Named after the river that runs through Florence, the center of the Italian Renaissance, Arno draws on the warmth and readability of early humanist types of the 15th and 16th centuries. While inspired by the past, Arno is distinctly contemporary in both appearance and function. Designed by Robert Slimbach, Adobe principal designer, Arno is a meticulously crafted face in the tradition of early Venetian and Aldine book types. Embodying themes that Slimbach has explored in typefaces such as Minion?? and Brioso???, Arno represents a distillation of his design ideals and a refinement of his craft.
As a multi-featured OpenType family, with the most extensive Latin-based glyph complement Adobe has yet offered, Arno offers extensive pan-European language support, including Cyrillic and polytonic Greek. The family also offers such typographic niceties as five optical size ranges, extensive swash italic sets for Latin, Greek, and Cyrillic, and roman and italic small capitals throughout.
Beginning in the 16th century, type designers often cut a range of design sizes for any particular font style. Because the punch cutter works at actual size, each typeface was unique, allowing for optical and stylistic variation to be incorporated. Subtle adjustments in weight, contrast, proportion, and design allow each size-appropriate design to be as readable and beautiful as possible.
Arno Pro includes a series of weights in five distinct optical size ranges ??? caption, small text, regular, subhead, and display. Each typeface has been designed and calibrated to work harmoniously together within the requirements of a contemporary composition family.
Since the onset of the Adobe Originals program in 1989, Adobe has continued to offer designers progressive new type families and cutting-edge type technology. As an OpenType super-family, Arno Pro includes extensive Latin and pan-European language coverage and a broad pallet of weights and optically-sized fonts. Utilizing the power of the OpenType layout features, the process of setting and fine-tuning composition is greatly streamlined. Activating these features enables typographic refinements such as ligatures, small capitals, and oldstyle figures, bringing unprecedented control and sophistication to contemporary typography. In addition, all glyphs in an OpenType font can be accessed in Adobe InDesign?? software, whether or not they are covered in a layout feature. OpenType fonts, coupled with the advanced typographic control offered by a program such as InDesign, also let type-users take advantage of advanced justification, optical margin alignment, hanging punctuation, and optically sized masters
©2007 Adobe Systems Incorporated. Adobe, Arno, Brioso, InDesign, and Minion are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. OpenType is either a registered trademark or a trademark of Microsoft Corporation in the United States and/or other countries.