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Gill Sans Specimen

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Specimen Gill Sans

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  • GILL SANS >

  • a

  • b 5 Gill SansAa Gg RrAa Gg RrAa Gg RrAa Gg RrAa Gg RrAa Gg Rr

  • c 6 6 Arthur Eric Rowton Gill n le 22 fvrier 1882 Brighton, mort le 17 novembre 1940, est un crateur de caractres 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 la Central School of Arts and Crafts, o Edward Johnston, crateur de la typographie du mtro londonien (Johnston Sans ou P22 London Unerground) exerce une forte influence. Gill devient son lve et travaille dailleurs sur le caractre en cours dlaboration, et qui influencera directement son Gill Sans.Ntant pas totalement satisfait du caractre Histoire du Gil Sans

  • d 7 Johnston, Gill voulu crer LE caractre parfait, infaillible, il commence crer le GILL SANS.En 1926, il exprimente son caractre avec ses ameliorations pour le lettrage dune librairire dans sa ville natale Bristol.Lalphabet, qui lpoque ne contenait que des lettres majuscules, a t remarqu par Stanley Morison pour son potentiel commercial il est alors un des conseillers typographique de Monotype, et demande Gill de dvelopper une famille de polices complte pour rivaliser avec les conceptions sans-serif librs par les fonderies allemandes alimente par le succs crasant de Futura . La police a t lance commercialement par Monotype en 1928 en tant que Gill Sans.Gill Sans est devenu populaire en 1929 quand il a t choisi comme police standard pour la compagnie britannique le London and North Eastern Railway (LNER), qui la abondamment utilise, que ce soit sur les plaques portant le nom des gares, les menus des voitures restaurant, les horaires ou sur les plaques didentification des locomotives.

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  • 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 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 flRegularA 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 flBoldA 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 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 flRegularA 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 flBoldA 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 flALPHABETS

  • g 10 10 GILL SANS LIGHTBritish 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 mocompact 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 a12 pt9 pt6 pt

  • h 11 GILL SANS LIGHT ITALICBritish 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 ancompact 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 pt9 pt6 pt

  • i 12 12 GILL SANS REGULARBritish nationRAILWAY STATHE LIGHT FONT WITH ITS HEAVILY KERNheavily 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 recompact 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 has12 pt9 pt6 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 BOLDBritish natiRAILWAY STHE LIGHT FONT WITH ITS HEAVIheavily kerned f and tall t, has an open, elHeavily 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 theicompact 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, ha12 pt9 pt6 pt

  • l 15 GILL SANS BOLD ITALICBritish natiRAILWAY STTHE LIGHT FONT WITH ITS HEAVILY Kheavily kerned f and tall t, has an open, eleHeavily 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 percompact 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 pt9 pt6 pt

  • m 16 16 16 De mme que dans les polices Caslon et Baskerville ou le Trajan, les capitales sont bases sur les capitales latines, comme celles que lon trouve sur la Colonne Trajane.CCCC AA PP II TT AA LL EEAA PP II TT AA LL EEGill SansTrajan

  • n 17 g p pg g gp adobe caslon pro italicCentaur Garamond Times New RomanITC New Baskerville italicLe p italique est trs calligraphique et se ressent de ces influences du Caslon et du Baskerville. Son g minuscule avec sa boucle, lui, accentue encore plus son ct linale romaine.

  • o 18 18 bbb ddd ppp qqqLorsque Gill travailla le Gill Sans pour Monotype il effaa les terminaisons des attaques verticales dans b, d, p et q.Monotype est venu son aide et a rvis les formes des ces lettres pour que les terminaisons soient prserves.Cependant, aujourdhui, cette caractristique persiste seulement dans la version light et bold du Gill Sans.

  • p 19

    Le caractre 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 crer une typographie lisible tous les niveaux. Cest ainsi que la Gill Sans est utilise 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 implications. Gills patron, Stanley Morison, as advisor to the Monotype Corporation, was probably the single most powerful individual in British typefounding in the 1920s. Gill knew that despite an existing commission for the serif face Perpetua, his working relationship with Morison, and his wider reputation with Monotype, the trade, and ultimately the reading public, would come to Like Johnstons Underground lettering, Gill Sans began life as a piece of signage, a fascia board for the shop of Douglas Cleverdon. 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. To be fair to Gill, the initial intention was perhaps quite casual but the result was seized upon in such a way that it forced Gill to step into Johnstons shadow, on a commission that GILL SANS rest on this design. 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.GILL SANS SAVE 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 Quandlapptit vatout va !Obelix<
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  • wEntrEtiEn avEc MichEl GondryCONSTRUIRE SON PROPRE SYSTMEFranck Garbarz et Adrien Gombeaud Franck Garbarz et Adrien Gom-beaud : Vous avez grandi dans une atmos-phre propice linvention. Votre grand-pre tait inventeurMichel Gondry : Oui, moi-mme je voulais devenir peintre ou inventeur, fabriquer des systmes. Mais linvention passait par les sciences et les mathmatiques, des domaines que je nai pas appro-chs. Jai aussi rat le coche de lart moderne, que je nai pas compris au dbut.Alors vous avez dbut dans la musique.Disons que jai toujours navigu entre la musique et les images. Jai tudi dans une cole dart appliqu et, paralllement, je fai-sais partie dun groupe. Trs vite, jai illustr les musiques de Oui Oui par de petits films dani-mation qui taient mes premiers travaux. un moment, jai eu le sentiment que jutilisais plus mes capacits mentales en faisant de la ralisation et jen avais marre de transporter ma batterie. Il faut dire que les buts pour lesquels je faisais de la musique taient plus ou moins avouables. Les buts pour 26 26 article

  • x 27 logosUNITED COLORSOF BENTTON.

  • y 28 28

    Maison ddition PENGUIN BOOKSproduits drivs

  • zgill sans