Gill Sans is the famous set of humanist sans serif fonts originally designed by Eric Gill and the Monotype Type Drawing Office, first appearing in 1928. Gill studied under the renowned calligrapher, Edward Johnston, the designer of the London Underground sans serif typeface. This influenced Gill who later experimented with sans serif designs, and in due course produced a set of capital letters. These became Monotype series 231, produced in 1923, and the forerunner of the extensive Gill Sans range now available. A twentieth century sans serif that has a simplicity of form which does not reject traditional forms and proportions, and gives the face a humanist feel. The lighter weights are highly readable in text and suitable for magazine and book work, whereas the heavier weights are best used for display in advertising, packaging, and labels.
Gill was commissioned to develop his alphabet into a full metal type family by his friend Stanley Morison, an influential Monotype executive and historian of printing. Morison hoped that it could be Monotype's competitor to a wave of German sans-serif families in a new "geometric" style, which included Erbar, Futura and Kabel, all being launched to considerable attention in Germany during the late 1920s. Gill Sans was released in 1928 by Monotype, initially as a set of titling capitals that was quickly followed by a lower-case. Gill's aim was to blend the influences of Johnston, classic serif typefaces and Roman inscriptions to create a design that looked both cleanly modern and classical at the same time. Designed before setting documents entirely in sans-serif text was common, its standard weight is noticeably bolder than most modern body text fonts.
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Despite the popularity of Gill Sans, some reviews have been critical. Robert Harling, who knew Gill, wrote in his 1976 anthology examining Gill's lettering that the density of the basic weight made it unsuitable for extended passages of text, printing a passage in it as a demonstration.[45] The regular weight has been used to print body text for some trade printing uses such as guides to countryside walks published by the LNER.[57] William Addison Dwiggins described it and Futura as "fine in the capitals and bum in the lower-case" while proposing to create a more individualistic competitor, Metro, for Linotype around 1929.[58] Modern writers, including Stephen Coles and Ben Archer, have criticised it for failing to improve on Johnston and for unevenness of colour, especially in the bolder weights (discussed below).[59][20] More generally, modern font designer Jonathan Hoefler has criticised Johnston and Gill's designs for rigidity, calling their work "products more of the machine than the hand, chilly and austere designs shaped by unbending rules, whose occasional moments of whimsy were so out of place as to feel volatile and disquieting".[60]
As of 2019, Monotype's current digitisation of Gill Sans is Gill Sans Nova, by George Ryan.[107] Gill Sans Nova adds many additional variants, including some of the previously undigitised inline versions, stylistic alternates and an ultra-light weight which had been drawn for Grazia.[16][108][109][110] The fonts differ from Gill Sans MT (MT stands for Monotype) in their adoption of the hooked 1 as default, while the regular weight is renamed 'Medium'. Monotype celebrated the release with a London exhibition on Gill's work, as they had in 1958 to mark the general release of Gill's serif design Joanna.[111][112][113][114] One addition was italic swash caps, which had been considered by Gill but never released.[16][115]
More loosely, Syntax by Hans Eduard Meier is similar in some ways. Released in 1968 and praised by Tschichold, it was intended to be a more dynamic, handwriting-influenced sans-serif form.[8][194] Its italic is, however, more of an oblique than Gill's.[5] Hypatia Sans, designed by Thomas Phinney and released by Adobe, was intended to be a more characterful humanist sans design.[195][196] Many other fonts are influenced by Gill Sans to some extent.[5][197]
A logical extension of the humanist sans-serif concept is the font superfamily: a serif font and a matching humanist sans-serif with similar letterforms. Martin Majoor's FF Scala Sans is a popular example of this influenced by Gill's work;[5][8] others include Charlotte Sans and Serif by Michael Gills for Letraset,[198] Mr and Mrs Eaves by Zuzana Licko, are based on Baskerville,[199][200] and Dover Sans and serif by Robin Mientjes, based on Caslon.[201][202] Monotype itself released Joanna Sans in 2015, as a screen-optimised sans-serif font intended to complement (but not exactly match) Gill's serif design Joanna.[203][204]
No complete direct open-source Gill Sans clone has yet been released. One of the most extensive is Gillius, a derivative by the Arkandis Digital Foundry project and designer Hirwen Harendal, which includes bold, italic, condensed and condensed bold styles. It is not a pure clone but rather is partly created by modifying Bitstream Vera and adds influences from geometric fonts that are particularly visible in the design of the "w".[210] K22, a foundry in Quezon City that is operated by the designer "Toto G", has released two Gill Sans shadowed variants as K22 EricGill Shadow (digitising the Gill Sans Shadow 338 design) and K22 EricGill Shadow Line, an inline variant, for free for "personal, private and non-commercial purposes" and for sale for commercial use.[211][212] A direct clone of the medium weight, Sans Guilt, was released by Brussels open source design group OSP in 2011, but it contains several obvious glitches such as misaligned "w" and "x" characters.[213] 006ab0faaa
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