In a homage to the wildly inventive, dog-eared work of Cooper, Goudy, Koch and Weiss, Oneleigh points to their now familiar idiosyncracies, asking for acceptance of the old style at face value. In pursuit of the perfect specimen of 1920s historicism, many a recherché design was examined, curating a suite of letter forms which exhibit peculiarities that might be considered very artistic—for repurposing as postmodern typography. Shinn has complemented his larceny of history by liberally rewriting it.

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