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GILL SANS
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Gill Sans Aa Gg Rr Aa Gg Rr Aa Gg Rr Aa Gg Rr Aa Gg Rr Aa Gg Rr
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Histoire du Gil Sans
Arthur Eric Rowton Gill né le 22 février 1882 à Brighton, mort le 17 novembre 1940, est un créateur de caractères et sculpteur anglais. Il est le dessinateur, entre autres, de la Gill Sans, de la Perpetua et de la Joanna. Il prend des cours du soir de calligraphie à la Central School of Arts and Crafts, où Edward Johnston, créateur de la typographie du métro londonien (Johnston Sans ou P22 London Unerground) exerce une forte influence. Gill devient son élève et travaille d’ailleurs sur le caractère en cours d’élaboration, et qui influencera directement son Gill Sans. N’étant pas totalement satisfait du caractère ——— ——— 6 ——— 6 ———
Johnston, Gill voulu créer LE caractère parfait, infaillible, il commence à créer le GILL SANS. En 1926, il expérimente son caractère avec ses «ameliorations» pour le lettrage d’une librairire dans sa ville natale Bristol. L’alphabet, qui à l’époque ne contenait que des lettres majuscules, a été remarqué par Stanley Morison pour son potentiel commercial il est alors un des conseillers typographique de Monotype, et demande à Gill de développer une famille de polices complète pour rivaliser avec les
conceptions sans-serif libérés par les fonderies allemandes alimentée par le succès écrasant de Futura . La police a été lancée commercialement par Monotype en 1928 en tant que Gill Sans. Gill Sans est devenu populaire en 1929 quand il a été choisi comme police standard pour la compagnie britannique le London and North Eastern Railway (LNER), qui l’a abondamment utilisée, que ce soit sur les plaques portant le nom des gares, les menus des voitures restaurant, les horaires ou sur les plaques d’identification des locomotives.
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ALPHABETS
Light A B C D E F G H I J K L M N O P Q R ST UV W XY Z abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl
Light A B C D E F G H I J K L M N O P Q R S T U V W XY Z abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl
Regular A B C D E F G H I J K L M N O P Q R ST UVW XY Z abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl
Regular A B C D E F G H I J K L M N O P Q R ST UVW XY Z abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl
Bold ABCDEFGHIJKLMNOPQRSTUV WXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl
Bold ABCDEFGHIJKLMNOPQRSTUVW XYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl
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g GILL SANS LIGHT
British national The light font with its heavily kerne
RAILWAY STA heavily kerned «f» and tall ‘t’, has an open, elegant look. Th
1913 1926 1928 & 2011 Heavily Kerned «f» And Tall ‘t’, Has An Open, Ele
12 pt
The light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. The regular font has a more compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short,
9 pt triangular-topped ‘t.’ The bold font tends to echo the softer, more open style of the light, while the extra bold and ultra bold have their own vivid personalities. The light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. The regulard font has a mo 6 pt
compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The blod font tends to echo the softer, more open style of
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the light, while the extra bold and ultra bold have their own vivid personalities. The light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. The regulard font has a
GILL SANS LIGHT ITALIC
British national
The light font with its heavily kerneD,
RAILWAY STATI
heavily kerned «f» and tall ‘t’, has an open, elegant look. The re
1913 1926 1928 & 2011
Heavily Kerned «f» And Tall ‘t’, Has An Open, Elegan
12 pt
The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. The regular font has a more compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, 9 pt triangular-topped ‘t.’ The bold font tends to echo the softer, more open style of the light, while the extra bold and ultra bold have their own vivid personalities. The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. The regular font has a more compact an 6 pt compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The blod font tends to echo the softer, more open style of the light,
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while the extra bold and ultra bold have their own vivid personalities. The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. The regular font has a more compact
GILL SANS REGULAR
British nation
The light font with its heavily kern
RAILWAY STA
heavily kerned «f» and tall ‘t’, has an open, elegant look.
1913 1926 1928 & 2011
Heavily Kerned «f» And Tall ‘t’, Has An Open, El
12 pt
The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. The regular font has a more compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, 9 pt and short, triangular-topped ‘t.’ The bold font tends to echo the softer, more open style of the light, while the extra bold and ultra bold have their own vivid personalities. The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. The re 6 pt compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The blod font tends to echo the softer, more open style of
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the light, while the extra bold and ultra bold have their own vivid personalities. The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. The regulard font has
j
GILL SANS REGULAR ITALIC
British nationat
The light font with its heavily kernED
RAILWAY STATI heavily kerned «f» and tall ‘t’, has an open, elegant look.The re
1913 1926 1928 & 201 Heavily Kerned «f» And Tall ‘t’, Has An Open, Elegan
12 pt
The light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look.The regular font has a more compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short,
9 pt triangular-topped ‘t.’The bold font tends to echo the softer, more open style of the light, while the extra bold and ultra bold have their own vivid personalities.The light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look.The regular font has a more compa 6 pt
compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’The blod font tends to echo the softer, more open style of the light,
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while the extra bold and ultra bold have their own vivid personalities.The light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look.The regulard font has a more com
GILL SANS BOLD
British nati
The light font with its heavi
RAILWAY S heavily kerned «f» and tall ‘t’, has an open, el
1913 1926 1928 & 2
Heavily Kerned «f» And Tall ‘t’, Has
12 pt
The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. The regular font has a more compact and muscular appearance, 9 pt with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The bold font tends to echo the softer, more open style of the light, while the extra bold and ultra bold have thei 6 pt compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The blod font te
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the light, while the extra bold and ultra bold have their own vivid personalities. The light font, with its heavily kerned ‘f’ and tall ‘t’, ha
GILL SANS BOLD ITALIC
British nati
The light font with its heaviLY K
RAILWAY ST
heavily kerned «f» and tall ‘t’, has an open, ele
1913 1926 1928 & 20 Heavily Kerned «f» And Tall ‘t’, Has An
12 pt
The light font, with its heavily kerned ‘f’ and tall ‘t’, has an open, elegant look. The regular font has a more compact and muscular appearance, wit
9 pt h its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The bold font tends to echo the softer, more open style of the light, while the extra bold and ultra bold have their own vivid per 6 pt compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The blod font tends
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the light, while the extra bold and ultra bold have their own vivid personalities. The light font, with its heavily kerned ‘f’ and tall ‘t’, has an
De même que dans les polices Caslon et Baskerville ou le Trajan, les capitales sont basées sur les capitales latines, comme celles que l’on trouve sur la Colonne Trajane.
C A P I T A L E C A P I T A L E Gill Sans
C A P I T A L E Trajan
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Le « p » italique est très calligraphique et se ressent de ces influences du Caslon et du Baskerville. Son « g » minuscule avec sa boucle, lui, accentue encore plus son côté linéale romaine. Centaur
g
p g
adobe caslon pro italic
»»»
»»»
p g
»»»
ITC New Baskerville italic
»»»
Garamond
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Times New Roman
»»»
p g
Lorsque Gill travailla le Gill Sans pour Monotype il effaça les terminaisons des attaques verticales dans ‘b’, ‘d’, ‘p’ et ‘q’. Monotype est venu à son aide et a révisé les formes des ces lettres pour que les terminaisons soient préservées. Cependant,
b d p q b d p q b d p q ——— ——— 18 ——— 18 ———
aujourd’hui, cette caractéristique persiste seulement dans la version light et bold du Gill Sans.
p Le caractère de Gill est plus classique dans ses proportions par rapport au Johnston
GILL SANS
A B C D E F G H I J K L M N O P Q R ST UVW XY Z abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl JOHNSTON UNDERGROUND
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 £ & ( ) . , : ; - ‘ ? ! ffi ffl fi ff fl
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q Gill voulait créer une typographie lisible à tous les niveaux. C’est ainsi que la Gill Sans est utilisée aussi bien pour le texte que pour les titrages.
DORIAN GRAY The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn.
From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-
coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion. The sullen
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E V A A S S N N E E A S U L Q L I E . In l Gil is dh me oth hb d wit an ton g hns erin lett the t of , but s tha t e abl ges ing sug learn is nce was ‘ ith th l Gi l b ’ w o j t. he n t men ign ass
S N
s. ion t a plic n, m i er oriso d i e w ar nley M otyp the f e n ly hav n, Sta e Mo obab idu o th s t tro pr div wa l’s pa r to was ful in he 1 t Gil adviso tion, ower g in n a n i p r as rpo ost und pite a i Co gle m pefo t des e ser y sin tish t tha or th ing i Br l knew sion f wor k il s s
or hM wit wide his h M wit d tr a th
l Gil ia , g c n eri , a fas . To d t t n e le e nd ignag verdo roduc s u a s ro p le erg ce of las C , Gill nded s d n e oug age inte tice al i o ’s U pi t on as a of D r sign ook re n e init resul e u b h f o t to p n li sho xteri blank ke fu Gill, t t the Gill t bu ed tha a the e e ma to or nt th et in n to fair ual – t forc sion i s e b e is o em alpha verd s. To b ite ca that omm u t r le c ay alle for C emen aps q a w on a , c ch rh e uid noun as pe in su adow n sh w an nd tion d upo ton’s n s e inte s seiz John wa p into ste
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Affiches / Mises en page graphiques
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Menus horaires de la compagnie London and North Eastern Railway
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‘‘
Quand l’appétit va
tout va !
Obelix ’’
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BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb
CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC ccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccc DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD ddddddddddddddddddddddddddddddddddddddddddddddddddd
EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee
FFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFF ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff GGGGGGGGGGGGGGGGGGGGGGGGGGGG gggggggggggggggggggggggggggggggggggggggg
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Entretien
Franck Garbarz et Adrien Gombeaud :
avec
Vous avez grandi dans une atmosphère propice à l’invention. Votre grand-père était inventeur…
Michel Gondry Construire son propre système Franck Garbarz et Adrien Gombeaud
Michel Gondry : Oui, moi-même je voulais devenir peintre ou inventeur, fabriquer des systèmes. Mais l’invention passait par les sciences et les mathématiques, des domaines que je n’ai pas approchés. J’ai aussi raté le coche de l’art moderne, que je n’ai pas compris au début. Alors vous avez débuté dans la musique. ——— ——— 26 ——— 26 ———
article
UNITED COLORS OF BENTTON.
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logos
y
Maison d’édition PENGUIN BOOKS produits dérivés
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g
ill sans