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Canadian Charter of Rights and Freedoms

Contributed by Ian Hooker  on Dec 21st, 2025. Artwork published in .

3 Comments on “Canadian Charter of Rights and Freedoms”

  1. The credits for this document are somehwat disputed, see the comments to a 2011 entry at the Nor Collection. Some of the confusion might have to do with the different roles of design and typesetting, and possibly also the various editions.

    David B. Berman claims it was typeset by David Berman Communications. On their website, they state:

    We chose Carl Dair’s Cartier typeface, at the time the most prominent Canadian-designed typeface, having been commissioned by the Governor-General as a celebration of Canada’s centenary in 1967. We set that job on our Berthold Alphatype phototypesetting equipment […]

    The accompanying photo depicts the later version in Raleigh, though.

    Rod McDonald counters:

    The Canadian Charter of Rights was typeset at Mono Lino Typesetting Company in Toronto. The typeface is Cartier designed by Carl Dair and released in 1967. Mono Lino had exclusive rights to the face in Canada. I set the headings for this job and the body was set on a Linotype VIP photo typesetter.

    And Richard Sauvé adds, supported by Brian Fallak:

    This charter was designed by Bob Herrera or George Baynes from BB&H in Ottawa. The studio was located in a heritage house on 155 Mc Laren street. At the time I was a young Graphic Artist. I did the final (mechanical) artwork. If my memory is right the parliement building drawing was from a series of beautiful architectural plan from Carleton University…. bring memory back

  2. In 2017, Nick Shinn made a restoration of Cartier, as his (unofficial) Canada 150 project. The specimen pdf for this digital typeface named Dair has an essay titled “In Search of Cartier” in which Shinn traces the history of Carl Dair’s design and its various versions and interpretations, including Raleigh and Rod McDonald’s 2000 elaboration, Cartier Book.

    Illustration from Nick Shinn’s “In Search of Cartier” with a visual comparison of the letter e in six versions (rearranged in two columns for more compact proportions)

  3. Thank you, Florian, for researching and documenting another fascinating bit of typeface history!

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