Passenger Sans Black Font Free Download

[Armanda Kicks]

Styrofoamletters make great thick lightweight letters and we faced these letters with thin wood for a more polished look. We decided to take a fast and disposable product and improve it with the most fonts and sizes, custom cutting with precise tooling, and a professional latex paint finish.

We chose polystyrene color foam letters to make a high quality product. Due to the air pockets in the material, pockmarks and impurities will be visible after the letters are cut. The foam is water and mildew resistant, but the letters are indoor rated.

With the Flat Bottom Standing upgrade each letter will have a flat bottom in order to allow them to stand. This may reduce your letter height slightly depending on the font selected. Some letters, such as J, P and F, may need additional support to stand. This can be done by applying liquid silicone to the bottom of the letter, attaching it to a base, leaning it on an adjacent letter or up against a wall. Thicker letters will have an easier time standing.

The letter height you order is based on the uppercase letter "A" of the font you specify. Depending on the font, some uppercase/lowercase letters may be shorter or taller than the height you specify on the order form so they will look proportionate to each other. Therefore, you may receive some of your lettering in different dimensions than the letter height ordered. If all lettering is ordered in lower case, we still scale the lettering to an uppercase "A" which will make most of the letters smaller than what was ordered. Please contact us if you would like to size your lettering differently from our standards. Please see examples below.

Everyone needs signs. We streamlined custom sign-making so people can focus on what they do best and look good doing it. We offer friendly customer service with design skills, experienced artisans in our shop, and attention to detail to help get your custom sign made.

Johnston (or Johnston Sans) is a sans-serif typeface designed by and named after Edward Johnston. The typeface was commissioned in 1913 by Frank Pick, commercial manager of the Underground Electric Railways Company of London (also known as 'The Underground Group'), as part of his plan to strengthen the company's corporate identity.[1] Johnston was originally created for printing (with a planned height of 1 inch or 2.5 cm), but it rapidly became used for the enamel station signs of the Underground system as well.[2]

It has been the corporate font of public transport in London since the foundation of the London Passenger Transport Board in 1933, and of predecessor companies since its introduction in 1916, making its use one of the world's longest-lasting examples of corporate branding. It was a copyrighted property of the LPTB's successor, Transport for London, until Public Domain Day 2015 (Johnston died in 1944).

Johnston's work originated the genre of the humanist sans-serif typeface, typefaces that are sans-serif but take inspiration from traditional serif fonts and Roman inscriptions. His student Eric Gill, who worked on the development of the typeface, later used it as a model for his own Gill Sans, released from 1928. As a corporate font, Johnston was not available for public licensing until recently, and as such Gill Sans has become more widely used.[3]

The capitals of the typeface are based on Roman square capitals such as those on the Column of Trajan, and the lower-case on traditional serif fonts. Johnston greatly admired Roman capitals, writing that they "held the supreme place among letters for readableness and beauty. They are the best forms for the grandest and most important inscriptions."[5] Justin Howes, author of the leading work on the Johnston Sans design, Johnston's Underground Type, has highlighted the similarity of the design to the eighteenth-century Caslon type designed by William Caslon in particular, noting that Johnston had worked on a book printed using this typeface shortly before starting work on his design and reproduced their structure in a textbook.[6]

Johnston's alphabet marked a break with the kinds of sans serif then popular, now normally known as grotesques, which tended to have squarer shapes inspired by signwriting and Didone type of the period. Some aspects of the alphabet are geometric: the letter O is a nearly perfect circle and the 'M', unlike Roman capitals (but like Caslon) straight-sided.[7] As with most serif fonts, the 'g' is a 'two-storey' design. The 'l' copies the curl of the 't' and produces a rather wide letter compared to most sans-serif fonts.[8] The lower case i and j have diagonally-placed square dots or tittles, a motif that in some digitisations is repeated in the full stop, commas, apostrophes and other punctuation marks.

Johnston's design process considered a variety of eccentricities, such as a capital-form 'q' in the lower-case and a single-storey 'a' like that later seen on Futura, before ultimately discarding them in favour of a clean, simplified design.[5][9][a] However, many early versions of Johnston's "alphabet" included a Garamond-style W formed of two crossed 'V's, and some early renderings as hand-lettering showed variation.

Unlike many sans-serifs of the period, Johnston's design (while not slender) is not particularly bold. Gill would later write of his admiration for how Johnston had "redeemed" the sans-serif from its "nineteenth-century corruption" of extreme boldness.[5][11]

As an alphabet intended for signage, Johnston was designed without any italics. Any italic design seen is therefore an invention of a later designer, intended to match Johnston's design. Different designers have chosen different approaches to achieve this: some offering a 'true' italic, others an oblique in which the letters are simply slanted, and some declining to offer one, perhaps concluding that an italic is inappropriate to the purpose of the original design.[12][13] An official version of the typeface in italics was commissioned by London Transport from Berthold Wolpe in 1973.[14]

Johnston had become interested in sans-serif letters some years before the commission: although best known as a calligrapher, he had written and worked also on custom lettering, and in his 1906 textbook Writing and Illuminating and Lettering had noted "It is quite possible to make a beautiful and characteristic alphabet of equal-stroke letters, on the lines of the so-called 'block letter' [the sans-serif letters of contemporary trade] but properly proportioned and finished."[15] He had also written in spring 1913 that new books should "bear some living mark of the time in which we live." Johnston had previously unsuccessfully attempted to enter type design, a trade which at the time normally made designs in-house. Howes wrote that Johnston's font was "the first typeface to have been designed for day-to-day use by a leading artist-craftsman."[16]

Pick specified to Johnston that he wanted a typeface that would ensure that the Underground Group's posters would not be mistaken for advertisements; it should have "the bold simplicity of the authentic lettering of the finest periods" and belong "unmistakably to the twentieth century".[17] Pick considered a sans-serif best suited to transport use, concluding that the Column of Trajan capitals were not suited to reproduction on flat surfaces.[18]

In 1933, The Underground Group was absorbed by the London Passenger Transport Board and the typeface was adopted as part of the London Transport brand. As early as 1937, the LPTB mentioned it as a package promoting the system's billboards to advertisers as an example of its commitment to stylish design, along with its commission of art from Feliks Topolski.[8] Johnston's drawings survive in the Victoria and Albert Museum.

Johnston's original design came with two weights, ordinary and bold, while condensed letters soon followed for use on buses to show routes and destinations. Heavy does not contain lower-case letters.[19] Johnston also worked on other lettering and branding for the Underground system, most famously the 'bar and circle' roundel that the Underground continues to use (refined from earlier designs where the roundel was solid red) .[20]

The font family was called a variety of names in its early years, such as Underground or Johnston's Railway Type, before later being generally called simply Johnston. (A similar problem exists with Gill Sans, which was at first often referred to by other names such as its order number, Series 238, Gill Sans-serif, or Monotype Sans-serif.)

Johnston was originally printed using wood type for large signs and metal type for print. London Transport often did not use Johnston for general small printing, with many documents such as bus timetables using other typefaces such as Gill Sans and Granby.[citation needed] By the 1970s, as cold type was becoming the norm for printing, Johnston had become difficult for printers to use. Signs and posters of the period started to use other, more easily sourced typefaces such as Helvetica, Univers and News Gothic.[21] To maintain London Transport's old corporate identity, Johnston was rendered into cold type.

The New Johnston Medium as the new standard is slightly heavier or bolder than the original Johnston Regular (or sometimes confusingly called Medium) and lighter than the original Bold, and has a larger x-height, made suitable for main text setting as well as large display sizes. The average x-height of the New Johnston is roughly 7% larger than the original as the limit for keeping the original Johnston flavour, which was fundamental. The larger x-height allowed larger counters, and type size (size of x-height in particular) and weight are reciprocal factors for legibility, but enlarging x-height can affect style and appearance. Since the original Johnston weights, Regular and Bold, were maintained as closely as possible, inevitably New Johnston Medium appears very close to Light and Bold. This is the whole point of this particular solution because New Johnston Medium works as the one-fits-all standard font for virtually every application from large type sizes for posters and signs to minute type sizes for pocket map maintaining much improved legibility. Punctuation marks are matched the diamond tittle, differing from Johnston's original design, enhancing the identity of London Transport.

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