Gills Sans by Katherine Hunt

GILL SANS

Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gills Sans Gill Sans Gill Sans G Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gills Sans Gill Sans Gill Gill Sans G Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gills San Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gills Sans Gill Sans Gill Sans Gill Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gills Sans G Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gills Sans Gill S

Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gills Gill Sans Gill ns Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill San Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gi Sans Gill Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sans Gill Sa

Text by Robert Bringhurst Desighned by Katherine Hunt

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GILLS LIGHT

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GILLS LIGHT ITALIC

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GILLS REGULAR

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GILLS ITALIC

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GILLS BOLD

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GILLS BOLD ITALIC 10pt.

Like oratory, music, dance, calligraphy like anything that lends its grace to language typography is an art that can be deliberately misused 12pt. Bold Like oratory, music, dance, calligraphy -like anything that lends its grace to language - typography is an art that can be deliberately MISUSED. 12pt. Regular.

3 8

4 7

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9 10 11 12

30-44 pt.

Typography at its best is a visual form of language linking timelessness and time 19 pt. Regular

LIGHT

36pt.

LIGHT ITALIC

36pt.

REGULAR

36pt.

ITALIC

36pt.

BOLD

36pt

ONE OF THE PRINCIPLES OF DURABLE TYPOGRAPHY IS ALWAYS LEGIBILITY ; ANOTHER IS SOMETHING MORE THAN LEGIBILITY:SOME EARNED OR UNEARNED INTEREST THAT GIVES ITS LIVING ENERGY TO THE PAGE. IT TAKES VARIOUS FORMS AND GOES BY VARIOUS NAMES, INCLUDING SERENITY, LIVELINESS, LAUGHTER,GRACE AND JOY .

THESE PRINCIPLES APPLY, IN DIFFERENT WAYS, TO THE TYPOGRAPHY OF BUSINESS C ARDS, INSTRUCTION SHEETS ANDPOSTAGE STAMPS, AS WELL AS TO EDITIONS OF RELIGIOUS SCRIPTURES , LITERARY CLASSICS AND OTHER BOOKS THAT ASPIRE TO JOIN THEIR RANKS. WITHIN LIMITS, THE SAME PRINCIPLES APPLY EVEN TO STOCK MARKET REPORTS , AIRLINE SCHEDULES , MILK C ARTONS , CLASSIFIED ADS . BUT LAUGHTER, GRACE AND JOY, LIKE LEGIBILITY ITSELF, ALL FEED ON MEANING, WHICH THEWRITER,THE WORDS AND THE SUBJECT, NOT THE TYPOGRAPHER, MUST GENERALLY PROVIDE. Caps 10pt.

1.1.2 Letters have a life and dignity a badly designed book, the letters of their ownmill andInstand like STARVING HORSES in a field. In a wellmade book,they dance in their seats. Sometimes they RISE and DANCE in the margins and aisles.

Power to move freely through the whole domain of typography, and to function at every step in a way that is gracefuland vital instead of banal. Typography that does not vex the reader with its own originality in a self-conscious search for praise. 12pt. Regular

1.1.3 There is a style

beyond style

Gills Regular 12pt. BADLY DESIGNED BOOK= Starving horses

Trajan Regular18 pt. WELLMADE=Dance in seats Trajan Bold 10pt. WELLMADE=Dance in seats

Gills Bold10pt. BADLY DESIGNED BOOK=Starving horses

Gillls Light 20pt. BADLY DESIGNED BOOK= Starving horses Kabel Light 14 pt. WELLMADE=Dance in seats 6

1.2.1 Read the text before designing it. Essential task is to interpret and communicate the text. Its tone, its tempo, its logical structure, its physical size, all determine the possibilities of its typographic form. 1.2.2 Discover the outer logic of the typography in the inner logic of the text. A novel often purports to be a seamless river of words from beginning to end, or a series of unnamed scenes.Each requires its own typographic identity and form. Every layer and level of the text must be consistent, distinct, yet (usually) harmonious in form. 15 pt. Regular

1.2 TACTICS Typography at its best is a slow performing art, worthy of the same informed appreciation that we sometimes give to musical performances, and capable of giving similar nourishment and pleasure in return. 12 pt. Italic

If the text has many layers or sections, it may need not only heads and subheads but running heads as well, reappearing on every page or two-page spread, to remind readers which intellectual neighborhood they happen to be visiting 14 pt. Regular

Novels seldom need such signposts, but they often require typographic markers of other kinds

9 pt. Italic

two sizes of type, three different margins, free-floating block paragraphs and other typographic devices to separate thought, speech and action. 15 pt. Bold Italic

seems to flow like conventional prose, yet it shifts repeatedly in mid-sentence between roman and italic to distinguish what characters say to each other from what they say in silence to themselves 17 pt. Regular.

Use roman, italic, bold, small caps and full caps in various sizes to emulate the dynamic markings of music plays use intersecting lines of type, stretched and melted letters, inkblots, pictograms, and a separate typeface 14 pt. Regular

writing merges with typography, and the text becomes its own illustration 14 pt. Bold

the typographic performance must reveal, not replace, the inner composition 20pt Bold

typographers, like other artists and craftsmen, musicians, composers, and authors as well must as a rule do their work and disappear 18 pt. Regular

1.2.3 Make the visible relationship between the text and other elements(photographs, captions, tables, diagrams, notes) a reflection of their real relationship 12 pt. Regular

The typographic page is a map of the mind;it is frequently also a map of the social order from which it comes. And for better or for worse, minds and social orders change.

1.2.4 Choose a typeface or a group of faces that will honor and elucidate the character of the text

1.2.5 Shape the page and frame the textblock so that it honors and reveals every element, every relationship between elements, and every logical nuance of the text

20 pt. Bold Italic

12 pt. Bold Selecting the shape of the page and placing the type upon it is much like

framing and hanging a painting 13pt. Bold Italic Again, does the text suggest the continuous unruffled flow of justified prose, or the continued flirtation. Shaping the page goes hand in hand with choosing the type, and both are permanent typographical preoccupations. The subject of page shapes and proportions is addressed in greater detail themselves 10pt. Regular.

1.2.6 Give full typographic attention even to incidental details 12 pt. Bold Some of what a typographer must set, like some of what any musician must play, is simply passage work. Even an edition of Plato or Shakespeare will contain a certain amount of routine text: page numbers, scene numbers,textual notes, the copyright claim, the publisherâ&#x20AC;&#x2122;s name and address, textual chaff. The ability to do so rests on respect for the text as a whole, and on respect for the letters themselves.11pt. Regular

Perhaps the principle should read 12 pt. Bold Give full typographic attention especially to incidental details. 11pt. Regular

Hard Letters g a serif face with san serif R 70 pt. Regular

35 pt. Bold

While serving the reader in this way, typography, like

Light

a musical performance or a theatrical production,

Light Italic

should serve two other ends. It should honor the text

Regular

for its own sake always assuming that the text is worth

Italic

a typographer’s trouble and it should honor and

Bold

contribute to its own tradition: that of typography itself.

Bold Italic

12pt.

• link the text with other existing elements • reveal the tenor and meaning of the text 12pt. Regular

• clarify the structure and the order of the text • induce a state of energetic repose, which is the ideal condition for reading. 12

WHY SO POPULAR? 35 pt. Bold

Known as â&#x20AC;&#x153;helveticaâ&#x20AC;? of London 18 pt. Regular

60 pt. Light

Light font heavily kearned

48pt. Regular

T is trianlge topped 12 pt. Regular

Regular font more compact and muscular Is flat bottomed and flat topped 12pt. Regular

Bold has individual personalities,while bold and light echoe eachother Each weight retains distinct charachter of its own 11 pt. Bold

ĄąĆćĘęıŁłŃŒœŚśŠšŸŹźŻżŽžƒ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢ қҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрпĄąĆćĘęıŁłŃŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰… ‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрпĄĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьы ъщшчцхфутсрпĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһ ҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрп ĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүҚҗҖғўќћњљјїіѕєѓ ђёяюэьыъщшчцхфутсрп ĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰… ‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрпĄąĆ ćĘęıŁłŃŒœŚśŠšŸŹźŻżŽžƒ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚ җҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрпĄąĆćĘęıŁłŃŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰… ‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрпĄĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьы ъщшчцхфутсрпĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһ ҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрп ĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүҚҗҖғўќћњљјїіѕєѓ ђёяюэьыъщшчцхфутсрп ĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰… ‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрп ĄąĆćĘęıŁłŃŒœŚśŠšŸŹźŻżŽžƒ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢ қҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрпĄąĆćĘęıŁłŃŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰… ‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрпĄĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьы Tight because each have ъщшчцхфутсрпĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһ ҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрп curves ĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүҚҗҖғўќћњљјїіѕєѓ ђёяюэьыъщшчцхфутсрп ĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰… ‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрп ĄąĆćĘęıŁłŃŒœŚśŠšŸŹźŻżŽžƒ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢ 56 pt. Regular қҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрпĄąĆćĘęıŁłŃŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰… ‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрпĄĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьы ъщшчцхфутсрпĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһ Open letter spacing ҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрп ĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž Tight between forms that ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүҚҗҖғўќћњљјїіѕєѓ overlap ђёяюэьыъщшчцхфутсрп ĄąĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰… ‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрп ĄąĆćĘęıŁłŃŒœŚśŠšŸŹźŻżŽžƒ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢ қҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрпĄąĆćĘęıŁłŃŒœŚśŠšŸŹźŻżŽž ��flfi−™№₴€⁄›‹‰… ‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьыъщшчцхфутсрпĄĆćĘęıŁłŃńŒœŚśŠšŸŹźŻżŽž 14 ��flfi−™№₴€⁄›‹‰…‡†„”“‚’‘—–ӯӮӮөӨӣӢәӘӏӀһҺҶҳҲұҰҮүңҢқҚҗҖғўќћњљјїіѕєѓђёяюэьы

GLYPH Typography

COLOPHON This type specimen booklet was created by Katherine Hunt at St.Edwardâ&#x20AC;&#x2122;s University in the year 2009. This project was assigned by her Typography teacher Angela Rodgers.The infomation was given by Robert Bringhurst . The booklet was printed on the HP 5500 Color on 11x17 format. The font showcased is Gills Sans, designed by Eric Gill from 1920-1928The original typeface was based on the London underground alphabet.It was the First sucessful Sans typface. It is known as the Helvetica of London.Well liked because of its legibility and Readibility. It was used by many famous names such as the BBC, Network Rail, Penguin books, and Royal Society of Arts.