Since the early 19th century and the appearance of latin sans serifs, structure and proportion were explored and combined in many ways before being solidified into canon. Mier’s shape, structure, and contrast relate equally to both geometric and grotesque canons. A few key glyphs vary (J, M, a, j, t, u, 6, 9, &), forming Mier A and Mier B, in order to highlight this duality.