Eric Gill – författare

Eric Gill's opinionated manifesto on typography argues that 'a good piece of lettering is as beautiful a thing to see as any sculpture or painted picture'. This essay explores the place of typography in culture and is also a moral treatise celebrating the role of craftsmanship in an industrial age. Gill, a sculptor, engraver, printmaker and creator of many classic typefaces that can be seen around us today, fused art, history and polemic in a visionary work which has been hugely influential on modern graphic design.'Written with clarity, humility and a touch of humour . . . timeless and absorbing' Paul Rand, The New York Times'His lettering was clear, confident and hugely influential on the development of modern type design. The world has now caught up with Gill' GuardianHow do we see the world around us? This is one of a number of pivotal works by creative thinkers like John Berger and Susan Sontag whose writings on art, design and the media have changed our vision for ever.

This original collection gathers the finest woodcuts of one of the most creative and prolific English artists of the early 20th century. Ranging from the religious to the erotic, featured designs include images inspired by The Song of Songs, The Canterbury Tales, and the four Gospels. A feast for the eyes and an important and accessible reference.

Eric Gill (1882 – 1940) was an English sculptor, stonemason, typographer and printmaker; a controversial figure whose fascination with erotica and sex were at odds with his deep religious beliefs. He spent his formative years in Brighton and Chichester before a period of study in London. After marriage in 1904, he moved with his young family to Ditchling in Sussex where he set up an artistic community. In 1924 Gill and his disciples left for Capel-y-ffin in Wales, followed four years later by a move to a home near High Wycombe in Buckinghamshire. Among his many enduring artistic achievements are the typefaces Gill Sans, Perpetua and Joanna; the group of sculptures Prospero and Ariel for BBC Broadcasting House; numerous First World War memorials; and a vast array of illustrations for the private Golden Cockerel Press. He died in 1940 and is buried in Speen Churchyard, in the Chilterns.