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Protected: Projet utilisant Myriad vol2

Quelques documents PDF

Certains traitent de Myriad, d’autres parlent des technologies disponible tel qu’Open type, True Type, Type 1, multiple master etc.

• Le document d’Adobe à propos de Myriad Pro
• comparaison entre Frutiger et Myriad
• la revue magtypo interview Adrian Frutiger, commentaire à propos de Myriad…
• Alejandro Lo Celso Rhythm in the type design

• multiple master
• note d’Adobe à propos du multiple master

http://www.veer.com/

An Adobe Originals design first released in 1992, Myriad has become popular for both text and display composition. As an OpenType release, Myriad Pro expands this sans serif family to include Greek and Cyrillic glyphs, as well as adding oldstyle figures and improving support for Latin-based languages. The full Myriad Pro family includes condensed, normal, and extended widths in a full range of weights. Designed by Robert Slimbach & Carol Twombly with Fred Brady & Christopher Slye, Myriad has a warmth and readability that result from the humanistic treatment of letter proportions and design detail. Myriad Pro’s clean open shapes, precise letter fit, and extensive kerning pairs make this unified family of roman and italic an excellent choice for text typography that is comfortable to read, while the wide variety of weights and widths in the family provide a generous creative palette for even the most demanding display typography. Patent Design pending.Myriad is either a registered trademark or a trademark of Adobe Systems Incorporated in the United States and/or other countries.

Related packages:

Myriad Pro Condensed
Myriad Pro Semi Condensed
Myriad Pro Semi Extended

• source : http://www.veer.com

http://www.typotheque.com

Re-mystification
The arrival of digital technology meant that typeface design was no longer the domain of specialists. Few people realized that the democratization of typography might also endanger the existence of professional designers. What would happen if anyone could buy the means to create comparable work? It would be much easier to create a typeface than apply it. It would become difficult to sell a font and typographers would find themselves having to explain the difference between the work of a professional and that of an amateur. Since graphic design and typography are not classified as professions (unlike architecture), such an explanation would be made quite difficult. Professionals who up until now had found their position to be unshakeable, found themselves making obscure attempts to stress these unclear differences.I always mistrusted fonts with suggestive names such as ‘display’, ‘headline’ or ‘text’. How can a designer limit their usage by naming them in such a way? A good typeface will always find its application and the user is usually intelligent enough to use it to his advantage. Even though I thought that this was a trend of the 80‘s, today’s type foundries are producing typefaces called „web“ and „correspondence“. This seems to me as absurd as if the Beatles had stuck a label on their records saying: ‘Listen only in the dark’ or if Sting were to insist that his records were ‘music for Saturday afternoons only’. In my opinion, such naming only takes place in an effort to make it obvious to the layman that typography is not at all transparent. We should use Myriad for printed matter and Myriad Web for use on screen, despite the fact that there is no visible difference between them. FontShop for example offers Meta and Meta Correspondence, one for office use and one for everyday use. They believe that some people might only need Meta whilst others might need both. The difference between both fonts is minimal, only the spacing of the font has been adjusted. I cannot imagine that a typographer would buy both fonts when he can get the same result by using any graphic editor to change the letter-spacing.Such tactics employed by type foundries seem alarming. The concealment of facts or the stressing of font names and their accompanying instructions amounts to a re-mystification of a once democratized profession. Similar trends attempt to present typography as an exclusive field which can only be understood by experts and the uninitiated should not even attempt to enter

• First published in Deleatur No.5, 2000
  source : http://www.typotheque.com

Multiple Master technology was launched by Adobe in 1992 and the first Adobe Original’s Multiple Master typeface was Myriad (fig. 7). A collaboration between Twombly and Slimbach, Myriad was a friendly sans serif typeface that explored the possibilities offered by the technology. Multiple master technology allows a typeface to be manipulated between two or more sets of outlines along given axes of interpolation. The technology allows the user a flexibility of form that would have been impossible with traditional technologies, but the rest of the type world has been slow to adopt it because it is extremely difficult to work with. To some extent the Multiple Master is an anathema to typographic traditionalists because it facilitates the creation of letterforms not anticipated by their designer. But whatever the attitude of others in the type world, the designers at Adobe are committed to working with this and other new technologies because innovation is key to the company’s prosperity. Designing a Multiple Master Jensen, Adobe could be seen as possibly making a bid to win round the established typographic community.

As well as designing around high-end technological challenges such as those presented by Multiple Masters, the designers at Adobe must always consider the low end technological constraints. Specifically, they must always design with the low-resolution 300 dpi printer in mind. Slimbach claims to consider this within even the earliest drawings. The need to work with the limits of a particular technology is one that has presented itself repeatedly to type designers over the centuries. In the eyes of traditionalists there seems to be a qualitative, almost moral, difference between designing in the face of technological constraint and designing to meet expanded technological capability. The latter is often seen as the cause of typographic excess. For example, it has often suggested that the new type cutting possibilities of the mid-nineteenth century led to a number of unforgivably mannered designs.

The most pressing technological challenge that currently faces type designers is the screen. In their present form, computer screens do not offer a conducive environment for elegant, legible type. Predictably, staff at Adobe are considering this problem: web software is an important growth area and it seems likely that type will play a significant part in any successful package. But while Fred Brady, a designer/administrator in the type team at Adobe, is looking very closely at the development of typefaces for the screens, Carol Twombly is prepared to wait until the technology comes up “to meet the standards of our existing faces.” At Adobe, the potential for close contact between designers and software engineers has meant that designers, rather than simply working around a technology, feel able to make demands on it. If Slimbach finds that a technology is unable to meet the needs of a design then he will attempt to persuade those responsible to revise that technology. Occasionally designers outside Adobe are sometimes given the opportunity to test new technologies, but proximity of the designers at Adobe to the development of the tools of the trade is unique.

In parallel with Twombly and Slimbach, Adobe also employ several freelance designers to contribute to their Originals range. Amongst these is Michael Harvey (born 1931), a British designer based in the small Dorset seaside town, of Bridport. Harvey trained as an apprentice under the letter carver Reynolds Stone in the 1950s, for the most part helping Stone complete the large number of war memorials that were commissioned in the period. In the 1960s he moved away from carving and became more involved in lettering, mainly for book jackets. Harvey began to design typefaces as a freelancer in the early 1960s, working for Monotype amongst other companies. In 1990 he met the Adobe type team in Oxford at that year’s ATypI meeting. At that point it was becoming hard to find traditional distributors for his typefaces because by the late 1980s, Monotype and the other established type companies had virtually ceased investing in new faces. Keen to concentrate upon type design, Harvey seized upon the opportunities offered to him by Adobe. Since then, he was been working fairly consistently for the company, who pay him both to develop new faces and a royalty on sales.

Michael Harvey is primarily a designer of display faces. His training with Reynolds Stone, who in turn trained under Eric Gill, has left him well acquainted with the history of the letterform, but he considers the inspiration for his designs to be a matter of visual intuition rather than any systematic historical enquiry. Harvey has been encouraged by the Adobe type team to extend into complete character sets many of his earlier lettering designs. As a result, while Harvey’s designs do retain much of the spontaneity of hand-drawn lettering, faces such as Mezz (fig. 8) do have a unmistakable period quality.

Other freelance designers include Jovica Veljovic, originally a calligrapher and well known for fluid script faces such as Ex Ponto (fig. 9), and Jim Parkinson, who worked in publishing and explores vernacular typography through friendly display faces such as Jimbo (fig. 10). The Adobe Originals freelancers come from a range of disciplines, lettering, calligraphy and stone-carving, and each of them was already well-established in their respective areas before coming to work for the company. As a group, they play an important part in Adobe’s assertion of authority in the field of typography. As a new company in type design, Adobe have covered a great deal of ground in claiming their stake in this territory. But while they have convincingly got to grips with the depth and range of the existing history of the letterform, they do not seem to have considered themselves in a position to innovate. Adobe’s design project appears to have been to convince the old guard of their worth, rather than to prove they can offer something new.

Distribution of Adobe Originals

Michael Harvey has talked approvingly of Adobe’s efficient scheduling of their typeface designs. Throughout the process he is given a series of deadlines for proofs, which are in turn met with prompt feedback. Comparing this to the situation at Monotype, where Harvey has recalled that a typeface would languish untouched for many months, the typeface production line at Adobe appears extremely zippy. However, held up against other distributors, the eight month to two year production period of an Adobe Originals face seems very extended. This is largely because a company such as FontShop will only consider a face for inclusion in their FontFont range when it is already on the border of completion. Adobe’s level of commitment to the development of typefaces has become extremely unusual in a industry that has become increasingly involved in responding to the whims of fashion.

Although a considered period of development has always been at the heart of Adobe’s thinking about type, these protracted lead times do sit oddly in a software company, where the prompt shipping of product is the paramount concern. Dan Mills has argued that the Adobe Originals range does still make profits for the company, but he recognises that these are comparatively small and Adobe’s continuing support for the project in its present form is not being relied upon by any member of the type team. Cuts in Adobe’s commitment have already been experienced. Heavily regretted by those in type is the discontinuation of specimen books for the faces within the Originals range. Based on traditional specimens, these beautifully produced publications offer a short history of the typeface, samples of the face in use and technical information. The last Adobe Originals specimen book was printed to accompany Robert Slimbach’s Kepler typeface, distributed in 1996.

The type team at Adobe have made limited attempts to keep up with broader thinking about type throughout the company. One of these was the release of the Adobe Originals Wild Types, a series of novelty faces (fig. 11). Making a bid for the ground occupied by digital type design innovators, such as those associated with Emigre, Wild Types actually look a little tired. They are cheesy, but not cheesy enough to be interesting. Adobe designer, Robert Slimbach believes the Wild Types to have been a mistake, but by writing off ventures of this sort out of hand the whole team are aware that they risk appearing locked in an ivory tower.

After spending time talking to the type team on the seventh floor, going up to the eighth floor to meet Tami Donohoe in marketing is like entering another world. The price points and target markets that litter Donohoe’s conversation appear to have little to do with the design process as it is discussed on the floor below. While Adobe do still boast of being a bastion of typographic quality, much of the behaviour of the company calls that claim into question. They are becoming increasingly involved in the marketing of low-quality typefaces through their sister company, Image Club. Also, within the Adobe catalogue Adobe Originals are frequently offered as part of cut price packages or bundled as free gifts with other software applications. These kinds of activities directly undermine the notion that a typeface is a product that has its own worth. In a more subtle vein, Adobe are constantly revising their typeface prices downward. This corresponds with trends in general software pricing, but to typographic traditionalists seems inappropriate. While there is a general acceptance amongst software buyers that an application is more valuable when it is new and hot, that is not the case with a good quality cut of Caslon. Typefaces are not subject to the same rate of obsolescence as other software packages, but software models dominate regardless. Adobe’s type team may be right in feeling beleaguered, perched precariously as they are in somewhat unfriendly corporate structure.

It could be argued that Adobe’s parallel concentration upon type for high-end print production and the technologies that appear to be undermining that kind of activity is contradictory. Nonetheless it would be impossible to write off entirely Adobe’s project. In the decade that the company have been involved in the design of original digital faces they have made an extremely convincing bid for typographic authority. Adobe’s Garamond is said to account for around 80% of the current use of that typeface, and a number of the other Originals have become extremely familiar.

Traditionalist typographers might see the Adobe Originals project as self-defeating, because while you might be crafting quality digital faces you will be for the most part distributing these to a group of unskilled type users. Adobe designers admit to having been pained by seeing their typefaces not used as they would like. Those who believe that digital technology will necessarily lead to lower standards often focus on the fact that these technologies have undermined a large part of the skilled workforce who, in the old days, would have been behind any piece of printed material. But setting absolutes of good and bad typography aside, it is impossible to ignore the snobbery and conservatism that is involved in the judgement that only a traditionally trained work-force is able to produce successful printed matter. That the standards formerly set by those in the printing industry have come into question is without doubt; whether what has replaced them is worthless remains in debate.

Other arguments against digital typesetting are based on more fundamental objections to the media. There exists a suggestion that the technology is responsible for a “mass collective hallucination”, due to the fact that each image is reducible to a set of dots upon the screen. As such, digital typefaces cannot be anything other than simulations of the real thing. For all its consideration of the small indents made by the cutting burr upon Jensen’s original punches, Robert Slimbach’s Jensen will remain a digital sham, no more than an illusion. These a priori statements about the nature of the technology border upon other assumptions which concern the loss of tactility implied by the digital. Within art schools, novice typographers are often denied access to the computer. The thinking behind this ban is that, without physical contact with the materials of typesetting, it will be impossible to develop a real sense of the medium. Making this claim involves the questionable assumption that physical contact with a mouse and a keyboard are negligible, nonetheless it is far from uncommon.

With the Adobe Originals, Adobe crafted a library of typefaces which to many is seen as having proved Sumner Stone’s point: digital technology is not irreconcilable with quality. Undeniably the company has assembled an impressio.

• extrait tiré : New Faces (Chapter Two: The West Coast) by Emily King
  source : http://www.typotheque.com
  

Projet utilisant Myriad vol1

La compagnie, Wells Fargo utilise la fonte Myriad pour leur site web et leur documents corporatifs. Une petite visite dans le code css à éliminé tous mes doutes “font-family:Myriad,Arial,Helvetica”

• pour plus d’infos : http://en.wikipedia.org/wiki/Myriad_%28typeface%29

Wikipedia (en)

Myriad is a humanist sans-serif typeface designed by Robert Slimbach (born 1956) and Carol Twombly (born 1959) in the period 1990–92 for Adobe Systems. Myriad is a multiple masters face that works with an intelligent software “engine” to allow the user to generate variations in width and weight by accessing a broad range of stroke widths arranged on individual character rasters.Humanist sans serif typefaces have an organic structure, and an underlying armature similar to old style serifs. Uppercase characters tend to have a horizontal axis similar to the monumental capitals found in inscriptions in the Roman forum. The lowercase often follow the model of Carolingian script. Humanist sans-serif types have subtle organic shapes and monotone color, balanced by varying letter widths and open counter shapes. The voice of humanist sans-serif types is warm and friendly without the cool directness of realist sans-serifs faces like Akzidenz Grotesk or Univers. A readable and friendly face, Myriad works well for both text and display typography.Since the launch of the eMac in 2002, Myriad has been replacing Apple Garamond as Apple Computer‘s corporate font. It is now used in all of their marketing and on their products (See Apple typography). More recent iterations of the iPod (from the iPod photo onwards) have used Podium Sans, which has similarities with Myriad (as opposed to Chicago), for their user interface. Another humanist sans-serif typeface, Lucida Grande is used as the system font for Apple’s Mac OS X operating system. Myriad is also used in the corporate identity of Wells Fargo and Modern Telegraph as their primary headline typeface.Availability:

• Adobe Reader 8.0 – in Resource/Font

source : http://en.wikipedia.org/wiki/Myriad_%28typeface%29

http://www.linotype.com

About Myriad® Font Family Myriad® was designed in 1992 by Robert Slimbach, Carol Twombly, and the design staff at Adobe Systems. It’s a humanist sans serif typeface, meaning that the forms are primarily based on classic romans, much like conventional or classic serifed fonts but without the serifs. Myriad also has subtle geometric shaping and monotone color, balanced by varying letter widths and open counter shapes. A readable and friendly face, Myriad works well for both text and display typography. A headline font and the playful “sketch” and “tilt” versions add versatility. Myriad® Pro, an expansion completed in the late 1990s, includes weights from Light to Black and Condensed to Extended, as well as Old style figures, Greek, Cyrillic and Central European characters.
Myriad is a registered trademark of Adobe Systems Incorporated which may be registered in certain jurisdictions. Adobe Caslon, Chaparral, Charlemagne, Lithos, Nueva, Trajan and Viva are trademarks of Adobe Systems Incorporated which may be registered in certain jurisdictions.

Carol Twombly – born 13. 6. 1959 in Concord, USA – type designer. Studied at the Rhode Island School of Design and at Stanford University.
1984: is awarded 1st prize in the Morisawa type competition in Japan for he Mirarae typeface. 1988: joins Adobe and designs Adobe’s first original display typefaces (Trajan, Charlemagne and Lithos).
Fonts: Mirarae (1984), Charlemagneâ„¢ (1989), Lithosâ„¢ (1989), Adobe Trajanâ„¢ (1989), Caslonâ„¢ (1990), Myriadâ„¢ (1992), Vivaâ„¢ (1993), Nuevaâ„¢ (1994) and Chaparralâ„¢ (2000).
* TYPOGRAPHY – An Encyclopedic Survey of Type Design and Techniques Throughout History by Friedrich Friedl, Nicolaus Ott (Editor), Bernard Stein, published by Könemann Verlagsgesellschaft mbH.

Robert Slimbach was born in 1956 in Evanston, Illinois, USA. Shortly after, he arrived in South California where he spent his childhood and his youth.
After leaving college he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters and greeting cards. This work brought him into contact with “Autologic Incorporation” in Newbury Park, CA.
After training from 1983 to 1985, Robert Slimbach worked as a font designer with “Autologic Incorporation”, where Sumner Stone also worked for a short time. There he received further training, not just as a font designer but also as a calligrapher.
Robert Slimbach was then self-employed for two years and developed the two fonts “ITC Slimbach®” and “ITC Giovanni®” for the International Typeface Corporation in New York.
In 1987 he joined “Adobe Systems”. Ever since, he has been involved in developing new fonts for the Adobe Originals program. His time at “Adobe Systems Incorporation” in Mountain View, CA, has seen the production of the Utopia, Adobe Garamondâ„¢ and Minion­® font families by 1991 and Poeticaâ„¢ by 1992.

Myriad et Apple

In 2002, Apple gradually started using a variant of the Adobe Myriad font family in its marketing and packaging. As new revisions of its products were released, the text changed from the serif Apple Garamond to the sans-serif Myriad Apple. The family’s bolds are used for headlines, and other weights are also used accordingly. The Myriad font family was designed by Robert Slimbach and Carol Twombly for Adobe. Adobe’s most recent version of Myriad is “Myriad Pro,” which has some additional enhancements and character set extensions, but is not significantly changed in design. Myriad Apple, a modification produced by Galápagos Design Group, incorporates minor spacing and weight differences from the standard varieties, and includes Apple-specific characters such as the company logo. In 2006, Myriad Apple was superseded by Myriad Set, which contains extra ligatures and other minor changes. While Myriad Set is for most titles and eye-catching slogans, some text is set in Helvetica Neue.Although originally promoted as Myriad, the newest iPod and iPod nano feature a bitmap font known as Podium Sans which is missing Myriad’s trademark features such as the splayed ‘M’ and distinctive ‘y’.

• Source : http://en.wikipedia.org/wiki/Typography_of_Apple_Inc.#Myriad

Myriad is a humanist sans-serif typeface which means that the forms are based on classic romans, like conventional serifed fonts but without the serifs. Since 2002 Apple has used it as its corporate font.

Available from: Linotype and Adobe
Designers: Robert Slimbach and Carol Twombly
Foundry: Adobe
When: 1992
Category: Sans Serif

• Source : http://graphicdesign.about.com/od/featuredfonts2007/ig/Featured-Fonts–April-2007/Myriad.htm