Centaur shows some of the irregularities of early type compared to later designs. The dots of the i and j are very visibly shifted to the right, a feature of Jenson's original design. The horizontal stroke of the 'e' is slanted, not exactly horizontal as came to be the norm in print. On the other hand, while based on study of Jenson's work, Centaur is a deliberately loose imitation, more slender (especially in the serifs) than Jenson's original. It also modernises Jenson's two-way serifs on the top of the 'M' in favour of one-way serifs. In addition, the italic capitals slope in the modern tradition, which was established after Arrighi's time in the later 16th century. Monotype advisor and historian of printing Stanley Morison, who was influential in Monotype's series of revival designs of the 1920s and 30s, described Centaur in his book "A Tally of Types" as "a freehand emphasis of the calligraphic basis of the original" and its modernisation "a concession to contemporary sense". Sebastian Carter calls it "an imaginative recreation".