Gill Sans - Gill Sans

Gill Sans
GillSansEG.svg
TurkumSans-serif
TasnifiGumanist
Dizayner (lar)Erik Gill
DökümhaneMonotip
Yaratilgan sana1926
Sana chiqarilgan kun1928 (monotip)
Dizayn asosidaJonston
O'zgarishlarGill Kayo

Gill Sans a gumanist sans-serif shrift tomonidan ishlab chiqilgan Erik Gill ning ingliz filiali tomonidan chiqarilgan Monotip 1928 yildan boshlab.

Gill Sans asoslangan Edvard Jonston 1916 yil "Er osti alifbosi", korporativ shrift London metrosi. Yosh rassom sifatida Gill Jonstonga dastlabki rivojlanish bosqichlarida yordam bergan. 1926 yilda, Duglas Kliverdon, yosh printer-noshir, kitob do'konini ochdi Bristol, va Gill do'kon uchun sans-serif poytaxtlarida fasiyani chizdi. Bundan tashqari, Gill Kliverdon uchun kelajakdagi xabarnomalar va e'lonlarda foydalanishi uchun qo'llanma sifatida alifbo chizgan. Bu vaqtga kelib Gill taniqli tosh ustasi, rassom va harflarning yaratuvchisiga aylandi va shrift naqshlarini yaratish ustida ish boshladi.

Gillga do'sti tomonidan alfavitini to'liq metall tipdagi oilaga aylantirish topshirildi Stenli Morison, nufuzli Monotip ijrochisi va bosib chiqarish tarixchisi. Morison bu Monotipning nemis sans-serif oilalari to'lqinining yangi raqibi bo'lishi mumkinligiga umid qildi "geometrik "uslubini o'z ichiga olgan Erbar, Futura va Kabel, barchasi 1920-yillarning oxirlarida Germaniyada katta e'tiborga sazovor bo'ldi. Gill Sans 1928 yilda Monotype tomonidan chiqarildi, dastlab titul poytaxtlari to'plami sifatida tezda kichik harflar bilan ta'qib qilindi. Gillning maqsadi Johnston, klassik serif shriftlari va ta'sirini birlashtirish edi Rim yozuvlari bir vaqtning o'zida toza va zamonaviy ko'rinishga ega dizaynni yaratish.

Monotype tomonidan "klassik soddaligi va haqiqiy go'zalligi" dizayni sifatida sotilgan,[1] a sifatida mo'ljallangan edi shriftni ko'rsatish plakatlar va reklama uchun, shuningdek, kichik o'lchamlarda yoki masofadan aniq o'qilishi kerak bo'lgan hujjatlar matni uchun, masalan, kitoblar loyqalanishi, jadvallar va narxlar ro'yxati uchun ishlatilishi mumkin. Hujjatlarni to'liq sans-serif matnida o'rnatishdan oldin ishlab chiqilgan, uning standart vazni zamonaviy matn shriftlarining ko'pchiligiga qaraganda ancha jasurroq.

Darhol muvaffaqiyatga erishilganidan bir yil keyin London va Shimoliy Sharqiy temir yo'l (LNER) uni barcha plakatlari, jadvallari va reklama materiallari uchun tanladi. Britaniya temir yo'llari Gill Sans-ni standart harflar uchun asos sifatida tanladi temir yo'l kompaniyalari 1948 yilda milliylashtirildi. Tez orada Gill Sans ham zamonaviy, ataylab oddiy muqovalarda ishlatila boshlandi Pingvin kitoblari va juda katta o'lchamlarga qadar sotilgan bo'lib, ular ko'pincha ingliz plakatlarida va o'sha davr xabarnomalarida ishlatilgan. Gill Sans nashr etilganidan keyingi yillarda ingliz matbaasida ustun turlaridan biri bo'lgan va juda mashhur bo'lib qolgan: u "inglizlar" deb ta'riflangan Helvetica "Britaniya dizaynida doimiy mashhurligi tufayli. Gill Sans ko'plab boshqa shriftlarga ta'sir ko'rsatdi va" sans-serif "janrini aniqlashga yordam berdi. gumanist uslubi.

Monotip tezda odatiy yoki o'rtacha vaznni katta uslublar oilasiga aylantirdi va uni sotishda davom etmoqda. Ba'zi birlari uchun asosiy to'plam mavjud Microsoft dasturiy ta'minot va macOS.

Xususiyatlari

Gill Sans davrning boshqa sans-seriflari bilan taqqoslaganda. Gill Sans ko'pgina sans-seriflar ishlatadigan bir qavatli "g" yoki "a" dan foydalanmaydi va Jonsonga qaraganda kamroq monolindir. Uning tuzilishiga Futura kabi to'g'ri chiziqlar va doiralarga asoslanib emas, balki Caslon kabi an'anaviy serif shriftlari ta'sir qiladi.

Gill Sansning nisbati kelib chiqadi yodgorlik Rim poytaxtlari yuqori holatda va an'anaviy "eski uslub" pastki qismida serif harflari. Bu Gill Sansga dizaynning juda boshqacha uslubini beradi geometrik kabi sans-seriflar Futura, oddiy kvadratchalar va doiralar asosida yoki grotesk yoki "sanoat" kabi dizaynlar Akzidenz-Grotesk, Helvetica va Univers o'n to'qqizinchi asr yozuv uslublari ta'sirida.[2][3][4][5] Masalan, grotesk sans-seriflari bilan taqqoslaganda "C" va "a" tuzilishi ancha kamroq "katlanmış", kengroq teshiklar.[6] "A" va "g" rim yoki odatiy uslubi "ikki qavatli" dizaynlardir, aksincha qo'lda yozishda ishlatiladigan "bir qavatli" shakllar va qora xabar ko'pincha grotesk va ayniqsa geometrik sans-seriflarda uchraydi.

Gill tomonidan "Trajan" poytaxtidan chizilgan va suratga olingan o'yma Trajan ustuni, Gill Sans va Jonson poytaxtlari uchun model. San'at va hunarmandchilik hunarmandlari tomonidan eng yaxshi chizilgan rasm sifatida hurmatga sazovor bo'lgan Buyuk Britaniyada yigirmanchi asrda qasddan badiiy dizayni bilan yaratilgan ko'plab belgilar va gravyuralar ularga asoslangan.[7][8]

Gill Sansning katta ishi qisman Rim poytaxtlarida taqlid qilingan Trajan ustuni, kengligi sezilarli o'zgarishi bilan. Edvard Jonston "Rim poytaxtlari o'qish va go'zallik uchun harflar orasida eng yuqori o'rinni egallagan. Ular eng buyuk va eng muhim yozuvlar uchun eng yaxshi shakllardir" deb yozgan edi.[9][10][8][7] Gill Sans o'zidan oldingi geometrik sans-seriflar darajasida sof geometrik printsiplarga asoslanmagan bo'lsa-da, Gill Sansning ba'zi jihatlari geometrik tuyg'uga ega.[a] J asosiy chiziqdan pastga tushadi. "O" deyarli mukammal doiradir va bosh harf "M" markazning markazida joylashgan o'rta chiziqlar bilan kvadrat nisbatlariga asoslangan; bu Rim o'ymakorligidan ilhomlanmagan, ammo Jonsonga juda o'xshaydi.[9][b] 'E' va 'F' ham nisbatan tor.

Gill Sansning o'ziga xos xarakterlari.

An'anaviy serif harflarining ta'siri, shuningdek, Futuradan farqli o'laroq, "ikki qavatli" kichik harflar "a" va "g" da aniq va egri o'ngdan pastga egilib, chapdan yuqori tomonga qiyshaygan "t", shunchaki ikkita to'g'ri chiziqdan hosil bo'lgan Futuradan farqli o'laroq.[13] Kichik harf "a" ham ilmoqning yuqori qismiga qarab torayib boradi, bu serif dizaynlarining umumiy xususiyati, ammo sans-seriflarda kam uchraydi.

An'anaviy serif modeliga amal qilish kursiv Rimdan turli xil harflar shakllariga ega, bu erda ko'plab sans-seriflar shunchaki an deb ataladigan harflarni egib olishadi qiyshiq uslubi. Bu "yozma" ga o'xshash "bitta qavatli" dizaynga aylanadigan "a" harfida va chap tomonda kalligrafik dumli, masalan, kesilgan yozuvlarni eslatuvchi kichik harf "p" da aniq ko'rinadi. Uilyam Kaslon XVIII asrda.[9][14] "E" kursivi ancha cheklangan bo'lib, piyolaning pastki qismida serif shriftlari odatda egri chiziq qo'shib turadigan to'g'ri chiziq bilan.[9][c] Ko'pgina serif shriftlari singari, Gill Sansning bir nechta og'irliklari va nashrlaridan foydalaniladi ligaturalar uning "f" harfi bilan qo'shilib ketishiga yoki keyingi harflar bilan to'qnashuvining oldini olishga imkon berish.[14]

Gill Sans-ning asosiy harf shakllari uslublar bo'yicha mos kelmaydi (yoki hatto metall turi davrida ham bir xil o'lchamdagi o'lchamlar), ayniqsa Qo'shimcha qalin va qo'shimcha quyuqlashgan kengliklarda, Ultra qalin uslub umuman boshqacha dizayn bo'lib, dastlab shunday bozorga chiqarildi.[17] Raqamli davr monotipi dizayneri Dan Rhatigan, Gill Sansning Gillning vafotidan keyin rivojlanishi haqida maqola muallifi shunday fikr bildirdi: "Gill Sans organik ravishda o'sdi ... [bu] yozuvga juda" sistematik "yondoshishni talab qiladi. ishlab chiqilgan va qachon ishlatilganligi. "[18][19] (Bu vaqtda sans-serif shriftlari barcha og'irlik va o'lchamlar o'rtasida iloji boricha glif shakllari bilan izchil oilani tashkil qilishi kerak degan fikr to'liq rivojlanmagan edi: oilalar o'z vazniga mos keladigan ko'rinishda o'zgarishi odatiy hol edi. 1957 yilda "Univers" ning poydevor qo'yishi kabi o'zgarishlar.[20])

Yengil vaznda odatdagi "t" ning yuqori chap qismida kesma ikki alohida zarba bilan almashtiriladi.[d] Jasur vazndan yuqoriga qarab Gill Sans nuqta bilan "i" va "j" ni nihoyatda ekssentrik dizaynga ega (tittle ) ularning ota-onalarining xatlaridan kichikroq.[21][22]

Rivojlanish

Ning dastlabki versiyasi Jonston a London metrosi metall belgisi. Jonsonning dizayni ba'zi eski belgilarda turlicha berilgan va bunda quyultirilgan "R" va to'rtta terminal "W" ishlatiladi.
G'amgin, o'ta jasur sans-seriflar Figgins quyish sexi.[23] Gill va Jonston zamonaviy va ular singari dadil bo'lmagan sans-serif dizaynlarini yaratishga intildilar. Gill u bilan bahslashdi Tipografiya bo'yicha insho bunday yopiq shakllar qarama-qarshi jasur bo'lib, oddiy mutanosiblikdagi engil shriftlarga qaraganda unchalik aniq emas edi.[24]

Morison Gillga Gill Sansni birgalikda ishlashni boshlaganidan keyin (ko'pincha Gill Uelsda yashaganidan keyin pochta orqali) Gillning serif dizayni bo'yicha ishlab chiqishni buyurdi. Perpetua 1925 yildan boshlab; Ular bir-birlarini taxminan 1913 yildan beri bilishgan. Morison 1927 yilda Bristolda Kliverdonning kitob do'koniga tashrif buyurgan, u Gillning fasyasi va alifbosini ko'rib, taassurot qoldirgan.[25] Gill "bu xatlarni ko'rish natijasida" Morison unga sans-serif oilasini yaratishni buyurganini yozgan.[26][22][27][e]

Jonson bilan eng yaqin hamkorlik qilgan davrda va undan keyin Gill vaqti-vaqti bilan sans-serif harflar dizaynida, shu jumladan 1910-yillarda imzo-rassomlar uchun alfavitda deyarli sans-serif kapital dizayni ustida ishlagan, ba'zilari "mutlaqo o'qish mumkin" -yangi darajadagi ... oddiy blok harflar "uchun Armiya va dengiz floti do'konlari 1925 yilda va uning uyi atrofida katta harflar bilan yozilgan Capel-y-ffin, Uels.[22][28][f] Gill Jonstonning "Underground" loyihasidagi ishiga juda qoyil qoldi, keyinchalik u "sans-serifning butun biznesini o'n to'qqizinchi asrdagi korrupsiyadan qutqarganini" o'ta dadillik bilan aytdi.[9][31] Aftidan, Jonson o'zi ishlab chiqqan alfavitni tijorat shrifti loyihasiga aylantirishga urinmagan.[32] U Johnston Sans ustida ishlashni boshlashdan oldin u tip dizayn bilan shug'ullanishga urinib ko'rgan edi, ammo omadsiz edi, chunki o'sha davrda sanoat asosan o'z dizaynlarini yaratgan.[30] Morison xuddi shu kabi korporativ brend sifatida standart yozuv uslubining birinchi va eng uzoq davom etadigan usullaridan biri bo'lgan Yerosti tizimining dizaynini hurmat qildi (Gill serif harflar to'plamini ishlab chiqardi WH Smith ), "Buyuk Britaniyadan beri alfavitga berilmagan, fuqarolik va tijorat sanktsiyasini [harflariga] bergan".[33]

Amerikalik "Gill Title" metall tipidagi namunalar varag'i. Ko'p sonli metall turlari nashrlarida va raqamli versiyalarida tushirilgan ba'zi bir o'lchamdagi asl "5", "7", "0" va "Q" ga va tushmaydigan "J" ga e'tibor bering.

Morison va Gill Perpetuani ishlab chiqishda Monotipda qarshiliklarga duch kelishgan va Morison loyihaning g'ayratli yordamchisi bo'lganida, Monotype muhandislik menejeri va tip dizayneri Frank Xinman Perpont "bu dizaynda uni tavsiya qiladigan hech narsa ko'rmaslik va juda yoqimsiz narsalarni ko'rish" mumkinligini izohlab, chuqur ishonmagan edi.[34][35][36] (Pierpont Monotype-ning avvalgi asosiy sans-serif-ning yaratuvchisi edi, endi bo'shashgan oila Monotip Grotesk. Bu nemis sans-seriflaridan ilhomlangan juda kam haykaltarosh dizayn.[37]) Morison ham aralashib, "J" va "Q" harflarining oqlangan tarzda pastga tushishiga ruxsat berishni talab qildi boshlang'ich, ko'pincha metall turining butun maydonini to'ldirish uchun qilingan shriftlarni saralash uchun odatiy bo'lmagan narsa.[38] O'zining mavjudligining dastlabki kunlarida u doimo "Gill Sans" deb nomlanmagan, boshqa nomlar bilan "Gill Sans-serif", "Monotype Sans-Serif" (ikkalasi ham Gill tomonidan uning ba'zi nashrlarida ishlatilgan) ) yoki ba'zida uning tartib raqamlari (masalan, 231-seriya) ishlatiladi.[39][40]

Gill Sansning rivojlanishi haqidagi ko'plab materiallar Monotipning arxivlarida va Gillning qog'ozlarida saqlanib qolgan. Poytaxtlar (avval tayyorlangan) Jonstonga juda o'xshash bo'lsa-da, arxiv hujjati Gill (va Monotype asarlari chizilgan ofis jamoasi) Salfordlar Surrey, aniq bir dizayn va oraliqni ishlab chiqqan) jonli gumanist sans-serif kichik harfini yaratish va Jonsonning dizaynida bo'lmagan kursivni yaratish muammosi bilan kurashish.[19][g] Gillning birinchi loyihasi uchlarini juda ko'p kesishni taklif qildi ko'taruvchilar va avlodlari, chiqarilgan versiyaga qaraganda kamroq Jonsonga o'xshaydi va uzoq avlodlar.[43][44][45] Kursiv uchun dastlabki san'at ham juda boshqacha ko'rinishga ega edi, nishab kamroq, yana uzoq avlodlar va swash poytaxtlari.[9][14][19][h] Oxirgi versiyada Perpetua va serif dizaynlarida afzal qilingan kalligrafik kursiv "g" Gill ishlatilmadi Joanna (va kursiv san'at loyihasida ko'rib chiqilgan),[45] buning o'rniga standart "ikki qavatli" "g" dan foydalaning.[9][29]

Gill Sans va Jonsonni taqqoslash
Jonston (yuqori) va Gill Sans (pastki), eng o'ziga xos farqlarni ko'rsatib turibdi.

Muntazam ravishda yoki rim Gill Sans uslubi, ba'zi harflar Jonsondan soddalashtirilgan bo'lib, olmosli nuqta yumaloq bo'lib (keyingi engil vaznda to'rtburchaklar), kichik harf esa "L" oddiy chiziqqa aylandi, ammo "a" egri dumli bilan murakkablashdi aksariyat versiyalar va o'lchamlarda.[19][46] Bundan tashqari, dizayn umuman olganda shunchaki takomillashtirildi, masalan, gorizontallar vertikallarga nisbatan bir oz torroq bo'lib, ular muvozanatsiz ko'rinmasligi uchun, shrift dizaynidagi standart uslub, Jonson foydalanmagan.[9][32] Keng tarqalgan oyoqli "R" - bu Gillning afzal ko'rgan dizayni, Jonsonnikidan farqli o'laroq; tarixchi Jeyms Mozli Italiyadagi Uyg'onish davri o'ymakorligi ilhomlantirishi mumkin deb taxmin qilmoqda Viktoriya va Albert muzeyi Londonda.[12][47] Loyihalash jarayonida fikrlashning o'ziga xos yo'nalishlari "a" (issiq metall davridagi bir nechta versiyalar va o'lchamlar Djonston singari tekis dumga yoki yumshoq egri dumga ega edi) va "b", "d", "p" va " q ", bu erda ba'zi versiyalar (va o'lchamlari, chunki bir xil og'irlik har bir o'lchamda bir xil bo'lmasligi mumkin) zarbaning uchlari ko'rinadigan bo'lsa, boshqalari ko'rinmas edi.[17][19][21][men] Rhatigan Monotipning arxivlarida "Gill Sansning" b "," d "," p "va" q "lariga oid kitob uchun etarli [materiallar] mavjud").[19][49]

Gill Sansning poytaxtlari birinchi bo'lib 1928 yilda bosmaxonalar konferentsiyasida ochilgan; da chiqarilgan namunada ko'rsatilgan Fleron jurnal Morison tomonidan tahrirlangan.[14][38] Dastlabki javob qisman minnatdor bo'lgan bo'lsa-da, ba'zi sans-serif turlarini zamonaviy va asossiz deb bilgan ba'zi ultra-konservativ printerlar tomonidan hali ham shubhali hisoblanadi; biri uni "tipografik" deb atagan Bolshevizm ".[28][50] Sans-seriflar bu davrda puristlar tomonidan hali ham qo'pol va tijorat sifatida qabul qilingan: Jonstonning shogirdi Greyli Xyuitt ular haqida shaxsiy fikr bildirdi:

Jonsonda men o'zimga bo'lgan ishonchni yo'qotdim. U biz uchun qilgan barcha ishlariga qaramay ... u o'zining rim alifbosi standartidan voz kechib, dunyoga himoya va izoh bermasdan zamonaviy hayotimizni buzadigan blok harflarini berib, juda ko'p narsani bekor qildi. Uning obro'si ularning beadabligi va tijoratini yashirgan.[51]

Shunga qaramay, Gill Sans ozod bo'lganidan keyin tezda ommalashib ketdi.

Gill Sans uchun Gillning asl san'atining bir qismi, asl "Q", tinish belgilarini va ikkitasini namoyish etadi manikullar.

Gill Sansning texnik ishlab chiqarishi Monotipning davrning standart uslubiga amal qildi. Belgilar Monotayp Germaniya matbaa sanoatidan yollangan Pierpont va Fritz Stelttser boshchiligidagi va o'qitilgan tajribali rasm chizish guruhi tomonidan qog'ozga katta rejali diagrammalarda chizilgan.[52] Dizaynni amalga oshirgan chizilgan xodimlar nomutanosib ravishda ayollar va ko'p hollarda mahalliy va yaqin atrofdan jalb qilingan. Reigate san'at maktabi; ular yakuniy rasmlarning ko'p jihatlarini, shu jumladan harflarni har xil o'lchamlarga va intervalgacha moslashtirishni ishlab chiqdilar. Keyinchalik diagrammalar metall zımbaları ishlov berish rejasi sifatida ishlatilgan pantograf muhr bosish matritsalar, bu quyma turiga quyish mashinasiga yuklanadi.[52][53] Bir vaqtning o'zida cheklangan miqdordagi belgilarni o'yib yozish va ulardan (ba'zilari omon qolgan) dalillarni bosib chiqarish uchun Monotipning odatiy amaliyoti edi rang muvozanati va qolgan belgilarni to'ldirishdan oldin sahifadagi bo'sh joy.[19] Uolter Treysi, Rhatigan va Gillning biografi Malkolm Yorkning yozishicha, Gill Sansni muvaffaqiyatli qilishdagi rasm idorasining faoliyati to'liq baholanmagan; Yorke Gillni "dizaynni iloji boricha matematik jihatdan o'lchash mumkin bo'lgan ... tortmachilar va uning mashinalari bilan bog'liq bo'lgan boshqa odamlarning sezgirligiga imkon qadar kamroq ishonish kerak" degan da'volarida "beg'ubor" deb ta'riflagan.[19][28]

Qabul qilish

Gill Sans 1949 yilda Britaniya temir yo'llari plakat.

Gill Sans tezda juda mashhur bo'ldi. Uning muvaffaqiyatiga Gillning tarafdori (va ba'zida sevgilisi) boshchiligidagi Monotipning murakkab marketingi yordam berdi. Beatrice Warde, va uning amaliyligi va mavjudligi tufayli mashina tarkibi juda keng o'lcham va vaznda.[54][55]

Gill Sansning mashhurligiga qaramay, ba'zi sharhlar juda muhim edi. Robert Xarling Gillni bilgan, 1976 yilgi antologiyasida Gillning xatini o'rganib, asosiy og'irlikning zichligi uni matnning kengaytirilgan qismlari uchun yaroqsiz holga keltirganligini va unda parchani namoyish sifatida bosib chiqarganligini yozgan.[29] Oddiy vazn LNER tomonidan chop etilgan qishloq bo'ylab sayohatlar uchun qo'llanma kabi ba'zi bir bosma nashrlarda asosiy matnni chop etish uchun ishlatilgan.[56] Uilyam Addison Dviggins uni va Futurani "katta harflar bilan mayda-chuyda va kichik harflar bilan" deb ta'riflab, ko'proq individual raqobatchi yaratishni taklif qildi. Metro, 1929 yil atrofida Linotype uchun.[57] Zamonaviy yozuvchilar, shu jumladan Stiven Koles va Ben Archer, uni Jonsonni yaxshilamaganligi va ranglarning notekisligi uchun, ayniqsa og'irroq vaznlarda tanqid qilishdi (quyida muhokama qilinadi).[58][21] Umuman olganda, zamonaviy shrift dizayni Jonatan Xefler Johnston va Gillning dizaynlarini qat'iylik uchun tanqid qildi va ularning ishlarini "qo'llarnikiga qaraganda ko'proq mashinaning mahsulotlari, bukilmas qoidalar asosida shakllangan sovuq va qattiq dizaynlar" deb atadi, ular vaqti-vaqti bilan injiqlik paytlari o'zgaruvchan va bezovta bo'ladigan darajada g'ayrioddiy edi.[59]

Gill Johnston bilan o'xshashlik mavzusini uning asarlari va asarlarida turli yo'llar bilan yoritib berdi, 1933 yilda Jonstonga uning ismini yozgan shrift uchun kechirim so'rab yozdi va Jonsonning ishini muhim va seminal deb ta'rifladi.[51][60] Biroq, uning ichida Tipografiya bo'yicha insho, u o'zining versiyasini "ehtimol yaxshilanish" va Jonsonnikiga qaraganda ko'proq "ahmoqona" deb taklif qildi.[40] 1920-yillarning boshlarida Jonson va Gill bir-biridan uzoqlashdilar, bu Gillning eng yangi tarjimai holi Fiona MakKarti qisman Jonstonning rafiqasi Gretaning katoliklikka qarshi munosabati tufayli tasvirlangan.[61][62] Frenk Pik, Yer osti elektr temir yo'llari kompaniyasi Jonstonning shriftini buyurtma qilgan boshqaruvchi direktor, Gill Sansni "juda yaqin nusxasi" deb o'ylagan.[51]

Kengayish va yangi uslublar

Gill Sans oilasining ba'zi shriftlari, asosan, displey uchun mo'ljallangan. Tafsilotlarning farqlari aniq, ayniqsa "bir qavatli" "a" qo'shimcha quyultirilgan qalin.

Gill Sansning dastlabki muvaffaqiyatidan so'ng, Monotype tezda turli xil turli xil variantlarni ishlab chiqardi.[19] Bundan tashqari, Monotype qoliplarni sotdi (matritsalar ) Gill Sans uchun "Supercaster" tipidagi quyma uskunalari uchun juda katta o'lchamlarda. Reklama beruvchilar orasida ommabop, bu oxirgi foydalanuvchilarga o'z turlarini juda raqobatbardosh narxlarda namoyish etishlariga imkon berdi.[11][54] Bu plakatlar uchun mashhur tanlovga aylandi. Gillning biografisi Malkolm York uni "jamoat e'lonlari uchun aniqlik mohiyati" deb ta'riflagan.[63]

Gill Sansning versiyalari quyultirilgan va soyali og'irliklar kabi keng uslublarda yaratilgan.[19][64] Bir nechta soyali dizaynlar ozod qilindi, shu jumladan faqat poytaxtlar uchun doimiy soyali dizayn va chuqur soyali engil soyali versiya. Metall tipdagi davrda oq harflarni qutilarga yoki qoqilgan qora fonga qo'yadigan "kameo hukmronlik" dizayni mavjud edi.[65][66][67][68] Soyali og'irliklar oddiy rangli rang effektiga erishish uchun odatiy, turli xil ranglarda chop etish bilan birga foydalanishga mo'ljallangan edi.[69] Ba'zi dekorativ versiyalar asosan Monotype idorasi tomonidan ishlab chiqilgan bo'lishi mumkin, Gill unga pochta orqali yuborilgan dizaynlarni o'rganadi, tanqid qiladi va tasdiqlaydi.[70] Monotipning eng muhim boyliklaridan birini (Gillning o'limidan keyin ham) kengaytirilishi, qayta ishlanishi va yangi formatga o'tkazilishi (Gillning o'limidan keyin ham uzoqroq) ketma-ketligi Gill Sansni juda ko'p muqobil dizaynlar va nashrlar bilan qoldirdi.[19] Kitob og'irligi 1993 yilda engil va oddiy vazn o'rtasida, asosiy matnga mos keladigan og'ir vazn bilan birga yaratilgan.[71]

Gill Kayo

Gillning Gill Kayoning rasmlari. Uning ishchi nomi "Sans Double Elefans" chap pastki qismida, o'ng tomonida esa "EG" imzosi ko'rinadi.

1936 yilda Gill va Monotayp Gill Kayo (KO dan yoki nokaut bilan yiqitmoq; ishdan chiqarilgan, uning tajovuzkor qurilishini nazarda tutadi). Bu ko'pincha "Gill Sans Ultra Bold" deb nomlangan, ammo amalda ko'plab harflar Gill Sans-dan sezilarli darajada farq qiladi.[19] U odatiy va quyultirilgan kengliklarda mavjud.[72][73][74] Dizaynni hazilga o'xshash narsa deb bilgan Gill unga "Ikki kishilik Elefans" deb nom berishni taklif qildi.[75][76] Harling buni "g'azablangan" deb ko'rib chiqdi va kinoyali tarzda "2000AD tipografik tarixchilari (bu juda ham uzoq emas) janob Gillning karerasida bu g'alati g'azabni topadi va izlashga urinishga ko'p vaqt sarflaydi", deb izohladi. uning 1936 yildagi bu achinarli psixologik holati. "[77][78][79] Qirq yil o'tgach, u buni "ushbu ekspluatatsiya ekspluatatsiyasining eng dahshatli va qora himoyachisi" deb ta'rifladi.[29] Dizayn 1932 yilda boshlangan;[19] ba'zi dastlabki chizmalar Gillning kuyovi Denis Tegetmeyer tomonidan tayyorlangan bo'lishi mumkin.[70] 1970 va 80-yillarda grafik dizaynida mashhurlikka qaytdi, Letraset quyultirilgan og'irlikni qo'shdi.[80]

Gill Sansning eng jasur og'irliklari, shu jumladan Kayo, "i" va "j" ustidagi nuqtalarning eksantrik dizayni kabi dizayn masalalari va juda dadilligi uchun tanqid qilindi.[58][9] (Gill Sansning standart og'irligi, allaqachon aytib o'tilganidek, zamonaviy standartlar bilan allaqachon jasur.[58][28]) Gill u bilan bahslashdi Tipografiya bo'yicha insho XIX asrda sans-serif shriftlarini diqqatni jalb qiladigan darajada jasoratli qilish tendentsiyasi o'z-o'zini mag'lubiyatga uchratdi, chunki natija tushunarli edi.[24] So'nggi xatboshida u janrga qo'shgan hissasini ta'kidladi:

Hozirda har xil ahmoqlar qancha ko'p bo'lsa, shuncha xil xatlar mavjud. Men o'zim besh xil sans-serif harflarini loyihalashtirishga mas'ulman - ularning har biri avvalgisiga qaraganda qalinroq va semizroq, chunki har bir reklama qo'shnilarini sinab ko'rishlari va qichqirishi kerak.

Muqobil belgilar

Gill Sans Nova-dagi muqobil belgilar, aksariyati yoki barchasi metall turi davrida taqdim etilganlarga asoslangan.[81]

Monotip bir qatorni ishlab chiqdi muqobil belgilar Gill Sans uchun turli mamlakatlarning turli xil ta'mi va milliy bosmaxona uslublarini qondirish. Ular qatoriga Futuradan ilhomlangan "N", "M", "R", "a", "g", "t" va boshqa dizaynlar, frantsuz uyg'onish uslubidagi to'rtta terminal "W", yanada qattiqroq "R" kiradi. "," Q "o'n to'qqizinchi asr uslubida quyruq yuqoriga qarab aylantirilgan (shunga o'xshash) Asr boshqalar qatorida va LNER tomonidan ma'qul ko'rilgan), egri chiziqlar standart haqiqiy kursivdan farqli o'laroq, ko'proq egri chiziqli, kursiv "e" va bir nechta muqobil raqamlar.[19][81][82][83][84] Xususan, Gill Sans uchun standart dizaynlarda "1" raqami, "i" katta harfi va "L" harfi oddiy vertikal chiziq, shuning uchun serifli muqobil "1" raqamga sotilgan - aks holda chalkashliklarni keltirib chiqarishi mumkin bo'lgan og'ir vaziyatlar, masalan, narxlar ro'yxatida.[58] (Barcha jadvallardan foydalanilmagan: masalan, L.N.E.R. oddiy versiyasini afzal ko'rgan.[82]) Gill Sansning ba'zi dastlabki versiyalarida keyinchalik "9" egri chizig'iga mos keladigan g'ayrioddiy "7", oldinga siljish "5" va kichik harflar bilan yozilgan balandlik "0" kabi xususiyatlardan keyin voz kechilgan.[40]

Ushbu alternativalarni loyihalashda Gill ishtirok etgan va Monotipning arxivida u geometrik o'zgaruvchanlikni qayta ko'rib chiqqanligi qayd etilgan.[19][22] Futura Gill Sansning tobora ommalashib borishi bilan uni moslashtirishda yolg'iz emas edi: Erbar ham, Dviggins metrosi ham tarixchi tomonidan o'tkazilishi kerak edi. Pol Shou didga mos ravishda "Futura-ektomiya" deb atagan.[85] Gillning vafotidan keyin Monotype Yunoncha va Kirillcha alifbolar.[j] Monotip shuningdek, metall turida bo'lmagan qo'shimcha funktsiyalarni qo'shdi, xususan matn shakllari va kichik poytaxtlar.[6]

Seriyalar va uslublar

Sarlavha sahifasi
Sarlavha sahifasi
1930 yillarning kitoblarida ko'rsatilgan Gill Sans oilasining eng qorong'i a'zolaridan ikkitasi: chapda: 2015 yilgacha rasmiy raqamlashtirishda mavjud bo'lmagan Gill Sans Shadow Line va o'ngda: Gill Sans Cameo Ruled, hali rasmiy ravishda raqamlashtirilmagan.
Gill Sans Bold uchun metall turi (oynali tasvir)

Rhatigan va boshqa manbalarga ko'ra, metall turi davrining oxiriga kelib Gill Sans quyidagi uslublarda chiqarilgan (barchasi bir vaqtning o'zida sotilmaydi):

  • Gill Sans Titling (1928, seriya 231)
  • Gill Sans (1930, seriya 262, ba'zan uni Gill Sans Medium deb atashadi)
  • Gill Sans Bold (1930, seriya 275)
  • Gill Sans Shadow Line (1931, 290-seriya)[k]
  • Gill Sans Shadow Titling (1931, seriya 304)[l]
  • Gill Sans Bold Titling (1931, seriya 317)
  • Gill Sans Extra Bold (1931, seriya 321)
  • Gill Sans Light (1931, seriya 362)[m]
  • Gill Sans soyasi (1932, seriya 338)[n]
  • Gill Sans Bold Kondensatsiyalangan (1932, seriya 343)
  • Gill Sans 5pt (1932, 349-seriya, ba'zan uni Gill Sans № 2 deb atashadi)[91]
  • Gill Sans Bold 5pt (1932, 350-seriya, ba'zan qalin 2-sonli deb nomlanadi)[91]
  • Gill Sans afishasi (1932, seriya 353)
  • Gill Sansning quyuqlashtirilgan titrlashi (1933, seriya 373)
  • Gill Sans Kameo (1934, 233-seriya)
  • Gill Sans Kameo boshqarildi (1935, seriya 299)
  • Gill Sans soyasi №1 (1936, seriya 406)[o]
  • Gill Sans soyasi № 2 (1936, seriya 408)[p]
  • Gill Sans Ultra Jasur (1936, seriya 442)
  • Gill Sans Bold qo'shimcha quyultirilgan (1937, seriya 468)
  • Gill Sans quyultirilgan (1937, seriya 485, ba'zan O'rtacha quyultirilgan deb nomlanadi)[19]
  • Gill Sans Bold № 3 (1937, 575-seriya)
  • Gill Sansning quyuqlashtirilgan titrlashi (1939, seriya 525)
  • Gill Sans qo'shimcha qalin sarlavha (1939, seriya 526)
  • Gill Sans Light 5pt (1958, 662 seriyali, ba'zida № 2 yorug'lik deb nomlanadi)[91]

Titling seriyalari faqat katta harflar bilan yozilgan.

Fotosuratga olish

Monotip Gill Sansni filmda suratga olishni taklif qildi Fotosuratga olish davr. 1961 yilda chiqarilgan shriftlar qatoriga Light 362, Series 262, Bold 275, Extra Bold 321, Condenses 343 kirdi va ularning barchasi "A" (6-7 ball) va "B" (8-22, 24) film matritsalari to'plamlarida chiqarildi. ochkolar).[19][93]

Kichkintoy va yumaloq versiyalar

Monotip yaratdi chaqaloq versiyasi bitta qavatli "a" va "g" dan foydalangan Gill Sans va boshqa ajralib turadigan belgilar, masalan, yumaloq "y", serifed "1" va pastki harf "L" pastki qismida.[17][94] Shriftlarning kichkintoylar uchun mo'ljallangan dizaynlari ko'pincha ta'lim va o'yinchoqlarda ishlatiladi, chunki bu harflar bolalarning qo'l yozuvi asosida tanilgan deb hisoblanadi va ko'pincha Gill Sans, Akzidenz-Grotesk va mashhur oilalarni to'ldirish uchun ishlab chiqariladi. Bembo.[95][96][97] Monotip shuningdek, zarb uchlari yumaloq bo'lgan versiyasini yaratdi Jon Lyuis o'yinchoqlarda foydalanish uchun.[98]

Raqamli nashrlar

A Pingvin kitoblari 1949 yildan raqamli Gill Sans bilan solishtirganda qog'oz qalinligi, vazni va oralig'idagi nozik farqlarni ko'rsatmoqda.

Gill Sans-ning raqamli nashrlari bir necha asosiy bosqichlarga bo'linadi: 2005 yilgacha nashrlar (Gill Sans-ning eng ko'p to'plamli "tizim" versiyalarini o'z ichiga oladi), 2005 yilgi Pro nashri va 2015 yilgi Nova versiyasi ko'plab muqobil belgilarni qo'shadi va qisman Windows 10.[17] Umumiy og'irliklarning umumiy xarakteristikalari bo'yicha dizaynlar o'xshash, ammo ba'zi bir o'zgarishlar mavjud: masalan, kitobning vaznida 2005 yildagi dairesel ij nuqtalari ishlatilgan, ammo 2015 yildagi versiyada kvadrat naqshlar ishlatilgan va 2015 yildagi nashr ba'zi liguralarni soddalashtiradi.[17][99][100] Digital Gill Sans, shuningdek, metall turlarida mavjud bo'lmagan belgilar to'plamlarini, shu jumladan matn shakllarini va kichik poytaxtlar.[6]

Barcha metall turidagi jonlanishlar singari, Gill Sans-ni raqamli shaklda qayta tiklash, bir nechta talqin qarorlarini keltirib chiqaradi, masalan, bosma nashrlarda katta hajmdan kattaroq ko'rinadigan siyoh tarqalishini qanday qoplash masalasi. Natijada, bosilgan Gill Sans va uning raqamli faksimi har doim ham mos kelmasligi mumkin. Gill Sans-ning raqamli chiqarilishi, ko'pgina monotip raqamlashtirishlar singari, ayniqsa, harflar oralig'ining haddan tashqari zichligi va yo'qligi uchun tanqid qilindi optik o'lchamlar: har qanday matn hajmida ishlatilishi kerak bo'lgan faqat bitta dizayn chiqarilganligi sababli, u har xil o'lchamda har xil chizilgan metall turidagi dizayn va oraliqning nozikligini takrorlay olmaydi. Issiq metall davrida shriftning har xil o'lchamlari metall turi uchun odatdagidek o'zgarib turar edi, interval kengligi va kichikroq hajmdagi boshqa tafsilotlar o'zgargan; Futura va Akzidenz-Grotesk kabi boshqa yirik sans-serif oilalari o'xshashdir.[101][4] In fototip davr Monotip masterning ikki yoki uch o'lchamlarini taklif qilishni davom ettirdi, ammo bu nozikliklarning barchasi raqamli raqamga o'tishda yo'qoldi.[17][19][93] Buni takrorlash uchun masofani kengaytirish va kichik o'lchamlarda ishlatiladigan og'irlikni oshirish kabi o'lchamdagi o'zgarishlarni qoplash uchun oraliqni qo'lda sozlash kerak.[102][q]

Avvalgi ATypI Prezident Jon Berri Gill Sansning zamonaviylashtirilgan oralig'i haqida "odatdagidek og'irlik va ayniqsa engil vazn bo'shashgan holda ancha yaxshi ko'rinadi" degan fikrni bildirdi.[104] Farqli o'laroq, Uolter Treysi 1986 yilda u keyingi oraliqni afzal ko'rganligini yozgan edi: "metall versiyasi ... intervalgacha edi, xuddi serif yuzi kabi".[105]

Gill Sans Nova (2015)

2019 yilga kelib, Monotipning Gill Sans-ning hozirgi raqamlashtiruvi Jorj Rayan tomonidan Gill Sans Nova.[106] Gill Sans Nova ko'plab qo'shimcha variantlarni qo'shadi, shu jumladan ilgari raqamlashtirilmaganlarning ba'zilari mos ravishda versiyalar, uslubiy almashinuvlar va chizilgan ultra engil vazn Graziya.[17][107][108][109] Shriftlar Gill Sans MT-dan farq qiladi (MT-ning ma'nosi Monotype), ilgak 1-ni sukut bo'yicha qabul qilishida, odatiy vazn esa "O'rta" deb o'zgartirilgan. Monotayp 1958 yilda Gillning serif dizayni Joanna-ning umumiy chiqishini nishonlash uchun bo'lgani kabi Londonda Gillning ishlariga bag'ishlangan ko'rgazma bilan nishonladi.[110][111][112][113] Bundan tashqari, Gill tomonidan ko'rib chiqilgan, ammo hech qachon chiqarilmaydigan kursiv shashka edi.[17][114]

Oilaga 43 ta shrift, shu jumladan 9 ta og'irlik va 3 ta kenglikdagi 33 ta matn shrifti, 5 ta og'irlikdagi va 2 ta kenglikdagi 6 ta shrift, 2 ta og'irlik va 1 ta kenglikdagi 2 ta soyali shrift, 1 ta soyali kontur shrift, 1 ta deko shrift kiradi. . Belgilar to'plamini qo'llab-quvvatlash W1G-ni o'z ichiga oladi. Muntazam, engil va qalin vaznlarning asosiy to'plami birlashtirilgan Windows 10 foydalanuvchi tomonidan yuklab olinadigan "Umumevropa qo'shimcha shriftlari" to'plamida.[115]

Foydalanish

Gill Sans LNER lokomotiv Mallard. Bolalikdan temir yo'l dvigatellari tomonidan hayratga tushgan, Erik Gill LNERning shriftini standartlashtirish to'g'risidagi qaroridan juda g'ururlandi.[11][116]

1928 yilda birinchi marta bitta katta vaznda namoyish etilgan Gill Sans milliy taniqlilikka deyarli darhol erishdi, kelgusi yil LNER temir yo'l kompaniyasi tomonidan standart shriftga aylanishi uchun tanlanganida, tez orada kompaniyaning shaxsiyatining har tomonida paydo bo'ldi, temir teplovoz plitalari. restoran mashinalarining menyusi, jadvallari va reklama plakatlariga qo'lda bo'yalgan stantsiya yozuvlari.[48][116][117]LNER o'zlarining rebrendingi bilan Gillga (temir yo'l dvigatellari bilan hayratga tushgan) piyoda piyoda sayr qilishni taklif qildi. Shotlandiyalik uchuvchi tezkor xizmat; u, shuningdek, u uchun to'plamda saqlanib qolgan Gill Sans uslubidagi tabelni chizdi Sent-kelin kutubxonasi.[11][82][118]

1952 yilgi Jersi bayrami tadbirlari risolasi, davrning uslubiga xos

1949 yilda Temir yo'l boshqaruvchisi barcha stantsiyalarda qo'llaniladigan belgilarning standart turlari to'g'risida qaror qabul qildi. Xatlar Gill Sans shriftidan mintaqaviy rang fonida foydalanishlari kerak edi.[119] Gill Sans, shuningdek, ko'pincha bosma nashrlarda ishlatiladigan yozuv belgilarida ishlatilgan. Maxsus chizilgan varyasyonlar temir yo'l boshqarmasi tomonidan ishlab chiqilgan (qismi Britaniya transport komissiyasi ) katta qo'llanmalarni qo'l bilan bo'yash uchun tabellardan foydalanish uchun uning qo'llanmasidagi belgilar uchun. Boshqa foydalanuvchilar kiritilgan Pingvin kitoblari 1935 yildan buyon tasvirlangan qog'ozli kamzul dizaynlari va Britaniyaning rasmiy xaritalash agentligi Ordnance tadqiqot.[120] Bundan tashqari, tomonidan ishlatilgan London transporti Jonsonda amalda o'rnatib bo'lmaydigan hujjatlar uchun.[121] Bosmaxona tarixchisi Pol Shou buni 1930-yillardan 1950-yillarga qadar toza, zaxira dizaynni targ'ib qiluvchi "modernist klassik" uslubning asosiy elementi deb ta'riflagan.[122]

Gill Sans mashhur bo'lib qolmoqda, garchi undan grotesk va neo-grotesk shriftlariga qarab tendentsiya 1950 va 1960 yillarda kontinental va amerika dizayni ta'siri ostida sodir bo'lgan.[123][124] Bu davrda mashhur bo'lgan shriftlar orasida dastlabki "grotesk" sans-seriflar, shuningdek Helvetica va Univers kabi bir xil uslubdagi yangi va nafis dizaynlar mavjud edi. Mosli 1960 yilda "Monotip Grotesk" ning eski dizayni uchun "kutilmagan tarzda tiriltirilgan" deb izohladi: "[u] oltmishinchi yillarning boshlarida tipografiya orqali esayotgan yangi inqilobiy shabada, Universga qaraganda yanada jozibali ma'noga ega".[125] U 2007 yilda "uning juda bejirim dizayni Gill Sansning ... go'zalligidan charchagan ikonoklastik dizaynerlarning diqqatga sazovor joylaridan biri bo'lganga o'xshaydi" deb qo'shimcha qildi.[37][125] Ushbu tendentsiyaga misol sifatida, Jok Kinneir va Margaret Kalvert 1965 yilda BR kompaniyasining British Rail rebrendingi bilan Helvetica va Univers matbaa nashrlari va odatiy buyumlar, lekin juda o'xshash Temir yo'l alifbosi tabela uchun va klassikadan voz kechdi, barcha qopqoqlar Gill Sans ko'pincha bog'liq bo'lgan yozuvlar uslubi. Kinneir va Kalvertning yo'l belgilarini qayta loyihalash shunga o'xshash yondashuvdan foydalangan.[126][127][128] Linotip va uning dizayneri Hermann Zapf 1955 yilda rejalashtirilgan Gill Sans raqobatchisi ustida ishlashni boshlagan, dastlab 1962-33 yillarda dizayn loyihasidan (hozir "Magnus" deb nomlangan) voz kechishdan oldin ba'zi bir harflarni shu yuzlarga o'xshash qilish uchun qayta ko'rib chiqishni o'ylagan.[129][130]

An additional development which reduced Gill Sans' dominance was the arrival of phototypesetting, which allowed typefaces to be printed from photographs on film and (especially in display use – hot metal continued for some body text setting for longer) massively increased the range of typefaces that could cheaply be used. Dry transfers kabi Letraset had a similar effect for smaller projects; their sans-serif Kompakt va Stivenson Bleyk "s Ta'sir exemplified the design trends of the period by choosing dense, industrial designs.[131][132][133][134] Of the period from the 1930s to 1950s, when he was growing up, James Mosley would later write:

The Monotype classics dominated the typographical landscape ... in Britain, at any rate, they were so ubiquitous that, while their excellent quality was undeniable, it was possible to be bored by them and to begin to rebel against the bland good taste that they represented. Aslida biz 1960 yilga kelib ular bizni uzoq vaqt zeriktirmasliklari mumkinligi haqida allaqachon bilgan edik. The death of metal type ... seemed at last to be happening.[135][r]

While extremely popular in Britain, and to a lesser extent in European printing, Gill Sans did not achieve popularity with American printers in the hot metal era, with most preferring gothic designs like Franklin Gothic and geometric designs like Futura and Monotype's own Yigirmanchi asr.[2][lar] Gill Sans therefore particularly achieved worldwide popularity after the close of the metal type era and in the phototypesetting and digital era, when it became a system font on Macintosh computers and Microsoft Office.[140] One use of Gill's work in the United States in this period, however, was a custom wordmark and logo made by Gill for She'riyat jurnal in 1930 based on Gill Sans. Uning muharriri Harriet Monro had seen Gill's work in London.[141]

The BBC logo at BBC Broadcasting House, Belfast

The BBC adopted the typeface as its corporate typeface in 1997 for many but not all purposes, including on its logotip.[142] Explaining the change, designer Martin Lambi-Neyn said that "by choosing a typeface that has stood the test of time, we avoid the trap of going down a modish route that might look outdated in several years' time".[143] The BBC had an earlier association with Gill, who created some sculptures on Teleradiokompaniyasi. Other more recent British organisations using Gill Sans have included Temir yo'l (and initially its successor Tarmoqli temir yo'l ), John Lewis and the Angliya cherkovi, which adopted Gill Sans as the typeface for the definitive Umumiy ibodat family of service books published from 2000.[144][145][146] The Britaniya qurolli kuchlari has also used Gills Sans on some stores labels on equipment and ammunition crates. Notable non-British modern businesses using Gill Sans include Benettonning birlashgan ranglari (which commissioned a custom variant), Tommi Xilfiger va Saab avtomashinasi.[147][148][149][150] Britaniya rok-guruhi Blok partiyasi has used Gill Sans in its logo.[151] AT & T used it until 2006, before changing it to Clearview after feeling that it was too in keeping with market research that people found the company "monolithic".[152] The AQSh Xalqaro taraqqiyot agentligi uses Gill Sans for its ubiquitous logo and other branding materials. Edvard Tufte, the information design theorist, uses Gill Sans on his website and in some of his published works.[153][154] The Vikimedia fondi uses Gill Sans on its so'z belgisi.[155]

Ko'proq yangi Mitsubishi elevator buttons use a derivative of the font, replacing Helvetica, as some numbers (such as "6" and "9") are more easily distinguishable.[156] Some old Express Lift buttons also use the font.

In the Philippines, Gill Sans is used on the logos of SM Megamall, SM Southmall, SM Seaside City Sebu, and the "Premier" tagline of SM Lanang Premer va SM CDO Downtown Premier. It was also used on the logo of Signal, a sun'iy yo'ldosh pullik televidenie operatori. It was also used on the logo of GMA News TV, a bepul yangiliklar kanali.

Similar fonts

Dastlabki raqobatchilar

Lettering on an Britaniya temir yo'llarining Sharqiy mintaqasi imzo. While the lettering is clearly based on Gill Sans, some letters such as the R juda boshqacha.

The Sheffield type foundry Stivenson Bleyk rapidly released a commercial competitor named Granbi, influenced by Gill Sans, Johnston and Futura.[21][51][157] Granby was a large family with condensed and inline styles; it has a diamond-dot design like Johnston. It also included a "Granby Elephant" weight influenced by Gill Kayo.[158]

Another similar but more eccentric design was created by Johnston's student Harold Curwen for the use of his family company, the Curwen Press ning Plaistov. Named "Curwen Sans" or "Curwen Modern", it has many similarities to Johnston also, and was occasionally used by London Transport in work printed by the Curwen Press.[159][160][161] Curwen described it as based on his time studying with Johnston in the 1900s, although it was not cut into metal until 1928, around the same time as Gill Sans was released, with a lower-case similar to that of Kabel.[51] A digitisation by K-Type was released in 2018.[162][163]

Several intended Gill Sans competitors were developed during the period of its popularity but ultimately did not see mass release. Yan Tschichold, who would later make extensive use of Gill Sans while designing books for Pingvin, created a similar design for an early Fotosuratga olish machine, which was at the time little-used but also since digitised.[164][165][166][21] During the 1930s Dutch type designer Yan van Krimpen, also a friend of Morison's, worked on a superfamily named Romulus, with serif and humanist sans-serif companion: the sans-serif, with a low x-height, never progressed beyond test proofs.[2] As described above, Linotype began work in 1955 on a Gill Sans competitor, intended to be named 'Magnus'.[t] Designed by the German type designer Hermann Zapf with input from British Linotype manager Walter Tracy, the design was ultimately abandoned by 1963 for reasons of lack of manufacturing capacity and changing tastes, although it too reached test proofs.[9][129]

Enamel sign at Lowestoft Central station yilda Britaniya temir yo'llari standard lettering. The right-hand side of the legs of the "R"s are straight rather than Gill's smooth curve.

Besides similar fonts, many signs and objects made in Britain during the period of Gill Sans' dominance, such as the Tinchlik saqlang va davom eting poster, received hand-painted or custom lettering similar to Gill Sans.[167][168] Fighter qo'mondoni during the war used a standard set of letters similar to it. Metyu Karter, later a prominent font designer, recalled in 2005 that when his mother cut linolyum block letters for him to play with during the Blits they were based on it.[169][170] Another little-known follower was the NEN 3225 standard lettering, a project by the Dutch Standards Institute to create a set of standardised lettering for public use in the Netherlands, comprising a sans-serif similar to Gill Sans and a companion serif font drawn by Yan van Krimpen. The project was begun in 1944 but not published until 1963, and ultimately did not become popular.[171][172]

Later and digital-only designs

The category of humanist sans-serif typefaces, which Gill Sans helped to define, saw great attention during the 1980s and 1990s, especially as a reaction against the overwhelming popularity of Helvetica and Univers in the 1960s and 1970s.[21][173][174][175]

Modern sans-serif designs inspired by Gill often adapt the concept by creating a design better proportioned and spaced for body text, a wider and more homogeneous range of weights, something easier since the arrival of the computer due to the use of bir nechta usta or interpolated font design, or more irregular and hand-drawn in style.[21][176] Jeremi Tankard "s Baxt and Volker Küster's Today Sans are modern variations; Tankard commented on the genre's eclipse that his aim was to create "the first commercial typeface with an English feel since Gill Sans".[21][177][178] Rowton Sans is inspired by Gill but has a nearly upright italic, similar to that used by Gill in his serif font Joanna.[179][180] More distantly, Arthur Vanson's Chesham Sans is inspired by the British tradition of sans-serif signpainting, with many similarities to Gill's work.[181] Bitstream's Humanist 521 was an unofficial digitisation, to which its Russian licensee ParaType added a Cyrillic version in 1997.[182][183] The companies SoftMaker and Fontsite also released Gill Sans digitisations under different names including 'Chantilly', 'Gibson' and others.[184][185]

More loosely, Sintaksis by Hans Eduard Meier is similar in some ways. Released in 1968 and praised by Tschichold, it was intended to be a more dynamic, handwriting-influenced sans-serif form.[9][186] Its italic is, however, more of an oblique than Gill's.[6] Hypatia Sans, designed by Thomas Phinney and released by Adobe, was intended to be a more characterful humanist sans design.[187][188] Many other fonts are influenced by Gill Sans to some extent.[6][189]

Font superfamilies

A lightly customised Gill Sans on a 1935 Monotype typesetter keyboard

A logical extension of the humanist sans-serif concept is the font superfamily: a serif font and a matching humanist sans-serif with similar letterforms. Martin Majoor "s FF Scala Sans is a popular example of this influenced by Gill's work;[6][9] boshqalar kiradi Charlotte Sans and Serif by Michael Gills for Letraset,[190] Mr and Mrs Eaves tomonidan Zuzana Licko, asoslangan Baskervil,[191][192] and Dover Sans and serif by Robin Mientjes, based on Caslon.[193][194] Monotype itself released Joanna Sans in 2015, as a screen-optimised sans-serif font intended to complement (but not exactly match) Gill's serif design Joanna.[195][196]

Huquqiy jihatlar

A railway timetable using Gill Sans from 1950
Gill Sans on an LNER hotel menu at the Royal Station mehmonxonasi yilda York, 1940
Portions of this inter-war Polish advertisement (of Gevaert negatives) are in Gill Sans using the "continental" alternates resembling Futura

Typeface designs are in many countries not copyrightable, while in others such as the Birlashgan Qirollik the design is out of copyright with 70 years passed since Gill's death in 1940, by which time the metal type family was essentially completed.[19][197][198][199] This makes it legally permissible to create alternative digitised versions of Gill Sans (although not necessarily of later Monotype additions to the font such as the book weight and Evro belgisi ). However, the name "Gill Sans" remains a Monotype savdo belgisi (no. 1340167 in the US) and therefore is not eligible to be used to name any derivative font.[200][201]

No complete, direct open-source Gill Sans clone has yet been released. One of the most extensive is Gillius, a derivative by the Arkandis Digital Foundry project and designer Hirwen Harendal, which includes bold, italic, condensed and condensed bold styles. It is not a pure clone, but rather partly created by modifying Bitstream Vera, and adds influences from geometric fonts particularly visible in the design of the "w".[202] K22, a foundry in Quezon City operated by the designer "Toto G", has released two Gill Sans shadowed variants as K22 EricGill Shadow (digitising the Gill Sans Shadow 338 design) and K22 EricGill Shadow Line, an inline variant, for free for "personal, private and non-commercial purposes" and for sale for commercial use.[203][204] A direct clone of the medium weight, Sans Guilt, was released by Brussels open source design group OSP in 2011, but it contains several obvious glitches such as misaligned "w" and "x" characters.[205]

Izohlar

  1. ^ Although it is now common to classify Gill Sans and Futura as following separate directions in typeface design, humanist and geometric, this did not seem obvious to contemporary writers who often saw both as a new, more personalised development of the sans-serif letter. Some sources of the period distinguish sans-serifs into the "grotesques" of the nineteenth century and the modern "sans-serifs" of the twentieth, or similar classification structures.
  2. ^ Mozli writes that it is "tempting to speculate" that this may have been Gill's idea even in the Johnston type, since it does not resemble Johnston's calligraphy, although there are naturally many past precedents for the design in signpainting and type.[11][12]
  3. ^ Morison had argued for the theory that an oblique made a better match than an italic to an upright font through offering less of a contrast to it. This contention had been a major part of the protracted and tense development of the Perpetua project, begun before Gill Sans but released second, since Monotype management scrapped the oblique for a more normal italic.[15] Morison ultimately abandoned the idea and ruefully noted that Times New Roman had an italic that owed "more to Didot than dogma."[16]
  4. ^ This is necessary since the slanting cut would unbalance the letter if the stroke weights were lighter.
  5. ^ Cleverdon retained the book of alphabets, which also included model serif capitals and lower-case, before selling it to the Garri to'lovi markazi collection in 1967.[25]
  6. ^ The A&NS letters no longer survive and may not have been a finished project – they are known from a letter from Gill to his former assistant Desmond Chute. Gill's friend Jon Dreyfus also remembered Gill doing some work on sans-serif letters that he thought were a project for Kundar.[29] The sign-painter's alphabet had very small wedge serifs, similar to the capitals of Copperplate Gothic and similar designs. This style was occasionally used at the time. Johnston had considered it as a possible structure for the Underground alphabet and it was used on some variants of Johnston by the Underground with the involvement of Johnston's pupil Percy Delf Smith.[30]
  7. ^ Some revivals of Johnston, such as a project by Bertold Vulf, the ITC digitisation and that used by London uchun transport have attempted to synthesise an italic or oblique for Johnston, but Johnston never created one.[41] P22's revival declined to add one.[42]
  8. ^ This resulted in a design somewhat similar to Gudi Sans of a few years later. The development of Johnston had gone through a similar paring-down process a decade earlier, in which the idea of incorporating many calligraphy-influenced glyphs, like a capital-form "q" in the lower-case, was considered then abandoned.[9]
  9. ^ An accessible specimen showing this is the Monotype Recorder article on the LNER timetable, which prints the sizes and weights the LNER favoured: stroke ends are visible on the 18 pt medium on "d", "p" and "q", but not at 10 pt.[48]
  10. ^ Gerry Leonidas of the University of Reading, a leading expert on the history of Greek printing, has criticised Gill Sans' Greek characters, at least in versions up to 2002, as "seriously compromised" and unidiomatic, although he noted that it was nonetheless widely imitated around the 1950s.[86]
  11. ^ Digitised in Gill Sans Nova as Gill Sans Nova Deco Regular.
  12. ^ Digitised as Gill Sans Shadowed and Gill Sans Nova Shadowed Outline. Capitals-only, as a titling face.[87] Similar to Hans Bohn's Orplid face of a few years earlier.[88]
  13. ^ Sometimes sold as Gill Sans Extra Light.[89]
  14. ^ Could be combined with Gill Sans Regular printed in a different colour to achieve a shadowed effect.[90] By the late metal type period sold as Gill Sans Shadow No. 3, as the heaviest shadowed weight, despite being cut first.[91]
  15. ^ The lightest Gill Sans Shadow weight, digitised as Gill Sans Light Shadowed and Gill Sans Nova Shadowed Light.[92]
  16. ^ A slightly bolder shadowed weight.[92]
  17. ^ Monotype's early digital releases of their classic typefaces, some unlike Gill Sans never fully revisited, were widely seen as erratic: Jonathan Hoefler commented sarcastically that "Gill Sans retired the trophy for 'Worst Digital Adaptation of an Okay Foundry Type', with Bembo & Kentavr close behind".[103]
  18. ^ A major part of Mosley's career in the period, indeed, was accumulating for St Bride Library metal type equipment from companies disposing of it.[136]
  19. ^ Monotype's competitor Linotip was dominant in the American market at the time, which may have been a factor in this.[9][11] The shadow-effect capitals-only fonts appear in some US specimen brochures that otherwise excluded it in this period,[137][138] in particular the Cameo Ruled weight, which was sold by Baltimore Type Founders in its Airport family, otherwise a clone of Futura.[139]
  20. ^ Britannia was also considered, but abandoned due to Stephenson Blake's pre-existing Britanik dizayn.

Adabiyotlar

  1. ^ "Promotional Poster, 1928". Qizil ro'yxat. Monotip.
  2. ^ a b v Treysi, Uolter (2003 yil yanvar). Akkreditivlar: Turli dizayn ko'rinishi. D.R. Godine. 87-98 betlar. ISBN  978-1-56792-240-0.
  3. ^ Kupersxmid, Indra. "Ko'p o'qli tipdagi oilalar". kupferschrift. Olingan 8 dekabr 2014.
  4. ^ a b Gerstner, Karl (1963). "A new basis for the old Akzidenz-Grotesk (English translation)" (PDF). Der Druckspiegel. Arxivlandi asl nusxasi (PDF) 2017 yil 15 oktyabrda. Olingan 15 oktyabr 2017. [Futura and Gill Sans from] the nineteen-twenties are highly individual interventions in typeface development. They both bear the stamp of the people who designed them...Gill was attempting, ideally, to establish a link to tradition. He drew a sans-serif typeface, [like Renner with Futura] with the aid of the compass and ruler, but based on the visual regularity of a serif roman.
  5. ^ Gerstner, Karl (1963). "Die Alte Akzidenz-Grotesk auf neuer Basis" (PDF). Der Druckspiegel. Arxivlandi asl nusxasi (PDF) 2017 yil 15 oktyabrda. Olingan 15 oktyabr 2017.
  6. ^ a b v d e f Major, Martin. "Mening dizayn dizayn falsafam". Tipografiya. Olingan 12 noyabr 2015.
  7. ^ a b Nesh, Jon. "Rim xatini himoya qilishda" (PDF). Journal of the Edward Johnston Foundation. Olingan 13 oktyabr 2016.
  8. ^ a b Mosli, Jeyms (1964). "Trajan tirildi". Alifbo. 1: 17–48.
  9. ^ a b v d e f g h men j k l m n Tam, Keith (2002). Calligraphic tendencies in the development of sanserif types in the twentieth century (PDF). Reading: University of Reading (MA thesis). Arxivlandi asl nusxasi (PDF) 2015 yil 6 sentyabrda. Olingan 19 avgust 2015.
  10. ^ Jonston, Edvard (1906). Yozish va yoritish va xat. Makmillan. pp.268 –269, 384, 391.
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  12. ^ a b Mosley, James. "Erik Gillning R: Italiya aloqasi". Type Foundry. Olingan 11 noyabr 2015.
  13. ^ Rabinowitz, Tova (1 January 2015). Exploring Typography. O'qishni to'xtatish. pp. 127–9. ISBN  978-1-305-46481-0.
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Bibliografiya

  • Karter, Sebastyan. Yigirmanchi asrning dizaynerlari. VW. Norton, 1995 yil. ISBN  0-393-70199-9.
  • Jonson, Jaspert va Berri. Turli yuzlar entsiklopediyasi. Cassell & Co, 2001 yil. ISBN  1-84188-139-2.
  • Ott, Nikolaus, Fridl Fredrix va Shteyn Bernard. Tarix davomida tipografiya va turlarning dizayni va uslublarini ensiklopedik tadqiq qilish. Black Dog & Leventhal nashriyotlari. 1998 yil, ISBN  1-57912-023-7.
  • Ovenden, Mark. Johnston and Gill: Juda ingliz turlari. Lund Xamfri. 2016 yil, ISBN  978-1-84822-176-5

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