Brioso Pro - Adobe

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© 2003 Adobe Systems Incorporated. A�l rights reserved.

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For more information about OpenType please refer to Adobe’s web site at www.adobe.com/type/opentype. 

�is pdf document was designed to be viewed on-screen or printed duplex and assem�led as a booklet. 

4

Adobe Originals 

Adobe Systems Incorporated introduces Brioso Pro, a new font 

so�ware package in the growing library of Adobe Originals typefaces, 

designed �eci�ca�ly for today’s digital technology. Since the inception 

of the Adobe Originals program in 1989, Adobe Originals typefaces 

have been consistently recognized for their quality, originality, and 

pra�icality. They combine the power of PostScript® lan�uage so�ware 

and the most sophisticated electronic design tools with the spirit 

of cra�smanship that has inspired type designers since Gutenberg. 

Comprising both new designs and revivals of classic typefaces, Adobe 

Originals font so�ware has set a standard for typographic exce�lence. 

What is OpenType? 

Developed jointly by Adobe and Microso�, OpenType is a highly 

versatile new font �le format that represents a signi�cant advance 

in type functionality on Windows® and Mac OS computers. Perhaps 

most exciting for designers and typographers is that OpenType fonts 

offer extended layout features that bring unprecedented control and 

sophistication to contemporary typography. 

Because OpenType can incorporate a�l glyphs for a �eci�c style 

and weight into a single font, the need for separate expert, alternate, 

swash, non-Latin, and related glyph sets is eliminated. In ap�lications 

which sup�ort OpenType layout features, such as Adobe’s InDesign® 

so�ware, glyphs are grouped according to their use. Activating these 

features ena�les typographic re�nements such as ligatures, sma�l 

capitals, and oldstyle ��ures, streamlining the process of se�ing and 

�ne-tuning text. In a�dition, a�l 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 offered by a program such as InDesign, let type-users take 

advantage of advanced justi�cation, optical margin alignment, hanging 

punctuation, and optica�ly sized masters (for fonts with two or 

more optical masters). OpenType fonts from Adobe are some of the 

most sophisticated and easy to use typefaces ever offered, a�lowing 

designers and typographers to more effectively take advantage of the 

power of the computer for digital design and typese�ing. 

5

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Brioso Pro is a new typeface family designed in the ca�ligraphic tradition 

of our Latin alphabet, evoking the look of a �nely-penned roman 

and italic script, retaining the immediacy of hand le�ering while 

having the scope and functionality of a contemporary composition 

family. Brioso �lends the humanity of wri�en forms with the clarity 

of digital design, a�lowing type users to set pages of re�ned elegance. 

Designed by Robert Slimbach, this energetic type family is modeled 

on his formal roman and italic script. In the modern ca�ligrapher’s 

repertoire of le�ering styles, roman script is the hand that 

most closely mir�ors the oldstyle types that we commonly use today; 

it is also among the most cha�lenging styles to master. Named a�er 

the Italian word for ‘lively’, Brioso moves rhythmica�ly across the 

page with an energy that is tempered by an ordered structure and 

lucid form. 

An OpenType Composition Fa�ily 

Brioso Pro is an extended type family consisting of integrated weights, 

styles and optical masters. Its rich glyph pale�e is offered in �ve 

weights ranging from light to bold, in four optical size ranges. �e 

glyph set includes a�l the chara�ers norma�ly found in expert and 

standard sets, as we�l as an expanded accented chara�er complement 

featuring a�ditional monetary and math symbols, a co�lection 

of alternate glyphs, swash italic glyphs, and a set of ornaments. Brioso 

also includes a �ecial Light Poste� font in roman and italic styles. �e 

Poster fonts are a bit more stylized than the re�ular designs and are 

intended for use at very large sizes. �e Brioso Pro family covers the 

�ectrum of font styles used in modern typography. As a fu�l-featured 

OpenType family, Brioso’s vast ar�ay of glyphs can be a�ivated, either 

individua�ly or as a group, in page layout programs using the font’s 

OpenType features. 

Brioso Pro can be used anywhere one wants to convey a sense of 

spontaneity and sophistication. It is ideal for use in personal cor�espondence, 

cookbooks, poetry, menus, sma�l press books, movie titles, 

limited edition le�erpress books, we�ding announcements, signage, 

and advertising copy. 

7

Humanist minuscules 

(16th century), Jenson’s 

Venetian roman of 1470. 

Utopia 

Utopia Italic 

Minion 

Minion Italic 

Kepler 

Kepler Italic 

Cronos 

Cronos Italic 

Designing Brioso by Robert Slimbac� 

“Soon a�er I became interested in type design in the early 1980s, I 

began to study the humanist ca�ligraphy of the Italian renaissance as a 

means of be�er understanding the roots of oldstyle text types. �ese 

pra�ical handwriting styles, which evolved out of the Carolingian 

writing disciplines of the 8th–13th centuries, were commonly used 

for the transcription of books. �e �rst designers of roman typefaces 

used these Italian manuscript hands as the primary model for their 

new types. By also incorporating features from the inscriptional 

capitals of ancient Rome, early type designers created typefaces of 

exceptional beauty and pra�icality. As a testament to their durability, 

oldstyle roman typefaces have changed li�le over the last 500 years, 

being as relevant today as in the past. 

“Because the principled strokes of the broad-edged qui�l and 

brush de�ne the very shape of our Latin alphabet, I am continua�ly 

drawn to the ca�ligraphic heritage as a source of inspiration in my 

own type design work. A�l of my typeface designs, even the more 

utilitarian ones like Utopia,® Minion,® Kepler,® and Cronos,® have subtle 

ca�ligraphic overtones, which a�d warmth and depth to otherwise 

less organic designs. 

“�e concept of making a roman book face with an overtly handwri�en 

ap�earance has been a preoccupation of mine for as long as 

I’ve been designing type. Over the years I’ve designed many pra�ice 

alphabets with the intent of merging the essence of my personal 

hand le�ering style with the pra�ical requirements of the modern 

composition family. �ese ongoing exercises have been a great 

learning experience, providing a means of reconciling the division 

between the purely organic form of wri�en le�ers and the more 

methodica�ly constructed form of a digital text type. With Brioso, 

I wanted to ap�ly what I’ve learned about the design of digital 

composition families, ca�ligraphy, and the history of le�erforms to a 

single, very personal design. �e result is a typeface that retains the 

basic form and detailing of my hand le�ering, but in a more re�ned 

and idealized form. Alignments, spacing, and chara�er shapes were 

fashioned with the pra�ical requirements of composition in mind. 

8

(below) Slimbach’s 

formal roman script . 

Velocity 

Velocity 

Sample le�ers from Adobe 

Jenson Pro and Brioso Pro. 

“Much of the form of Brioso is derived from the �eed in which I 

pen Roman script, where passages of text are wri�en in a careful but 

expeditious manner. For the efficient progression of my text, I use 

an economy of strokes to form le�ers; stems, serifs, and bowl shapes 

are made using a series of individual pen strokes, minimizing builtup 

shapes. By modulating pen pressure and angle, straight strokes 

are o�en bowed and the serifs are wedge-shaped. In the creation of 

manuscript pages today, as in the past, the scribe’s goal is to balance 

vitality with precision to create a�ra�ive and legi�le text. 

“Brioso Roman has much in common with the Venetian roman 

types of the late ��eenth century in that they share a common 

ca�ligraphic foundation, Jenson’s roman type being a prime example. 

Venetian types, however, also show a marked engraved quality as 

a result of the type cu�ing process and the punchcu�er’s personal 

design style. With Brioso, I wanted the design to possess a pure 

ca�ligraphic basis with a high degree of �delity. 

�e italic fonts of Brioso form an energetic counterpoint to the 

roman and are reminiscent of the chancery italic scripts of the 

��eenth and sixteenth centuries. Chancery script originated as a 

slanted and more an�ular variation of the upright humanist hands 

of the same period. Although chancery italic was usua�ly used on its 

9

(below) Various samples 

of Slimbach’s humanistic 

han�le�ering. 

� 

Light 

Re�ular 

Medium 

Semibold 

Bold 

own for cor�espondence and official documents among the artistic 

and educated elite, it would later become the model for the �rst italic 

types and eventua�ly lead to the pairing of roman and italic fonts in 

the same typeface family, around the mid-sixteenth century. 

Brioso Pro Weights 

As an extended type family, Brioso Pro includes �ve weights: Light, 

Re�ula�, Medium, Se�ibold, and Bold – for each of the four optical size 

ranges: Caption, Text, Su�hea�, and Display – giving designers a highly 

functional pale�e of fonts to choose from. �e various weights and 

optical sizes can be compared to the ca�ligrapher’s use of differentwidth 

pen nib widths to produce le�ers of varied weight and size. �e 

re�ular roman text font is the core typeface for se�ing composition, so 

its weight and proportions have been tailored for the utilitarian and 

æsthetic requirements of legibility. �e a�ditional weights and optical 

masters serve to complement the re�ular text design according to 

principles of hierarchy in typography. �e medium serves as a slightly 

heavier alternate to the standard text weight. �e semibold and bold 

10 

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text designs are used primarily to accentuate words and passages 

within re�ular text. �e semibold offers a subtle weight difference 

from the re�ular design which can be quite elegant when ap�lied 

in spacious se�ings. �e bold is designed to make a more emphatic 

statement; its weight, however, is not so heavy as to disrupt the color 

of the page. 

Light Caption 

Light Italic Caption 

Caption 

Italic Caption 

Medium Caption 

Medium Italic Caption 

Semibold Caption 

Se�ibold Italic Caption 

Bold Caption 

Bold Italic Caption 

Light 

Light Italic 

Re�ular 

Italic 

Medium 

Medium Italic 

Semibold 

Se�ibold Italic 

Bold 

Bold Italic 

Re�ular 

Light Poster 

Light �talic �oste� 

Brioso Pro Optical Masters 

Light Su�head 

Light Italic Su�hea� 

Su�head 

Italic Su�hea� 

Medium Su�head 

Medium It. Su�hea� 

Semibold Su�head 

Se�ibold It. Su�hea� 

Bold Su�head 

Bold Italic Su�hea� 

Beginning in the sixteenth century, type designers o�en cut a series of 

point sizes for a particular type style in order to form a cohesive range 

of type sizes. For every size that was hand-sculpted in metal, subtle 

adjustments were made to le�er proportion, weight, contrast, and 

spacing so that the type would be comforta�le to read. 

With the advent of photo and digital type technologies, most type 

manufacturers abandoned the design of optical masters, because it 

was economica�ly more via�le to produce a single master which was 

then scaled photographica�ly or algorithmica�ly to each point size. 

Unfortunately, typefaces generated from a single master usua�ly have 

a limited range at which they look their best. For example, a typeface 

that performs we�l at text sizes may ap�ear light and cramped at 

sma�ler sizes, while larger sizes may ap�ear heavy and ungraceful. 

11 

Light Display 

Light Italic Display 

Display 

Italic Display 

Medium Display 

Medium Italic Display 

Semibold Display 

Se�ibold Italic Display 

Bold Display 

Bold Italic Display

Hmfg 

Hmfg 

Hmfg 

Hmfg 

Caption 

Text 

Su�head 

Display 

A comparison of the caption, 

text, su�head, and display 

re�ular optical masters scaled 

to the same point size. 

POSTER� 

G�nimate� 

Specialized 

�ecorati�� 

In Brioso Pro, the four optical ranges for each of the four weights 

provide greatly enhanced æsthetic ap�eal and readability for a�l point 

sizes, from text sizes that are clear and easy to read, to display sizes 

that are re�ned and elegant. 

Brioso Pro’s four optical ranges are intended to cover the fu�l �ectrum 

of usage in modern typography. �e sturdy non-idiosyncratic 

forms of the caption fonts are designed for maximum legibility 

and work best for 6- to 8-point type. 

�e text fonts are the cornerstone of Brioso Pro and are intended 

for 9- to 14-point type. �eir weights and proportions have been carefu�ly 

balanced for reading comfort at the most commonly-used point 

sizes for se�ing extended text. 

�e su�head fonts are best for se�ing phrases in 14- to 24-point 

type and are we�l suited for use as a complement to body text. 

�e su�head fonts represent a mi�dle ground between text and 

display type, maintaining the pra�ical concerns of readability, while 

displaying a greater degree of delicacy relative to body text. 

�e display masters are designed to showcase the elegance of the 

le�erforms and to complement the sma�ler size ranges as a lighter 

and more re�ned version of the typeface. �e display masters are 

designed with subtle and o�en stylized detailing, elegant proportions, 

and increased stroke contrast to help give larger sizes enhanced visual 

ap�eal. �e display fonts are intended for type sizes above 24-point. 

In a�dition to the system of fonts that form the basic composition 

family, Brioso also includes a Light Poster design in both roman and 

italic styles. �ese fonts are lighter and more stylized than the light 

display designs and are designed for use at very large sizes. 

Contextual Alternates 

�e contextual glyphs in Brioso work in conjunction with OpenType 

font technology to be�er emulate the natural ap�earance of spontaneous 

hand le�ering. In ap�lications that sup�ort OpenType layout 

features, the contextual and stylistic alternate glyphs and ligatures 

are substituted automatica�ly according to a set of embe�ded rules 

de�ned by the type designer – improving le�er�t and a�ding variety 

of form to text. As le�ers are typed, the font program continua�ly updates 

the text with the proper le�er and ligature variations. Because 

12

Brioso is, foremost, a composition family, the contextual alternates 

are intended for subtle aesthetic effect and, therefore, their design 

features are rather restrained. 

� � � � � � � � � � � � � 

�ese alternates prevent awkwa�d co�isions caused by the lowe�case f and t, and 

the u�pe�case T. 

�eodore �es�ian LI�LE Bo�ice�i a�er 

� � � � � � b � � � � � � � � � � � � � � � � 

�ese alternates provide �a�iation �hen sa�e-le�e� pairs occu� within text. �e le�e� 

designs are slightly different and the projectors are offset. 

�e�pe� sa�den re��e� fa�len be�ga� sap�hire 

� � st � � � st � � � � � � � � � � � � � � � � � 

�e ca�igraphe� may occasiona�y ad� more personalized le�e� �a�iations fo� 

aesthetic effect. In B�ioso, these stylistic �a�iants are tastefu�y dist�ibuted within text 

to ad� furthe� �a�iety of for� and to convey the w�ite�’s sense of balance and taste. 

roc�este� a�ion �espa estate brac�ish �ate� 

13 

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Brioso Pro Glyphs 

Brioso Pro’s large glyph complement was designed to further meet 

the exa�ing requirements of professional typographers and designers 

throughout the world. Its diverse glyph complement includes such 

typographic niceties as swash capitals, sma�l capitals, oldstyle ��ures, 

ornaments, alternate forms, international monetary symbols, and an 

expanded set of mathematical symbols. 

oldstyle figures �ese ��ures are designed with ascenders and 

descenders and have features and proportions compati�le with the 

lowercase chara�ers of the typeface. Oldstyle ��ures, also known as 

hanging ��ures, are typica�ly used for text se�ing because they �lend 

in we�l with the lowercase. In Brioso Pro they are availa�le in both 

��ed and tabular versions. 

1 2 3 4 5 6 7 8 9 0 

1 2 3 4 5 6 7 8 9 0 

regular figures �ese ��ures are designed to be compati�le 

with the capital le�ers. �ey are usua�ly capital height or slightly 

sma�ler and are typica�ly designed with identical widths. �e re�ular 

��ures are also commonly used in tabular se�ings such as in �nancial 

reports. �e Brioso Pro re�ular ��ures are availa�le in both ��ed and 

tabular versions. 

1 2 3 4 5 6 7 8 9 0 & 

1 2 3 4 5 6 7 8 9 0 & 

small capitals �ese le�erforms are sma�ler versions of the 

normal capitals and are designed to be visua�ly compati�le with the 

lowercase chara�ers of the typeface. �ey can be used to introduce 

the �rst few words at the beginning of a story, or to highlight key 

words within text. Brioso Pro includes sma�l capitals in a�l the roman 

weights for the Latin fonts. 

a b c d e f g h i j k l m n o p q r s t u v w x y z 

a b c d e f g h i j k l m n o p q r s t u v w x y z 

14

swash capitals Swash capitals, which originated in the italic 

handwriting of the Italian Renaissance, were adapted as typeforms 

during the early sixteenth century. Since then, swash le�ers have 

evolved along with new handwriting and typeface styles. Brioso 

Pro contains a complete set of Latin swash capitals for a�l the italic 

weights and optical sizes. Swash capitals can be used effectively for 

expressive passages of text, or for titles and signage when an elegant 

accent is ca�led for. 

� � � � � � � � � � � � � � � � � � � � � � � � � � 

� � � � � � � � � � � � � � � � � � � � � � � � � � 

lowercase swash italic �ese chara�ers have longer and 

more decorative projectors than the normal lowercase and are used 

primarily with the swash capitals. 

a � c � e � � � i � � � m n o � � r s t u v w x � z 

f-ligatures A�l Brioso Pro fonts contain a fu�l set of f-ligatures. 

�ese glyphs are designed to cor�ect awkward combinations where 

le�ers may co�lide. �ese ligatures are automatica�ly implemented in 

ap�lications which sup�ort OpenType layout features. 

� � ff ffi ffl � � � � 

� � ff ffi ffl � � � � � � � � � � � � � 

ornaments �roughout typographic history type designers have 

created ornaments to accompany their typefaces. �ese devices 

a�d a personal signature to the type family and can be used as title 

page decoration, paragraph markers, dividers for �locks of text, or as 

repeated bands and borders. Brioso Pro contains thirty-eight ornaments, 

including �owers, leaves, bu�lets, brackets, and contemporary 

graphic decorations. 

� � � � � � � � � � � � � � � � � � � � � � 

15

fractions A�l Brioso Pro fonts include nine of the most commonly 

used fra�ions; they are easier to use than constructed fra�ions, 

which are made from numerator and denominator ��ures. 

1⁄8 3⁄8 5⁄8 7⁄8 1⁄3 2⁄3 1⁄4 3⁄4 1⁄2 

1⁄8 3⁄8 5⁄8 7⁄8 1⁄3 2⁄3 1⁄4 3⁄4 1⁄2 

superior letters Superior le�ers are used in mathematics and 

in English, French and Spanish for a�breviating words, such as 

second, 2ⁿd, Madame, Mme, compagnie, Cie, and se�undo, 2o. 

a b d e h i l m ⁿ o r s t 

a b d e h i l m ⁿ o r s t 

lowercase beginning glyphs �ese glyphs have a beginning 

�ourish and are used at the beginning of a word or phrase as a design 

embe�lishment. �ey work best in text copy that is center-justi�ed, 

with the beginning chara�ers used at the beginning of the line and 

the ending glyphs at the end. 

� � � � � � � � � � � 

� � � � � � � � � � � � � � 

lowercase ending glyphs �ese glyphs usua�ly have an ending 

�ourish and are used at the end of a word or phrase as a design 

embe�lishment. Because of their decorative quality, they are best used 

in moderation. 

� � � � � � � � � � � � 

� � � � � � � � � � � � 

contextual alternates �ese glyphs serve either to cor�ect 

awkward le�er combinations or as aesthetic enhancements within 

text. �ey are implemented automatica�ly according to a set of predetermined 

contextual rules. 

æ œ � � st � � � � � � � Æ Œ � � 

æ œ � � � st � � b � � � � � � � � � � � � � � � � � � � 

� � � � � � � � � � � � � � � � � Æ � Œ � � � � 

16

miscellaneous monetary symbols �ese include the 

symbols for cent ¢, do�lar $, euro €, colon ₡, �orin ƒ, franc ₣, lira ₤, 

peseta ₧, sterling £, yen ¥, cur�ency ¤, and rupiah Rp. Also included 

are oldstyle versions of most of the monetary symbols, which are 

designed to be compati�le with the oldstyle ��ures. 

¢ $ € ₡ ƒ £ ₤ ¥ ₣ ₧ Rp No # ¤ 

¢ $ € ₡ ƒ £ � ¥ � � Rp No # ¤ 

alternate glyphs �ese alternate forms were designed to give 

words and phrases a slightly more animated and informal ap�earance. 

�ey can be implemented individua�ly using programs like InDesign. 

� � � � � � � 

� � � � � � � � � � � � � 

accented characters �e large number of accented glyphs 

in Brioso Pro sup�ort a broad range of Latin-based lan�uages around 

the world. �e accents are availa�le in up�ercase, lowercase, and sma�l 

capital versions. 

Á Ă Â Ä À Ā Ą Å Ã á ă â ä à ā ã ą å á ă â ä à ā ą å ã 

Á Ă Â Ä À Ā Ą Å Ã á ă â ä à ā ã ą å � � � � � � � � � 

superiors, inferiors, numerators, and denominators 

�e numerator and denominator ��ures can be used with the fra�ion 

bar to construct a�ditional fra�ions. �e superior and inferior ��ures 

are used for footnote references and as mathematical exponents – for 

example, E = mc². 

1 2 3 4 5 6 7 8 9 0 � � � . , � � 

1 2 3 4 5 6 7 8 9 0 � � � . , � � 

math symbols Brioso Pro contains an expanded set of math symbols 

designed e�ecia�ly for the family. �is set contains some of the 

more common symbols used in mathematics. 

∂ ℓ ∆ Ω ∏ ∑ µ π ℮ ∫ √ ◊ ^ = ÷ × + ¬ ± < > ~ ≈ ≠ ≤ ≥ ∞ 

∂ ℓ ∆ Ω ∏ ∑ µ π ℮ ∫ √ ◊ ^ = ÷ × + ¬ ± < > ~ ≈ ≠ ≤ ≥ ∞ 

17

Basic Latin Glyphs 

A�ditional Glyphs 

Accented Glyphs 

Roman Glyphs in Brioso Pro 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz& 

1234567890&1234567890 

ÆŒÐØŁÞ��æœðø�ł�þ��stß� 

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(1⁄41⁄23⁄41⁄83⁄85⁄87⁄81⁄32⁄3 ⁄ ) abde��hilmⁿorst 

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ńňņñóôöòőōõøŕřŗśšẟşťţúûüùűūųůýÿ 

źžż˝´ˆ`˜¨˘ˇ˙¯˚� ̦� 

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18

Basic Latin Glyphs 

A�ditional Glyphs 

Swash Italic Glyphs 

Accented Glyphs 

Italic Glyphs in Brioso Pro 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

abcdefghijkl�nopqrstuvwxyz 

1234567890&1234567890 

ÆŒÐØŁÞ��æœðø�ł�þ��stß� 

�ffffiffl��ſ�� 

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�� 

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Bold 

Bold Italic 

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6/8 light caption with italic 

For 6,000 years, man has communicated through wri�en symbols. �e 

evolution of handwriting, from the earliest pictograms to our cur�ent 

alphabet, has been driven by a quest for simplicity and efficiency. For 

centuries, wri�en lan�uage has been the primary means of documenting 

human endeavor, affording us a window to the past. �e alphabet 

we know today was esta�lished during the Italian Renaissance. �e 

elegant and pra�ical scripts of this time evolved from earlier writing 

systems and derived their chara�er from the broad-edged qui�l. �ese 

scripts, in a�l their forms, had a sweeping in�uence on society and led 

to the creation of the roman and italic le�erfor�s that �e use to�ay. In 

the early 17th century, with the a�vent of co�perplate engra�ing as a means 

of re�ro�ucing le�erfor�s and i�ustrations, italic handw�iting evolved to 

6/8 regular caption with italic 





human endeavor, affording us a window to the past. �e alphabet we 

know today was esta�lished during the Italian Renaissance. �e elegant 

and pra�ical scripts of this time evolved from earlier writing systems 

and derived their chara�er from the broad-edged qui�l. �ese scripts, 

in a�l their forms, had a sweeping in�uence on society and led to the 

creation of the roman and italic le�erfor�s that �e use to�ay. In the early 

17th century, with the a�vent of co�perplate engra�ing as a means of re�roducing 

le�erfor�s and i�ustrations, italic handw�iting evolved to e�ulate 

6/8 medium caption with italic 

For 6,000 years, man has communicated through wri�en symbols. 

�e evolution of handwriting, from the earliest pictograms to 

our cur�ent alphabet, has been driven by a quest for simplicity and 

efficiency. For centuries, wri�en lan�uage has been the primary means 

of documenting human endeavor, affording us a window to the past. 

�e alphabet we know today was esta�lished during the Italian Renaissance. 

�e elegant and pra�ical scripts of this time evolved from earlier 

writing systems and derived their chara�er from the broad-edged qui�l. 

�ese scripts, in a�l their forms, had a sweeping in�uence on society and 

led to the creation of the roman and italic le�erfor�s that �e use to�ay. In 

the early 17th century, with the a�vent of co�perplate engra�ing as a means of 

re�ro�ucing le�erfor�s and i�ustrations, italic handw�iting evolved to e�u- 

6/8 semibold caption with italic 


�e evolution of handwriting, from the earliest pictograms to our current 

alphabet, has been driven by a quest for simplicity and efficiency. 

For centuries, wri�en lan�uage has been the primary means of documenting 


we know today was esta�lished during the Italian Renaissance. �e 

elegant and pra�ical scripts of this time evolved from earlier writing 

systems and derived their chara�er from the broad-edged qui�l. �ese 

scripts, in a�l their forms, had a sweeping in�uence on society and led 

to the creation of the roman and italic le�erfor�s that �e use to�ay. In 

the early 17th century, with the a�vent of co�perplate engra�ing as a means 

of re�ro�ucing le�erfor�s and i�ustrations, italic handw�iting evolved to 

6/8 bold caption with italic 




efficiency. For centuries, wri�en lan�uage has been the primary 

means of documenting human endeavor, affording us a window to 

the past. �e alphabet we know today was esta�lished during the 

Italian Renaissance. �e elegant and pra�ical scripts of this time 

evolved from earlier writing systems and derived their chara�er 

from the broad-edged qui�l. �ese scripts, in a�l their forms, had 

a swee�ing in�uence on society and led to the creation of the roman 

and italic le�erfor�s that �e use to�ay. In the early 17th century, with 

the a�vent of co�perplate engra�ing as a means of re�ro�ucing let- 

22 


For 6,000 years, man has communicated through wri�en 

symbols. �e evolution of handwriting, from the earliest pictograms 

to our cur�ent alphabet, has been driven by a quest 

for simplicity and efficiency. For centuries, wri�en lan�uage 

has been the primary means of documenting human endeavor, 

affording us a window to the past. �e alphabet we know today 

was esta�lished during the Italian Renaissance. �e elegant 

and pra�ical scripts of this time evolved from earlier writing 

syste�s and de�i�ed thei� c�ara�e� from the broa�-edged qui�. 

�ese sc�ipts, in a� thei� for�s, ha� a swee�ing in�uence on society 

and led to the creation of the roman and italic le�erfor�s that �e 








was esta�lished during the Italian Renaissance. �e elegant 

and pra�ical scripts of this time evolved from earlier writing 

syste�s and de�i�ed thei� c�ara�e� from the broa�-edged qui�. 

�ese sc�ipts, in a� thei� for�s, ha� a swee�ing in�uence on society 

and led to the creation of the roman and italic le�erfor�s that �e 



symbols. �e evolution of handwriting, from the earliest 

pictograms to our cur�ent alphabet, has been driven by a 

quest for simplicity and efficiency. For centuries, wri�en 

lan�uage has been the primary means of documenting human 

endeavor, affording us a window to the past. �e alphabet we 

know today was esta�lished during the Italian Renaissance. 

�e elegant and pra�ical scripts of this time evolved from 

earlie� w�iting syste�s and de�i�ed thei� c�ara�e� from the 

broa�-edged qui�. �ese sc�ipts, in a� thei� for�s, ha� a swee�ing 

in�uence on society and led to the creation of the roman and italic 






lan�uage has been the primary means of documenting 

human endeavor, affording us a window to the past. �e 

alphabet we know today was esta�lished during the Italian 

Renaissance. �e elegant and pra�ical scripts of this time 

evolved from earlie� w�iting syste�s and de�i�ed thei� c�ara�e� 

from the broa�-edged qui�. �ese sc�ipts, in a� thei� for�s, ha� 

a swee�ing in�uence on society and led to the creation of the 









Renaissance. �e elegant and pra�ical scripts of this time 

evolved from earlie� w�iting syste�s and de�i�ed thei� c�aracte� 

from the broa�-edged qui�. �ese sc�ipts, in a� thei� for�s, 

ha� a swee�ing in�uence on society and led to the creation of








was esta�lished during the Italian Renaissance. �e elegant and 

pra�ical sc�ipts of this time evolved from earlie� w�iting syste�s 

and de�i�ed thei� c�ara�e� from the broa�-edged qui�. �ese 

sc�ipts, in a� thei� for�s, ha� a swee�ing in�uence on society and 

























�e evolution of handwriting, from the earliest pictograms 




affording us a window to the past. �e alphabet we 

know today was esta�lished during the Italian Renaissance. 

�e elegant and pra�ical sc�ipts of this time evolved from ea�lie� 

w�iting syste�s and de�i�ed thei� c�ara�e� from the broa�edged 

qui�. �ese sc�ipts, in a� thei� for�s, ha� a swee�ing 




pictograms to our cur�ent alphabet, has been driven by 

a quest for simplicity and efficiency. For centuries, written 




Renais�ance. �e elegant and pra�ical sc�ipts of this time 


from the broa�-edged qui�. �ese sc�ipts, in a� thei� for�s, 

23 

9/11 light text with italic 







alphabet �e know to�ay �as esta�lished du�ing the Italian 



9/11 regular text with italic 







alphabet �e know to�ay �as esta�lished du�ing the Italian 



9/11 medium text with italic 

For 6,000 years, man has communicated through written 

symbols. �e evolution of handwriting, from the 

earliest pictograms to our cur�ent alphabet, has been 

driven by a quest for simplicity and efficiency. For centuries, 

wri�en lan�uage has been the primary means of 

documenting human endeavor, affording us a window 

to the past. �e alphabet �e know to�ay �as esta�lished 

du�ing the Italian Renais�ance. �e elegant and pra�ical 

sc�ipts of this time evolved from earlie� w�iting syste�s and 

9/11 semibold text with italic 






documenting human endeavor, affording us a window to 

the past. �e alphabet �e know to�ay �as esta�lished du�ing 

the Italian Renais�ance. �e elegant and pra�ical sc�ipts 

of this time evolved from earlie� w�iting syste�s and de�i�ed 

9/11 bold text with italic 






documenting human endeavor, affording us a window 

to the past. �e alphabet �e know to�ay �as esta�lished 

du�ing the Italian Renais�ance. �e elegant and pra�ical 

sc�ipts of this time evolved from earlie� w�iting syste�s and


For 6,000 years, man has communicated through wri�en symbols. �e evolution 

of handwriting, from the earliest pictograms to our cur�ent alphabet, has been 

driven by a quest for simplicity and efficiency. For centuries, wri�en lan�uage has 

been the primary means of documenting human endeavor, affording us a window 

to the past. �e alphabet we know today was esta�lished during the Italian 

Renais�ance. �e elegant and pra�ical sc�ipts of this time evolved from earlie� w�iting 

syste�s and de�i�ed thei� c�ara�e� from the broa�-edged qui�. �ese sc�ipts, in a� thei� 

for�s, ha� a swee�ing in�uence on society and led to the creation of the roman and italic 



of handwriting, from the earliest pictograms to our cur�ent alphabet, 

has been driven by a quest for simplicity and efficiency. For centuries, written 

lan�uage has been the primary means of documenting human endeavor, 

affording us a window to the past. �e alphabet we know today was established 

du�ing the Italian Renais�ance. �e elegant and pra�ical sc�ipts of this time 

evolved from earlie� w�iting syste�s and de�i�ed thei� c�ara�e� from the broa�edged 

qui�. �ese sc�ipts, in a� thei� for�s, ha� a swee�ing in�uence on society and 






affording us a window to the past. �e alphabet we know today was esta�lished 

du�ing the Italian Renais�ance. �e elegant and pra�ical sc�ipts of this time evolved 

from earlie� w�iting syste�s and de�i�ed thei� c�ara�e� from the broa�-edged qui�. 

�ese sc�ipts, in a� thei� for�s, ha� a swee�ing in�uence on society and led to the 






affording us a window to the past. �e alphabet we know today was established 



qui�. �ese sc�ipts, in a� thei� for�s, ha� a swee�ing in�uence on society 









qui�. �ese sc�ipts, in a� thei� for�s, ha� a swee�ing in�uence on society 

24







�e know to�ay �as esta�lished du�ing the Italian Renais�ance. �e elegant 

and pra�ical sc�ipts of this time evolved from earlie� w�iting syste�s and 















know to�ay �as esta�lished du�ing the Italian Renais�ance. �e elegant and 

pra�ical sc�ipts of this time evolved from earlie� w�iting syste�s and de�i�ed 











�e evolution of handwriting, from the earliest pictograms to our 

cur�ent alphabet, has been driven by a quest for simplicity and efficiency. 

For centuries, wri�en lan�uage has been the primary means 


�e alphabet �e know to�ay �as esta�lished du�ing the Italian Renaissance. 

�e elegant and pra�ical sc�ipts of this time evolved from earlie� 

25


For 6,000 years, man has communicated through wri�en symbols. �e evolution of 

handwriting, from the earliest pictograms to our cur�ent alphabet, has been driven 

by a quest for simplicity and efficiency. For centuries, wri�en lan�uage has been 

the primary means of documenting human endeavor, affording us a window to 

the past. �e alphabet we know today was esta�lished during the Italian Renaissance. 

�e elegant and pra�ical sc�ipts of this time evolved from earlie� w�iting syste�s 

and de�i�ed thei� c�ara�e� from the broa�-edged qui�. �ese sc�ipts, in a� thei� for�s, 






to the past. �e alphabet we know today was esta�lished during the Italian Renaissance. 








to the past. �e alphabet we know today was esta�lished during the Italian Renaissance. 










from earlie� w�iting syste�s and de�i�ed thei� c�ara�e� from the broa�-edged qui�. 



of handwriting, from the earliest pictograms to our cur�ent alphabet, has 

been driven by a quest for simplicity and efficiency. For centuries, wri�en lan- 

�uage has been the primary means of documenting human endeavor, affording 

us a window to the past. �e alphabet we know today was esta�lished 

during the Italian Renais�ance. �e elegant and pra�ical sc�ipts of this time 

evolved from earlie� w�iting syste�s and de�i�ed thei� c�ara�e� from the broa�- 

26






affo�ding us a window to the past. �e alphabet �e know to�ay �as esta�lished 







human endea�o�, affo�ding us a window to the past. �e alphabet �e know 

to�ay �as esta�lished du�ing the Italian Renais�ance. �e elegant and pra�i- 






affo�ding us a window to the past. �e alphabet �e know to�ay �as esta�lished 








to�ay �as esta�lished du�ing the Italian Renais�ance. �e elegant and prac- 






human endea�o�, affo�ding us a window to the past. �e alphabet �e 


27

14/16 light subhead with italic 







14/16 regular subhead with italic 







14/16 medium subhead with italic 




efficiency. For centuries, wri�en lan�uage has been the primary 

means of documenting human endeavor, affording us a window to 

the past. �e alphabet �e know to�ay �as esta�lished du�ing the Italian 

14/16 semibold subhead with italic 







14/16 bold subhead with italic 






�e alphabet �e know to�ay �as esta�lished du�ing the Italian Renais- 

28

16/18 light subhead with italic 



has been driven by a quest for simplicity and efficiency. For centuries, 

wri�en lan�uage has been the primary means of documenting human 

endea�o�, affo�ding us a window to the past. �e alphabet �e know to�ay �as 

16/18 regular subhead with italic 





human endea�o�, affo�ding us a window to the past. �e alphabet �e know to- 

16/18 medium subhead with italic 






16/18 semibold subhead with italic 





human endea�o�, affo�ding us a window to the past. �e alphabet �e 

16/18 bold subhead with italic 





of documenting human endea�o�, affo�ding us a window to the past. �e 

29

display use at various sizes 

�ine �an�w�itin� is a �ra� 

�ort�� o� ��miration 

Simplicity and Efficiency 

�e evo�ution o� �an�w�itin�, �rom t�e 

ear�iest �icto�ra�s to ou� cu�ent a��a�et 

Cance�arsca For�ata 

�e Mystery of the Creative Process 

& Typographic Protocol 

��i�en in a tra�itiona� o� unconventiona� manne� 

Charmed Combination 

Oldstyle roman typefaces of the Italian Renaissance 

30

Formal and Freestyle Scripts 

Tools of the Tra�e 

A VARIETY OF INSTRUMENTS 

��ia� �ra�es�ues 

Vernacular of their Time 

�umanistic �oo� �an�s 

Professionals and Amateurs 

Window to the Past 

31

8/12 light, regular, semibold, and bold swash italic caption 

�aron ��iana Colby �akota �arlene �elice �a�in �o�y �ndigo �e�et �arena �ogan �iranda 

�elson �des�a �e�y �uinn �ac�el �imone �aylo� �rsula �alentina �ile� �iomara �vonne �ac�ary 





�aron ��iana Colby �akota �arlene �elice �a�in �o�y �ndigo �e�et �arena �ogan �iranĮa 




12/16 light, regular, semibold, and bold swash italic text 

�aron ��iana Conno� �akota �arlene �elice �a�in �o�y �ndigo 

�e�et �arena �ogan �iranda �elson �des�a �e�y �uinn �ac�el 

�imone �aylo� �rsula �alentina �ile� �iomara �vonne �ac�ary 

�aron ��iana Conne� �akota �arlene �elice �a�in �o�y �ndigo 












� � � � � � � � � � � � � 

32

20/25 light, regular, semibold, and bold swash italic subhead 

�aron ��iana �olby �akota �arl �elice �a�in 

�o�y �ndigo �e�el �arena �ogan �iranda 

�elson �des�a �e�y �uinn �ac�el �ue �aylo� 

�rsula �i�a �ile� �iomara �vonne �ac�ary 


�o�y �ndigo �e�et �arena �ogan �iranda 

�elson �des�a �e�y �uinn �ac�el �ue �aylo� 

�rsula �i�a �ile� �iomara �vonne �ac�ary 


�o�y �ndigo �e�et �arena �ogan �iranda 

30/38 light, regular, semibold, and bold swash italic display 

�nne ��iana �olby �an �m�a �elice 

�eorgianna �o�y �ndigo �e�el �arena 

�ogan �iranda �elson �des�a �at�ic� 

�uinlan �ac�el �usan �aylo� �rsula 

�era �ile� �iomara �vonne �ac� 

� � � � � � � � � �� 

33

POSTER 

poster light roman and italic 

�ools of the �ra�e 

Shaping �oughts 

�a�iet� o� �nstruments 

Numerous Overtones 

Pra�ical Scripts 

�ar�iest �ictogra�s 

�e Creative Process 

34

35 

17 point regular ornaments 

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37 

Sa�ple Art 

� � � � � � �

Carla Sandoval 

Director Museo Nacional 

Banco Centrale 

Bogotá, Columbia 

Dear Ms. Sandoval, 

On a recent trip I had the pleasure of �ending several hours looking at 

your �ne co�lection of pre-Columbian gold work. My company develops 

and se�ls 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 a�le to co�lect a number of pieces. 

While in the south wing, I noticed a dou�le bat-head ��ure 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 bathead 

pendant (slide enclosed) that looks like it was made by the same 

cra��erson. �e overa�l design, texture, quality of �nish, and color of the 

gold a�loy bear an uncanny resem�lance to the piece I own. 

I am very a�ached to this piece, however, I feel it is my responsibility 

to offer it as a gi� to the museum. Your co�lection is so beautifu�ly 

displayed, while my piece sits in a dusky vault; it’s almost a sin. I wi�l be in 

South America at the end of February and would like the op�ortunity to 

meet and show you the piece. If you are interested, please write or ca�l at 

619-438-0708. I look forward to hearing from you. 

38 

Sincerely, 

Charles Brand 

Archeatronics � 462 Fi�h Street � San Diego, ca 10203

Jean Sibelius 

�o�ola’s �aughte� • �e �wan of �uonel� 

�apiola • �n �aga • �alse t�ist� 

West Coast Phi�harmonic • Herbert �eo Price 

Gravitas Music Works - Stereo 483 23-66 

Ex Libris 

�eir�re ��imer� 

39 

�

Zueignung 

IHR na�t euc� wie�e�, sc�wankende Gestalten, 

�ie früh sic� einst de� trübe� �lic� gezeigt. 

�ersuc�’ ic� wohl, euc� diesmal festzuhalten? 

�ühl’ ic� mein Herz noc� jene� �a�n geneigt? 

Ih� drängt euc� zu! nun �ut, so mögt ih� �alten, 

�ie ih� aus Dunst und Nebel um mic� steigt; 

�ein Busen fühlt sic� jugen�lic� ersc�ü�ert 

�om Zauberhauc�, de� euren �ug umwi�ert. 

Ih� b�ingt mit euc� die Bilde� frohe� Tage, 

Und manc�e liebe Sc�a�en steigen auf; 

Gleic� eine� alten, halbverk�ungnen Sag� 

�om�t erst� Lieb’ und �reundsc�a� mit herauf; 

De� Sc�merz wi�d neu, es widerholt die Klag� 

�es Lebens laby�inthisc� i�en Lauf, 

Und nennt die �uten, �ie, um sc�öne Stunden 

�om Glüc� getäusc�t, �o� mi� hinwe�gesc�wunden. 

Sie hören nic�t die folgenden Gesänge, 

�ie Seelen, denen ic� die ersen sang; 

Zerstoben ist das freun�lic�e Gedränge, 

�erklungen, ac�! de� erst� Widerklang. 

Mein Lie� ertönt de� un�ekannten �enge, 

�h� Beifa� selbst mac�t meine� �erzen ban�, 

Und �as sic� sonst an meine� Lied erfreuet, 

�enn es noc� lebt, i�t in de� Welt zerstreue�. 

35. 

40

�enais�anc� �an�w�itin� 

Manuscripts from the J. B. Harvard Collection 

Leda James Memorial Library 

July 12 through September 29, 2003 

Sponsored by the Arts Council of Silicon Valley 

�u�ovico �e��i ��i��i 

�iovannantonio �a��ient� 

�enna��ino �ataneo 

�e�asiano �m��iare� 

41

42 

I�luminated Anatomy 

Photographs from the Beyer Institute 

Walter Hedreen 

with es�ays by 

Judith R. Lyons 

Stuart Clifford 

Seager Ga�ley, Sea�le

�om�e�ie�’s Sele�ion, �ines By the �las� 

Champagne 

�on-Vintage �rut, �eims 

A complex nose of ap�le, citrus, and caramel fo�lowed by crisp 

fu�l �avors with a slightly spicy �nish. $15.00 

Sauvignon Blanc 

�apa 1998 

Fruit �avors and good mouth feel, complex, crisp and balanced. 

Medium body with anise, citrus, and pineap�le �avors. $7.00 

Chardonnay 

�us�ian Ri�e�, Sonoma 1997 

A fu�l-body and ripe wine with aromas of pear, ap�le, and caramel. Creamy 

�avor with hints of toast and tropical fruit. $8.00 

Pinot Noir 

Rus�ian �i�e�, Sonoma 1997 

Elegant, medium body and light oak. Aromas of cher�y and cinnamon, 

�avors of raspber�y, cranber�y, tea, and spicy notes. $12.00 

Cabernet Sauvignon 

Napa Va�ey 1996 

Balanced, rich, and ripe. Aromas of cassis and cedar with �avors 

of plum, vani�la, coffee and spice. $15.00 

Chianti Classico 

�iserva, �uscany 1993 

Beautiful ruby red, intense bouquet. Complex with spicy, roasted, and 

resinous �avors. We�l structured and harmonious. $8.00 

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43 

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44 

Aldo Dion Bionics 

1256 Gla�iola Street 

Cupertino, California 

tel: 408 229 6008 

fax: 408 229 6002 

Peter Van Dargan 

Architect 

448-583-3322 

��

Type Development at Adobe 

Type is developed at Adobe by a fu�l-time staff of type design professionals. 

Each member of this group has �ecialized ski�ls 

in type design and the use of tools needed to develop digital type. �e 

Adobe type staff has a working relationship with many outside professionals, 

whose expertise represents a broad �ectrum of historical, 

scholarly, and pra�ical knowledge of typography and the graphic arts. 

Robert Slimbach, who joined Adobe in 1987, began working seriously 

on type and ca�ligraphy four years earlier in the type drawing department 

of Autologic in Newbury Park, California. Since then, Slimbach 

has concentrated primarily on designing digital text faces, drawing 

inspiration from classical sources while utilizing state-of-the-art 

typeface technology. He has designed typefaces for the International 

Typeface Corporation, as we�l as Adobe Originals typeface families 

including Adobe Garamond®, Adobe Jenson®, Kepler®, Cronos®, Ca�isch 

Script®, Minion®, Minion Pro, Poetica®, Sanvito®, Utopia®, Warnock® Pro, 

and Myriad® (co-designed with Carol Twom�ly). 

� � � � � � � � 

45

Further Reading 

Atkins, Kathryn A. Masters of the Italic Le�e�. Boston: David R. Godine, 1988. 

Blumenthal, Joseph. Art of the P�inted Book 1455-1955. Boston: David R. Godine, Publisher 

in association with �e Pierpont Morgan Library, 1973. 

Fairbank, Alfred and Wolpe, Bertold. Renais�ance Handw�iting, An Anthology of Italic 

Sc�ipts. London: Faber and Faber Limited, 1960. 

Morison, Stanley and Day, Kenneth. �e Typographic Book 1450-1935. London: �e 

University of Chicago Press, 1963. 

Mediavi�la, Claude. Ca�igraphy, From Ca�igraphy to Abstract Painting. Wommelgem, 

Belgium. Scirpus Pu�lications, 1996. 

Updike, Daniel Berkeley. P�inting Types, �ei� History, For�s, and Use. New York: 

Dover Pu�lications, Inc. 1980. 

Acknowledgements 

Specimen book design and production by Robert Slimbach. 

A�ditional production by Fred Brady and Christopher Slye. 

Text wri�en by Fred Brady and Robert Slimbach. 

Sample art designed by: 

Fred Brady, pages 38, 43. 

Robert Slimbach, pages 6, 39, 41, and 42. 

Min Wang, page 40. 

Special thanks to David Parsons, Christopher Slye, and Jim Wasco for their assistance 

with the �nal production of the Brioso Pro typeface family. �anks also to Ke�ly Davis, 

Kat Gatzke, Harold Grey, Donna Kolnes, David Lemon, Ernie March, Jim Mildrew, 

and �omas Phinney for their helpful comments. 

A�ditional Information 

�is �ecimen book was produced using InDesign, I�lustrator®, and Photoshop®, so�ware 

from Adobe. �e typeface is Brioso Pro, designed by Robert Slimbach. 

PDF created on June 30th, 2003. 

Brioso Pro, patent pending. 

Adobe, the Adobe logo, the Adobe Originals logo, I�lustrator, InDesign, Photoshop, PostScript, Ca�isch Script, 

Adobe Garamond, Adobe Jenson, Kepler, Minion, Myriad, Poetica, Sanvito, Utopia, Warnock, and Brioso are 

either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other 

countries. Mac OS is a trademark of Ap�le Computer, registered in the United States and other countries. 

OpenType and Windows are either registered trademarks or trademarks of Microso� Corporation in the 

United States and/or other countries. A�l other trademarks are the property of their re�ective owners. 

bc Adobe Systems Incorporated 

345 Park Avenue 

San Jose, CA 95110-2704 

46

Brioso Pro - Adobe

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