ranáa
^e!sou Jáessa (ery ¿uìuu 1acne! ·ue (ay!or
(rsu!a 'ìüa 1ì!em Aìomara \vouue 2ackary
arou 1r:aua to!oy 1akota Jar! 1e!:ce uav:u
1ouy 1uJ:go ]eret 1areua 1ogau ·:rauJa
.. .·
POSTER
.· .. ·.
Shaping oughts
·... .·st·.·.·.·
Numerous Overtones
Praical Scripts
l·...st ...··
e Creative Process
Þos+ru I:cu+ uow»× »×D :+»I:c
.. .·
.; Þo:×+ urccI»u ou×»wr×+s
CCCCCCCCCCCCCCCCCCCCCCCCC
~~~~~~~~~~~~~~~~~~~~~~~~~

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.s .o
Carla Sandoval
Director Nuseo Nacional
Banco Centrale
Bogotá, Columbia

Dear Ns. Sandoval,
On a recent trip I had the pleasure of sending several hours looking at
your nne collection of pre-Columbian gold work. Ny company develops
and sells 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 able to collect a number of pieces.
Vhile in the south wing, I noticed a double bat-head ngure pendant,
dated ..th to ..th century, from central Panama (no. ..-.s-..·e). I
am familiar with its style because in .o·. I purchased a single bat-
head pendant (s|:ác cuc|oscá) that looks like it was made by the same
cranserson. 1e overall design, texture, quality of nnish, and color of the
gold alloy bear an uncanny resemblance to the piece I own.
I am very auached to this piece, however, I feel it is my responsibility
to oner it as a gin to the museum. Your collection is so beautifully
displayed, while my piece sits in a dusky vault; it’s almost a sin. I will be in
South America at the end of Iebruary and would like the opportunity to
meet and show you the piece. If you are interested, please write or call at
e.o-..s-o·os. I look forward to hearing from you.

Sincerely,
Charles Brand

AvcLr\+vo×ics + .ea Iinh Street + San Diego, c\ .oao.
.s .o
Jean Sibelius
(o!o!a’s Jaug|tcr • )c ·:a· o| (uo·c!a
(ap:o!a • l· ·aga • 'a!sc t·:stc
West Coast Phiharmonic • Herbert eo Price

Gravitas Nusic Vorks - Stereo .s. a.-ee
Ix Iiivis
Jc:·ð·c (|:mc·a
~
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2uc:guuug
|HP uant cucn w:cácr. scnwau|cuác Gcsta|tcu.
J:c jrun s:cn c:ust ácm tru|cnl|:ck gczc:gt.
'crsucn’ :cn won|. cucn á:csma| jcstzuna|tcu.
jun|’ :cn mc:u Hcrz uocn ¡cucm +anu gcuc:gt.
|nr áraugt cucn zu| uuu gut. so mogt :nr wa|tcu.
+:c :nr aus Ouust uuá Nc|c| um m:cn stc:gt:
c:u 8uscu jun|t s:cn ¡ugcuå|:cn crscnuncrt
'om 2au|crnaucn. ácr curcu 2ug umw:ncrt.
|nr |r:ugt m:t cucn á:c 8:|ácr jroncr lagc.
Uuá maucnc |:c|c ·cnancu stc:gcu auj:
G|c:cn c:ucr a|tcu. na||vcr||uugucu ·agc
1ommt crstc |:c|’ uuá jrcuuáscnan m:t ncrauj:
Ocr ·cnmcrz w:rá ucu. cs w:ácrno|t á:c ||agc
Jcs |c|cus |a|yr:utn:scn :rcu |auj.
Uuá ucuut á:c tutcu. á:c. um scnouc ·tuuácu
'om G|uck gctauscnt. vor m:r n:uwcggcscnwuuácu.
·:c norcu u:cnt á:c jo|gcuácu Gcsaugc.
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Valter Hedreen
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Judith R. Lyons
Stuart Clinord
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A full-body and ripe wine with aromas of pear, apple, and caramel. Creamy
navor with hints of toast and tropical fruit. ss.oo
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Llegant, medium body and light oak. Aromas of cherry and cinnamon,
navors of raspberry, cranberry, tea, and spicy notes. s.a.oo
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Balanced, rich, and ripe. Aromas of cassis and cedar with navors
of plum, vanilla, conee and spice. s.·.oo
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Beautiful ruby red, intense bouquet. Complex with spicy, roasted, and
resinous navors. Vell structured and harmonious. ss.oo
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Aldo Iion 8ionics
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+ri: 408 229 6008
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Type Development at Adobe
1ype is developed at Adobe by a full-time stan of type design pro-
fessionals. Lach member of this group has secialized skills
in type design and the use of tools needed to develop digital type. 1e
Adobe type stan has a working relationship with many outside pro-
fessionals, whose expertise represents a broad sectrum of historical,
scholarly, and pracical knowledge of typography and the graphic arts.
Robert Slimbach, who joined Adobe in .os·, began working seriously
on type and calligraphy 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
1ypeface Corporation, as well as Adobe Originals typeface families
including Adobe Garamond, Adobe Jenson, Kepler, Cronos, Canisch
Script, Ninion, Ninion Pro, Poetica, Sanvito, Utopia, Varnock Pro,
and Nyriad (co-designed with Carol 1wombly).
.e
Iurther Reading
Atkins, Kathryn A. Mastcrs or rnc Ira|íc |cucr. Boston: David R. Godine, .o88.
Blumenthal, )oseph. Arr or rnc Prínrca Book .¡..-.o... Boston: David R. Godine, Pub-
lisher in association with 1e Pierpont Norgan Library, .o;a.
Iairbank, Alfred and Volpe, Bertold. Rcnaíssancc Hanawríríng, An Anrno|ogy or Ira|íc
Scríprs. London: Iaber and Iaber Limited, .o6c.
Norison, Stanley and Day, Kenneth. 1c 1ypograpníc Book .¡.o-.o,.. London: 1e
\niversity of Chicago Press, .o6a.
Nediavilla, Claude. Caüígrapny, |rom Caüígrapny ro Ansrracr Paínríng. Vommelgem,
Belgium. Scirpus Publications, .oo6.
\pdike, Daniel Berkeley. Prínríng 1ypcs, 1cír Hísrory, |orms, ana Usc. New York:
Dover Publications, Inc. .o8c.
Acknowledgements
Specimen book design and production by Robert Slimbach.
Additional production by Ired Brady and Christopher Slye.
1ext wriuen by Ired Brady and Robert Slimbach.
Sample art designed by:
Ired Brady, pages a8, .a.
Robert Slimbach, pages 6, ao, .., and .:.
Nin Vang, page .c.
Special thanks to David Parsons, Christopher Slye, and )im Vasco for their assistance
with the nnal production of the Brioso Pro typeface family. 1anks also to Kelly Davis,
Kat Gatzke, Harold Grey, Donna Kolnes, David Lemon, Ernie Narch, )im Nildrew,
and 1omas Phinney for their helpful comments.
Additional Information
1is secimen book was produced using InDesign™, Illustrator®, and Photoshop®, son-
ware from Adobe. 1e typeface is Brioso Pro, designed by Robert Slimbach.
PDI created on )une ac·º, :cca.
Brioso Pro, patent pending.
Adobe, the Adobe logo, the Adobe Originals logo, Illustrator, InDesign, Photoshop, PostScript, Canisch Script,
Adobe Garamond, Adobe )enson, Kepler, Ninion, Nyriad, Poetica, Sanvito, \topia, Varnock, and Brioso are
either registered trademarks or trademarks of Adobe Systems Incorporated in the \nited States and/or other
countries. Nac OS is a trademark of Apple Computer, registered in the \nited States and other countries.
Open1ype and Vindows are either registered trademarks or trademarks of Nicroson Corporation in the
\nited States and/or other countries. All other trademarks are the property of their resective owners.
bc
Adobe Systems Incorporated
a., Park Avenue
San )ose, CA o,..c-:;c.