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Egyptian Slate - Just as the camera adds weight to
human faces, serifs can add weight to typographic faces. Rod McDonald trimmed and adjusted his
new Egyptian Slate™ design as it emerged from its sans serif predecessor, the Slate™
design. The result is a solid and stylish slab serif design that will look superb in the spotlight
of your choosing.
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Soho Gothic - The Soho™ Gothic design s intended to
work at all sizes and harmonise well with Soho, its slab serif counterpart. The designer, Sebastian
Lester, states “I wanted a mature and refined design that would perform as well being used as
the back bone of a global brandas it would in an edgy fashion magazine.”.
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Soho - The Soho™ design is the latest
addition to the growing range of typefaces from Sebastian Lester. This ‘grand opus’
of a precision-engineered OpenType® project resulted in a typeface that comprises nine weights
and five widths. Altogether, that's 40 fonts, 32,668 characters and 24 OpenType features.
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Neo Sans & Neo Tech - Many of the ideas for
the Neo Sans™ and Neo Tech™ fonts took shape when a design agency approached Monotype
Imaging to develop conceptual work for a versatile futuristic typeface. Though the project didn't
proceed, Sebastian Lester was left with a sketchbook full of ideas and research.
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Mentor - Michael Harvey’s aptly-named
Mentor™ design is a superb family of serif and sans serif typefaces that pays tribute to
the influence of three great designers. “There are traces of Eric Gill and Reynolds Stone
in the roman designs,” says Harvey, “and just a hint of Hermann Zapf in the sans
serif faces.”
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Mundo - Carl Crossgrove’s Mundo™
typeface, is a design that should be around for a good long while. Over more than 10 years of
“on and off” development Crossgrove devoted to the project, he was able to polish
the design to its current unpretentious lustre.
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Linex Sans - A mix of crisp angles and soft
shapes, this new addition to the extended Linex™ family is both inviting and elegant. The
subtle calligraphic overtones distinguish the design from more traditional sans serif designs.
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Mosquito Formal - The Mosquito™ Formal
typeface, by Éric de Berranger, takes the original jaunty Mosquito design and dresses it in
a tuxedo. The stressed character strokes, simple, straightforward shapes, relatively large x-height,
open counters and hint of Peignot are still there, but the cursive strokes and lively terminals
have been replaced with traditional designs.
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ITC Tactile - The ITC Tactile™ design is
a puzzle of subtle typographic contradictions. Capitals have traditional epigraphic proportions, but
the lowercase has a uniform optical width. Light weights are stately and elegant, but bold designs
are almost jolly. This paradoxical alphabet even combines two distinctively different serif designs.
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Fairbank - The Monotype Bembo® design is
generally regarded as one of the most handsome revivals of Aldus Manutius’ 15th century roman
type, but the original had no italic counterpart. The story is told that Stanley Morison commissioned
Alfred Fairbank, a renowned calligrapher, to create the first italic for Bembo, which was released
as metal fonts in 1929. Alfred Fairbank, however, claimed that he drew the design as an independent
project and then sold his drawings to Monotype. According to him, “the statement has been made
that I was asked to design an italic for the Bembo roman. This is not so. Had the request been made,
the italic type produced would have been different.”
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Laurentian - The story of the Laurentian™
typeface began in 2001 when the Canadian magazine, Maclean’s, invited Rod McDonald to join
the design team to “renovate” the 96-year-old publication. McDonald would be responsible
for designing a new masthead and for the overall typography of the magazine - including the design of
a new text typeface family for the magazine’s pages. This was the first time in history that a
Canadian magazine had commissioned a custom typeface.
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