The decade of the debut of Gill Sans, the 1920s, also saw new sans-serif
designs come out of Germany that would eventually be labeled geometric sans serifs.
KILLER, 1991, a key piece, is a lacquered aluminum table: Its bold sans-serif
top spells out the title, and its legs are as threatening as scimitars.
The results found in sans-serif
fonts were closer to the expected values, mostly because of smaller contrasts.
Others find sans-serif
typefaces fresher, breezier and more contemporary.
The four lines of copy are in 48-point sans-serif
It was designed to stand apart from the common look of most other sans-serifs
Ryan did a terrific job on his typographic guitar, using lyrics from the Beatles' song, Blackbird, to define its shape with a wonderful combination of outline and solid serif and sans-serif
Released by Linotype in 1988, Avenir was designed by Adrian Frutiger in an attempt to bridge the gap between geometric sans-serif
typefaces like Futura (which I love) and more humanist Grotesk typefaces like Helvetica (which I hate).
Each chapter starts with a too wide type-measure and the bold sans-serif
typeface typical of The Architectural Review of the period, and with a 'fist' pointing in the caption to the illustration on the opposite page.
It is a mono line weight, sans-serif
typeface that contains about 50,000 characters.
Appearing as a large white disk raised a half-foot off the ground, its flat surface punctured by variously sized holes, the piece divides the viewer's attention between an elaborate explanation, located on the wall in sans-serif
white vinyl lettering, and the mute sculptural expanse on the floor, leaving it up to her to question or animate the relationship.
Designer Frederic Goudy's fondness for oldstyle Roman types shows through in ITC Goudy Sans, even though it is a sans-serif
Here, a seemingly random collection of Rosen's favored blocky, sans-serif
letters--PNUUMLDE--appear in alternating shades of charcoal and slate gray and in varying sizes (the smaller middle letters forming a valley between two outer peaks).
Running straight across each is a bit of text in black sans-serif
typeface; when the sections are butted end to end and mounted on the wall, the words connect to form a narrative.
And through the deployment of his purposeful texts--whose sans-serif
font and centered alignment are reminiscent of an optician's eye chart--Fulton comments wryly on the viewer's ability to see what for him always remains in focus, beyond the beauty of the image: the walk itself.