In 1925Gill was asked by Stanley Morison, typographic adviser to the Monotype Corporation, to design a new typeface. The result was Perpetua, a fine classical alphabet, aspiring to the tradition of Caslon and Baskerville, and its italic variant, Felicity(1925-30).Gill started work in 1927 on a second typeface for Monotype, an adaptation of Johnston’s Railway type. Based on the Roman alphabet, it was derived from exact mathematical drawings produced by Gill, although Monotype’s mechanical adviser made important modifications, for instance to the ascenders and descenders. More than 20 versions, Gill Sans did not work well for text, but it was very effective for forms and timetables and was made famous by the distinctive book covers of the publisher Penguin. Gill’s ideas on typography and the graphic arts became known through An Essay on Typography (1931) and his Autobiography (1940).
Gill had several associations with members of the private-press movement. At Ditchling he collaborated with Hilary Pepler at the St Dominic Press, and later he worked with Robert Gibbings of the Golden Cockerel Press, most notably on The Four Gospels of 1931. A celebrated example of the combination of pictorial image, hand-draw lettering and typography, this was exceptional in his output. Typically Gill’s figures have elongated faces and simplified facial character, and his treatment of grapery stresses the linear movement of the designs. The integration of decorated capitals, illustrations and his Golden Cockerel type resulted in his distinctive conservative modernity.
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在1925年史丹尼‧莫裡森，單版畫公司的印刷上的顧問問了姬兒，以便設計一種新字體。 結果是Perpetua，一個好的古典字母表，立志爭取卡斯隆和巴斯克維爾和它的斜體相異，福祉的道統 ( 1925-30 ) . 姬兒為單版畫，約翰斯頓的鐵路類型的適應關於第2種字體在1927年開始工作。 基於羅馬字母表， 雖然單版畫的機械顧問做重要的修改，例如對ascenders 和descenders，但是它由由姬兒生產的精確的數學畫而來。 超過20個版本， 姬兒沒有為正文發生故障， 但是它對於形式和時間表非常有效並且被出版商企鵝的特別的書的封面弄成著名。 姬兒的關於印刷和圖表藝術的想法變得被透過關於印刷的一篇散文知道 ( 1931 ) 以及他的自傳 ( 1940 ) .
姬兒有幾與私人新聞的運動的成員的合作。 在他與希拉瑞莉佩普勒在聖多米尼克一起協作的Ditchling 壓，的晚些時候，他與羅伯特金色幼公雞的吉賓斯合作壓， 最值得注意的是在1931的4 福音上。 著名例子的結合的照片圖像，手拉字母和印刷，這在他的產量內特別。 通常，姬兒數字拉長臉並且簡化面部性格，和他grapery 重音的處理線設計的運動。 裝飾的首都，插圖的綜合和他的金色的幼公雞類型導致他的特別的保守的現代性。Source(s): ME
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