Wikipedia

Gill Sans

carattere tipografico
Versione del 7 apr 2009 alle 14:07 di GJo (discussione | contributi) (→Bibliografia)

Gill Sans è un carattere senza grazie di tipo humanist progettato da Eric Gill.

Gill Sans
[[File:Gill Sans|frameless|center|260x300px]]
StileSans-serif
Data di creazione1926
DisegnatoreEric Gill
ProduttoreMonotype
Esempio
[[File:Gill Sans, esempio|frameless|center|260x300px]]

Il disegno originale apparve per la prima volta nel 1926, quando Douglas Cleverdon aprì la sua libreria nella città di Bristol, in cui Eric Gill dipinse un'insegna al di sopra della vetrina in caratteri bastoni che in seguito sarebbe stati conosciuti come Gill Sans.[1] Inoltre Gill delineò un design per l'editore e libraio Douglas Cleverdon[2], intended as a guide for Cleverdon to make future notices and announcements.

Gill further developed it into a complete font family after Stanley Morison commissioned the development Gill Sans to combat the families of Erbar, Futura and Kabel which were being launched in Germany during the latter 1920s. Gill Sans was later released in 1928 by Monotype Corporation.

Gill Sans became popular when in 1929 when Cecil Dandridge commissioned Eric Gill to produce Gill Sans to be used on the London and North Eastern Railway for a unique typeface for all the LNER's posters and publicity material.[3]

Gill was a well established sculptor, graphic artist and type designer, and the Gill Sans typeface takes inspiration from Edward Johnston’s Johnston typeface for London Underground, which Gill had worked on while apprenticed to Johnston. Eric Gill attempted to make the ultimate legible sans-serif text face. Gill Sans was designed to function equally well as a text face and for display. It is distributed as a system font in Mac OS X and is bundled with certain versions of Microsoft products as Gill Sans MT.[4]

Caratteristiche

The uppercase of Gill Sans is modelled on the monumental Roman capitals like those found on the Column of Trajan, and the Caslon and Baskerville typefaces.

The capital M from Gill Sans is based on the proportions of a square with the middle strokes meeting at the centre of that square. The Gill Sans typeface family contains fourteen styles and has less of a mechanical feel than geometric sans-serifs like Futura, because its proportions stemmed from Roman tradition. Unlike realist sans-serif typefaces including Akzidenz Grotesk and Univers the lower case is modelled on the lowercase Carolingian script. The Carolingian influence is noticeable in the two-story lowercase a, and g. The lowercase t is similar to old-style serifs in its proportion and oblique terminus of the vertical stroke. Following the humanist model the lowercase italic a becomes single story. The italic e is highly calligraphic, and the lowercase p has a vestigial calligraphic tail reminiscent of the italics of Caslon and Baskerville. Gill Sans serves as a model for several later humanist sans-serif typefaces including Syntax and FF Scala Sans. An Infant variety of the typeface with single-story versions of the letters a and g also exists.

The basic glyph shapes do not look consistently across font weights and widths, especially in Extra Bold and Ultra Bold weights, and Extra Condensed width. However, even in lighter weights, some letters do not look consistent. For example, in letters p and q, the top strokes of counters do not touch the top of the stems in Light, Bold, Heavy fonts, but touch the top of the stems in Book, Medium fonts.

Storia

The letter 'a' was originally developed with straight tail, followed by diagonal tail (which can be seen on early specimen sheets), then the hooked tail. The diagonal tail eventually was found in Extra Bold, Bold Extra Condensed; a modified straight tail was later found in Ultra Bold.

The original Gill Sans lacked distinctions between numeral 1, uppercase I, and lowercase l, so alternate version of Gill Sans was made that included an alternate 1 that could be used for numerical setting, such as shop window prices and timetables.[5] In the Adobe version, such alternate figure is not included, even in the OpenType version of the font.

Eric Gill removed terminus endings of the vertical stroke in b, d, p and q, but Monotype drawing office revised the forms so that they were preserved in the medium weight, which can be seen on early samples of the series 262. In Gill Sans Pro, the restored endings can be found in Gill Sans Light (in d, p, q only), Bold, Heavy, Extra Bold (p only), Ultra Bold (p only), Condensed, Bold Condensed, Ultra Bold Condensed (p only), Display Bold, Display Extra Bold (p only), Display Bold Condensed, Bold Extra Condensed (d, p only), Shadowed Light (d, q only).

Gill Sans (Alt fig 1)

It is a variant with hooked 1.

Gill Sans Infant/Schoolbook

It is a variant with a design geared toward children. Changes include a hooked 1, an open-counter 4, a single-tier a, a single-story g, a curved l, and a curved-tail y.

Gill Sans Schoolbook is available in TrueType, PostScript Type 1 format. Gill Sans Infant is available in OpenType CFF format, which supports ISO Adobe 2 character set, super-, and subscript OpenType features.

Gill Sans Display

It is a variant with alternate optical size. The family includes Bold, Extra Bold, and Bold Condensed fonts. Other design changes include non-strike through dollar sign (in extra bold), hooked 1.

Gill Outline

Also called the Monotype Series No. 290, it is a version with extra line around the letter.[6]

Digital version was not released.

Gill Sans Ultra Bold (series 442)

Otherwise called Kayo for 'knockout', it is the heaviest font in the Gill Sans family, which uses alternate design, and incorporates stroke contrasts.

Gill Kayo Condensed

It is a condensed version of Gill Sans Ultra Bold (Gill Kayo), designed by Letraset Type Studio.

Gill Sans WGL

It is a version supporting WGL character set. It consists of 12 fonts in light, regular, bold weights, roman and italic, and 2 designs. Only TrueType fonts were produced. However, the Greek and Cyrillic glyphs found in Gill Sans WGL were released separately in OpenType format in Gill Sans Greek and Gill Sans Cyrillic respectively.

Gill Sans Pro

It is an update to the original family by Monotype. Released in August 2005[7], it consists of 21 fonts, adding Gill Sans Book, Gill Sans Book Italic, Gill Sans Heavy, Gill Sans Heavy Italic, Gill Sans Display Bold, Gill Sans Display Bold Condensed into the family. It adds support of Eastern European characters and the hooked 1 from Gill Sans (Alt fig 1), but not Greek and Cyrillic from the PostScript and WGL fonts.

Versione Arabic

Gill Arabic started as a project while Pascal Zoghbi was working with Gill Sans in the Letter Press workshop at The Royal Academy of Arts (KABK). It is designed as Arabic type companion for Gill Sans. The finalized font is expected to have an Arabic name rather than 'Gill Sans Arabic'.

The type is based on the Arabic Naskh style with a modern look that echoes the proportions and feel of Gill Sans.

Caratteri simili

Granby from Stephenson, Blake was a contemporary variant based on Gill Sans.[8]

Utilizzo

 
Gill Sans as used by the LNER on a station running in board.

First unveiled in a single uppercase weight in 1928, Gill Sans achieved national prominence almost immediately, when it was chosen the following year to become the standard typeface for the LNER railway system, soon appearing on every facet of the company's identity, from locomotive nameplates and station signage to restaurant car menus, printed timetables and advertising posters — roles it took on nationwide for British Railways after nationalisation in 1948, until the comprehensive British Rail corporate rebranding in 1965 which used the specially designed Rail Alphabet. Other users were quick to follow, including Penguin Books' iconic paperback jacket designs from 1935, and Gill Sans became Monotype's fifth best selling typeface of the twentieth century.

The typeface continues to thrive to this day, often being held to bring an artistic or cultural sensibility to an organisation's corporate style. Prominent users include the BBC, which adopted the typeface as its corporate typeface in 1997. Until 2006, the corporation used the font in all of its media output; however, the unveiling of its new idents for BBC One and BBC Two has signalled a shift away from its universal use, as other fonts were used for their respective on-screen identities.

Other organizations using Gill Sans include the following:

Note

  1. ^ Douglas Cleverdon Book Publishers
  2. ^ Eric Gill & The Cockerel Press
  3. ^ East Coast Joys: Tom Purvis and the LNER
  4. ^ http://www.microsoft.com/typography/fonts/font.aspx?FMID=979 Gill Sans MT in Microsoft products
  5. ^ Eric Gill got it wrong; a re-evaluation of Gill Sans
  6. ^ Cees W. de Jong, Alston W. Purvis, Friedrich Friedl. Creative Type: A Sourcebook of Classic and Contemporary Letterforms. Thames & Hudson. ISBN 0500512299/ISBN-13 978-0500512296
  7. ^ Gill Sans Pro
  8. ^ Roy Millington. Stephenson Blake: The Last of the Old English Typefounders, Oak Knoll Press, The British Library, June 2002. ISBN-10 1-58456-086-X/071234795X / ISBN-13 978-0712347952.
  9. ^ www.edwardtufte.com

Bibliografia

  • Carter, Sebastian. Twentieth Century Type Designers, W.W. Norton 1995. ISBN 0-393-70199-9.
  • Johnson, Jaspert & Berry. Encyclopedia of Type Faces. Cassell & Co 2001, ISBN 1-84188-139-2.
  • Ott, Nicolaus, Friedl Fredrich, and Stein Bernard. Typography and Encyclopedic Survey of Type Design and Techniques Throughout History. Black Dog & Leventhal Publishers. 1998, ISBN 1-57912-023-7.

Collegamenti esterni

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