The SoftMaker versions are called P700 and persistent. The Bitstream version is called Lapidary 333. This is the prototypical lapidary typeface. size, is a sloped roman except for the a and with it are used the roman capitals, as in the case of Joanna. It has the modest capitals, horizontal serifs and slight differentiation of colour of Gill's other romans. Berry, Johnson and Jaspert write: Designed by Eric Gill, a rounder form of his Perpetua.
AUTHOR OF GILL SANS TYPEFACE UPDATE
For a major digital update and revival, see Gill Sans Nova (George Ryan, 2015, Monotype).
AUTHOR OF GILL SANS TYPEFACE PDF
Niteesh Yadav, a graphic designer in New Delhi, created a great PDF file on the topic of Gill Sans. Over at Infinitype and SoftMaker, the typeface sells under the name Chantilly or Chantilly Serial. Image of Gill Sans's g by John Bakhan (Seoul). An obscure style called Gill Sans Shadow 338 (1929, Monotype) was digitized by Toto in 2011 as K22 EricGillShadow. Revivals include Bitstream's Humanist 521 and its Cyrillic extension Paratype's Humanist 521.
Gill once said: There are now about as many different varieties of letters as there are different kinds of fools. For a French edition, see Eric Gill Un Essai sur la Typographie (Boris Donné and Patricia Menay, Ypsilon Editeur, 2011). A follow-up article by McCarthy in The Guardian, 2006.Ĭanicopulus Script (1989, Barry Deck) is a font named to remember one of Eric Gill's favorite extracurricular activities.Īuthor of An Essay on Typography (1931, revised in 1936). His adventurous life, as re-created in this beautifully written, absorbing biography, is disturbingly relevant to our time. This charismatic firebrand was a renegade Fabian socialist, a bohemian friend of Augustus John and Bertrand Russell. In MacCarthy's candid portrait, Gill, who preserved the outward image of a devout father-figure, was neither saint nor humbug, but a highly sexed creative artist trapped by his Victorian concept of masculinity. He rationalized his penile acrobatics by inventing a bizarre pseudoreligious theory. Yet there was another side to the man, downplayed by previous biographers: a fervent convert to Catholicism and leader of three Catholic arts-and-crafts communes, Gill had a hyperactive libido which extended to incest with his sisters and daughters, as well as numerous extramarital affairs, according to British writer MacCarthy. He is remembered today for his fine engravings and stone carvings, his legendary typefaces and book designs for the Golden Cockerel Press. Publishers Weekly writes: An English artist-craftsman in the tradition of William Morris, Eric Gill (1882-1940) exemplifies the search for a lifestyle to heal the split between work and leisure, art and industry. The text book Eric Gill (Fiona McCarthy, Faber and Faber Ltd) describes his life.
He became one of the most influential English type designers of the 20th century. He was a student of Johnston and worked for some time for the Golden Cockerell Press in London. TYPE DESIGN INFORMATION PAGE last updated onīritish stone carver, wood engraver, essayist and type designer Arthur Eric Rowton Gill was born in Brighton, England in 1882.
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