Arno Pro Type Specimen Book

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Exploration of humanistic type for every occasion

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Preece, Warren E. (2020). Typography [Online Article]. Retrieved from

https://www.britannica.com/technology/typography.

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he design, or selection, of letter forms to be organized into words and sentences to be disposed in blocks of type as printing upon a page.1

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Introduction to Arno Pro eee ee e eee ee e

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content/dam/acom/en/products/type/pdfs/ArnoPro.pdf

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Twardoch, Adam. (2007). Arno Pro: A new humanistic type family

from Adobe [PDF File]. Retrieved from https://www.adobe.com/

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Working with a broad-edged pen as one of my primary design tools, I derived much of Arno’s form—either directly or indirectly—from my handwritten sketches.2

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sketching a typeface by hand. 2

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Rather than referring directly to historical sources, I relied on my impressions of each style, which naturally influenced my developmental sketches, calligraphy, and on-screen work.2

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Image of Robert Slimbach in the process of

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hile it is probably most accurate to classify Arno simply as a contemporary humanistic roman, I did try to capture some general Venetian and Aldine characteristics in the family. Its degree of refinement and practicality relate more to Aldine types, while its calligraphic exuberance makes it reminiscent of Venetian-style types.

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"Named after the Italian river which runs through Florence, the city at the heart of the Italian Renaissance, Arno draws on the warmth and readability of early humanist types of the 15th and 16th centuries."

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From classification to conception.

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Twardoch, Adam. (2007). Arno Pro: A new humanistic type family

from Adobe [PDF File]. Retrieved from https://www.adobe.com/ content/dam/acom/en/products/type/pdfs/ArnoPro.pdf

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Arno Pro to create flexibility.

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2007

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Myriad, Garamond, Jenson.

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Jenson and Griffo.

This remarkable type is almost beyond reproach as a practical font for setting extended text. All the details of proportion and design, particularly in the lowercase, are resolved in an ideal balance of beauty and functionality.2 eeeeee

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is inspired by the works of

Style type.

Portraits of Nicolas Jenson (Left) and

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Slimbach starts UCLA and

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letterforms, pioneering Old

highly successful roman, italic and Greek types, he was employed by the illustrious publisher Aldus Manutius. In one fell swoop in 1495, Griffo established the form of the modern text letter with the first of three roman types he cut for Aldus.

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Late 1970's

with creating roman humanist

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Jenson and Griffo experiment

Francesco Griffo cut a series of

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N

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distinct advantage of being a skilled goldsmith and letter engraver who worked for years at mints in Paris and Tours. His type didn’t just come out of thin air—he was poised at a very special transitional moment in history, equipped with the skills to make something truly remarkable and timeless.2

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15th–16th Century

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Slimbach's Inspiration.

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Who Designed Arno Pro

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Robert Slimbach and his time as a type designer.

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"My fondness for the Italian Renaissance has a lot to do with it being the time when handwriting and type were closely interrelated."

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(2019). People Pill. Robert Slimbach [Online Article]. Retrieved from

https://peoplepill.com/people/robert-slimbach/

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In 1987 he joined Adobe Systems. Since then, he has concentrated primarily on designing typefaces for digital technology, often drawing inspiration from classical sources. He has developed many new fonts for the Adobe Originals program.3 eeeeee

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Carol Twombly.

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with Adobe alongside designers such as

After training from 1983 to 1985, Slimbach worked as a type designer with Autologic Incorporation. There he received further training, not just as a type designer but also as a calligrapher. Slimbach was then self-employed for two years as a freelance type designer, during which developed the two typefaces ITC Slimbach and ITC Giovanni for the International Typeface Corporation.3 eeeeee

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Robert Slimbach in his first years working

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limbach was born in Evanston, Illinois in 1956. Shortly after, he moved to Southern California where he spent his childhood and his youth. After attending UCLA on an athletics scholarship, he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters and greeting cards. eeeeee

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Twardoch, Adam. (2007). Arno Pro: A new humanistic type family

from Adobe [PDF File]. Retrieved from https://www.adobe.com/ content/dam/acom/en/products/type/pdfs/ArnoPro.pdf

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It’s clear that incorporating variable optical sizing into mainstream typography will hinge on whether or not it becomes automated within applications. In a time when great headway has been made to simplify difficult or time-consuming typesetting tasks, I am disappointed that developers for the leading applications haven’t stepped up to the plate on this matter. 2 eeeeee

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The problem is that single-size masters have been the norm for so long that both designers and readers have grown accustomed to seeing fonts used at inappropriate sizes. It is really the job of type layout application developers to provide a practical means for their customers to get the right type for the sizes they’re using.

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T

he reintroduction of optical size as a typographic standard has been a slow process; I expect it will take some time before people familiarize themselves with optical sizes and appreciate their benefits.

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Relatives of Arno

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uring his time before and with Adobe, Robert Slimbach curated, individually and collaboratively, over forty typefaces which include oldstyle serifs as well as modern san serifs.

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"It has been rewarding to be a part of the desktop typography revolution, and to witness Adobeâ&#x20AC;&#x2122;s technology and design standards being adopted throughout the industry. It is also gratifying to see so many of our typefaces being used on a daily basis throughout the world."

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