Released as part of the Adobe Originals series in 1992, Myriad became the flagship typeface for Adobe’s Multiple Master font format. Of course, the typeface has often been compared to humanist typeface Frutiger, designed by Adrian Frutiger almost twenty years prior. Robert Slimbach, Adobe Magazine, March/April 1995 You can create many different voices, particularly in the width, that really change the character of the face quite a bit. It doesn’t break much new ground from a design standpoint, but its strength is that it’s very flexible for sans-serif typography. It’s very uniform-just a real practical kind of face. The outcome of the face was almost inevitable, with the rules and standards that we set for it: perfectly straight stems, flat endings, and the flat character shapes with a certain amount of proportion to the letters. “We were always saying to each other, ‘Oh, let’s not do this or that weird thing.’ So we would always fall back on the more obvious optical shape of the face.” As a result, the duo ended up with a typeface that could stand on its own, without reflecting the style of either designer. The two designers worked simultaneously on opposite ends of the typeface, swapping designs, and smoothing out each other’s strong characteristics. ![]() ![]() “We wanted to make almost a totally invisible type of letter, just very generic… something that really didn’t show anyone’s personality too much,” explains Slimbach in Adobe Magazine. In the early nineties, when typeface designers Robert Slimbach and Carol Twombly set out to design a new sans-serif for Adobe, the goal was to create something generic-jokingly calling the typeface ‘Generica’ during its design. Myriad is the ninth installment in our ‘Know your type’ series.
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