The 19th-century French Clarendon, with its unorthodox reversed stress, never achieved the versatility of its Victorian siblings: the slab-serif Antique and the sans-serif Grotesque. In Trilby, David Jonathan Ross reined in this topsy-turvy style, cultivating its formal essence. Unburdened of excess ornamentation, Trilby transcends mere novelty as a wholly useful contemporary design with offbeat charm and subtle wit; FB 2009
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