The importance of the typeface in graphic design pushes me to start a sort of small contacts on the theme in this diverse blog.
In the vast universe, now purely digital, graphics, advertising and publishing, there are a multitude of characters more or less interesting, historical, widely used, improvised, vigorous little known even in Italy. The tendency is to rely increasingly on the same characters, a kind of 'security' and visual clarity that allows many of us graphs of 'moving it safe 'when the same characters, too, if seen, tend to cancel out and become boring. Far be it from me to advise on what the character more cool , the most readable, the most used and so on, in this pleasant and long Democrat who wants to be compared to our space I just want to tell small stories about birth, history and use of some of these major players will certainly make our communication. And, although he has promised not to overreach in personal observations and opinions, I would begin with the Gill Sans, a font that I like very much. The
Gill Sans was designed by Eric Gill and product from the Monotype, by the will of typographic consultant company, Mr. Morison, in 1928. It was not the first character commissioned Eric Gill, but was the first to be produced from this historic foundry and, originally, this character was to sign. The tiny numbers, very useful in composing texts were produced but never made privately by Monotype. The Gill Sans was adopted for all advertising, scheduling and the signs by LONDON & NORTH EASTERN RAILWAY.
Its technical features make it back to that class of characters defined sticks, linear humanities in this case, it is a very British character, the excellent readability and composed of geometric shapes on the outside but at the same time very humanistic and requires a good sense of weights and measures. The openings vary (c the very large, the smaller to , the small and ) and the course was one of the most revolutionary of his time. The contrast between solid and thin is more or less marked, the axis is perpendicular to the baseline, the final stretch at the top of r is parallel to the baseline. It has an extensive foundry, many styles and extended and condensed versions.
While adopting the basic geometry recommended by the new modernist typography (examples are the Futura, Frutiger, the famous Helvetica which will not fail to speak, Lucida) the Gill Sans retains the liveliness of hand that path and at the same time gives fluidity to the text.
initially was thought to be more suitable to the securities, which was an alternative to another famous character, the Johnston - designed for the ladies homonymous London Underground - which has certainly been inspired (Gill had also worked with Johnston to the first version of the character), but in fact its wide dissemination is derived from a distinctive personality. Just look at the thin descending curve of R, the transverse rods broken in half height M that avoid the light shading typical of the upper M thick. The width of the letters is uniform and to the g and t more like the traditional Roman remains that the versions proposed for example by Futura.
This shows us the character itself, with its rich history of visual combinations, in thousands of examples: books, brochures, ads, etc. in this work is to be produced to communicate a concept, a story, or tell a story.
In the vast universe, now purely digital, graphics, advertising and publishing, there are a multitude of characters more or less interesting, historical, widely used, improvised, vigorous little known even in Italy. The tendency is to rely increasingly on the same characters, a kind of 'security' and visual clarity that allows many of us graphs of 'moving it safe 'when the same characters, too, if seen, tend to cancel out and become boring. Far be it from me to advise on what the character more cool , the most readable, the most used and so on, in this pleasant and long Democrat who wants to be compared to our space I just want to tell small stories about birth, history and use of some of these major players will certainly make our communication. And, although he has promised not to overreach in personal observations and opinions, I would begin with the Gill Sans, a font that I like very much. The
Gill Sans was designed by Eric Gill and product from the Monotype, by the will of typographic consultant company, Mr. Morison, in 1928. It was not the first character commissioned Eric Gill, but was the first to be produced from this historic foundry and, originally, this character was to sign. The tiny numbers, very useful in composing texts were produced but never made privately by Monotype. The Gill Sans was adopted for all advertising, scheduling and the signs by LONDON & NORTH EASTERN RAILWAY.
Its technical features make it back to that class of characters defined sticks, linear humanities in this case, it is a very British character, the excellent readability and composed of geometric shapes on the outside but at the same time very humanistic and requires a good sense of weights and measures. The openings vary (c the very large, the smaller to , the small and ) and the course was one of the most revolutionary of his time. The contrast between solid and thin is more or less marked, the axis is perpendicular to the baseline, the final stretch at the top of r is parallel to the baseline. It has an extensive foundry, many styles and extended and condensed versions.
While adopting the basic geometry recommended by the new modernist typography (examples are the Futura, Frutiger, the famous Helvetica which will not fail to speak, Lucida) the Gill Sans retains the liveliness of hand that path and at the same time gives fluidity to the text.
initially was thought to be more suitable to the securities, which was an alternative to another famous character, the Johnston - designed for the ladies homonymous London Underground - which has certainly been inspired (Gill had also worked with Johnston to the first version of the character), but in fact its wide dissemination is derived from a distinctive personality. Just look at the thin descending curve of R, the transverse rods broken in half height M that avoid the light shading typical of the upper M thick. The width of the letters is uniform and to the g and t more like the traditional Roman remains that the versions proposed for example by Futura.
This shows us the character itself, with its rich history of visual combinations, in thousands of examples: books, brochures, ads, etc. in this work is to be produced to communicate a concept, a story, or tell a story.
0 comments:
Post a Comment