Robert Slimbach
| Robert Slimbach | |
|---|---|
| Born | 1956 (age 60–61) |
| Occupation | Principal Designer, Adobe Systems |
Robert Joseph Slimbach is Principal Type Designer at Adobe Systems, where he has worked since 1987. He has won many awards for his digital typeface designs, including the rarely awarded Prix Charles Peignot from the Association Typographique Internationale, the SoTA Typography Award, and repeated TDC2 awards from the Type Directors Club. His typefaces are among the most commonly used in books.
Slimbach was born in Evanston, Illinois in 1956. Shortly after, he moved to Southern California where he spent his childhood and his youth. After attending UCLA on an athletics scholarship, he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters and greeting cards. This work brought him into contact with Autologic Incorporated in Newbury Park, California. After training from 1983 to 1985, Slimbach worked as a type designer with Autologic Incorporation, where Sumner Stone also worked for a short time. There he received further training, not just as a type designer but also as a calligrapher. Slimbach was then self-employed for two years as a freelance type designer, during which developed the two typefaces ITC Slimbach and ITC Giovanni for the International Typeface Corporation. He later commented of this period that "I wasn’t really making enough money to live on."
In 1987 he joined Adobe Systems. Since then, he has concentrated primarily on designing typefaces for digital technology, often drawing inspiration from classical sources. He has developed many new fonts for the Adobe Originals program. Among his early projects at Adobe were the Utopia (1988), Adobe Garamond (1989), Minion (1990) and Poetica (1992) families.
In 1991, he received the Prix Charles Peignot from the Association Typographique Internationale for excellence in type design. More recently, Slimbach's own calligraphy formed the basis for his typeface Brioso. Slimbach has described himself as being particularly interested in humanist and serif projects, calling his work on the neo-grotesque Acumin, in the Swiss modernist style, as being "outside of the design realm I normally prefer."
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