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Daniel had a huge amount of work for the finale on his shoulders due to it being a musical.
The end of the episode originally featured Twilight singing about her new wings to the tune of the show's theme.
Everyone on the show wanted it to be a 2 part episode (if not more!), but they were very happy with the outcome and how they handled the challenge of such a plot-heavy episode with music. When asked, Daniel Ingram most wants to do a song with Discord or Luna out of all the characters that don't have songs. Tara Strong doesn't sing Twilight because she lives too far away; it's critical to have singers nearby for any changes.
He makes the demos sound as close to production as possible for the sake of pitching them to Hasbro. Hasbro wants to do an official soundtrack of the songs and the background music, but they have a lot on their plate, with legal issues and royalties possibly making it not profitable. Hasbro loves music in their shows, and gives him a generous budget to make the pony songs we love happen. He says songs are like a puzzle, fitting the pieces into specific time slots while still conveying the full message.
They really appreciate Will Anderson even more after working the background scores for the finale.
Almost in every case a song is specifically written and used for each show, though another show he worked on with a rejected song did sneak into a non-pony project. If he had an unlimited budget, he would love to do a song where every single pony sings, maybe about Ponyville or Equestria. Daniel can't listen to non-remixed songs just like the writers can't read fanfic, but he's really excited for the day when he can finally check it all out. His advice to those looking to break into the music scene: collaborate with other people and network to get your name out there. Keeping track of all the relationships and how everypony helped each other get their cutie marks back got so confusing, he and Jayson had to draw a map complete with connecting lines. He has freedom to change what he wants to make a song work, but he usually sticks with what they give him.


All in all, Daniel Ingram gave a great panel and was really amazing about answering everyone's questions as best he could. Mark founded Mark Simonson Studio around 2000, and describes himself as a freelance graphic designer and type designer. For example, Daniel originally wanted to look into how the mane six's cutie marks changing changed history, complete with a song! At first, there was talk of making episode 12 a musical, as Daniel worried about making such a story-heavy episode mesh in tone with how happy the songs tend to be. This changed as the show went on, obviously, but it's interesting to imagine the show having that much less singing in it. From his CV: Early in my career I worked mainly as an art director on a number of magazines and other publications including Metropolis (a Minneapolis weekly, 1977), TWA Ambassador (an inflight magazine, 1979-81), Machete (a Minneapolis broadsheet, 1978-80), Minnesota Monthly (Minnesota Public Radio's regional magazine, 1979-85), and the Utne Reader (1984-88).
This has always been my favorite part, so in 2000 I opened my own shop specializing in lettering, typography and identity design.
Mostra (2001): based on a style of lettering often seen on Italian Art Deco posters and advertising of the 1930s. Its updated version is Anonymous Pro (2009-2010), a TrueType version of Anonymous 9, which was a freeware bitmap font developed in the mid-90s by Susan Lesch and David Lamkins. It was designed as a more legible alternative to Monaco, the mono-spaced Macintosh system font. The surviving people from Filmotype (later Alphatype) have not been able to tell us who designed this gem, so we have no record of the designers intentions.
Released in the early 1950s, it seems somewhat inspired by the work of Lucian Bernhard (Bernhard Tango, 1934) and Imre Reiner (Stradivarius, 1945).
It would be better described as a stylized italic, similar to Bodoni Condensed Italic or Onyx Italic, with swash capitals.
Bookmania (2011) is a revival of Bookman Oldstyle (1901) and the Bookmans of the 1960s, but with all the features you would expect in a modern digital font family.



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