This article is intended for an audience of contemporary designers and students who are at least one step removed from mid-century British typographic culture; it is a critique of the Gill Sans typeface and the idiosyncrasies of its creation from a contemporary perspective. The central argument is that an earlier typeface by Eric Gill’s mentor, Edward Johnston, is a superior piece of type design.

Andy Crewdson discusses the origins of the Dutch designer’s recent family of types.

Type design as accumulated knowledge and continuity: a look at the role of type designers, history and technology, revivals and invention.

We celebrate our new combined library, with a new design from Typonine.