Marian, in her imagination, visualizes the classics of the typographic canon reinterpreted for the contemporary context. Among these classics are names such as Garamond, Granjon, van den Keere, Kiš, Fleischmann, Fournier, Baskerville, Bodoni and Austin, all redesigned and resurrected. However, it is important to note that these redesigns do not constitute mere recreations or exact interpretations of the historical models. Instead, they are characterized by simplifying the fundamental forms of these models, stripping them of superfluous elements. In this way, these nine serif typefaces and one Blackletter are reduced to their essential structure. This reduction process, while eliminating the original essence of the typefaces, preserves both their vitality and their intrinsic essence.