a new font software package in the growing library of Adobe
Originals typefaces, designed speci cally for todays digital technol-
ogy. Since the inception of the Adobe Originals program in ,
Adobe Originals typefaces have been consistently recognized through-
out the world for their quality, originality, and practicality. They com-
bine the power of PostScript® language software technology and the
most sophisticated electronic design tools with the spirit of craftsman-
ship that has inspired type designers since Gutenberg. Comprising
both new designs and revivals of classic typefaces, Adobe Originals
font software has set a standard for typographic excellence.
What is OpenType? Developed jointly by Adobe and Microsoft,
OpenType® is a highly versatile new font le format that represents
a signi cant advance in typographic functionality on Windows® and
Mac OS computers. Perhaps most exciting for design professionals and
typographers is that OpenType fonts o er extended layout features
that bring an unprecedented level of control and sophistication to
contemporary typography.
Because an OpenType typeface can incorporate all glyphs for a speci c
style and weight into one font, the need for separate expert, alternate,
swash, non-Latin, and other related sets is eliminated. In OpenType
savvy applications such as Adobes InDesign, OpenType features
organize groups of glyphs according to their use. Activating these
features enables typographic re nements such as ligatures, small
capitals, and oldstyle gures, streamlining the process of setting and
ne-tuning text. In addition, all 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 o ered by a program such as InDesign, let type-users take
advantage of advanced justi cation, optical margin alignment, hang-
ing punctuation, and optically sized masters (for fonts with two or
more optical masters). Adobe OpenType fonts are some of the most
sophisticated typefaces ever o ered, allowing designers and typogra-
phers to more e ectively take advantage of the power of the computer
for digital design and typesetting.
2
3 the propeller of the S.S. Leviathan,
Even people can be used.
People can even be tied
to backdrops. People can
Another suddenly enters and says: I
am stupid. Between power the clergy
man kneels upside down and cries out
and he prays in a loud voice: Oh mercy
seeth and suddenly a disintegration of
amazement Halleluia boy, marry drops
of water. The water pipe drips uninhibited monotony.
Eight. Drums & utes ash death & a conductors whistle
gleams bright. A stream of ice cold water runs down the
back of the man in one wing and into the pot. She sings to
c-sharp, d-sharp, e-at, the whole proletarian song. A tender
Let points burst like stars among them dance whirling round
and realize each other to form the line. Bend the lines, crack
as always bearing in mind the
dimensions required of a work.
You give the globe to the surface to
gobble up and you cause a cracked angle
ling round, and realize
line. Crate corner boxes
rush by, tangible in wire.
Roll globes whirling air
they touch one another.
Shatter and embroil the
parts and bend drilling
corners of the void in a
virgins shimmer. The center cooks up a deep dark-red ame. A soft rustling. Long
sighs violins swell and expire. Light darkens stage, even the sewing machine is dark.
Collapsible top hats fall strangled crate boxes. Make veils blow, soft folds
fall, make cotton drip and water gush. Hurl up air soft and white through
thousand candle power arc lamps. Then take wheels and axles, hurl them
up and make them sing. Axles dance midwheel roll globes barrel. Cogs air
teeth, nd a sewing machine that yawns. Take a dentists drill, a meat
take gigantic surfaces, conceived as innite,
cloak them in color, shift them menacingly
and vault their smooth pudency. Shatter and
embroil nite parts and bend drilling parts
of the void innitely together. Then take paste
smoothing surfaces over two together. Wire
Line movement, mist
movements rises real tow-ropes of the wire mesh.
aming lines, creeping lines, surfacing lines. Make
lines ght together and then caress one another
ness generous whir
each other to dance
and make the other
ical saturation.
lead a man to
served). Angle
Oh mercy thou
water pipe hat
conductor like
one wing and
whole organs
hand whistles
to be destroyed by the beam of a 22-shoe
sand candle power arc lamp. You make a human walk
on his (her) hands and wear a hat on his (her) feet, like
Anna Blume. (Cataracts.) A splashing of foam. And now
begins the re of musical saturation. Organs backstage
sing and say: Futt, futt. The sewing machine rattles
along in the lead. A man in the wings says: Bah.
Take buses and pleasure cars, bicycles, tandems
and their tires, and deform them. Take lights and
deform them as brutally as you can. Make locomo-
tives crash into one another, curtains and portiérs
make threads of spider webs dance with window
frames and break whimpering glass. Explode
steam boilers to make railroad mist. Take petti-
coats and other kindred objects, shoes and false
hair, also ice skates and throw them into place
where they belong, and always at the right time.
For all I care, take man-traps, automatic pistols,
infernal machines, the tinsh and the funnel, all
of course in an artistically deformed condition.
Inner tubes are highly recommend-ed. Take in short
everything from the hairnet of the high class lady
even appear actively even
in their everyday position,
they can speak on one leg,
even in sensible sentences.
Now begin to wed your hat
painted to one another. You
marry the oilcloth table cover
to the one home owners loan
lines, you bring a lamp cleaner.
into the relationship with the
Collapsible top hats fall strangled crate boxes. Make
veils blow, soft folds fall, make cotton drip and water
gush. Hurl up air soft and white through a 22-thousand
candle power arc lamp. Then take wheels and axles,
hurl them up and make them sing. Roll axles dance
midwheel roll globes barrel. Cogs air teeth, you nd a
sewing machine that yawns. Turning upward bowed
down the sewing machine beheads itself, feet up. Take
gigantic surfaces, conceived as innite, cloak them in
colors, shift them menacingly and vault their smooth
pudency. Shatter and embroil innite parts and bend
the drilling parts of the void innitely together. Paste
smoothing surfaces over one another. Wire lines mesh
movement rises real tow-rope of a wire mesh. Flaming
lines, creeping lines, two facing lines. Make lines ght
Myriad Pro First released by Adobe in , Myriad has become a
standard throughout the world of digital typography. As a newly ex-
panded OpenType family, Myriad Pro includes a glyph complement
that has complete Cyrillic and Greek alphabets, an enlarged set of
accented characters, oldstyle gures, and other useful glyphs. All
glyphs in the Myriad Pro family are o ered in condensed, normal,
and extended widths, and in ve weights ranging from light to black.
An Expanded Type Family Adobes commitment to the successful
implementation of OpenType technology, as well as the popularity of
Myriad, made it a logical candidate for expansion into the Myriad Pro
family. Its large glyph set covers a broad range of international require-
ments, while consolidation of all of Myriad Pros glyphs into single roman
and italic fonts provides users with increased typographic control. The
result is a family that gives designers and typographers a powerful
set of tools for solving the myriad design problems encountered in
modern typography.
A Re ned Sans Serif Design In the world of contemporary sans serif
typography, where the ordering of complex information using multiple
weights and widths is common, the di erent typographic voices of
Myriad Pro work together beautifully. When used in conjunction with
other typefaces, Myriad Pros varied palette o ers dynamic options for
typographic expression. The design of Myriad Pro is straightforward
and non-idiosyncratic making it ideal for creating sophisticated typo-
graphic arrangements where simplicity and clarity are required. Myriad
Pro provides a system of fonts that can be applied to a broad typo-
graphic spectrum, from corporate identity and web page design to
advertising typography and text composition. This highly adaptable
family is equally at home for text and display setting. The clean opti-
cally balanced shapes, carefully crafted letterforms, precise letter t,
and extensive kerning make this uni ed family highly readable and
give pages an exceptionally even color.
This specimen book provides background information on the design,
development, and historical context of the Myriad Pro family. It also
includes settings of Myriad Pro at a full range of weights and widths,
in Latin, Greek, and Cyrillic settings. In addition, this book includes
samples that show the type in use.
abc abc
abc
abc abc
abc
abc abc
abc
abc abc
abc
abc abc
abc
Above: The rst sans serif typeface, inconspicuously placed among
ornate display faces, was shown in the type specimen of
William Caslon IV. Shown here is an identical page from Caslons
specimen book. Photo courtesy of the Saint Bride Printing
Library, London.
Right: Prospectus for Jan Tschicholds Die Neue Typographie,
Berlin, .
Sans serif types used in
a advertisement.
Sans Serif Lette