His time in charge would see the creation not just of the Johnston typeface, but also of the vast majority of Underground iconography that TfL still use today – the roundel, the Harry Beck Tube Map, the high-art posters and more. Another early design. At the time block-letter sans-serifs were seen as the lowest form of lettering. (Wired) • HS2’s Old Oak Common station receives planning approval (RailEngineer) • London: a walkable city – video (LSEPlanning) • Why open streets are good for everyone (PriceTags) • Bank branch in a subway station (AtlasObscura) • Secretive $250m private Bay Area transit system just for techies (OneZero) • The holes in the Ningbo... London Reconnections, 3 Broomfield London E17 8DZ, as we wrote in our more detailed look at the creation of the typeface, in LR Magazine Issue 1: How London Got Its Font, https://p1.liveauctioneers.com/1129/22537/7862553_1_m.jpg, https://farm7.staticflickr.com/6031/6303398525_bdb1de1dcf_z.jpg, http://www.londonbusblinds.com/proddetail.php?prod=GY2T19, https://www.youtube.com/watch?v=6QypmXbwD1k, https://www.londonreconnections.com/2015/signs-and-sensibility/, http://districtdavesforum.co.uk/thread/8571, https://www.designweek.co.uk/inspiration/tfl-roundel-twitter-machine-florian-dussopt/, TfL restarting NLE & Bank upgrade (NewCivilEng), Slavery and the Railways, Part 1: Acknowledging the Past, Capitalist hydrofoils strike back! Given the buckets of prescription in the faux-capitalist franchising system we could’ve kept the Rail Alphabet. Talking of which, shouldn’t “LR” change its typeface to a friendlier version – possibly “CC Art sans” or a n other really-readable font, & if not black-letter, at least a significantly-darker grey presentation. As TfL’s presence expands beyond in stations to digital mediums including apps and social media, the updated typeface known as Johnston100 contains subtle changes to make it fit for purpose in the 21st century. Johnston & Murphy For many years, there were two choices in the industry - a 4-pass dry backed boiler, or a 3-pass water backed boiler. And good graphic/printing (as in Typeface) design is even more necessary, & also all-too-often ignored. A transport journalist and historian, his writing often focuses on the political or strategic challenges facing London's transport network and beyond. A great article & I liked the Tweet. Johnston took those principles and combined them with many of the lessons he had learned over the years from his studies of calligraphy (one of the reasons for the diamonds and triangles one sees in the final result, reminiscent of a pen nib). It’s reminded me of something I’d always thought looked out of place. Fascinated with order. Currently it shows Wingings or something like it and if you select all the text, and change to something like Ariel, all you get is lots of small squares where the characters should be! Pick briefed Johnston that he wanted a typeface with “the bold simplicity of the authentic lettering of the finest periods” and which was “a strong and unmistakable symbol.” In 1915 Johnston came back with something genuinely revolutionary – the block-letter, sans-serif typeface that we know today. Couple of niggles: Principles not Principals in the quotation from the head of design, please? To get rid of it would be to lose a little bit of what the network was. A couple of question however, is this the first official release of Johnston100 or has it snuck into TfL documents without my notice? It’s lovely to see that TfL is proud of its typeface heritage – and happy to invest in making it fit for the future. What was the purpose? A fascinating and elegant tweet-printing machine shaped like the Transport for London roundel has been designed by Florian Dussopt to celebrate the 100 year anniversary of the Johnston typeface, and can be seen here https://www.designweek.co.uk/inspiration/tfl-roundel-twitter-machine-florian-dussopt/. To some, Johnston had ‘sold out.’. @Alison Think of the way Comic Sans is considered today and apply that to the entire sans-serif genus and you will not be far from understanding the low regard in which they were held. Yet behind this image of permanence lies a history of revolutionary design, evolution and a close brush with destruction. It was not about asking ‘should we keep it?’, simply ‘who can help fix it?’. It was also only available on wooden printing blocks which wore down over time and with copying. Home values in 30286 have risen 3.5 % (↑) over the past 12 months. This is something that even today many large organisations struggle to recognise. The Johnston County Parks and Open Space Program would like to hear from you! Smith2, before eventually admitting defeat. He was teaching this, and designing letterforms, when Pick was introduced to him by Westminster Press owner Gerald Meynell (Westminster Press were one of London Underground’s print contractors at the time). 5. “That morning,” says Eiichi, “was a bit of a shock.”. 4. Andrew S: Where a typeface family has both “Regular” and “Medium”, “Medium” is generally slightly heavier than “Regular” (but still lighter than “Semi-bold”). I particularly dislike & resent the change to white-on-navy blue from black-on-white eg at suburban London stations. Our brief to Monotype was to go back to the original principles of Johnston, to reflect on the way the font is now, and see what we might have lost in its 100-year-journey. So warm congratulations to the team from Monotype, to Eiichi Kono for saving its life when under threat in the 1970s, and to the senior managers at LT and TfL, past and present, who kept the faith and ensured its survival. @Greg Tingey Finally, there was also the growing feeling within key sections of the organisation that after 100 years of evolution, the typeface was at risk suffering from the ‘Triggers broom’ effect: After thousands of tiny tweaks and changes, just how much of Johnston’s original ideals could be said to remain? Please take a few minutes to let us know your interest and priorities with Parks and Open Space with our County. The article I wrote for Letter Exchange Yearbook 2013 “Dear Mr Edward Johnston” would tell you a bit of background. Pedantry, but surely “Trigger’s broom” not “triggers broom”? Remastered by Monotype to bring back the original flavour of the Johnston design developed 100 years ago, Johnston100 expands the palette of …

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