Caflisch Script: a one-axis multiple master typeface

a one-axis multiple master typeface 

Caflisch Script

a one-axis multiple master typeface 

Caflisch Script

Oh! Nature’s noblest gi 

My grey goose quill 

Slave of my thouhts, 

Obedient to my will 

Torn from thy parent bird 

To form a pen. 

That first mihty 

Instrument of all men. 

Lor Bron

Adobe Originals 

Adobe Systems introduces Caflisch Script, a new font 

software package in the growing library of Adobe 

Originals typefaces designed specifically for today’s digital 

technology. Adobe Originals combine the power of 

Adobe PostScript typeface software technology and the 

most sophisticated electronic design tools with the spirit 

of craftsmanship that has inspired type designers since 

Gutenberg. Comprising both new designs and revivals of 

classic typefaces, Adobe Originals packages set a new 

standard for typographic excellence. 

Caflisch Script, a new multiple master script typeface 

from Adobe, allows customization of font variations for 

specific requirements. An enhancement of Adobe’s industry-standard 

Type 1 font technology, multiple master 

typefaces add new dimensions to typographic control 

and flexibility. With multiple master technology, interpolation 

is applied in an innovative way to typeface 

attributes, or design axes, such as weight, width, optical 

size, and style. Caflisch Script is a one-axis design that 

allows the generation of weights between light and bold. 

This booklet provides some background on multiple 

master typefaces and the Caflisch Script design. It also 

includes samples of Caflisch Script in various text and 

display settings. For complete instructions on how to 

install multiple master typefaces on a computer and 

how to generate custom instances, please see the Adobe 

Multiple Master User Guide.

Multiple Master Typefaces 

These new typefaces are called “multiple masters’’ 

because two or more sets of outlines, or master designs, 

are integrated into each typeface. The master designs 

determine the dynamic range of each design axis in a 

typeface, and the PostScript language enables ondemand 

interpolation, or generation of intermediate 

variations, between the master designs. For example, a 

light and a bold master design delineates the dynamic 

range of possible font variations along the weight design 

axis, and the user can interpolate variations anywhere 

within this range. The particular design axes that comprise 

each multiple master typeface are based on the 

aesthetics and potential uses of that typeface; therefore, 

the number of design axes and their ranges vary from 

one multiple master typeface to another. Some of the 

possible design axes include weight, width, style, and 

optical size. 

Some of the possible multiple master design axes. 

Dynamic range 

light to bold 

condensed to extra-extended 

wedge serif to slab serif 

6-point to 72-point (scaled to same size) 

Design axis 

weight 

width 

style 

optical size

Caflisch Script 

Caflisch Script is a contemporary italic script, designed 

by Robert Slimbach and based on the handwriting of 

renowned Swiss typographer Max Caflisch. At first 

glance, it evokes a friendly and informal quality. But 

closer inspection reveals that it owes its character to a 

seasoned craftsperson with respect for classic handwriting 

traditions. The typeface assumes the calligraphic 

flourishes of the chancery hand and transposes them into 

the present day. Caflisch Script speaks directly to the 

reader and produces striking word images that enliven 

any communication. It is ideal for use on its own, for 

informal correspondence and advertising, or in conjunction 

with more static types for strong contrast. 

The Caflisch Script Weight Axis 

Before multiple master technology, typeface families 

were limited to a fixed selection of weights. With Caflisch 

Script, type users can fine-tune typeface weight to best 

suit the job at hand. The Caflisch Script weight axis 

spans from light to bold, and works much like a pen 

selector. The user can choose a pen style that ranges from 

fine-point to broad-felt-tip. 

Caflisch Script Swash Capitals 

shown in a progression of weights, 

from light to bold.

Designing Caflisch Script 

The project began when Slimbach received a handwritten 

note from Caflisch. The clarity and virtuosity of his script 

so impressed Slimbach that he considered transforming 

Caflisch’s handwriting style into a typeface design. 

Months later, during a visit to Adobe, Caflisch agreed to 

write out several sample pages of his handwriting for 

Slimbach to experiment with. From these samples, written 

with a fibre profipen, Slimbach enlarged and cataloged 

a variety of letterforms, none of which, having been 

written by the human hand, were exactly the same. Eventually, 

he derived a working character set with several 

alternates. These letterforms were scanned and digitized 

to establish a basis for the type design. 

During this early phase, Slimbach worked to retain the 

subtleties and detailing of the original handwritten 

samples, while making the necessary weight, shape, and 

spacing adjustments so that the font would perform well 

in all letter combinations and join in a natural manner 

as a connecting script. To make Caflisch Script into a 

multiple master font, Slimbach used the original test 

weight as a basis from which to design light and bold 

master designs for the weight axis. Later, alternate lowercase 

and swash capital fonts were developed to further 

represent Caflisch’s handwriting and provide users with 

a more exuberant version of the regular design. Throughout 

the creative process, Caflisch reviewed test proofs and 

provided valuable feedback on the developing type. 

This collaboration produced a script face that pleased 

both designers.

Figure 1. A section from Max Caflisch’s handwrien pages, on which the type design 

was based. 

BB 

HH 

g 

kk 

Figure 2. A sampling of the cataloged leerforms and the finished leer designs, highlighted 

in color. 

jene Lettern lesen, die sie kannten, druckte 

er seine Bibel so, daß es den Anschein hatte, 

sie sei von Hand geschrieben. Seine Entdekkung 

wurde in Rom und Venedig rasch bekannt, 

und so entwarf man die Druck- und 

Figure 3. The finished typeface.

Primary Fonts 

A set of primary fonts is supplied with each multiple 

master typeface, comprising a collection of ready-to-use 

variations of the design. In addition to the hundreds of 

custom fonts that can be generated along the weight 

axis, Caflisch Script includes four primary fonts for each 

of the regular, swash, and alternate fonts. 

Primary fonts are named according to their position 

along each design axis in the typeface. The Caflisch 

Script weight axis has been assigned a specific numerical 

range that is relative to other Adobe multiple 

master typefaces. Relative numeric ranges are most 

useful when comparing the weights of typefaces used for 

text composition. To maintain consistency among 

multiple master typefaces, this relative system has been 

applied to the Caflisch Script weight axis. 

Primary font name abbreviations 

Light—light 

Reg—regular 

SemBld —semibold 

Bold —bold 

Design axis abbreviation 

wt—weight

280 light 

325 

364 

406 regular 

440 

490 

556 semibold 

570 

584 

598 

612 

626 

640 bold 

rituals involving pens, ink 












rituals involving pens, ink

Handwriting 

For 6,000 years, man has communicated through written 

symbols. The evolution of handwriting, from the earliest 

pictograms to our current alphabet, has been driven by a 

quest for simplicity and efficiency. For centuries, written 

language has been the primary means of documenting 

human endeavor, affording us a window to the past. 

The alphabet we know today was established during 

the Italian Renaissance. The elegant and practical 

scripts of this time evolved from earlier writing systems 

and derived their character from the broad-edged quill 

(figures 4 and 6). These scripts, in all their forms, had a 

sweeping influence on society and led to the creation of 

the roman and italic letterforms that we use today. 

In the early 17th century, with the advent of copperplate 

engraving as a means of reproducing letterforms 

and illustrations, italic handwriting evolved to emulate 

the marks of the engraver’s pointed burin. The pointed 

quill soon replaced the broad-edged quill, giving rise to 

copperplate handwriting. For the next 300 years, a vari - 

ety of pointed-quill handwriting styles were practiced by 

professionals and amateurs alike (figures 10 and 11). 

Modern handwriting is a potpourri of styles, written 

with a wide variety of instruments. It is an everyday 

activity with results ranging from a disposable note to a 

fine piece of calligraphy. Whether we write in a traditional 

or unconventional manner, our personality, intellect, 

and mood shine through. However, the primary 

purpose of writing is communication, which requires a 

legible script. Fine handwriting is a craft worthy of 

admiration as well as a joy to read. 

Early Pictogram, Val Camonica

Figure 4 

Figure 5 

A comparison between the early humanistic book hand of Poggio Bracciolini, 1425 

(figure 4), and the first typeface used by Sweynheim and Pannartz, Subiaco, 1465 

(figure 5). The early printers in Italy sought to emulate the manuscripts of the time 

and produced typefaces modeled on humanistic writing. Photos: Biblioteca Medicea 

Laurenziana and The Newberry Library. 

Figure 6 

Figure 7 

A comparison of the formal chancery writing (figure 6) and italic typeface (figure 7) of 

Ludovico degli Arrighi. As one of the preeminent writing masters of the Italian Renaissance, 

Arrighi instilled the qualities of his written script to the medium of printing 

type. Photos: A royal manuscript of Collenuccio, “Apologues,” about 1520, British Library. 

Arrighi’s 2nd italic type of 1523, The Newberry Library.

Figure 8. The late 16th century brought Robert Granjon’s Civilité type of about 1557, 

which was a stylized version of a Gothic cursive hand, and used as a book type. 

Photo: The Newberry Library. 

Figure 9. A sample of three popular printing types derived from regional pointed quill 

scripts. Imprimerie Royale Specimen of 1819. Photo: The Newberry Library.

Figure 10. Copperplate engraving from George Bickham’s book, “The Universal Penman,” 

1733–1741. With copperplate engraving, leers were cut, in reverse, into a metal plate 

with a pointed burin. The entire plate was then inked and the surface wiped clean, 

leaving ink in the engraved areas for printing onto paper. 

Figure 11. Personal correspondence from 1819. Copperplate handwriting was wrien by 

professional scribes and amateurs alike using a flexible pointed quill. 

Figure 12. Typefaces like Thomas Corell’s double pica script of 1774 presented even 

skilled punchcuers with the difficult task of reproducing the natural leer joins and 

fine hairlines characteristic of copperplate handwriting. Photo: The British Library.

Figure 13. Examples of everyday handwriting, showing a variety of writing styles 

and personalities. 

The tools of the trade 

Snell Roundhand* – Mahew Carter, 1966 


Wilhelm Klingspor Gotisch* – Rudolph Koch, 1926 

e tools of the trade 

Poetica – Robert Slimbach, 1992 


Tekton – David Siegel, 1989 


Mistral® – Roger Excoffon, 1955 


Visigoth – Arthur Baker, 1988 

Figure 14. Contemporary digital typefaces modeled on wrien forms.

Script Typefaces 

Strictly speaking, a script typeface is an imitation of handwriting. 

It is a maer of opinion which typefaces should 

be classified as scripts, especially since all early type designs 

come from wrien forms. Today, we typically label a typeface 

as a script if it retains the look of having been wrien 

with a pen or other writing implement. 

From Gutenberg’s Bible 

The first successful script typeface was cut and cast in 

metal by Johannes Gutenberg. He modeled it on the Gothic 

script of the time and used it to print his famous bibles in 

the 1450s. As the printed book gained acceptance throughout 

Europe, new typefaces were created. The most successful 

early designs were based on the humanistic book hands 

of the Italian Renaissance (figures 5 and 7). 

In 17th-century France, three commonly used hand - 

writing styles were reproduced as printing types: Ronde, 

a rounded upright form; and bâtarde coulée and bâtarde 

ordinaire, both italic forms (figure 9). 

The double pica script of Thomas Corell (1774) emu - 

lated the copperplate scripts of the time and subsequently 

became the prototype for similar styles of types (figure 12). 

Type designers such as Fournier, Fleischman, Rosart, 

Didot, and Bodoni transformed distinguished versions of 

pointed -quill scripts into the vernacular of their times 

by rendering them as printing type. 

In the 19th and 20th centuries, numerous formal and 

freestyle script typefaces were designed. In addition to 

traditional broad-edged and pointed-quill script types, 

brush scripts and, more recently, scripts inspired by the 

felt-tipped marker, pencil, ruling pen, and even the spray 

paint can can now be seen.

Character Samples 

As a typographer and leering artist, Max Caflisch 

applies many of the stylistic variations of Renaissance 

handwriting and typographic protocol to his own 

writing. These varied characters have been organized 

into three separate fonts for easy use. 

ABCDEFGHIJKLMNOPQRS 

abcdefghijklmnopqrstuvw 

Caflisch Script contains non-swash capital, lowercase leers, and 

tabular figures designed for use with both upper- and lowercase. 

ABCDEFGHIJKLMN 

abcdefghijklmnopqrstuvw 

Caflisch Script Swash comprises swash capitals, several swash lowercase 

characters, and lowercase figures. 

chckst 

ffffiffl 

a 

b 

c 

d e 

p q r 

l m n o 

Caflisch Script Alternate contains specialized swash lowercase 

leerforms and several useful ligatures. The small leers below each 

character indicate its keyboard access position. 

f 

g 

h i 

j k

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 

A comparison of the Caflisch Script and Caflisch Script Swash lowercase 

styles. Highlighted are the letters that differ. 

TUVWXYZ 

xyz&1234567890 

OPQRSTUVWXYZ 

xyz&1234567890 

Character set for Caflisch Script & Caflisch Script Swash 

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdef 

ghijklmnopqrstuvwxyz&0123456789ÆŒÞÐ 

ŁØæœþðłøfiflßıªº¹²³$¢£¥ƒ¤/¼½¾%‰#°·^ 

~÷¬=−+×µ.,;:!¡?¿'"‘’“”‚„-–—‹›«»()[]{} 

|¦/\_…†‡§*•@©®ÁÂÄÀÅÃÇÉÊËÈÍÎÏÌÑ 

ÓÔÖÒÕŠÚÛÜÙÝŸŽáâäàåãçéêëèíîïìñóôöòõšú 

ûüùýÿž´ˆ¨`˚˜¯˘˙ˇ˝˛¸ 

Complete character set for Caflisch Script Alternate 

chckst 

ffffiffl

8.10 light 

To the writer’s mind, the physical act of shaping 

thoughts on paper has numinous overtones. 

Not surprisingly, this reverence toward the 

mystery of the creative process permeates the 

tools of the trade, so that you find writers 

engaged in curious rituals involving pens, ink, 

pencils, paper, and even erasers. Some can only 

work with a single, charmed combination; 

others require different instruments for different 

kinds of composition. As a case in point, 

regular 



Not surprisingly, this reverence toward 

the mystery of the creative process permeates 

the tools of the trade, so that you find writers 

engaged in curious rituals involving pens, 

ink, pencils, paper, and even erasers. Some can 

only work with a single, charmed combina - 

tion; others require different instruments for 

different kinds of composition. As a case in 

semibold 

To the writer’s mind, the physical act of 

shaping thoughts on paper has numinous 

overtones. Not surprisingly, this reverence 

toward the mystery of the creative process 

permeates the tools of the trade, so that you 

find writers engaged in curious rituals 

involving pens, ink, pencils, paper, and even 

erasers. Some can only work with a single, 

charmed combination; others require different 

instruments for different kinds of compo- 

bold 





permeates the tools of the trade, so that you 

find writers engaged in curious rituals 

involving pens, ink, pencils, paper, and even 

erasers. Some can only work with a single, 


instruments for different kinds of com- 

10.12 light 


thoughts on paper has numinous overtones. Not surprisingly, 

this reverence toward the mystery of the 

creative process permeates the tools of the trade, so 

that you find writers engaged in curious rituals 

involving pens, ink, pencils, paper, and even erasers. 

Some can only work with a single, charmed combination; 

others require different instruments for 

regular 


thoughts on paper has numinous overtones. Not 

surprisingly, this reverence toward the mystery of 

the creative process permeates the tools of the trade, 

so that you find writers engaged in curious rituals 


Some can only work with a single, charmed combination; 

others require different instruments for 

semibold 




the creative process permeates the tools of the 

trade, so that you find writers engaged in curious 

rituals involving pens, ink, pencils, paper, and 

even erasers. Some can only work with a single, 


bold 







even erasers. Some can only work with a single, 


pens, ink, pencils

12.14 light 

To the writer’s mind, the physical act of shaping thoughts 

on paper has numinous overtones. Not surprisingly, this 

reverence toward the mystery of the creative process permeates 

the tools of the trade, so that you find writers engaged 

in curious rituals involving pens, ink, pencils, paper, and 

even erasers. Some can only work with a single, charmed 

combination; others require different instruments for dif- 

regular 




the tools of the trade, so that you find writers engaged 

in curious rituals involving pens, ink, pencils, paper, and 

even erasers. Some can only work with a single, charmed 

combination; others require different instruments for dif- 

semibold 



this reverence toward the mystery of the creative 

process permeates the tools of the trade, so that you find 

writers engaged in curious rituals involving pens, ink, 

pencils, paper, and even erasers. Some can only work with 

a single, charmed combination; others require different 

bold 



this reverence toward the mystery of the creative 

process permeates the tools of the trade, so that you find 

writers engaged in curious rituals involving pens, ink, 

pencils, paper, and even erasers. Some can only work 

with a single, charmed combination; others require 

paper, an even erasers 

55 pt.

14.16 light 







regular 







semibold 






involving pens, ink, pencils, paper, and even eras- 

bold 







shapin thouhts on 

64 pt.

18.20 light 




the creative process permeates the tools of the trade, 

so that you find writers engaged in curious rituals 

regular 





trade, so that you find writers engaged in curi- 

semibold 

To the writer’s mind, the physical act of shap - 

ing thoughts on paper has numinous overtones. 

Not surprisingly, this reverence toward the mystery 

of the creative process permeates the tools of 

the trade, so that you find writers engaged in 

bold 

paper 



Not surprisingly, this reverence toward the mystery 

of the creative process permeates the tools 

of the trade, so that you find writers engaged

24.26 

36.37 

42.43 

light, regular, semibold, bold 






To the writer’s mind, the physical 

act of shaping thoughts 

on paper has numinous overtones. 

Not surprisingly, this 


To the writer’s mind, the 

physical act of shaping 

thoughts on paper has 

numinous overtones. 

12345

13.15 regular 





engaged in curious rituals involving pens, ink, pencils, 

paper, and even erasers. Some can only work with a single, 

charmed combination; others require different instruments 

for different kinds of composition. As a case in point, 

to choose the fountain pen an author must be unafraid 

swash regular 





engaged in curious rituals involving pens, ink, pencils, 

paper, and even erasers. Some can only work with a single, 

charmed combination; others require different instruments 

for different kinds of composition. As a case in point, 


swash regular with alternate regular 

To the writer’s mind, the phsical act of shapin thouhts 

on paper has numinous overtones. Not surprisinly, this 

reverence towar the mystery of the creative process permeates 

the tools of the trae, so that you find writers 

enaed in curious rituals involving pens, in pencils, 

paper, and even erasers. Some can only work with a sinle, 

charme combination; others reuire different instruments 

for different inds of composition. As a case in point, 


7890& 123456789070 

pt.

Role 

Call! 

THE COMMUNITY PLAYERS 

are now holding 

auditions for the 

Fall 1993 season. 

October 5–9 12:00–4:00 

call 208·995·4521

W 

hen are you coming up again?” 

asked the boy. 

“Not while the moon is in the 

sky,” replied the Sun.“We are no 

longer speaking. Why don’t you ask 

him?” 

4 5 

So the boy walked back to the 

top of the world, where he found 

the moon hanging from the stars, 

showing no signs of leavin. 

“I will not budge.” The moon 

was very stubborn.

MENU 

Soup of Spinach and Cream 

Tournedos with Sauce Bernaise 

French Beans with Sauce Poulette 

Salad 

A Variety of Cheeses 

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110 PEARL ALLEY, 2nd FLOOR 

DOWNTOWN SANTA CRUZ 

tinkerton’s 

UpTown 

newsstand

Kristen Weerhahn 

Illustrations at the Polygon Gallery 

July–August, 1994 

Wednesday–Sunday, 1:00–4:00 pm

Carla Sandoval 

Director Museo Nacional 

Banco Centrale 

Bogotá, Columbia 

Dear Ms. Sandoval, 

On a recent business trip, I had the pleasure of spending several 

hours looking at your fine collection of pre-Columbian gold work. 

My 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. 

While in the south wing, I noticed a double bat-head figure 

pendant, dated 11th to 14th century, from central Panama (no. 

11-38-4156). I am familiar with its style because in 1974 I purchased 

a single bat-head pendant (slide enclosed) that looks like 

it was made by the same crasperson. The overall design, texture, 

quality of finish, and color of the gold alloy bear an uncanny 

resemblance to the piece I own. 

I am very attached to this piece, however, I feel it is my 

responsiblity to offer it as a gi to the museum. Your collection is 

so beautifully displayed, while my piece sits in a dusty vault; it’s 

almost a sin. I will be in South America at the end of February 

and would like the opportunity to meet and show you the piece. 

If you are interested, please write or call at 619-438-0708. I look 

forward to hearing from you. 

Sincerely, 

Charles Brand 

Archeatronics • 472 Fifth Street • San Diego, CA 10203

Type Development at Adobe 

Type is developed at Adobe by a full-time staff of type 

designers. Each member of this group has specialized 

skills in type design and the use of tools needed to develop 

digital type. The Adobe type staff has a working relationship 

with many outside professionals, whose expertise 

represents a broad spectrum of historical, scholarly, and 

practical knowledge of typography and the modern 

graphic arts. 

Ex libris 

Anne Zilver 

E X L I B R I S 

V E R A R A N D

Max Caflisch began his distinguished typographic career 

as a compositor. He later worked as a typographic designer 

for several printing firms, assisting Jan Tschihold and 

Imre Reiner for three of those years. From 1943 to 1962, he 

was art director of Benteli AG in Berne–one of the leading 

printing and publishing firms in Switzerland. It was 

during this time, in 1952, that the Bauer Type Foundry 

released his Columna typeface design. In 1963, Caflisch 

began teaching at the School of Arts and Cras in Zurich, 

where he was managing director of the graphics department 

until 1981. From 1963 until 1978, he also taught at 

Zurich’s School for Graphic Techniques. Caflisch has 

received numerous awards for book design, mounted 

many solo exhibits of his work, and authored several publications 

on typography. 

Robert Slimbach, who joined Adobe’s type staff in 1987, 

began working seriously on type and calligraphy four 

years earlier in the type drawing department of Autologic 

in Newbury Park, California. Since then, Slimbach 

has concentrated primarily on designing text faces for 

digital technology. He has designed typefaces for the 

International Typeface Corporation as well as the Adobe 

Originals typeface families Adobe Garamond , Minion , 

Minion multiple master, Minion Cyrillic, Poetica, 

Sanvito , Utopia , and Myriad (co-designed with Carol 

Twombly). In 1991, he received the Charles Peignot 

Award from Association Typographique Internationale 

for excellence in type design.

Further Reading 

Fairbank, Alfred. “A Book of Scripts.” London: Faber & 

Faber, 1977. 

Fairbank, Alfred and Berthold Wolpe. “Renaissance 

Handwriting: An Anthology of Italic Scripts.” London: 

Faber & Faber, 1960. 

Gray, Nicolete. “A History of Lettering: Creative Experi - 

ment & Letter Identity.” Boston: David R. Godine, 1986. 

Specimen book produced by 

Fred Brady, Manger of New 

Typographic Development 

Molly Detwiler, Editor 

Robert Slimbach, Type Designer 

Laurie Szujewska, Art Director 

James Young, Designer 

Sample art designed by 

Jocelyn Bergen 

Brian Biggs 

Fred Brady 

Max Caflisch 

James Young 

Photo of Max Caflisch by Lance 

Hidy. Photo of Robert Slimbach by 

Curtis Fukuda. Gallery Illustra - 

tion by Kristen Wetterhahn. 

Special thanks to Diane Dougherty 

for applying her technical expertise 

to production and post-produc - 

tion issues, and to Lynn Ruggles, 

who gave us access to her personal 

library. 

This book was produced with 

Adobe Illustrator and Adobe 

Photoshop software and the 

following typefaces from the Adobe 

Type Library: Caflisch Script, Snell 

Roundhand, Wilhelm Klingspor 

Gotisch, Poetica, Tekton, Mistral, 

Visigoth, and Minion Multiple 

Master. The paper is Mohawk 

Superfine. Printing is by West 

Coast Litho, Mountain View, 

California. 

Adobe, the Adobe logo, Adobe 

Garamond, Adobe Illustrator, 

Adobe Originals, the Adobe 

Originals logo, Adobe Photoshop, 

Caflisch Script, Minion, Myriad, 

Poetica, PostScript, Sanvito, Tekton 

and Utopia are trademarks of 

Adobe Systems Incorporated which 

may be registered in certain jurisdictions. 

Snell Roundhand and 

Wilhelm Klingspor Gotisch are 

trademarks of Linotype-Hell AG 

and/or its subsidiaries. Mistral is 

a registered trademark of Marcel 

Olive. Visigoth is a trademark of 

AlphaOmega Typography. 

Copyright © 1993 Adobe Systems 

Incorporated. All rights reserved.

Adobe 

 

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$15 0399 2061 (11/93)

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