why i like it
Well, Gill Sans Ultra Bold , perhaps the typeface I use most. It is the typeface which continue to surprise me with their beauty and versatility. It seems lile every character have life and face with this kind of shape.
As we’re all probably aware Gill Sans is a pretty standard font these days, used and abused as a result of being part of a default font installation on certain operating systems. Like Times New Roman, a lot of people have become tired of its expressive curves (yes, that’s right, I did say ‘expressive’). I'm hoping after reading this, at the very least, you’ll look upon Gill Sans with fresh eyes.
In terms of Gill Sans Ultra Bold, I love its cute and round shape. The characters are hard, sculptured forms which clearly show Gill’s education and artistic roots. There’s the legibility of a serif face, balanced with the authority of a sans-serif. Gill Sans can seem friendly in its lighter weights, making it perfect for body text, and with its rounded letter forms and limited adornments, it’s highly legible. The bolder weights are perfect for display or signage purposes.
Personally, I think the character "a ,r, f, j"work well with this shape. Because they are balanced and hard. It looks like their have their own personality.
Where do I use it
Generally I use this typeface for propagand especially in comic books and animation.
About this font
Gill Sans™ Ultra Bold was first introduced in 1928. Eric 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. Gill Sans Ultra Bold is 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.
The uppercase of Gill Sans is modelled on the monumental Roman capitals like those found on the Column of Trajan, and the Caslon and Baskerville typefaces.
The capital M from Gill Sans is based on the proportions of a square with the middle strokes meeting at the centre of that square. The Gill Sans typeface family contains fourteen styles and has less of a mechanical feel than geometric sans-serifs like Futura, because its proportions stemmed from Roman tradition. Unlike realist sans-serif typefaces including Akzidenz Grotesk and Univers the lower case is modelled on the lowercase Carolingian script. The Carolingian influence is noticeable in the two-story lowercase a, and g. The lowercase t is similar to old-style serifs in its proportion and oblique terminus of the vertical stroke. Following the humanist model the lowercase italic a becomes single story. The italic e is highly calligraphic, and the lowercase p has a vestigial calligraphic tail reminiscent of the italics of Caslon and Baskerville. Gill Sans serves as a model for several later humanist sans-serif typefaces including Syntax and FF Scala Sans. An Infant variety of the typeface with single-story versions of the letters a and g also exists.
The basic glyph shapes do not look consistently across font weights and widths, especially in Extra Bold and Ultra Bold weights, and Extra Condensed width. However, even in lighter weights, some letters do not look consistent. For example, in letters p and q, the top strokes of counters do not touch the top of the stems in Light, Bold, Heavy fonts, but touch the top of the stems in Book, Medium fonts.
The capital M from Gill Sans is based on the proportions of a square with the middle strokes meeting at the centre of that square. The Gill Sans typeface family contains fourteen styles and has less of a mechanical feel than geometric sans-serifs like Futura, because its proportions stemmed from Roman tradition. Unlike realist sans-serif typefaces including Akzidenz Grotesk and Univers the lower case is modelled on the lowercase Carolingian script. The Carolingian influence is noticeable in the two-story lowercase a, and g. The lowercase t is similar to old-style serifs in its proportion and oblique terminus of the vertical stroke. Following the humanist model the lowercase italic a becomes single story. The italic e is highly calligraphic, and the lowercase p has a vestigial calligraphic tail reminiscent of the italics of Caslon and Baskerville. Gill Sans serves as a model for several later humanist sans-serif typefaces including Syntax and FF Scala Sans. An Infant variety of the typeface with single-story versions of the letters a and g also exists.
The basic glyph shapes do not look consistently across font weights and widths, especially in Extra Bold and Ultra Bold weights, and Extra Condensed width. However, even in lighter weights, some letters do not look consistent. For example, in letters p and q, the top strokes of counters do not touch the top of the stems in Light, Bold, Heavy fonts, but touch the top of the stems in Book, Medium fonts.
Can I produce a font that formed with balloon?
Can I produce a font that is floating?
Can I produce a font that children would like to play with?
Can I produce a font that have face?
Can I produce a font that have more than 3 dimensional visual effect?
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