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It took three years and three designers to develop FF Meta® Serif. All through the ’90s, Erik Spiekermann made several attempts at designing a counterpart for his groundbreaking FF Meta®. Fans of Meta frequently asked him which serif face would best complement it. He recommended Swift™, Minion™, FF Clifford™, and others, until he realized that he should just buckle down and draw his own serif Meta. True to his principle of collaboration, Spiekermann enlisted the help of accomplished type designers Christian Schwartz and Kris Sowersby.
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Obviously, a serif Meta would need to fit in with the existing Meta family. Through their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. Now what you see is what you get, a harmonious serif/sans type system.
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While it is a typeface that can stand up on its own in a wide range of applications, the extra benefit of FF Meta Serif is its close relationship to its sans serif sister. The two families can be mixed in the same line and one can be used to accentuate the other. Using both on the same page adds variety and meaning to a text.
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FF Meta Serif is available in four weights: Book, Medium, Bold, and Black, each with Italics. All styles include Small Caps, lining and oldstyle figures in proportional and tabular widths, and a range of arrows and other symbols. We highly recommend the OpenType versions (OT and Pro) for easy access to all these glyphs and other features like extra ligatures, case-sensitive punctuation, and support for Eastern European languages (in the Pro version).
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P22 is known for inheriting historically significant stashes of metal and wood type and carefully reviving them into the digital age. Two of their recent collections just arrived at FontShop. Lanston Type Company has been with us for some time, but has undergone extensive renovation by P22, continuing LTC’s hundred-plus year tradition of supplying type by masters like Frederic Goudy and Sol Hess. The charming Sherwood Collection is the work of English historian and pressman Ted Staunton.
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P22 Roanoke Script
A hand-written script inspired by 18th century forms. The visual effect is of a steel nib pen writing on paper. For more antique scripts, see the Staunton Scripts set. |
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P22 Amelia and P22 Sherwood
In the style of William Morris, Amelia’s drop caps evoke historical tales and medieval manuscripts. Sherwood is a reproduction of an unusually small wood typeface from England, dating from the last years of the 18th century.
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P22 Freely
A loosely-written, slightly irregular but very legible handwriting style. Useful for a personal touch on menus, advertisements, and greeting cards.
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LTC Glamour
Glamour was originally released by Lanston Monotype in 1948. It is based on Corvinus designed by Imre Reiner. The layerable fonts can be combined in unusual ways for typographically eccentric results.
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LTC Cloister
There are many versions of Cloister, but Lanston’s is the most complete. Digitized by metal type expert Jim Rimmer, this set includes all of Morris Fuller Benton’s styles, plus some elegant cursive additions drawn by Rimmer in 2006.
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LTC Christmas and Lanston Fleurons
LTC Christmas features over 80 nostalgic holiday images. And deck your layouts with boughs of LTC Holly, a festive set of borders. The Lanston fleuron sets were made famous by in the 1920s by Bruce Rogers who found endless ways to make fresh compositions with just a few ornaments.
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LTC Tourist Gothic
This Lanston Monotype adaptation of Modern Condensed Gothic (a design from the late 1800s) includes some rounded alternate caps, inspired by sign painter’s letters, designed by Sol Hess in 1928. The Pro version contains all cap styles, Central European characters, a full set of fractions, and other OpenType features.
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Fonts used in title graphic: FF Meta Serif and FF Meta.
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