Gill Sans Fatigue

I have Gill Sans fa­tigue. Its in­creas­ing ubiq­ui­ty might mere­ly be the re­sult of my in­creas­ing aware­ness of var­i­ous type­faces, con­fir­ma­tion bias, or some­thing else, but every­where I look, there it is. On all of the Colliers Ostendorf-Morris for-lease signs (and there are a lot of those in down­town Cleveland) on ban­ners ad­ver­tis­ing lux­u­ry lofts, on signs in hall­ways, on busi­ness cards, on the side of com­mer­cial vans, on plaques and dis­plays at the Museum of Natural History. Everywhere.

What used to be my fa­vorite font is now played out (or has been and I’m just now notic­ing). I still like Eric Gill’s work, though. And by work I don’t mean the fact that he slept with his sis­ters, daugh­ters and fam­i­ly dog. I mean his type­faces, wood­block prints and sculp­ture.

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