GILL SANS—————————»» >

a

b——— 5 ———

Gill Sans

Aa Gg RrAa Gg RrAa Gg RrAa Gg RrAa Gg RrAa Gg Rr

c——— 6 —————— 6 ———

Arthur Eric Rowton Gill né le 22 février 1882 à Brighton, mort le 17 novembre 1940, est un créateur de caractères et sculpteur anglais. Il est le dessinateur, entre autres, de la Gill Sans, de la Perpetua et de la Joanna.Il prend des cours du soir de calligraphie à la Central School of Arts and Crafts, où Edward Johnston, créateur de la typographie du métro londonien (Johnston Sans ou P22 London Unerground) exerce une forte influence. Gill devient son élève et travaille d’ailleurs sur le caractère en cours d’élaboration, et qui influencera directement son Gill Sans.N’étant pas totalement satisfait du caractère

Histoire du Gil Sans

d——— 7 ———

Johnston, Gill voulu créer LE caractère parfait, infaillible, il commence à créer le GILL SANS.En 1926, il expérimente son caractère avec ses «ameliorations» pour le lettrage d’une librairire dans sa ville natale Bristol.

L’alphabet, qui à l’époque ne contenait que des lettres majuscules, a été remarqué par Stanley Morison pour son potentiel commercial il est alors un des conseillers typographique de Monotype, et demande à Gill de développer une famille de polices complète pour rivaliser avec les

conceptions sans-serif libérés par les fonderies allemandes alimentée par le succès écrasant de Futura . La police a été lancée commercialement par Monotype en 1928 en tant que Gill Sans.

Gill Sans est devenu populaire en 1929 quand il a été choisi comme police standard pour la compagnie britannique le London and North Eastern Railway (LNER), qui l’a abondamment utilisée, que ce

soit sur les plaques portant le nom des gares, les menus des voitures restaurant, les horaires ou sur les plaques d’identification des locomotives.

e

f——— 9 ———

LightA B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl

RegularA B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl

BoldA B C D E F G H I J K L M N O P Q R S T U V

W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl

LightA B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl

RegularA B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl

BoldA B C D E F G H I J K L M N O P Q R S T U V W

X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z

1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl

ALPHABETS

g——— 10 —————— 10 ———

GILL SANS LIGHT

British nationalRAILWAY STATHE LIGHT FONT WITH ITS HEAVILY KERNE

heavily kerned «f» and tall ‘t’, has an open, elegant look. Th

Heavily Kerned «f» And Tall ‘t’, Has An Open, Ele1913 1926 1928 & 2011

The light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. 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 light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. The regulard font has a mo

compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The blod 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 light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. The regulard font has a

12 pt

9 pt

6 pt

h——— 11 ———

GILL SANS LIGHT ITALIC

British nationalRAILWAY STATITHE LIGHT FONT WITH ITS HEAVILY KERNED,

heavily kerned «f» and tall ‘t’, has an open, elegant look. The re

Heavily Kerned «f» And Tall ‘t’, Has An Open, Elegan1913 1926 1928 & 2011

The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. 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 light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. The regular font has a more compact an

compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The blod 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 light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, ele-gant look. The regular font has a more compact

12 pt

9 pt

6 pt

i——— 12 —————— 12 ———

GILL SANS REGULAR

British nationRAILWAY STATHE LIGHT FONT WITH ITS HEAVILY KERN

heavily kerned «f» and tall ‘t’, has an open, elegant look.

Heavily Kerned «f» And Tall ‘t’, Has An Open, El1913 1926 1928 & 2011

The light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. 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 light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. The re

compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The blod 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 light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. The regulard font has

12 pt

9 pt

6 pt

j——— 13 ———

GILL SANS REGULAR ITALIC

British nationatRAILWAY STATITHE LIGHT FONT WITH ITS HEAVILY KERNED

heavily kerned «f» and tall ‘t’, has an open, elegant look. The re

Heavily Kerned «f» And Tall ‘t’, Has An Open, Elegan1913 1926 1928 & 201

The light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. 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 light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. The regular font has a more compa

compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The blod 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 light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. The regulard font has a more com

12 pt

9 pt

6 pt

k——— 14 —————— 14 ———

GILL SANS BOLD

British natiRAILWAY STHE LIGHT FONT WITH ITS HEAVI

heavily kerned «f» and tall ‘t’, has an open, el

Heavily Kerned «f» And Tall ‘t’, Has 1913 1926 1928 & 2

The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. 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 thei

compact and muscular appearance, with its flat-bottomed ‘d’, flat-top-ped ‘p’ and ‘q’, and short, triangu-lar-topped ‘t.’ The blod font te

the light, while the extra bold and ultra bold have their own vivid personalities. The light font, with its heavily kerned ‘f’ and tall ‘t’, ha

12 pt

9 pt

6 pt

l——— 15 ———

GILL SANS BOLD ITALIC

British natiRAILWAY STTHE LIGHT FONT WITH ITS HEAVILY K

heavily kerned «f» and tall ‘t’, has an open, ele

Heavily Kerned «f» And Tall ‘t’, Has An 1913 1926 1928 & 20

The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. The regular font has a more compact and muscular appearance, wit

h 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 per

compact and muscular appearance, with its flat-bottomed ‘d’, flat-top-ped ‘p’ and ‘q’, and short, triangu-lar-topped ‘t.’ The blod font tends

the light, while the extra bold and ultra bold have their own vivid personalities. The light font, with its heavily kerned ‘f’ and tall ‘t’, has an

12 pt

9 pt

6 pt

m——— 16 —————— 16 —————— 16 ———

De même que dans les polices Caslon et Baskerville ou le Trajan, les capitales sont basées sur les capitales latines, comme celles que l’on trouve sur la

Colonne Trajane.

CCCC A

APP

II

TT

AA

LL

EE

AA

PP

II

TT

AA

LL

EE

Gill Sans

Trajan

n——— 17 ———

gp pg g g

p»»»

»»» »»» »»»

»»»

adobe caslon pro italic

Centaur Garamond Times New Roman

ITC New Baskerville italic

Le « p » italique est très calligraphique et se ressent de ces influences du Caslon et du Baskerville.

Son « g » minuscule avec sa boucle, lui, accentue encore plus son côté linéale romaine.

o——— 18 —————— 18 ———

bbb

ddd

ppp

qqq

Lorsque Gill travailla le Gill Sans pour Monotype il effaça les terminaisons des attaques verticales dans ‘b’, ‘d’, ‘p’ et ‘q’.Monotype est venu à son aide et a révisé les formes des ces lettres pour que les terminaisons soient préservées.Cependant,

aujourd’hui, cette caractéristique persiste seulement dans la version light et bold du Gill Sans.

p——— 19 ———

Le caractère de Gill est plus classique dans ses proportions par rapport au Johnston

GILL SANS

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl

JOHNSTON UNDERGROUND

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl

q——— 20 —————— 20 ———

Gill voulait créer une typographie lisible à tous les niveaux. C’est ainsi que la Gill Sans est utilisée aussi bien pour le texte que pour les

titrages.

DORIAN GRAYThe studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn.

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-

coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion. The sullen

r was to have

far wider i

mplications.

Gill’s patro

n, Stanley

Morison,

as adviso

r to the M

onotype

Corporation, was p

robably the

single most p

owerful in

dividual in

British typ

efounding in

the 1920s.

Gill knew

that desp

ite an ex

isting

commission for th

e serif

face

Perpetu

a, his w

orking re

lationship

with M

orison, and

his wider reputation

with M

onotype, the

trade, and ultimately

the reading public,

would com

e to

Like Johnsto

n’s Underg

round letter

ing, Gill

Sans b

egan life

as a p

iece of sig

nage, a f

ascia

board for th

e shop of D

ouglas Cleve

rdon. To

complement th

e exte

rior signage

, Gill produced

a smalle

r alphabet i

n a blank b

ook inten

ded as

a guide fo

r Cleve

rdon to make future n

otices

and announcem

ents. To be fa

ir to Gill, t

he initial

intention was p

erhaps q

uite cas

ual – but th

e result

was seize

d upon in such a way t

hat it fo

rced Gill t

o

step into Johnsto

n’s shadow, on a c

ommission that

GILL SANS

rest on this design. In

the face of this, Gill

may have deem

ed his

relationship with both

Edward Johnston and

his style of lettering

expendable, but the

evidence suggests that

Eric Gill w

as ‘learning

on the job’ with this

assignment.

GILL SANS S

AVE

THE QUEEN

——— 21 ———

s——— 22 —————— 22 ———

Affiches / Mises en page graphiques

t——— 23 ———

Menus horaires de la compagnie London and North Eastern Railway

u——— 24 —————— 24 ———

‘‘ Quandl’appétit vatout va !Obelix’’

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CONSTRUIRE SON PROPRE SYSTèME

Franck Garbarz et Adrien Gombeaud

Franck Garbarz et Adrien Gom-beaud :

Vous avez grandi dans une atmos-phère propice à l’invention. Votre grand-père était inventeur…

Michel Gondry :

Oui, moi-même je voulais devenir peintre ou inventeur, fabriquer des systèmes. Mais l’invention passait par les sciences et les mathématiques, des domaines que je n’ai pas appro-chés. J’ai aussi raté le coche de l’art moderne, que je n’ai pas compris au début.

Alors vous avez débuté dans la musique.

Disons que j’ai toujours navigué entre la musique et les images. J’ai étudié dans une école d’art appliqué et, parallèlement, je fai-sais partie d’un groupe. Très vite, j’ai illustré les musiques de « Oui Oui » par de petits films d’ani-mation qui étaient mes premiers travaux. À un moment, j’ai eu le sentiment que j’utilisais plus mes capacités mentales en faisant de la réalisation… et j’en avais marre de transporter ma batterie. Il faut dire que les buts pour lesquels je faisais de la musique étaient plus ou moins avouables. Les buts pour

——— 26 —————— 26 ———

article

x——— 27 ———

logosUNITED COLORSOF BENTTON.

y——— 28 —————— 28 ———

Maison d’édition PENGUIN BOOKSproduits dérivés

zgill sans