Designed by Eric Gill and released by the Monotype Corporation between 1928 and 1930, Gill Sans is based on the typeface Edward Johnston, the innovative British letterer and teacher, designed in 1916 for the signage of the London Underground.

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Based on the Roman typefaces of Eric Gill - Perpetua, Joanna, and the hitherto neglected Solus. A tiny portion of Gill Sans, a few extraneous influences too… is this the undiscovered second sans?

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An extremely condensed typeface based on the popular Gill Sans series. The sans serif style makes this compressed version a perfect choice for large display advertising requirements where space is limited. Since it is a sans serif style, Gill Display Compressed will look good on virtually all display advertising where it needs close letter and word spacing.

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Although categorized as a sans serif typeface, this condensed version of Monotype’s original Gill Kayo has some extremely unusual and charming features. When set tightly, the bold characteristics create strong, impactful headlines. Designed in the Letraset Type Studio.

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Tiresias was designed for subtitling by Dr. John Gill from the Royal National Institute for the Blind (RNIB), in the United Kingdom.

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The Charlotte Sans family of typefaces was designed specifically to co-ordinate with Charlotte roman typefaces in style, weight, and color. Designer Michael Gills created Charlotte Sans on screen with FontStudio software, and has achieved a perfect balance between the humanistic qualities of Gill Sans and the evenness of color in the Frutiger series. Highly versatile on its own, and compatible with its roman counterpart, the Charlotte Sans family offers a spectrum of choices for more creative typographic expression.

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The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger, which are, however, for the most part based on the cool din-aesthetics. The only chance, when looking for inspiration, is to go very far...

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Inspired by early Eric Gill designs.

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After the popular successes of Exocet and Mason, Emigre has once again teamed up with Jonathan Barnbrook to bring you his latest venture into type land. Priori is a logical progression from Mason, a typeface he designed around ten years ago. Where Mason was designed purely for display purposes and featured only caps, Priori includes lower case, companion serif and sans serif versions, alternates and, according to its creator, is shooting for text face status - a bold claim from a designer who loves to wear his influences on his sleeve and who has little use for typography that aspires to be “neutral” or “transparent.”

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After the popular successes of Exocet and Mason, Emigre has once again teamed up with Jonathan Barnbrook to bring you his latest venture into type land. Priori is a logical progression from Mason, a typeface he designed around ten years ago. Where Mason was designed purely for display purposes and featured only caps, Priori includes lower case, companion serif and sans serif versions, alternates and, according to its creator, is shooting for text face status - a bold claim from a designer who loves to wear his influences on his sleeve and who has little use for typography that aspires to be “neutral” or “transparent.”

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Bitstream version of Gill Sans (Gill Kayo) of Monotype, 1930, by Eric Gill.

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Houschka has the humanist qualities reminiscent of Gill and Johnston but is quite unique. It is more monolinear with rounded corners giving it a softer appearance, and has a few interesting character quirks like the capitals A, G, Q, W and lower case u and w.

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Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights.

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Created by Letraset Type Director Colin Brignall, this clean-cut, monolineal sans serif typeface was inspired by Edward Johnston’s Railway Type and Eric Gill’s Gill Sans typefaces.

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Preface vs. Helvetica/Futura/Gill: a different strategy of text color.

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Relay reaches back to the middle of the last century for inspiration.

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Informa is a comprehensive sans serif text family based on traditional lettering in contrast, proportion, rhythm and stroke. In particular its proportions were based on a 1978 award-winning flare-serif film type called Signa, by Swiss design trio Team 77.

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The first photo-typesetting machine in operation, the Uhertype, was introduced in 1925. It was a combination of manual phototypesetting machine and make-up machine. The machine’s typefaces were designed by Jan Tschichold. The patents on Uhertype were bought up at the time to prevent the invention of filmsetting spreading. Jan Tschichold has been very influenced by Gill Sans (1928) for this humanistic sans serif drawn in 1933/36 for Uhertype.

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Has altogether 60 designs, because it was originally produced as a Multiple Master typeface. The entire big family is grouped into eighteen independent, smaller four-design families, of which the user may choose, for example, only two or three which suit him as regards colour and width. The somewhat confusing use of abbreviations to designate the individual designs is, nevertheless, simpler than giving them numbers or full names. The abbreviations denoting weights are as follows: L - Light, R - Regular, D - Demi; and those denoting widths are: XC - Extra Condensed, C - Condensed, M - Semi Condensed, E - Extended, XE - Extra Extended.

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Designed during the late 1930s for American Typefounders, this all capital sans serif typeface has experienced a recent revival in popularity. The slender geometric letterforms provide a hint of the Art Deco period, but its application potential is far broader. Iris offers a look of refined elegance, particularly when the letters are widely spaced.

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Dynasty is an extensive and versatile family that exploration and modernisation of the typographic quirks associated with the ‘American Gothic’ type school (in much the same way as English Grotesque was an exploration of Gill/Johnston idea-space) and adds chamfered elements to dots and tails to emphasise and extend the early machine-made aesthetic.

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Clear Prairie Dawn is an original humanist sans serif family based on the designer’s own printing. Designed for use as a text face, as a humanist sans it shares some of the characteristics you might notice in other such faces as Optima, Gill Sans or Stone Sans. The italic is a designed italic, rather than merely a slanted roman, and incorporates many of the ideas that the designer found too lively for the roman fonts. The complete CPD package consists of three weights with italics, and a set of original ornaments.

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Informa is a comprehensive sans serif text family based on traditional lettering in contrast, proportion, rhythm and stroke. In particular its proportions were based on a 1978 award-winning flare-serif film type called Signa, by Swiss design trio Team 77.

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In 1908, Morris Fuller Benton designed News Gothic for American Type Founders. The original design, with two condensed faces, is essentially a light version of Franklin Gothic.

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Torbjörn Olsson’s experimental type One Night Stand deserves a longer relation.

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Jillican takes its orders straight from military headquarters but don't be fooled by its modern, linear posture. Jillican is ready to tackle any job, headline or text. This classically proportioned sans serif font is all about efficiency; angled only where necessary and free of artifice resembling the lettering used for London’s Underground had it been printed by a plotter.

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Based heavily on Gill Sans especially in the mid weights, Astoria has a subtle top left serif which makes it not quite a Roman and not quite a Sans. Designed specificaly as a text face it still works very well as a headline font.

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The English family of fonts began life as an attempt to crossbreed the strength of the ubiquitous Helvetica with the home-grown elegance of Gill Sans. A host of other influences began to creep in, a Rotis curl to the C for instance - perhaps it should be called Englisch.

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The definitive monoline Egyptian, Weiss’ Memphis of 1928, was devoutly industrial in its effect and set the tone for those that followed, right up to Lubalin Graph. More recently, TheSerif and Silica are humanist in form, with complex, asymmetric curved strokes in the lower case. Unique among monoline slab serif types, Bodoni Egyptian has a simple, neo-classical form and proportion, and strict detailing that is antique, not machine-age.

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Teaspoon was originally designed by Haley Fiege as a project-specific font in 2007, then completed and produced by Canada Type for commercial viability in 2008. With a personality that can only be described as “ironic cute”, it serves as a much needed alternative for the old overused poster faces, such as Cooper Black and Gill Sans Extra Bold. Words that look good set in Teaspoon include puppies, rainbows, salmonella poisoning and Tom Cruise.

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Abiquiu (pronounced A-beh-cue) is the home town of Georgia O'Keefe and as such seems appropriate for a deconstructed “salsa” font. This heavy, black dish of salsa is a free tracing of Bilbo, another of my fonts that is loosely based on Gill Sans Ultra Bold: Lower case numbers, Euro, ballot box in the section slot.

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Modern in style but with an unmistakable touch of the traditional, that is Spidercave.

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Clear Prairie Dawn is an original humanist sans serif family based on the designer’s own printing. Designed for use as a text face, as a humanist sans it shares some of the characteristics you might notice in other such faces as Optima, Gill Sans or Stone Sans. The italic is a designed italic, rather than merely a slanted roman, and incorporates many of the ideas that the designer found too lively for the roman fonts. The complete CPD package consists of three weights with italics, and a set of original ornaments.

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The roots of Gill can be traced back to Old Face typefaces and more directly to his teacher Edward Johnston’s London Underground type. Gill has such similarly-proportioned strokes that the eye cannot tell the difference. This font exudes a modern feel due to its clear, generous and original characters.

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Gill Sans was first introduced in 1928.

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Designed by Eric Gill for the Monotype Corporation, this typeface follows principles established by Edward Johnston. It was the first sanserif of its kind to be broadly distributed.

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Charlotte Sans was designed by Michael Gills to coordinate with the Charlotte serif typefaces in style, weight, and color. It is the perfect balance between the humanistic qualities of Gill Sans and the evenness in color of Frutiger. Charlotte Sans is highly versatile on its own as well as compatible with its serif counterpart and offers designers a wide range of possibilities.

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Corinthian is the work of Colin Brignall, a clean sans serif which was inspired by Edward Johnston’s Railway Type and Eric Gill’s Gill Sans.

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Iris was designed in the late 1930s for American Typefounders. IT is an all capital sans serif typeface whose slender geometric letter forms suggest the Art Deco period without limiting its application potential. Iris creates a look of refined elegance.

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