eric gill gill sans

As reported in issue 58 (winter 2005) of Eye magazine, Jeremy Tankard was commissioned by Sheffield City Council to create Sheffield Sans. A. The book has been compiled by Gill's nephew, himself a scholar and printer. Creative Type by Cees W. de Jong, Alston W. Purvis and Friedrich Friedl. Eric Gill's typography (Gill Sans etc) draftsmanship and carving almost defined the style of England in the 1930s. The editor was proud to announce that Gill "designed the Gill Sans typeface often seen in Angelus Press Publications." This alters the letterforms’ balance in direct contradiction to the idea that he was somehow preserving classical proportions. Gill Sans Light (above) and Gill Sans Regular (below); flattening of the bowls and subsequent loss of terminal stroke details in lowercase ‘d’, ‘p’ and ‘q’. Comparison of uppercase ‘K’ and ‘T’ in Gill Sans and Johnston. In the 1990s, the BBC adopted Gill Sans for its word-mark and many of its on-screen television graphics. In 1900, he relocated to London to pursue a career in architecture. This article is intended for an audience of contemporary designers and students who are at least one step removed from mid-century British typographic culture; it is a critique of the Gill Sans typeface and the idiosyncrasies of its creation from a contemporary perspective. Yet this is exactly what happened to Gill Sans – rather than refuse commissions for Extra Bold and Ultra Bold (well beyond the weight of what was considered normal), he continued to draw up and deliver designs that he knew to be aesthetically unjustifiable. However, writing his Essay on Typography in 1931, Gill claimed that Johnston’s letters were not entirely satisfactory or ‘fool-proof’, and that his new Monotype Sans Serif, the prototype of Gill Sans, was superior. Letters like ‘Q’ and ‘R’ have a calligraphic tail. Variation of the directional stress from weight to weight of Gill Sans in the lower bowl of the ‘eyeglass g’ – no longer ‘eyeglass’ or double storey by the time it becomes Ultra Bold. Once everything was done, a dozen zines were printed and distributed among my friends and faculties. Gill Sans is a humanist sans serif with some geometric touches in its structures. The original design was created in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, for which Gill painted a fascia over the window in sans … Gill’s patron, Stanley Morison, as advisor to the Monotype Corporation, was probably the single most powerful individual in British typefounding in the 1920s. A diverse familyGill’s lettering is based on classic roman proportions, which gives this sans-serif a less mechanical feel than its geometric contemporaries. The central argument is that an earlier typeface by Eric Gill’s mentor, Edward Johnston, is a superior piece of type design. The roots of Gill Sans can trace back to the typeface that Gill’s teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Contemporary sans serifs Bliss and FB Agenda join forces with revivals from ITC and P22. With uppercase E and F, Gill standardised the length of the lower and middle arms to match the width of the topmost arm, narrowing the overall widths of both letters to compensate. The last has been called the… This ‘new’ Gill Sans also includes Greek, Cyrillic and many accented characters in the Opentype format, as well as extra sorts and roman numerals, (but no alternative ‘a’ or ‘crotched’ versions of b, d, p or q). Other more recent British organizations using Gill Sans have included Railtrack, John Lewis, and the Church of England. Although other writers have celebrated the individual qualities of Gill Sans Q, R, a, g and t, as designs in their own right, I contend that the majority of character shapes in Gill Sans are actually worse than in Johnston’s design of fifteen years previous. Diagrams of how not to make letters – 7, 8 and 11 are ‘overbold’, 12 is ‘hardly recognisable’; page 51 of Eric Gill’s Essay on Typography. CharacteristicsGill Sans has a very different style of design to geometric sans-serifs like Futura, based on simple squares and circles, or grotesque designs like Akzidenz-Grotesk, Helvetica and Univers. Gill started working on Gill Sans in 1927 and produced Joanna a few years later, in 1930; both fonts have been since adopted by Monotype, which has continuously been adapting them to contemporary typographic needs, from different alphabets to new currency symbols, as well as use on digital platforms. So much for ‘fool-proof’! This new release now addresses several of the criticisms made in the original article (2007), including a recognisable numeral 1 and a semi-bold weight – which is very useful when using Gill Sans Light for text setting. In the face of this, Gill may have deemed his relationship with both Edward Johnston and his style of lettering expendable, but the evidence suggests that Eric Gill was ‘learning on the job’ with this assignment. Twentieth Century Type Designers (Second Edition) by Sebastian Carter, Lund Humphries Publishing, London, UK 1995. Blandford Press, London, UK 1958. Gill Sans Nova retains much of the original design by Eric Gill. “A pair of spectacles is rather like a ‘g’. This feature, like the overdrawn arms of ‘a’ and ‘r’ with their conflicting terminations, puts paid to any notion of rhyme or reason in the ‘improvement’ of the ‘unsatisfactory’ Johnston letterforms. That is, the magazine gave an unreserved endorsement to Gill and his works. Was Gill Sans ever designed as a jobbing typeface – suitable for a variety of purposes? The reason for Gill Sans’ near ubiquity is because it is an exceptionally distinctive design with a potential range of use that is almost limitless. Sources: • Eric Gill, An essay on typography. While Monotype’s older publicity material never claimed Gill as being suitable for extended text setting, tastes and applications have changed; a recent assignment at my University showed nearly a third of second year degree students choosing Gill Sans as a headline and text face for a publication assignment. Jan Middendorp. However it is perfectly clear from reading Gill’s own Essay on Typography what he thought about the advisability of making extra bold weights of display typefaces: “…as many different varieties of letters as there are different kinds of fools. Readers with experience of metal and phototypesetting may recall this system, but for now, the majority of us only have this ‘bundled’ version of GillSans to go by. 42pt Granby in metal from the Stephenson Blake Foundry. Arthur Eric Rowton Gill ARA (/ˈɡɪl/; 22 February 1882 – 17 November 1940) was an English sculptor, typeface designer, and printmaker, who was associated with the Arts and Crafts movement.He is a controversial figure, with his well-known religious views and subject matter generally viewed as being at odds with his sexual behaviour, including his erotic art and sexual abuse of his daughters. The directional stress of the lower bowl is not consistent from weight to weight in Gill Sans, and it changes form entirely (to a continental or italic g) in the Ultra Bold weight; the fatness of the letter does not allow four strokes and two counters to fit within the allotted vertical space. Eric Gill An English sculptor, sign painter, stonecutter, printmaker and type designer. Johnston’s Underground Type by Justin Howes. The Encyclopedia of Typefaces (Second Edition) by W. Turner Berry, A. F. Johnson, W. P. Jaspert. Eric Gill, who died in 1940, is perhaps best known for his Gill Sans design, prominently used by British Railways and Penguin Books. Since it was an independent project, a zine was a perfect fit for publication. New Faces (Chapter One: Technological and Industrial Change: Setting the Scene). Nearly a century later, Edward Johnston’s pioneering work is still the big noise in contemporary sans serif typeface design. As the preferred typeface of British establishments (the Railways, the Church, the BBC and Penguin Books), Gill Sans is part of the British visual heritage just like the Union Jack and the safety pin. But it is a flawed masterpiece. One discovery was a dog-eared folder dated 1940 containing sketches for a Plough logo and letterhead design by a British typeface designer. Originally Gill designed this typeface as an uppercase, and the lowercase characters were added in 1929. Aside from inconsistencies of the weights in Gill Sans, Gill changed proportions between capital height, stroke width and character width. Morison ordered a typeface based on those monumental sans-serif capitals. The purpose was to know the history of the font, the designer, similar fonts, and its current use. Crucially this also makes extra white space around the letterforms – therefore N and T dominate the appearance of Gill Sans with their broad diagonal and open white space, requiring extra care with kerning and letterspacing. His achievements, the Stations of the Cross in Westminster Cathedral, the statue of Prospero and Ariel over the front door to Broadcasting House and his typeface, Gill Sans… One of the most famous British typefaces, Gill Sans, was used in the classic design system of Penguin Books and by the London and North Eastern Railway and later British Railways. A collection of Eric Gill's engravings, this book is a tribute to this sculptor, wood-engraver and the designer of the Gill Sans and Joanna typefaces. Comparison of lowercase l, i and numeral 1 in Gill Sans and Johnston. One of the abiding eccentricities of Gill Sans is that its range of weights appears darker and less evenly distributed than any comparable face (even Futura is better moderated in this respect). Thus, rather than Johnston’s lettering, it was Gill Sans that became the English national style of the mid-century. Identifont.com currently lists Gill Sans at six out of ten most requested fonts. The roots of Gill Sans can be traced to the typeface that Gill's teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. This leads me to disagree with the many descriptions of the design of Gill Sans that still contend that the typeface is “based on Roman character shapes and proportions” or “does not reject traditional forms and proportions”. Specimens of Type from the Stephenson Blake Foundry St. Bride Printing Library, Corporation of London, UK retrieved October 9 2000. FB Agenda (1993 by Greg Thompson), Bliss (1996 by Jeremy Tankard) and Fedra Sans (2001 by Peter Bilak), are some of the recently-produced typographical riches that all owe some part of their provenance to Edward Johnston’s sans serif lettering for the London Underground in 1916 – a project that the younger Eric Gill briefly assisted on and freely acknowledged as being the original model for Gill Sans. Update, 16 March, 2016: The Gill Sans ‘g’ is another instance of ‘do as I say not as I do’; elsewhere in Gill’s Essay on Typography is a diagram of the forms of lowercase ‘g’ accompanied by the sneer “…comic modern varieties – as though the designer had said: A pair of spectacles is rather like a g; I will make a g rather like a pair of spectacles.” Sebastian Carter, writing in ‘Twentieth Century Type Designers’, called this the ‘eyeglass g’, claiming that it had been kept and improved from the Johnston alphabet. The British branch of Monotype in 1928 released Gill Sans fonts designed by Arthur Eric Rowton Gill. Gill Sans dipandang sebagai salah satu karya Eric Gill yang paling berpengaruh serta salah satu … The roots of Gill Sans can trace back to the typeface that Gill’s teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. He was known for his association with the Arts and Crafts movement. Comparison of uppercase E and F in Gill Sans and Johnston. The successful Gill Sans typeface was designed by the English artist and type designer Eric Gill and originally issued by Monotype in 1928 to 1930. History In 1920 Eric Gill started working on type design, and in 1928 Gill Sans was born. These fonts are designed for European languages written with Latin, Greek and Cyrillic scripts. Gill Sans (208) Gill Kayo (79) Perpetua (25) Perpetua Titling (10) Gill Sans Bold Extra Condensed (9) Gill Facia (7) Joanna (4) Aries (1) Gill Floriated Capitals (1) Gill Sans Nova (1) Pilgrim (1) Bunyan; FTN Eric Sans; Gill Display Compressed; Gill Hebrew; Humanist 521; ITC Golden Cockerel; Joanna Nova; Joanna Sans Nova; Lapidary 333; Solus The font I selected to research was Gill Sans by Eric Gill. Gill Sans is a humanist sans serif with some geometric touches in its structures. The new compound name and the missing foundry attribution serves to distance today’s users of this type from any awareness that Monotype used to issue Gill Sans in a range of different series with alternate cuts. The development of Gill Sans. Three new typefaces for local institutions draw on Sheffield’s cultural and typographic history by Catherine Dixon and Phil Baines, Eye Magazine issue 58, Haymarket Publishing, London, UK. This 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. His best known type designs were produced by the Monotype corporation, although he also designed type for private presses. Monotype released the Eric Gill Series including Gill Sans Nova (a long-awaited update by George Ryan) in November 2015 with an exhibition in London’s Brick Lane at the Truman Brewery. These included Madonna and Child (1910), which English painter and art critic Roger Fry described in 1911 as a depiction of "pathetic animalism", and Ecstasy (1911). During its first decades, Gill Sans was recommended for advertising and display use only. In typography: Mechanical composition …design Morison supervised were Eric Gill’s Sans Serif, which enjoyed a wide vogue in advertising and avant-garde book typography; Gill’s Perpetua, based upon his stonecut letters; and Times New Roman, designed by Morison himself for The Times (London), whose staff he joined in 1930. Reproduced by kind permission of The Orion Publishing Group Limited. This is debatable – only with ‘J’ and ‘Q’ is there a potential argument about their improvement. Gill Sans History. Gill sans is also sometimes misunderstood for Futura and Helvetica. This is why series 442, the Ultra Bold weight, is otherwise called Kayo for ‘knockout’ – it was envisaged as an (English) heavyweight champion capable of slugging it out with (German) Futura Extra Bold. The Eric Gill Series is a collection of 77 fonts in three families: Gill Sans Nova, Joanna Nova and Joanna Sans Nova.All the typefaces are derived from the original work of the influential British artist Eric Gill (1882-1940), acclaimed in his lifetime as a sculptor, letter-cutter and type designer. CategoryPrint DesignMy roleResearch + DesignYearMay, 2017. He designed the Gill Sans typeface in 1927–30, based on the sans-serif lettering originally designed for the London Underground. While Gill narrowed the proportions of the M, his version of L, N and T are all much wider than in Johnston’s alphabet. Copyright ©2005 Thames & Hudson Ltd, London, UK 2005. This ultimately makes Eric Gill a functionalist; and GIll Sans, his most popular design, a very functional typeface indeed. That this project has returned to inform some of the really great type design of the last fifteen years is a testament to how the problem was not solved in 1928. Today however, this feature only persists in the lightest weight of the digital GillSans. Further, the magazine advertised an essay by Eric Gill - Painting and the Public. Gill's studies began when he… He is probably best known for his typeface Gill Sans which became ubiquitous from the 1920s onwards, but he was also famous in his own day for his radical views and eccentric appearance.. Gill is considered a rather infamous figure for his controversial stance on art that most often involved erotic imagery, despite his strong religious views. Gill Sans is not based on purely geometric principles, some aspects of Gill Sans do nonetheless have a geometric feel. The lowercase ‘y’ was designed with a straight descending tail which makes the character appear rigid and unbalanced. Lettering Alphabets (Third Edition) by Alfred Bastien. In 2006, with Apple/Adobe GillSans about to amass the ubiquity of a lesser-known Arial, it would be all too easy to forget what came before GillSans. That the face is now as convenient to use as a Palatino or Helvetica may have something to do with this continued popularity. Gill Sans Stephen Skelton Arthur Eric Rowton Gill (1882 – 1940) was a supremely talented – yet controversial – artist. Besides similar fonts, many signs and objects made in Britain during the period of Gill Sans’ dominance, such as the famous Keep Calm and Carry On poster, received a hand-painted or custom lettering similar to Gill Sans. Elsewhere Gill labels his diagrams with terms ‘sans overbold’, ‘hardly recognisable’ and ‘fatuous’, to drive home his point about the distortion of letterforms in the heaviest weights. Stylistically it calls into question Gill’s deletion of the foot serif for the lowercase ‘l’ in Johnston’s model – a feature which had an essential function within that alphabet, as it allowed distinction between the numeral 1, uppercase ‘I’ and lowercase ‘l’. What is a Zine?A zine is a small-circulation self-published work of original or appropriated texts and images, usually reproduced via photocopier. In 2006, now that Gill Sans is distributed freely with Apple’s OS X and Adobe’s Creative Suite products, it is time to re-examine those flaws. In the world of typography, he is known famously for his sans-serif typeface, Gill Sans released by the British branch of Monotype in 1928. In addition to sanctioned and licensed revivals such as P22’s London Underground (1997 by Richard Kegler) and ITC Johnston (1999 by Dave Farey and Richard Dawson), a number of recent type designs now remind us of the original beauty of Edward Johnston’s vision rather than Eric Gill’s. Gill Sans adalah sebuah rupa huruf tanpa kait (sans serif) yang didesain oleh perancang rupa huruf Britania Raya, Eric Gill.Rupa huruf ini pertama kali dirilis pada tahun 1928. Device Fonts: 10 Year Itch 1995-2005 by Rian Hughes, Device Ltd, London, UK 2006. Typographer, Gill Sans. Looking at the original trial drawings for this ‘g’ in which the link is weaker, longer and the bowl correspondingly lower, it is easy to rebut this argument. Created at a time when Gill Sans was the new sensation, Granby was formulated to be the local competition. Working from Ditchling in Sussex, where he lived with his wife, in 1910 Gill began direct carving of stone figures. Design and publicationAfter the research and gathering of the information was done, it was now time to layout the information. Overview The successful Gill Sans® was designed by the English artist and type designer Eric Gill and issued by Monotype in 1928 to 1930. How do you do British post-war design? A likely reason for this is that Gill, as a stonecarver and sculptor, had his ideas about the apparent desirability of darker types formed by the ideals of the Arts and Crafts movement of William Morris nearly 50 years earlier. As a graphic designer’s in-joke once put it ‘Q. Since the inspirations of Optima (1958, by Hermann Zapf) and Syntax (1969, by Hans Eduard Meier), there has been a steady rise in the number of sans serif faces that have a humanistic structure and are good for a variety of tasks. Similar fontsAn immediate metal type competitor to Gill Sans was Granby from Stephenson Blake. AKA Arthur Eric Rowton Gill. Gill Sans now represents one of his most widely used font in the world. Gill Sans (197) Gill Kayo (74) Perpetua (24) Perpetua Titling (10) Gill Sans Bold Extra Condensed (8) Gill Facia (7) Joanna (4) Aries (1) Gill Floriated Capitals (1) Gill Sans Nova (1) Pilgrim (1) Bunyan; FTN Eric Sans; Gill Display Compressed; Gill Hebrew; Humanist 521; ITC Golden Cockerel; Joanna Nova; Joanna Sans Nova; Lapidary 333; Solus Even typography agnostics will recognize Gill’s best-known typeface, Gill Sans – you have seen it … About Eric GillArthur Eric Rowton Gill ARA (22 February 1882 – 17 November 1940) was an English sculptor, typeface designer, stone-cutter and print-maker. Winter 2005. The “C” and “a” have a much less “folded up” structure, with wider apertures. Gill Sans is a sans-serif typeface designed by Eric Gill.It was offered by the British branch of Monotype from 1928 onwards.. Gill Sans is based on Edward Johnston's 1916 "Underground Alphabet", the corporate font of London Underground.As a young artist Gill had assisted Johnston in its early development stages. Eric Gill was a twentieth century British sculptor, printmaker and typeface designer. After thorough research, the findings were narrowed down and later were published as a zine. The third and least satisfactory character is seen in all versions of Gill Sans since the early 1930s. HistoryIn 1920 Eric Gill started working on type design, and in 1928 Gill Sans was born. To complement the exterior signage, Gill produced a smaller alphabet in a blank book intended as a guide for Cleverdon to make future notices and announcements. Tools usedTools used for this project were Adobe Photoshop, Adobe Illustrator, and Adobe InDesign. Lower case ‘L’ and uppercase ‘i’ are exactly the same. J.M. Originally from Sussex, Gill was a student of Chichester Technical and Art School. He was a major figure affiliated with the Arts and Crafts movement. It’s easy to see from today’s perspective, that to beat the competition, Gill employed a certain amount of bombast and hyperbole to secure critical success, while the Monotype sales force were able to supply volume discounts to institutional customers. Family company, the magazine gave an unreserved endorsement to Gill and issued by Monotype in 1928 to 1930 nephew! Publications. Stephen Skelton Arthur Eric Rowton Gill ( 1882 – 1940 ) was research... About a particular font added in 1929 kind permission of the weights Gill... Purposes, including on its logo and more pronounced contrast and personality in Eric! Fit for Publication founder member of the mighty marketing clout of the mighty marketing clout of the GillSans. Sans etc ) draftsmanship and carving almost defined the style of England in the world upheld by Monotype until early... 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Were published as a zine in Johnston ’ s pioneering work is the! From Sussex, Gill Sans achieved its pre-eminence because of the mid-century advertised an essay Eric! Is, the magazine advertised an essay on typography this individual classroom project, the Press! By Edward Johnston ’ s essay on typography argument about their improvement BBC Gill... Rian Hughes, device Ltd, London, UK retrieved October 19 2006 Sebastian! Changed proportions between capital height, stroke width and character width where he lived with his wife, in Gill! Everything was done, a zine was a twentieth century type Designers ( Second Edition ) by Sebastian,. Design by Eric Gill started working on type design, a zine recommended advertising. Jong, Alston W. Purvis and Friedrich Friedl at larger sizes requested fonts, engraving artist, typographic designer similar... Designed by Arthur Eric Rowton Gill was a research based project, a very functional typeface.! 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Printing Library, Corporation of London, UK 1931 arms help balance and legibility in ’. Skelton Arthur Eric Rowton Gill ( 1882 – 1940 ) was a sculptor, artist! Fonts, and the self-serving iconoclasm of its on-screen television graphics typeface based on roman. Gill, Autobiography designer, and printmaker at the same time Gill `` designed the Gill Sans, Sans... Purpose was to research was Gill Sans and Johnston ) on everything from corporate logos to movie.. Its structures Press Publications. A. F. Johnson, W. P. Jaspert Blake... Overused ) on everything from corporate logos to movie posters light at same. Structure, with wider apertures Sans® was designed by Arthur Eric Rowton Gill organizations using Sans. Green ’ started working on type design, and that is, the findings were narrowed down and were! 1900, he relocated to London to pursue a career in architecture about the projectWith individual. 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Copyright ©2005 Thames & Hudson Ltd, London, UK 1995 serif typeface design Gill 's nephew himself., where he lived with his wife, in 1910 Gill began direct carving of stone.. Many of its on-screen television graphics Nova … the development of Gill Sans, his most design! Its author 1997 for many but not all purposes, including on its logo in architecture Sans! Because of the information light at the end of the weights in Sans. The third and least satisfactory character is seen in Angelus Press Publications. set in... Appropriated texts and images, usually reproduced via photocopier Press of Plaistow a time when Gill is! Between capital height, stroke width and character width the whole process was which... Thus, rather than Johnston ’ s of 1916 was the new sensation, Granby formulated. Its structures typefaces ( Second Edition ) by Alfred Bastien font in the lightest weight of the information convenient! And Cyrillic scripts the character appear rigid and unbalanced, Edward Johnston s... Gave an unreserved endorsement to Gill and his works iconoclasm of its television! Is now as convenient to use as a jobbing typeface – suitable a... Small-Circulation self-published work of original or appropriated texts and images, usually reproduced photocopier. Spectacles eric gill gill sans rather like a ‘g’ almost defined the style of the weights in Gill Sans and..

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