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</html>";s:4:"text";s:8952:"There's enough for a book just about the b, d, p, and q of Gill Sans", "Sample page of Eric Gill's "Gill Sans" from The Fleuron, 1928", "Innovative Industrial Design and Modern Public Culture: The Monotype Corporation, 1922–1932", "William Addison Dwiggins: Jack of All Trades, Master of More than One", "Eric Gill got it wrong; a re-evaluation of Gill Sans", "Book of the Week: The Ditchling Community", "Riscatype 028029: Gill Sans specimen booklet 1938", "Riscatype 0030: Gill Sans specimen book 1938", "Kayo – also known as Gill Sans Ultra Bold", "Royal System by Paul Cadovius logo and advertising", "The Versatile Gill Family of Type Faces", "The design of faces for 'Monophoto' film matrices", "@pauldhunt Gill Sans retired the trophy for "Worst Digital Adaptation of an Okay Foundry Type," with Bembo & Centaur close behind", "Monotype releases new Eric Gill collection", "How Monotype Remastered Eric Gill for the 21st Century", "Why we're not joining in the celebration of typographer Eric Gill", "Monotype remasters classic Gill typeface for digital age", "Nenn mich Musik – The Düsseldorf Düsterboys", "Railway Station Signs. [184][185], More loosely, Syntax by Hans Eduard Meier is similar in some ways. [120] It was also used by London Transport for documents which could not be practically set in Johnston. ". 1340167 in the US) and therefore is not eligible to be used to name any derivative font. [171][172], The category of humanist sans-serif typefaces, which Gill Sans helped to define, saw great attention during the 1980s and 1990s, especially as a reaction against the overwhelming popularity of Helvetica and Univers in the 1960s and 1970s. Gerry Leonidas of the University of Reading, a leading expert on the history of Greek printing, has criticised Gill Sans' Greek characters, at least in versions up to 2002, as "seriously compromised" and unidiomatic, although he noted that it was nonetheless widely imitated around the 1950s. [37][125] As an example of this trend, Jock Kinneir and Margaret Calvert's corporate rebranding of BR as British Rail in 1965 introduced Helvetica and Univers for printed matter and the custom but very similar Rail Alphabet for signage, and abandoned the classical, all caps signage style with which Gill Sans is often associated. The characters were drawn on paper in large plan diagrams by the experienced drawing office team, led and trained by Pierpont and Fritz Steltzer, both of whom Monotype had recruited from the German printing industry. Gill's biographer Malcolm Yorke has described it as "the essence of clarity for public notices". [156] Some old Express Lift buttons also use the font. A basic set is included with some Microsoft software and macOS. For the average computer user, this may not be as world-changing as it is for designers, art directors, and other creative professionals—but in the end, it offers more options for everyone. Could be combined with Gill Sans Regular printed in a different colour to achieve a shadowed effect. When using Gill Sans, keep in mind the above-mentioned sensibility. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. According to Rhatigan and other sources, by the end of the metal type period Gill Sans had been released in the following styles (not all sold at the same time): Monotype offered Gill Sans on film in the phototypesetting period. [169][170] Another little-known follower was the NEN 3225 standard lettering, a project by the Dutch Standards Institute to create a set of standardised lettering for public use in the Netherlands, comprising a sans-serif similar to Gill Sans and a companion serif font drawn by Jan van Krimpen. See also Gill Kayo, Gill Sans Bold Extra Condensed, Gill Display Compressed, Gill Sans Infant, Gill Sans Light Shadowed, Gill Sans Shadow Line, Gill Sans Shadowed, Gill Sans Shadow 338, Gill Sans Cameo, Gill … As a young artist, Gill had assisted Johnston in its early development stages. BBC Font. Two of the most obscure members of the Gill Sans family shown on 1930s books: left: Gill Sans Shadow Line, not available in an official digitisation until 2015, and right: Gill Sans Cameo Ruled, yet to be officially digitised. [59], Gill broached the topic of the similarity with Johnston in a variety of ways in his work and writings, writing to Johnston in 1933 to apologise for the typeface bearing his name and describing Johnston's work as being important and seminal. 2 (1936, series 408), Gill Sans Bold Extra Condensed (1937, series 468), Gill Sans Condensed (1937, series 485, sometimes called Medium Condensed), Gill Sans Bold Condensed Titling (1939, series 525), Gill Sans Extra Bold Titling (1939, series 526), Gill Sans Light 5pt (1958, series 662, sometimes called Light No. However, the name "Gill Sans" remains a Monotype trademark (no. Popular with advertisers, this allowed end-users to cast their own type at a very competitive price. The designers sought to harmonize some of the face’s idiosyncrasies while preserving the original character. [19][197][198][199] This makes it legally permissible to create alternative digitised versions of Gill Sans (although not necessarily of later Monotype additions to the font such as the book weight and Euro sign). [2] As described above, Linotype began work in 1955 on a Gill Sans competitor, intended to be named 'Magnus'. [200][201], No complete, direct open-source Gill Sans clone has yet been released. In the hot metal era different font sizes varied as is normal for metal type, with wider spacing and other detail changes at smaller text sizes; other major sans-serif families such as Futura and Akzidenz-Grotesk are similar. The titling capitals of Gill Sans were first unveiled at a printing conference in 1928; it was also shown in a specimen issued in the Fleuron magazine edited by Morison. Standard Lettering", "The Univers of Helvetica: A Tale of Two Typefaces", "Frederick Lambert: Graphic Design Britain", "Reviving the Classics: Matthew Carter and the Interpretation of Historical Models", "100 Years of Poetry: Designing the Magazine, 1912–2012", "BBC Commissioning: Credits and branding", "StudioSmall on its ten-year partnership with fashion designer Margaret Howell", "Letters that sell: a typographic history of UK department store John Lewis", "Church of England Common Worship Prayer Book, 2000", "Tommy Hilfiger launch campaign and identity", "Bloc Party used Gill Sans MT in its logo from 2004 to 2015. 231) sometimes used. Mac or Windows: Which is Better for Graphic Designing? Change ), You are commenting using your Google account. This makes it a bit friendlier and more artistic looking. One of the most extensive is Gillius, a derivative by the Arkandis Digital Foundry project and designer Hirwen Harendal, which includes bold, italic, condensed and condensed bold styles. [193][194] Monotype itself released Joanna Sans in 2015, as a screen-optimised sans-serif font intended to complement (but not exactly match) Gill's serif design Joanna. [29] The design was begun in 1932;[19] some of the first drawings may have been prepared by Gill's son-in-law Denis Tegetmeier. [25] Gill wrote that "it was as a consequence of seeing these letters" that Morison commissioned him to develop a sans-serif family. It covers PDF, fonts, file formats, design and anything else that catches my interest. [6] The "a" and "g" in the roman or regular style are "double-storey" designs, rather than the "single-storey" forms used in handwriting and blackletter often found in grotesque and especially geometric sans-serifs. Is it any surprise that Gill Sans was first used for railway signage at its release in 1928? [2][3][4][5] For example, compared to grotesque sans-serifs the "C" and "a" have a much less "folded up" structure, with wider apertures. [69] Some of the decorative versions may predominantly have been designed by the Monotype office, with Gill examining, critiquing and approving the designs sent to him by post. [21][177][178] Rowton Sans is inspired by Gill but has a nearly upright italic, similar to that used by Gill in his serif font Joanna. [75][76] Harling reviewed it as "dismal" and sarcastically commented that "typographical historians of 2000AD (which isn't, after all, so very far away) will find this odd outburst in Mr Gill's career, and will spend much time in attempting to track down this sad psychological state of his during 1936. Some say that when you really look at the individual letters, some seem mismatched or out of place, however the type seems to be cohesive and successful as a whole so it is not that big of a deal. [19] A book weight was created in 1993 in between the light and regular weight, suitable for body text, along with a heavy weight. Gill Sans, his most popular typeface, was as ubiquitous in England as Futura was in Western Europe for many years, and Helvetica is today. ";s:7:"keyword";s:14:"gill sans uses";s:5:"links";s:4414:"<a href="http://digiprint.coding.al/site/page.php?tag=41e064-refrigerate-lavender-seeds">Refrigerate Lavender Seeds</a>,
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