A R E N A I S S A N C E T Y P E F A C E
Through the city of Florence runs the river Arno. From the 14th to the 16th Century, Florence was the centre of one of history’s most important cultural movements – the Renaissance.
During this period, and following Gutenerg’s introduction of moveable type around 1450, Venetian printers such as Nicolas Jenson and Aldus Manutius developed Humanist type, inspired by Roman capitals mixed with the more recent minuscules.
Arno Pro, based on these Venetian types, but named after the river of the city where the Renaissance emerged, brings this stylistic movement to the 21st century. Developed by Adobe’s Robert Slimbach in 2007, its extensive OpenType features allows a the flexibility that metal type allowed, but with the simplicity of the computer age. Arno Pro was awarded the prize for best type system by the Type Director’s club in 2007.
F I V E O P T I C A L S I Z E S
In the time of metal type, each font of a typeface – in other words, each separate point size – was cut different from each other. The 24 point font of the typeface would for instance have far more contrast than its 6 point counterpart. Arno Pro brings this optical treatment to contemporary, digital typography. The typeface has five different optical sizes, each intended for a specific range of point sizes as specified in the table above.
F O U R W E I G H T S
The optical sizes for captions, small text, regular text and subheadings have three weights each: regular, semibold and bold. Additionally, the display size has a lightweight. Hence, the family has a total of 32 fonts.
S W A S H E S
The italics have swash alternatives for both uppercase and lowercase. This gives a decorative, humanistic expression – almost a typeface of its own.
I N T E R N A T I O N A L
Arno Pro supports the Greek and Cyrillic alphabets, as well as diacritics for all languages set in Latin.
L I G A T U R E S
Arno Pro includes common standard and discretionary ligatures, as well as stylistic sets available in Open Type.