So what's the big deal? One of the keys behind Myriad Pro's success is its versatility.
However, all sorts of organizations from universities to governing bodies have used this typeface since the 1990s. It was heavily used by tech giant Apple for over 15 years, ending in 2017.
MYRIAD HEBREW FONT PRO
What's the Deal With Myriad Pro?Ĭhances are, you've seen the Myriad Pro font in use before. Stock photograph by twenty20photos on Envato Elements. I feel that it took all of our combined efforts to make these new type families a reality, and I’m looking forward to what’s next.Looking for fonts similar to Myriad Pro? What makes the Myriad Pro font a successful and desirable addition to a designer's font library? In this article, we'll take a look at what Myriad Pro is, check out some alternative fonts, and give some other font insights. Personally, I’m excited that these typefaces are breaking new ground, and it’s always very humbling to work with such talented designers in the process. The release of Myriad Devanagari and Myriad Bengali, both developed with screen display as a primary use case, is a notable shift in our Brahmic type design philosophy. Until now, all of these released Brahmic type designs have been specifically tuned for use in print media in order to meet the needs of our print publishing customers on the Indian subcontinent. In 2012, Adobe moved Brahmic type development efforts in-house, collaborating with external designers to produce well-crafted fonts for additional Indian writing systems. This project began in 2005 with the development of Adobe Devanagari by Tiro Typeworks for our library. These two new families have been designed and produced as part of an Adobe Originals initiative to provide our customers with premium quality fonts for the top 10 languages of India. These fonts can be used on the web or synced for desktop use from Typekit, and you’ll find perpetual licenses for them on Fontspring.
Myriad Bengali supports Bangla and Assamese languages. Myriad Devanagari supports the languages Hindi, Marathi, Nepali, and Sanskrit. This suite of variations provides a wide range of typographic options typically unavailable for these writing systems. On screen, the resulting text leaves a strong impression and avoids a dull, heavy texture that can be a pitfall for many sans serifs.Īlthough the stroke contrast of Myriad Devanagari (right) is considerably reduced in comparison to Adobe Devanagari (left), stroke joins are kept open to provide a pleasing texture in running text.Įach of these new families includes 10 styles, featuring five weights from light to black with accompanying obliques. The resulting designs for Myriad Devanagari and Bengali are sturdy and dynamic, combining moderately low contrast with traditional proportions, and detailing informed by calligraphy. Fiona Ross also consulted on these projects, providing guidance and ensuring that our design decisions were appropriate for the Indian scripts. It was very important to me to involve Robert Slimbach to find the right balance of “Myriadness” for these family extensions as he was one of Myriad’s principal designers, along with Carol Twombly, and had also designed the Arabic and Hebrew extensions of the family. Vaibhav and Neel, both extremely talented designers, have previously worked with us on the Adobe Gurmukhi and Adobe Bengali types. Some calligraphic details of the Brahmic writing systems (highlighted in orange) have been retained, other features (in green) have been rationalized to be more neutral, similar to the original Myriad design.