![]() In names like INDD or TIFF, one of the double letters would look good whereas the other would be fuzzy. However, they didn’t render that way all the time. I knew that the weight and width of the S size was about right, because some glyphs looked sharp and legible. The second problem was a bit more challenging to solve. Base versions on the left, and condensed versions on the right. I also made them lighter to compensate for the greater number of letters and to prevent them from “clogging up”.Īll fonts shown at their usage size. The other problem was that the smallest size was not legible enough.The first issue was an easy fix, I just had to generate another set of four fonts that were more condensed. One was that the fonts didn’t work for long names, such as MXML-G. But when we started testing, two problems were noticed. In the first round, I made four fonts: the XL, for the two biggest icon sizes, and the L, M, and S for the remaining three sizes. So what I had to do was generate several font instances optimized for each of the icon sizes, while trying to match Myriad’s weight and width, the typeface used since CS2 at least. ![]() The source files for Adobe Clean are multiple master fonts with Weight, Width and Optical Size axes which cover the whole design range, from Light Condensed to Extra Black. They called us, and I got to work on it shortly after. For CS5, the Desktop Brand team wanted to take that work further and update the file type icons with Adobe Clean, from Myriad. It is also the font that you see in the mnemonic icons and splash screens of our desktop applications. ![]() Well, he actually didn’t say a lot about the latter which gives me a good opportunity to do so.Īs we wrote about a year ago, Adobe Clean is now Adobe’s corporate typeface. Over on Inspire, Shawn Cheris talks about the new Creative Suite branding system: the grid, the colors, the influences, and… the fonts. Now that CS5 has been announced I can finally talk about one of the things that kept me busy.
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