Download Artists' Walk 2

Total Page:16

File Type:pdf, Size:1020Kb

Download Artists' Walk 2 ARTISTS’ WALK After passing The Leaflet supported by Fieldway on your Ditchling History Project right you will see 2 Many thanks to the Ditchling History Project for providing the text for a red brick villa, these walks. DHP members are enthusiastic researchers and recorders ‘Meadowcroft’ which of Ditchling’s past; the group have published several books, organise was a Red Cross exhibitions, offer walks and talks, collect oral histories and maintain a hospital during the database relating to all aspects of the village’s history. The Village Centre First World War. ditchlinghistoryproject.org Sister Wells was living APPROXIMATELY 1 HOUR | 3/4 MILE 5 Lettering, Edward Johnston Can be added to walk 1 to take in the church and churchyard next door with her young son John Wells Turner Dumbrell Eric Gill’s nephew John Skelton who became one of the St The Turner-Dumbrell Foundation, established in 1983, is a grant (Trowbridge was Skelton’s Ives group of artists. Pass the making trust supporting charitable organisations in Ditchling and apprentice). Now continue Twitten and continue along the surrounding area. The Foundation owns and manages the Turner- along Lewes Road and on your Lewes Road to the crossroads. Dumbrell Workshops, let mainly to local artists and craft-workers, Frank Brangwyn left is the tile-hung house As you turn right into the and land at Lodge Hill and Bowries fields which are let for grazing. The Louis Ginnett ‘Downsview’ (5), home in High Street you’ll reach a tall rental income contributes towards the charitable giving. Edward Johnston 1913 to the calligrapher Edward timber-framed house often a turner-dumbrell.org Hilary Pepler John Skelton Johnston for a brief spell before subject for artists. This was the Jack Trowbridge moving up to ‘Halletts’ on home of the architect John John Wells Ditchling Common. He returned Denman who worked with Ditchling Museum of Art + Craft to the village with his family to Louis Ginnett, his neighbour In 1985, when they were 78 and 76 years old respectively, Joanna and live at the ‘Cleves’, (next door next door at Chichester House. Hilary Bourne bought the former school in the village of Ditchling but one) where you can see the Continue to Church Lane and and opened the first museum - Ditchling Museum. plaque by Jack Trowbridge, and make your way back to the When Ditchling Museum of Art + Craft was reopened in 2013 after a where he remained until his museum through the churchyard significant development, an exciting new phase began in its history. death in 1944 (6). and across the Green. Today the museum holds an internationally important collection of work by the artists and craftspeople who were drawn to the village, including the sculptor, wood engraver, type-designer and letter-cutter 6 Guild Workshop and Chapel, Edgar Holloway, 1971 Eric Gill, the calligrapher Edward Johnston, the painter David Jones, the printer Hilary Pepler and the weaver Ethel Mairet. The museum produces a changing and dynamic programme of traditional and contemporary exhibitions and workshops. ditchlingmuseumartcraft.org.uk Opening times Tuesday – Saturday: 10.30am - 5pm Sunday + Bank Holidays: 11 - 5pm © 2018. Copyright Ditchling Museum of Art + Craft. The village was the home to many artists, writers and makers in the early 20th century, a residential creative tradition which continues to the present day. 3 Engraving of Ditchling, Eric Gill, 1918 (commissioned by Ditchling Women’s Institute) N BRANGWYN’S ACRE route past the 18th century Old Continue, passing Farm Lane EAST END LANE HIGH STREET Meeting House where G.K. on your left, and when you OLD (B2112) MEETING Chesterton preached and at the near Lewes Road, just before a THE LIMES HOUSE TWITTEN CONDS FARM LANE end of the path turn right to turning to Barnfield Gardens is 2 SOPERS 1 3 the crossroads, OR for a longer Wild Goose Cottage once the CHURCH LANE THE SANDROCK 4 walk carry on down East End home of Rowland Emett (4), ST MARGARET’S PRIMARY SCHOOL Lane where you soon pass the the cartoonist and inventor SAINT MARGARET’S CHURCH development Brangwyn’s Acre of fantastic machines. WEST STREET LEWES ROAD (B2116) (B2116) on your left. At the entrance At the junction with Lewes 2 Stanhope Press, Ditchling Museum of Art + Craft is the group of Brangwyn’s Road turn right toward St CLEVES DOWNSVIEW To Hassocks Station SOUTH ST 6 5 Cottages built for villagers Margaret’s Primary School (B2112) From the museum take the path first floor window looks out to by the Ditchling artist Frank where, if you walk round to across the village green and up the Downs familiar to Gill as a Brangwyn with the monogram the entrance, you will see a the steps to the church yard, child growing up in Brighton. F & L B for himself and his sculpture of St Margaret by Jack turning left to the tree-lined He wrote: “If you have been a wife Lucy. Trowbridge with a plaque by Church Lane and then right little child brought up in these to the High Street. Cross the hills and in those days you 4 Roland Emmett road to the brick fronted house will understand their mortal 1 Sopers ‘Sopers’ with a plaque showing loveliness (3)“. that Eric Gill lived here from Pass the timber-framed 1907-1913. The plaque is by Jack ‘Conds Cottage’, at one time Trowbridge, who was apprenticed the home of the printer Gerard to John Skelton, himself a pupil Meynell and his wife the Sussex of Gill and Joseph Cribb. After writer Esther Meynell, and The Gill moved up to Ditchling Limes which was the childhood Common, his friend from home of the Sinden family of Hammersmith, Hilary Pepler, actors, then turn right down lived at ‘Sopers’ (1) and in 1916 East End Lane. This is the installed the Stanhope Press (2) original east-west road out of in the outbuildings. His first Ditchling before the arrival of commercial job was to print the turnpike. When you reach beer labels for the Sandrock The Twitten on your right you Inn next door. The south facing can either take this shorter .
Recommended publications
  • Eric Gill Special Collection
    an introduction to the Eric Gill Special Collection Portrait of Eric Gill (1882-1940) was an English engraver, sculptor, typographer, and writer Eric Gill who lived and worked in and near London. The University of Notre Dame collection includes over 2,000 items of Eric Gill’s work: books, pamphlets, broadsides, prints, greeting cards, calendars, sketches, wood blocks, photographs, and other formats. The Gill Collection also includes many examples of the work by men who worked with or apprenticed with Gill (Hilary Pepler, Philip Hagreen, Joseph Cribb, David Jones, and Desmund Chute), most of the imprints of the Golden Cockerel Press (which produced The Four Gospels engraved by Gill), and an extensive selection of the output from Gill’s own St. Dominic’s Press. There are hundreds of fine art prints and over 100 photographs of Gill’s sculptures. The collection was acquired in 1965 from John Bennett Shaw (Notre Dame alumnus ’37), who purchased it from Evan Gill, Eric’s brother. Since 1965, the collection has been added to selectively. The collection has a large and interdisciplinary audience. The Gill Trial Proofs of Collection encompasses the genres of drawing, sculpture, Eric Gill’s lettering, engraving, and printing, as well as the intellectual Hand & Eye, with a pencil sketch at pursuits of art theory, religion, and social philosophy. It is thus of left, 1908. interest to students and researchers in art history, graphic design, This was used by the book arts, fine printing and the history of printing, and the Gill as a personal symbol. social thinking of the late 19th and early 20th centuries.
    [Show full text]
  • Fine Printing & Small Presses A
    Fine Printing & Small Presses A - K Catalogue 354 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.
    [Show full text]
  • Eric Gill Archive, 1887-2003 (Bulk 1905-1940)
    http://oac.cdlib.org/findaid/ark:/13030/kt9m3nc2gh No online items Finding Aid for the Eric Gill Archive, 1887-2003 (bulk 1905-1940) Processed by Jennifer Alcoset. William Andrews Clark Memorial Library 2520 Cimarron Street UCLA Los Angeles, CA 90018 Phone: (323) 731-8529 Fax: (323) 731-8617 Email: [email protected] URL: http://www.humnet.ucla.edu/humnet/clarklib/ ©2004 The Regents of the University of California. All rights reserved. Finding Aid for the Eric Gill MS Gill 1 Archive, 1887-2003 (bulk 1905-1940) Descriptive Summary Title: Eric Gill Archive Date (inclusive): 1887-2003 (bulk 1905-1940) Collection number: MS Gill Creator: William Andrews Clark Memorial Library, UCLA Extent: 76.2 linear feet, 14 flat files, 9 tubes, 8 items Repository: University of California, Los Angeles. Library. William Andrews Clark Memorial Library Los Angeles, California 90095-1490 Abstract: This collection of materials accumulated by the William Andrews Clark Memorial Library documents the personal and artistic development and activities of Eric Gill, a twentieth-century English stone-cutter, sculptor, artist, author, typographer/type designer, printer, book illustrator; and champion of social reforms. The collection includes manuscripts, diaries, correspondence, legal and financial documents, scrapbooks, clippings, periodicals, photographs, Gill's books and library, as well as several printing items and a substantial amount of art. Physical location: William Andrews Clark Memorial Library. Language: English. Access Collection is open for research. Publication Rights Copyright has not been assigned to the William Andrews Clark Memorial Library. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Librarian.
    [Show full text]
  • 215 ART, SACRAMENT, ANAMNESIS Thomas Dilworth. David Jones: Engraver, Soldier, Painter, Poet. Counter- Point, 2017. Mark Scroggi
    MARK SCROGGINS ART, SACRAMENT, ANAMNESIS Thomas Dilworth. David Jones: Engraver, Soldier, Painter, Poet. Counter- point, 2017. Mark Scroggins David Jones (1895-1974), Londoner by birth and Welshman by ances- try and conscious adoption, is by no means a “lost modernist,” but he has certainly received far less critical, scholarly, and popular attention than such household names as T. S. Eliot, Ezra Pound, and William Carlos Williams. Within the niche market of twentieth-century poetry, his work has occu- pied a small and very particular sub-niche: prized by students of Great War writing, Anglo-Welsh poetry, and Roman Catholic culture, pored over by scholars of British modernism; but rarely discussed outside of those circles, and even more rarely assigned on classroom syllabi. Thomas Dilworth’s im- pressive David Jones, the first full-length critical biography of the poet and painter, presents itself in part as a recovery project, aimed at making Jones’s work visible and available to a wider public. One can only hope it’s success- ful; at the very least, Dilworth’s book is a splendid example of biography- making, unlikely to be superceded for many decades to come. Many of the “high” modernists born in the last two decades of the nineteenth century have been well-served by biographers, from Richard Ell- mann’s massive 1959 life of Joyce, to lives of Eliot by Peter Ackroyd (sturdy) and Lyndall Gordon (illuminating), to A. David Moody’s recently com- pleted, monumental three-volume life of Pound. There have been several good biographies of Stein, and several quite excellent ones of Woolf.
    [Show full text]
  • Case 11: Mind Over Matter? on April 29, 2017, the Ditchling Museum of ART + CRAFT Opened a New Exhibit: Eric Gill: the Body
    Case 11: Mind over Matter? On April 29, 2017, the Ditchling Museum of ART + CRAFT opened a new exhibit: Eric Gill: The Body. Gill was one of the finest British artists of the 20th century; his sculptures stand in buildings across the world, including Westminster Cathedral (London) and the United Nations Building (NYC). His sculptures, engravings, and drawings permanently reside in prestigious museums. According to Ditchling’s web page, “[w]ithin Gill’s work, the human body is of central importance; this major exhibition asks whether knowledge of Gill’s disturbing biography affects our enjoyment and appreciation of his depiction of the human figure.”109 The “disturbing biography” referred to is Gill’s sexual abuse of his two oldest daughters during their teens. Prior to mounting the exhibition, Ditchling’s director, Nathaniel Hepburn, convened a workshop that included academics, museum professionals and curators, critics, and journalists to consider not whether, but how, the exhibition might usefully examine this sexual abuse. Journalist Rachel Cooke, a workshop participant, queries: “For me, though, the biggest question remains unanswered: why do this show at all? The darknesses in Gill’s life have been public knowledge... [since] 1989. It is not as though 110 this information is secret. Why force it on visitors?” Certainly some viewers will be distressed—perhaps mightily distressed—to see sculptures and engravings of the abused daughters, executed during the periods of their abuse. For example, abuse survivors may experience flashbacks of their abuse. Members of the more general public are likely to experience feelings of disgust and repugnance in learning how Gill came to acquire such intimate knowledge of his subjects’ bodies.
    [Show full text]
  • The Carroll Quarterly, Vol. 12, No. 2
    John Carroll University Carroll Collected The aC rroll Quarterly Student Winter 1958 The aC rroll Quarterly, vol. 12, no. 2 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollquarterly Recommended Citation John Carroll University, "The aC rroll Quarterly, vol. 12, no. 2" (1958). The Carroll Quarterly. 32. http://collected.jcu.edu/carrollquarterly/32 This Book is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll Quarterly by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. carroll quarterly Volum e 12 W in ter, 1958-59 Number 2 ~ditor David Lowe Literary ~ditor John McBride Associate ~ditors Charles West Richard Long Copy ~ditors Samuel Perry Gary Furin Thomas Vince Robert Showiak James O'Sullivan James Roth John Schimpf Christopher Bunsey John Duffy Frank Yartz Carl Coppola Moderator Rev. ~erman S. ~ughes, S.J. Cover design by the editor T he Can·oll Qzun·terly is publi:;hed by an undergraduate staff at J ohn Carroll niversity to encourage literary expression among students, alumni, and faculty. Editorial and publication offices: John an·oll University, University Heights 1 , Ohio. CONT~NTS Eric Gill : A Sketch - Ralph A. Keifer 5 Desd em ona - Thomas Corr 18 1 Was Th e re, Hold e n - Chris Bunsey 19 Genesis Ill - R. J. Schork, Jr. 22 lost - Thomas L. Vin ce 23 Night Train - Th eodore Volvoda 24 Random Thoughts on the Beat Ge ne ration - David Lowe 25 Novembe r Rain - Th eodore Volvoda 32 The Innkeeper - Theodore Valvoda 32 Tal es from a Night Watchman - Thomas Scribb 33 To an Ariel Companion at Sunset - Thomas A.
    [Show full text]
  • The Eric Gill Exhibition the Art Ofselection
    THE NEWSLETTER OF THE FRIENDS OF THE THOMAS FISHER RARE BOOK LIBRARY ISSUE No.8, Novembe r 1991 ISSN 0840-5565 on art, religion, and social issues, o ften Toronto in 1933, had throughout the 1930s po l emlcs against some pet hate and been an enthusiastic purchaser of Gill's sometimes w riuen in impenetrable prose, work borh directly from the art ist and from number more than flfty-Iour Items, w hile his gallery agents. ·111e present o wners The Eric Gill Exhibition an additional 200 or so contributions to allowed us to se lect what we wanted to hooks and articles are listed in the second d isplay from a huge col lection f prints. all and edition of the bibliography by Evan Gill, the major books, and many ephemeral The Art ofSelection revised by Steven Corey and Julia Macken­ items. '111is was followed by :1 suggestion zie (Winchester: t, Paul's Bibli ographies, from SUS3 n Bellingham, Special COllectio ns Eric GlII was an extrnord inarily prolifi c 199 1). Libra rian at the University of Walerloo, to artist, II has been estimated th:u he made As one wou ld expect, there are major sec the Gill collection there ( which had over 1,000 engravings; he created a collections o f GiII's work In England and been ~ rmed by earll r librarians who numbe r of Impo rtant type faces, including the United States, but it was an exciting were Gill enthusiasts). \VIc we re allowed (0 Joanna, Perpe tua and Gill Sans , which expe rience to discover the rich holdings bo rrow several unique items of o rig inal have rnairuained their popularity as good, which exist in and around Toronto.
    [Show full text]
  • Gill Project Finding Aid Item Number: CEG683
    Gill Project Finding Aid Item Number: CEG683 Artwork name: Untitled (The Keymer & District Land Club Sussex) Date: Undated Size: 3 x 7” Description: Piece of rag or cardboard painted navy blue with white text and white and red patterned accents. Media: watercolor or gouache on rag board Item Number: CEG684 Artwork name: Sketch for Land Club banner or poster Date: June, 1909 Size: 6 x 8” Description: Watercolor painting of a landscape with house for Land Club League poster Media: Watercolor on paper, mounted on board Item Number: CEG685 Artwork name: Untitled (The Land Club League) Date: Undated Size: 5½ x 5 ¾” Description: Watercolor painting of a house with fruit tree and wheat with text below. Media: Watercolor on paperboard Item Number: CEG686 Artwork name: Untitled (The Land Club League) Date: Undated Size: 6 x 6¼” Description: Painting of a house with fruit tree and wheat with text below. Media: Watercolor on paper Item Number: CEG687 Artwork name: Sketch for Land Club banner Date: June 1909 Size: 14 ¼ x 10 ¼” Description: Painting of house between two trees with text below. Media: Watercolor on medium-weight paper Item Number: CEG1511 Artwork name: 25 Nudes Date: Undated: Size: 7 x 9” Description: Proof engraving of Cover of 25 Nudes Book Media: 2 color proof engraving Item Number: CEG1512 and 13-G Artwork name: 25 Nudes Size: 7 ¾ x 10 ¾” Description: Paste-up (collaged) design for layout of d.w. design Media: Engraving on paper Item Number: CEG1513 Artwork name: 25 Nudes Size: 14 x 10” Description: Photostat or original drawing for d.w.
    [Show full text]
  • Jacob Epstein – the Indian Connection by RUPERT RICHARD ARROWSMITH Christ Church, University of Oxford
    Jacob Epstein – the Indian connection by RUPERT RICHARD ARROWSMITH Christ Church, University of Oxford SURVEYS OF MODERNIST British sculpture regularly begin with a description of the architectural carvings made by Jacob Epstein for the new British Medical Association building on the Strand in London during 1907 and 1908 (Fig.26). Despite this apparent consensus among art histor- ians, it is still far from clear exactly why the carvings should herald such a radical change in sculptural aesthetics and tech - niques, and what Epstein’s intentions were in creating them. Fortunately, a century after the sculptor began work on the project, new evidence has emerged that goes a long way towards clarifying both questions. The present article not only confirms the position of the BMA carvings at the roots of British Modernism, but also exposes their debt to a specific artistic tradition from outside Europe. Intercultural aesthetic exchange is persistently ignored in discussions of early Modernism, in particular, but Epstein’s trans-national leanings confirm it as an important factor even during the first decade of the twentieth century. Epstein’s sculptures for the BMA are regularly lumped together by critics into one series, when in fact they fall into two distinct groups. 1 Charles Holden, the architect of the new headquarters, pointed this out to a journalist for the British Medical Journal as early as 1907. While an initial group of reliefs was to ‘represent medicine and its allied sciences, chemistry, anatomy, hygiene, medical research and experi - 26. The British Medical Association Headquarters (429 Strand, Westminster), designed by Charles Holden as partner of Adams, Holden & Pearson.
    [Show full text]
  • Eric Gill Drawings Dot&GC
    Eric Gill drawings in DoT&GC Background Eric Gill (1882–1940) was an English sculptor, typeface designer, printer, artist and writer. He completed his first sculpture in 1910, had his first solo sculpture exhibition in 1911, and started his first major public commission for Westminster Cathedral in 1914. Aided by apprentices and assistants, his workshop expanded. In 1928 Gill held one of his largest solo shows featuring the recently completed ‘Mankind’, Gill’s largest non-commissioned sculpture. He received many architectural commissions, including sculptures for the London Underground headquarters in 1928 and for the BBC headquarters in 1930. The BBC job was one of the high-profile commissions that firmly established Gill’s public reputation. Numerous other large-scale commissions followed and there was continued coverage of his work in the press. --------------- Eric Gill received the commission to design and carve five sculptures for the BBC at the newly built Broadcasting House, Portland Place, London in 1930. He submitted drawings and carved models, one-third full size, for all five sculptures. Work was undertaken between 1931 and 1933. He accepted the suggestion from the BBC to use Prospero and Ariel, the fictional characters in Shakespeare’s play The Tempest: Prospero to serve as a symbol of wisdom and benevolence, and Ariel, the invisible spirit of the air, as a personification of broadcasting. Gill’s Broadcasting House commission consisted of four external groups of sculpture. There were three Ariel panels in high relief for the sides of the building: ‘Ariel Hears Celestial Music’ and ‘Ariel Between Wisdom and Gaiety’ on Portland Place, and ‘Ariel Piping to the Children’ on Langham Street.
    [Show full text]
  • Bulletin 341 August 2000
    Registered Charity No: 272098 ISSN 0585-9980 SURREY ARCHAEOLOGICAL SOCIETY CASTLE ARCH, GUILDFORD GU1 3SX Tel/ Fax: 01483 532454 E-mail: [email protected] Website: ourworld.compuserve.com/homepages/surreyarch Bulletin 341 August 2000 w Full Details inside of Heritage Open Days 16th <& 17th September Flint axe from Botley Hill Farm. Scale 1:2 A D VA N C E N O T I C E MILLENNIUM CONFERENCE PROGRAMME 25th-26th November 20(H) LETHERHEAD INSTITUTE SATURDAY Coffee and exhibits Introduction MItcham Eric Montague M e r t o n & M o r d e n Peter Hopkins Wimbledon Cyrii Maidment Coffee and exhibits Tenure Peter Finch Capel Vivien Ettlinger/Mary Day Discussion Lunch and exhibits Share Ann Noyes Ewhurst Janet Balchin Manors and buildings Martin Higgins Discussion Tea and exhibits Hambledon Audrey Monk Thorpe Jili Wiiliams Discussion End for day SUNDAY 10.30 Coffee and exhibits 1 1 . 0 0 S o u t h w a r k G r a h a m D a w s o n 1 1 . 4 0 E w e l l C h a r l e s A b d y 1 2 . 0 0 H o r l e y P e t e r G w y n n e 12.20 Discussion 12.50 Lunch and exhibits 14.00 The Origins of Surrey Villages 15.00 Tea and exhibits 15.30 EGM 16.00 AGM 17.00 Depart KENNETH GRAVETT TRIBUTE MEETING Saturday 23 September, 2pm-5pm Wartborough Bam To commemorate Ken's many contributions to iocal history and archaeology the Council and Society have arranged the following half-day meeting.
    [Show full text]
  • Gill Sans Nova Type Specimen
    Gill Sans Nova type specimen Foundry: Monotype Studio Editor and Designer: Eric Gill, George Ryan MyFonts debut: Nov 4, 2015 Gill Sans Nova Sans CONTENTS Nova 07 SansThe Typeface 10 About the Designer 12 Anatomy 20 Weights & Styles 24 Numbers & punctuation marks 26 Purchasing Nova The Typaface Gill Sans Nova The Gill Sans® Nova typeface, by Monotype Studio designer George Ryan, expands the much-loved Gill Sans family from 18 to 43 fonts and features a coordinated range of roman and condensed designs. Several new display fonts are available, including a suite of six inline weights, shadowed outline fonts that were never digitized and Gill Sans Nova Deco that was previously withdrawn from the Monotype library. A variety of OpenType® features are supported that make it possible to include experimental characters from different points inGill Sans’s long history, including pointed diagonals on ‘A’, ‘V’ and ‘W’ and alternatives for ‘b’, ‘d’, ‘p’ and ‘q.’ Proportional figures are also available as an alternative to the tabular designs. The Gill Sans Nova family has a large character set that supports Latin, Greek and Cyrillic languages. The display weights support Latin only. 7 “Gill Sans was fast to strike a chord with people after its initial 1928 release and quickly became popular,” explains Ryan. “It’s been adapted for every publishing technology, from mechanical typesetting to digital imaging – always receiving the best treatment from Monotype in each iteration. This is especially true with all that we’ve added to the new series, while still retaining the familiarity of Gill Sans. My goal was to ensure clarity across digital environments, add missing weights, and bring more personality to the family with new display fonts, as well as Gill-inspired alternate characters.” Gill Sans Gill Sans is a sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards.
    [Show full text]