Eric gill an essay on typography review

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We like to talk about,,, and sometimes we might post a or two. It can be seen everywhere, used (or ) on everything from corporate logos to movie posters—one that has the unusual Ultra Bold. Meanwhile, the legendary Johnston Sans typeface became available commercially for the first time in 1997 as ’s, licensed by the London Transport Museum. A advisor, Morison commissioned Gill to develop a complete font family to compete with the sans-serif designs released by German foundries fueled by the overwhelming success of. Some of these letters are not entirely satisfactory, especially when it is remembered that, for such a purpose, an alphabet should be as near as possible ‘fool-proof’… as the philosophers would say—nothing should be left to the imagination of the sign-writer or enamel-plate maker. Drawing heavily on Johnston’s work, Gill first experimented with his ‘improvements’ in 1926 when he hand-painted lettering for a bookshop sign in his hometown, Bristol. Gill also sketched a guide for the bookshop owner,, who later published the work in . The alphabet, which at the time only contained uppercase letters, was noticed by for its commercial potential. Grab our and follow us on where we post the extra bits that don't make it here.

The typeface is renowned for its between, as they were not mechanically produced from a single design (opposed to others like ). …each weight retains a distinct character of its own. The regular font has a more compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t. ’ The bold font tends to echo the softer, more open style of the light, while the extra bold and ultra bold have their own vivid personalities. The Gill Sans family ranges from  to the exaggerated  —“because every advertisement has to try and shout down its neighbors, ” Gill explains in  Essay on Typography. Gill’s lettering is based on classic roman proportions, which give the sans-serif a less mechanical feel than its geometric.

The typeface was initially recommended for advertising and headline use, but as the public got used to reading sans-serif, Gill Sans turned out to work just as well for body text. Today over Gill Sans designs are available digitally, with mainstream reach thanks to its inclusion on and. The history of Gill Sans stems from  ’s iconic typeface,, designed for the in 1913., who had studied under Johnston at London’s, later became a friend and apprentice—and even had a small role assisting in creation of the proprietary typeface. Not completely satisfied with Johnston’s work, Gill set out to create the perfect, legible typeface. The first notable attempt to work out the norm for plain letters was made by Mr Edward Johnston when he designed the sans-serif letter for the London Underground Railways.

The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. A variant called was also released 1999. is a blog about the things we see and enjoy (or sometimes hate) as designers. The font was released commercially by Monotype in 1928 as Gill Sans. While his personal life was later discovered to be rather , Eric Gill (born 1882 as Arthur Eric Rowton Gill, died 1940) was an important British ,, and typeface designer who also gave us  and (named after one of his daughters), among. Gill Sans rose to popularity in 1929 when it became the standard typeface for the (LNER), appearing on everything from to. The typeface was used in 1935 by designer on the now iconic, putting Gill Sans on bookshelves around the world. Many other notable companies (particularly in England) adopted Gill Sans as a corporate typeface by the mid-1900’s, including the, British Railways, and ultimately Monotype themselves—making the typeface Monotype's fifth best seller of the twentieth century. Originally released as metal type, over 36 derivatives emerged between 1929 and 1932—many of which were created by the Monotype drawing office (with input by Gill). Eric gill an essay on typography review.