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Personality: Gill Sans is very quirky and thus of dominant personality. Along with the compact and muscular appearance, there is warmth and humanity found in this typeface

Courtesy of Priyanka Shah & Nathan Salmon

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Classification: Humanist San Serif Designers: Eric Gill Foundry: Mono-type

1928 ‘a’ and ‘g’ are two-storeyed

aMt Based on a square, with the middle strokes meeting in the centre of the square grid

Triangular topped ‘t’ like the old style serifs in proportion


The concept I choose is based on biomichanical, car engine parts combined with typography “Wing�


Hand-drawn left wing, using pencil and coloured sharpies. Right wing created in both illustration and Photoshop. November 2011.


TYPEFACES

Garamond Bold Claude Garamond

Gill Sans Bold Italic Eric Gill

Baskerville Medium John Baskerville

Yo Hi Yo

Hi Hi Yo Futura Condensed ExtraBold Paul Renner

Caslon Roman William Caslon

Helvetica Bold Max Miedinger

Baskerville Regular John Baskerville

Futura Extra Bold Paul Renner

Bembo Extra Bold Stanley Morison

Yo Yo Hi Hi Yo Yo DIN Light Albert-Jan Pool

Bodoni SvtyTwo ITC TT Bold Giambattista Bodoni

Univers Light Adrian Frutiger


San Serif vs Serif

deviantART User: 3ricl3


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A Comparison between Adobe Garamond (1540s) Gill Sans (1926)


Garamond’s Roman Types, some of the most widely used and infl uential typefaces in history are those created by the 16th century type designer Claude Garamond. His roman types are arguably the best conceived typefaces ever designed, displaying a superb balance of elegance and practicality. In spite of their historical signifi cance, the genuine Garamond faces have only been properly identifi ed in the last years. Until that point, a set of typefaces created in the century after Claude Garamond lived were erroneously thought to be “Garamond”. These 17th century copies served as the model for many of the modern Garamonds. And while many versions of Garamond exist today, most are generations removed from the original designs. The Adobe Garamond Design Process, Punchcutters such as Garamond and Granjon created many different typefaces during their careers. Because each size of metal type was created independently, the designs within a style varied somewhat from one size to another. Therefore, in creating revivals of historical typefaces, at least two diff erent approaches are possible. The designs of each size can be examined with an eye to extracting and recreating the essential letterforms. Alternatively, a particular size can be used as a model. Slimbach used the latter approach to produce Adobe Garamond. The design process for Adobe Garamond unfolded over a one year period. Slimbach began by studying Garamond samples reproduced in

books, as well as a reproduction of the well known Egenolf -Berner specimen sheet of 1592, which displays a number of Garamond’s types.

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. adobe.com/type/browser/pdfs/Adobe- Gill Sans todayToday over two dozen GaramondPro.pdf Gill Sans designs are available digitally, Page 7-8 , 14 April 13 with mainstream reach thanks to its inclusion on Mac OS X and Microsoft Gill Sans rose to popularity in 1929 Office. It can be seen everywhere, when it became the standard typeface used (or overused) on everything from for the London and North Eastern Rail- corporate logos to movie posters one way (LNER), appearing on everything industry that has actually embraced the from locomotive nameplates to time unusual Ultra Bold. tables. Meanwhile, the legendary Johnston The typeface was used in 1935 by Sans typeface became available comdesigner Edward Young on the now mercially for the first time in 1997 as iconic Penguin Books jacket design, P22’s London Underground, licensed putting Gill Sans on bookshelves by the London Transport Museum. A around the world.Many other notable variant called ITC Johnston was also companies (particularly in England) released 1999. adopted Gill Sans as a corporate typeface by the mid-1900’s, including the dsgn.org/posts/know-your-type-gillBBC, British Railways, and ultimately sans/ 14 April 13 Monotype themselves making the typeface Monotype’s fifth best seller of “The first notable attempt to work the twentieth century. out the norm for plain letters was made by Mr Edward Johnston when Originally released as metal type, he designed the sans-serif letter for over 36 derivatives emerged between the London Underground Railways. 1929 and 1932 many of which were Some of these letters are not entirely created by the Monotype drawing satisfactory, especially when it is reoffice (with input by Gill). The typemembered that, for such a purpose, an face is renowned for its inconsistenalphabet should be as near as possible cies between weights, as they were ‘fool-proof’… as the philosophers not mechanically produced from a would say nothing should be left to single design (opposed to others like the imagination of the sign-writer or Helvetica). Gill’s lettering is based on enamel-plate maker’. classic roman proportions, which give the sans-serif a less mechanical feel Eric Gill, Essay on Typography, pubthan its geometric contemporaries. lished 1931


2000’s: Pro Model Alfie Ramos 1980’s: Conceptual Boxing

1990’s: Typographic Word “SKATE” different languages 1970’s: Decorative Wires, within a surface


EYE MAGAZINE This is a print magazine about graphic designs review, that contains local and international professional artist and graphic designers showcasing there recent and previous beautiful projects, like a journal which you can read like a magazine and collect them like a book. Anyone can have this magazines specially students and to anyone interested in critical and informed writing about design and visual culture. This magazine first published in London in 1990, it was founded by Rick Poynor which is a writer and graphic design and also visual communication. Edited by three people, one is the founder of eye magazine Poynor, and currently John L. Walter. The Eye Magazine have released 84 issues within the 22 years, they usually published four issues in just one whole year, in seasons: spring, summer, autumn, and winter. There were based in Hoxton Square in London. Magazines are an important source of communication and entertainment to people in anywhere in world today. Magazine provides special interests and gives more recent information than any other sources such as books. Its normally done in more eye catching designs using different type of mix media like photography, typography, these way the audience are more willing to read and a lot easier to them understand and learned new things an facilitate creativity, from using simple visual communications.


Eye no. 83 vol. 21: Typography Special Issue, 2012. Design based on detail from Knoll poster designed by M. Vignelli, 1966.Art editor: John L. Walters.

Page content in one of the eye magazine issues. Double Sread a combination of Image and text



Graphic