The outcome of the face was almost inevitable, with the rules and standards that we set for it: perfectly straight stems, flat endings, and the flat character shapes with a certain amount of proportion to the letters. It’s very uniform—just a real practical kind of face. It doesn’t break much new ground from a design standpoint, but its strength is that it’s very flexible for sans-serif typography. You can create many different voices, particularly in the width, that really change the character of the face quite a bit.
Robert Slimbach, Adobe Magazine, March/April 1995
Know your type: Myriad