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In 1992, Myriad had a whole design team that which initially included Fred Brady, Robert Slimbach, Sumner Stone, and Carol Twombly from Adobe. These folks examined sxisting sans serif designs and made preliminary pencil drawings, computer sketches, and a variety of test fonts to determine which direction to design Myriad. A collaborative approach ensured that the Myriad family maintained a clear, objective quality, without idiosyncrasies that might be introduced had only one designer worked on designing the font.

Drawing, digitization, and design work was split between Robert Slimbach and Carol Twombly. It was completed in two years. Each designer was responsibly for different designs in the roman and italic fonts; then they exchanged work during final production stages to unify the Myriad family. As the project progessed, Fred Brady, Robert Slimbach, and Carol Twombly met for weekly discussions, examinations, and evaluations for Myriad as it evolved through the design process. In the later stages of design development, members of the Adobe Type Advisory board reviewed Myriad.

For the additional glyphs in the typeface Myriad Pro, work was also divided up among a small group that included Fred Brady, Christopher Slye, Robert Slimbach, and Carol Twombly. Greek and Cyrillic characters were then added to the family as well as a bunch of Latin glyphs and accented characters.

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Q: What was the design process for the typeface Myriad Pro?
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Related questions

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