Guide Eric Gill

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He wasted little time in reorganizing newspaper text letting, first with Ionic No. In , he introduced Corona, champion of the teletype era, the most popular textface in newspaper history.

Made to order

In he had introduced Bell Gothic, the type that revolutionized production of telephone books. For the commercial world he designed the Poster Bodonis, then Janson and Monticello.


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Working with W. A Dwiggins and Rudolf Ruzika, he produced the well-known series that became the center of American publishing.

Trained skills of design imagination were theirs; regularity of fit, color, and duplexing was his. His quiet pleasure was the personal design of non-roman fonts that opened new markets for Linotype machines. A natural autocrat in his industrial dealings, he was largely unknown outside Mergenthaler.

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Eric Gill: can we separate the artist from the abuser? | Art and design | The Guardian

Within the company he was respected and feared. He was hugely respected within the factory, respected and beloved within the drawing office, and truly beloved by his outside designers, W. Dwiggins and Rudolf Ruzika. August 02, When lines roamed the earth Much has gone into research and writing about the Gutenberg revolution, but some facets of the Mergenthaler revolution could bear a little more scrutiny, as you can imagine I am about to give them.

My Bonhams

Gallery Lexus. David Berlow David Berlow entered the type industry in as a letter designer for the respected Mergenthaler, Linotype, Stempel, and Haas typefoundries. Dyana Weissman In retrospect, Dyana sees that she was destined to be a typeface designer.


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  • Some have seen his move to the wilds of Ditchling Common as proof that he was incubating his daughters in a sort of hothouse of abuse. MacCarthy argues, passionately and persuasively, that this need for remoteness was driven more by a desire to follow Fabian ideals. T here is of course, a braying mob mentality about this vituperation, but it is understandable.

    OpenType Font Variations

    The exhibition at Ditchling is problematic for less obvious reasons. Refusing to concentrate on works of art for what they are is bad for the arts in general, diminishing their power rather than enriching them. T here is also a danger that this latest exhibition could encourage galleries to display other troubling works of art. It is unlikely that promoting these works would do any real damage — the internet offers far more immediate and disturbing imagery — but it is nevertheless an unsavoury thought that the works of such artists could be normalised through official curation.

    To separate art from the artist, to abhor his work because of what he has done, is to close your eyes to the endlessly joyous possibilities of artistic endeavour. It is unlikely that promoting these works would do any real damage — the internet offers far more immediate and disturbing imagery — but it is nevertheless an unsavoury thought that the works of such artists could be normalised through official curation.


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