GILL SANS BENJAMIN FALL G 2 Fall

Total Page:16

File Type:pdf, Size:1020Kb

GILL SANS BENJAMIN FALL G 2 Fall Fall MONOTYPE 1 GILL SANS BENJAMIN FALL g 2 Fall Gill Sans Edited and Designed by Benjamin Fall 2013 Fall Eric Gill, designer of the font Gill Sans, was not completely satisfied with Johnston Sans, the font of his mentor, Edward Johnston: “The first notable attempt to work out the norm for plain letters was made by Mr Edward Johnston when he designed the sans-serif letter for the London Underground Railways. Some of these letters are not 3 entirely satisfactory, especially when it is remembered that, for such a purpose, an alpha- bet should be as near as possible ‘fool-proof’… as the philosophers would say—nothing should be left to the imagination of the sign-writer or enamel-plate maker.” Eric Gill’s creativity allowed him to create Gill Sans, often hailed as the “Helvetica of England.” Just as the name implies, Gill Sans is a Humanist sans-serif font. The Gill Sans family includes light, regular, bold, extra bold, ultra bold, italic, condensed, and bold extra con- densed. It is more classical in proportion and has a more geometric feel than a mechani- cal one. Eric Gill intended for his font to function both in text and on display. Released in 1928, Gill Sans rose in popularity in 1929 when the London and North Eastern Railway adopted it as their standard typeface. The prominence of this use helped Gill Sans to become the preferred font of many British institutions, being widely used by the Church of England, the BBC, and Penguin Books, among others. Since 2006, Gill Sans has been freely distributed through Apple’s Operating System, as well as through Adobe’s Creative Suite. Today, Gill Sans is used on movie posters includ- ing those for Toy Story and Ferris Bueller’s Day Off, as well as for companies such as BBC World News, Tommy Hilfiger, eHarmony, SEPTA, and Saab Automobile. The varying eccentricities of Gill Sans are what make it such a unique and interesting font. The two-weighted “a” fits all of the strokes without becoming cluttered. The letters “b,” “d,” “p,” and “q,” are spurless on certain weights and styles while keeping them on“ others. The range of weights appears darker and less evenly distributed than other similar typefaces. THERE ARE NOW ABOUT AS MANY DIFFERENT VARIETIES OF LETTERS AS THERE ARE DIFFERENT KINDS OF FOOLS. Editor’s Note Editor’s “ -ERIC GILL 4 Fall Table of Contents Fall 2..................................Title Page 3...............................Editor’s Note 5 4...........................Table of Contents 6....................................Eric Gill 8..........................History of Gill Sans 10...........................Underground 12..................................Gill Sans 14. Reevaluating Gill Sans 16. Overused and Misunderstood 18..............................Sources 6 Fall Eric Eric Gill – born 22. 2. 1882 Gillin Brighton, England, died 17. 11. 1940 in Uxbridge, England – sculptor, graphic artist, type designer. Studied at the Chichester Technical and Art School. 1899–1903: works in an architect’s office. Takes lessons in lettering with Edward Johnston at the Central School of Arts and Crafts in London. 1905– 09: produces initials and book covers for Insel publishers in Leipzig. 1906: designs & inititals for Ashedene Fall Press. 1907: moves to Ditchling, Sussex. Here he produces stone sculptures, including for the BBC building in London. 7 1914: produces sculptures for the stations of the cross in Westminster Cathedral in London. 1924: moves to Capel-y- ffin. 1925–31: works for the Golden Cockerell Press (initials, illustrations and an exclusive text type). 1928: moves to Pigotts near High Wycombe. Works for London Underground’s administrative headquarters. With his son-in-law he founds his own hand-press which prints luxury bibliophile editions. 1930: illustrations for the last number of “The Fleuron” magazine. 1937: designs a postage stamp which is in use for 15 years. 1936: made a Royal Designer for Industry. 1938: produces stone tablets for the League of Nations building in Geneva. Fonts: Gill Sans® (1927–30), Golden Cockerell Roman (1929), Perpetua® (1929–30), Solus (1929), Joanna® (1930–31), Aries (1932), Floriated Capitals™ (1932), Bunyan, Pilgrim (1934), Jubilee (1934). Publications include: “Essay on Typography”, London 1931; “Autobiography”, London 1940. R. Speaight “The Life of Eric Gill”, London 1966; R. Brewer “Eric Gill”, London 1966; R. Brewer “Eric Gill, the man who loved letters”, London 1973; R. Harling “The letter forms and type design of Eric Gill”, Westerham 1976; F. MacCarthy “Eric & Gill”, New York 1989. 8 Fall History of In 1926 Gill was asked to paint a shop sign for a Bristol bookseller, Douglas Cleverdon. It was this lettering that led Morison to suggest that Gill create a sans-serif that was beginning to become popular. The letterform Gill had created for the shop was only a capital alphabet and he embarked on the design aware of the greater difficulties of constructing a even monoline lowercase alphabet, which involved many curves and junctions. Gill’s resulting sans-serifs were firmly modeled on classic roman proportions. Gill was able to introduce refinements, which, with the help of the Monotype drawing office, have established Gill Sans as a much-loved classic among sans-serifs. Gill Sans has a friendly warmth and is classified as a humanist sans-serif. The series was originally produced as a hot-metal letterpress type, so when it was digitalized it is most likely that the original Monotype office drawings were used. Gill Sans now has an extensive range of weights, from light through to ultra bold with italics and Old-style figures. In addition there are only two display weights of condensed, and two decorative fonts: Gill Sans Light Shadowed, and a titling Gill Sans Shadowed. Gill Sans has a smaller x-height than some 20th- Century available only in one size, with minimal variations. sans-serifs. It can be effective with more leading than the Johnston’s alphabet was used extensively by London standard 20 percent of body size. Sizes below 9-point will Transport for nearly 50 years. After a decade of benefit from a minimal increase in tracking. Gill Sans con- disuse, it was revived by Colin Banks and John Miles sists of a family of weights and forms that happily lack the in the 1980s. The Banks & Miles digital version uniformity of weight increase designed into many sans-serifs. named New Johnston is not widely available as of Gill offers an assortment of forms that can be refreshing to yet, compared to Gill’s popular face.v experiment with. The humanist sans serifs spanned the chasm between two very different typographic genres: Gill Sans was designed for railway use. Similar to Johnston’s Gserif and sans-serif typefaces. Sans-serif faces often sans serif, Gill Sans is more refined and distinctive. Eric Gill endured the scorn of critics who regarded them replaced Johnston’s diamonds over the ‘i’ and ‘j’ with round merely as roman letters with their serifs, and con- dots He also simplified the lowercase ‘l’ in comparison to sequently their beauty, extracted. Others disagreed, the hooked ‘l’ in Johnston’s alphabet. Notable differences in however, and embraced the idea of a typographic the uppercase include the open counters in Gill’s ‘S’ and the form stripped of ornament and decoration. By humanistic stroke and joinery on the tail of the ‘Q’. Gill Sans 1930, the geometric sans serifs had arrived, with has points at the base of the ‘V’ and the ‘W’ in contrast with Paul Renner’s Futura as their acclaimed leader. the flat bases of Johnston’s letters. Monotype manufactured Proponents praised Futura and faces like it for Gill Sans in 1927; ultimately it consisted of 24 related series, the adjusted widths and proportions, monotone S Fall characters, and interchangeability of typographic British sculptor, artist, and typeface designer who compromise between traditional roman typefaces also gave us Perpetua and Joanna (named after one and the new geometrics. The humanist sans serifs of his daughters), among others. Gill Sans rose to were designed for this purpose; they spanned the popularity in 1929 when it became the standard 9 gap between serifs and sans serifs while drawing on typeface for the London and North Eastern Railway the best features of each. (LNER), appearing on everything from locomotive nameplates to time tables. The typeface was used in Gill Sans was based on the same sources as Johnston, 1935 by designer Edward Young on the now iconic though Gill distinguished the two faces by saying Penguin Books jacket design, putting Gill Sans on that his own was designed to be read as a text face bookshelves around the world. Many other notable whereas Johnston’s was intended purely for signs. Gill companies (particularly in England) adopted Gill had used san serif lettering for signs in his at Capel- Sans as a corporate typeface by the mid-1900s, y-Ffin and for the lettering on a Bristol Bookshop including the BBC, British Railways, and ultimately owned by Douglas Cleverdon, which Gill painted in Monotype themselves—making the typeface Mono- 1927. It was this bookshop sign, which suggested the type’s fifth best seller of the twentieth century. idea of a Gill sans serif to Morison. Originally released as metal type, over 36 deriv- Drawing heavily on Johnston’s work, Gill first ex- atives emerged between 1929 and 1932—many perimented with his ‘improvements’ in 1926 when of which were created by the Monotype drawing he hand-painted lettering for a bookshop sign in office (with input by Gill). The typeface is renowned his hometown, Bristol. Gill also sketched a guide for its inconsistencies between weights, as they for the bookshop owner, Douglas Cleverdon, who were not mechanically produced from a single later published the work in A Book of Alphabets design (opposed to others like Helvetica).
Recommended publications
  • Typographic Specimen Poster
    Typographic Specimen Poster Type specimen posters were historically released by foundries and printers as a means of introducing new typefaces to designers. The design aesthetic of the posters was mostly utilitarian (simple and functional) with the goal of displaying a typeface in different sizes for the designer to visualize how the typeface could be used. As technology progressed from the linotype to the digital press, the emphasis on posters as the primary means of showing off a new typeface diminished, however the type specimen poster grew into their own form of expressive design. While modern type specimen posters are not as common, they are often far more expressive than their historical counterparts. Akzidenz Grotesk, design by Gunter Gerhard Lange in 1898 Homework: Put a Typeface to a Name This is a project that focuses on research and utilizing your knowledge of typography and layout skills learned over the past semester. Using InDesign, the objective of your type poster is to highlight the different qualities or characteristics of your chosen typeface, introduce the typographer, as well as generate a design that compliments the aesthetics of the prominent design movement of the time. Part 1) Research and Sketchbook Exercise: Research online and find at least 5 examples of type specimen sheets that inspire you, even if their design is different from the approach you will be taking. From your assigned century, choose a typographer and typeface they designed. Research the prominent design movement associated with your typographerʼs region and time period (Example: Typographer: Eric Gill, Typeface: Gill Sans, Time Period: 1920s England, Prominent Design Movement: Art Deco).
    [Show full text]
  • Cloud Fonts in Microsoft Office
    APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
    [Show full text]
  • Typography One Typeface Classification Why Classify?
    Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing.
    [Show full text]
  • Sig Process Book
    A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry.
    [Show full text]
  • WWII Book Project Project Based Learning
    World History Semester 11 Causes of WWII Book Project Project Based Learning Overview: The students will create a children’s book or a comic book / graphic novel over one, many, or all of the causes of WWII. The students will use the internet to look up pictures to include in their book as well as conduct research over the causes of WWII. At the culmination of the project, each student will read his or her book to the class. The last page of the book needs to be 1 page explanation of the student’s opinion of what the main cause of WWII was and why they feel that way. 21 Century outcomes: Core Subject: History Learning and Innovation Skills Think Creatively Use Systems of Thinking Communicate Clearly Information, Media and Technology Skills Access and Evaluate Information Use and Manage Information Apply Technology Effectively Life and Career Skills Manage Goals and Time Work Independently Manage Projects Produce Results Social Studies, FHSD curriculum World History Content SS2. Knowledge of principles and processes of governance systems Content SS3b. Knowledge of continuity and change in the history of the world Causes of WWII Project: Causes of WWII Children’s book / comic book / graphic novel Requirements: 1. Front Cover/Introduction 2. at least 5 pages of content (not including the front / back cover, the timeline, or the 1 page answer) 3. Each page of the story must include words AND pictures 4. Timeline of the most important events leading up to WWII 5. The student’s opinion as to what the main cause of WWII was and why.
    [Show full text]
  • A Typeface History
    The Evolution of Typefaces 1440 The printing press is invented by Johannes Gutenberg, using Blackletter typefaces. 1470 More readable Roman Type is designed by Nicolas Jenson, combining Italian Humanist lettering with Blackletter. 1501 Aldus Manutius and Francesco Grio create the first italic typeface, which allows printers to fit more text on each page. 1734 William Caslon creates what is now known as “Old Style” type, with more contrast between strokes. 1757 John Baskerville creates Transitional typefaces, with even more contrast than Old Style type. 1780 The first “modern” Roman typefaces—Didot and Bodoni—are created. 1815 The first Egyptian, or Slab Serif, typeface is created by Vincent Figgins. 1816 The first sans-serif typeface is created by William Caslon IV. 1916 Edward Johnston designs the iconic sans-serif typeface used by London’s Underground system. 1920 Frederic Goudy becomes the first full-time type designer, and creates Copperplate Gothic and Goudy Old Style, among others. 1957 Helvetica is created by Max Miedinger. Other minimalist, modern sans-serif typefaces, including Futura, emerge around this time. 1968 The first digital typeface, Digi Grotesk, is designed by Rudolf Hell. 1974 Outline (vector) fonts are developed for digital typefaces, resulting in smaller file sizes and less computer memory usage. Late 1980s TrueType fonts are created, resulting in a single file being used for both computer displays and output devices such as printers. Windows Macintosh 1997 Regular fonts plus variants Regular fonts plus variants Open Type fonts are invented, which allow for cross-platform use on Macs and PCs. Open Type 1997 CSS incorporates the first-ever font styling rules.
    [Show full text]
  • Richard L. Baskerville
    Richard L. Baskerville Department of Computer Information Systems Robinson College of Business, Georgia State University PO Box 4015, Atlanta, Georgia 30032-4015, USA Tel +1 404 413 7362 Fax +1 404 413 7394 Internet: [email protected] Degrees Doctor in Natural Sciences (2014) -- honoris causa. Roskilde University Doctor of Philosophy (2014) -- honoris causa. University of Pretoria. Faculty of Engineering, Built Environment, and Information Technology. Doctor of Philosophy (1986) -- Systems Analysis. The London School of Economics and Political Science (University of London), supervised by Frank Land, Department of Information Systems. Master of Science (1980) -- Analysis, Design and Management of Information Systems (Accounting Option). The London School of Economics. Bachelor of Science summa cum laude (1979) -- Business and Management. University of Maryland, European Division, Heidelberg. Primary areas: Personnel Management and Business Law. Academic Appointments 1997 - present time. Georgia State University, J. Mack Robinson College of Business Administration, Department of Computer Information Systems, Regents’ Professor (2016 - present), Board of Advisors Professor of Information Systems (2007 - present), Professor of Information Systems (2001 - 2007), Chair of the Department (1999 - 2006), Associate Professor of Information Systems (1997 - 2001). 2014 - present time. School of Information Systems, Curtin Business School, Curtin University, Perth, Western Australia, Professor (partial appointment). 1988 - 1997. State University of New York at Binghamton, School of Management, Associate Professor of Information Systems with tenure (1994 - 1997, Assistant Professor, 1988-1994). 1984 - 1988. University of Tennessee at Chattanooga, School of Engineering, Associate Professor of Computer Science, (1987-1988), Assistant Professor (1984 to 1987). 1981 - 1984. Francis Marion University (then F. M. College), Department of Business, Assistant Professor of Computer Science.
    [Show full text]
  • Using Uportal
    Chapter 2 Using uPortal Introduction to uPortal Publishing New Channels XHTML Design of uPortal The Layout Making a New Skin Cascading Style Sheets uPortal Graphics Layout Fragments Appendix A: The Default uPortal Cascading Style Sheet GUI Format Text Format Note on the images in this document: Usually, the picutres that help someone understand how a program works will match exactly what that person will see on the screen of their computer. As they go from one screen to the next, the pictures in the book will move along with them so that they know that they are in the rigth place. A portal is very customizable in the way it looks and what options are made available for people using it. By this, each school or business can change the look and feel of their portal so that it matches their symbols and colors, as well as deciding to remove certain options and buttons. The pictures that are used in this manual were captured as uPortal was being created. It is almost certain that the look of the portal that you will be using will not match that of the one used during development. It may look different, but it will still work in the way described here. Introduction to uPortal uPortal is a framework for presenting aggregated content that is customizable by both the user and the administrators. It is built using a database to contain the information about each user, with XSL transformations and JAVA to take this abstract data and convert it into the final, structured layout.
    [Show full text]
  • The Graphie Latine Movement and the French Typography Manuel Sesma Prieto
    UNIVERSITÉ PARIS 1 PANTHÉON-SORBONNE CENTRE DE RECHERCHE HiCSA (Histoire culturelle et sociale de l’art - EA 4100) UNE ÉMERGENCE DU DESIGN FRANCE, 20e SIÈCLE Sous la direction de Stéphane Laurent Université Paris 1 Panthéon-Sorbonne THE GRAPHIE LATINE MOVEMENT AND THE FRENCH TYPOGRAPHY MANUEL SESMA PRIETO Pour citer cet article Manuel Sesma Prieto, « The Graphie Latine Movement and the French Typogra- phy », dans Stéphane Laurent (dir.), Une émergence du design. France 20e siècle, Paris, site de l’HiCSA, mis en ligne en octobre 2019, p. 126-143. THE GRAPHIE LATINE MOVEMENT AND THE FRENCH TYPOGRAPHY MANUEL SESMA PRIETO Associate professor, Facultad de Bellas Artes, Universidad Complutense de Madrid Introduction Most works dealing with the history of typography, many of Anglo-Saxon authors, reflect the period covered by the two decades after World War II practically dominated by neogrotesque typefaces. However, there were some reactions against this predominance, mainly from traditionalist positions that are rarely studied. The main objective of this research is thus to reveal the particular case of France, where there was widespread opposition to linear typefaces, which results into different manifestations in the field of national typography. This research wants therefore to situate the French typographical thought (which partially reflected the traditionalism of British typographical reformism led by Stanley Morison 1) within the history of European typography, and in a context dominated by the modern proposals arising mainly from Switzerland. This French thought is mostly shown in a considerable number of articles published in various specialist and professional press media, which perfectly reflected the general French atmosphere.
    [Show full text]
  • National Diploma in Calligraphy Helpful Hints for FOUNDATION Diploma Module A
    National Diploma in Calligraphy Helpful hints for FOUNDATION Diploma Module A THE LETTERFORM ANALYSIS “In A4 format make an analysis of the letter-forms of an historical manuscript which reflects your chosen basic hand. Your analysis should include x-height, letter formation and construction, heights of ascenders and descenders, etc. This can be in the form of notes added to enlarged photocopies of a relevant historical manuscript, together with your own lettering studies” At this first level, you will be working with one basic hand only and its associated capitals. This will be either Foundational (Roundhand) in which case study the Ramsey Psalter, or Formal Italic, where you can study a hand by Arrighi or Francisco Lucas, or other fine Italian scribe. Find enlarged detailed illustrations from ‘Historical Scripts by Stan Knight, or A Book of Scripts, by A Fairbank, or search the internet. Stan Knight’s book is the ‘bible’ because the enlargements are clear and at least 5mm or larger body height – this is the ideal. Show by pencil lines & measurements on the enlargement how you have worked out the pen angle, nib-widths, ascender & descender heights and shape of O, arch formations etc, use a separate sheet to write down this information, perhaps as numbered or bullet points, such as: 1. Pen angle 2. 'x'height 3. 'o'form 4, 5,6 Number of strokes to each letter, their order, direction: - make a general observation, and then refer the reader to the alphabet (s) you will have written (see below), on which you will have added the stroke order and directions to each letter by numbered pencil arrows.
    [Show full text]
  • Pdf Calligraphy – a Sacred Tradition
    CALLIGRAPHY – A SACRED TRADITION Ann Hechle, the distinguished calligrapher, talks to Barbara Vellacott about her work and her lifelong quest to understand the underlying unity of the world. Ann Hechle is a major figure in contemporary western calligraphy. Trained in the tradition of Edward Johnston and Irene Wellington, she is best known for her large scale, collage-like pieces which explore particular themes (Aspects of Language) or the deep meaning of texts (from the Bible, “In the beginning”; from the I Ching, Hexagram 22). The breadth of her subject matter reflects a personal journey which has immersed her in the sacred literatures of the world. In this interview, she gives us privileged access to her magnus opus, her ‘Journal’, in which she explores the principles of form and order – the sacred geometry – which are the well-springs of the creative process: the idea that “all things unfold out of, and are found within, unity”. ‘Calligraphy is more than fine writing.’ Within this simple statement lies an understanding of what it means to become a great calligrapher. The words were a teaching principle of one of the most famous modern practitioners of the art, Irene Wellington. She was a student of Edward Johnston, who famously revived the tradition of calligraphy in Britain in the early twentieth century and whose work and writings – most notably through his book Writing, Illuminating and Lettering – influenced a generation of artists and typographers. Ann Hechle was taught by Wellington and, now in her eighties but still actively working and teaching, she takes an honoured place in the tradition which began with these two great figures.
    [Show full text]
  • Zapfcoll Minikatalog.Indd
    Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf.
    [Show full text]