used only for The Creaking Stair by Elizabeth Coatsworth, never released, Linotype), Dwiggins's take on Bodoni Winchester Roman + Italic + Winchester Uncials + Italic (1944–48, hand-cast by Dwiggins, not released by Linotype; the Roman was later digitized as ITC New Winchester) Stuyvesant + Italic (c.1949, used for only a few books, Linotype, never released), based on type cut by Jacques-François Rosart in Holland c.1750. Eldorado + Italic (1950, Linotype; revived by Font Bureau in the 1990s in three optical sizes), based on types cut by Jacques de Sanlecque the Elder used by Antonio de Sancha Falcon + Italic (developed 1944 / released 1961, Linotype), a "sharp-finished old-style" serif book typeface Experimental 63 (c. 1929–32, never released), a humanist modulated sans-serif prefiguring Optima by 25 years, unknown to Zapf before 1969 Experimental 267D (not released), intended as an answer to Monotype’s Times New Roman, but ultimately abandoned in favor of licensing Times itself. Other fonts, inspired by his various lettering projects, have been created after his death, although these were not authorised by Dwiggins in his lifetime: Dossier (2020, by Toshi Omagari for his Tabular Type Foundry; based on several unfinished typewriter font designs for Underwood, Remington and IBM) Dwiggins Deco (2009, by Matt Desmond for MadType; based on a modular alphabet of geometric shapes made by Dwiggins in 1930 for American Alphabets by Paul Hollister) P22 Dwiggins Uncial (2001, by Richard Kegler for International House of Fonts; based on uncial calligraphy by Dwiggins for a 1935 short story) P22 Dwiggins Extras (2001, by Richard Kegler for International House of Fonts; a set of decorations based on stencil and woodblock designs used by Dwiggins) Dwiggins 48 (a digitized set of initial capitals originally created by Dwiggins at 48-point size for the Plimpton Press) Mon Nicolette (2020, by Cristóbal Henestrosa and Oscar Yáñez for Sudtipos; a significantly expanded revival of Charter in two optical sizes, complete with cursive capitals based on sketches by Dwiggins and a font of “Tuscan” initials like those accompanying Charter in printed proofs) Marionette (2021, by Nick Sherman for HEX; based on sketches from 1937 illustrating Dwiggins's “M-Formula”) A trick used by Dwiggins to create dynamic-looking letter shapes was to design letters so the curves on the inside of the letter do not match those on the outside, creating abrupt changes in curves. This intentional irregularity was inspired by the difficulty of carving marionettes for his puppet