Excerpted，From The Web
Comments(1) Starting with Edward Johnston’s London Underground typeface in 1916 a flurry of grotesque, modern and humanist sans serifs emerged from Europe and America. The American and British influences came more from the inspiration of the lettering craft including calligraphy and stone cutting. Both crafts can be seen in Johnston’s typeface and his student Eric Gill’s Gill Sans (1928)[3]. While the modern sans serifs come from the artistic movement of the time in Germany and Eastern Europe. These designs while at the same time in history have very different lettering and design foundations. W.A. Dwiggins definitely was a modernist but not in the German sense, he was solidly based in calligraphy like his contemporaries Fredrick Goudy, Edward Johnston and Eric Gill, all craftsmen who designed calligraphic-based sans serifs. Unlike these men he reacted, experimented and then embraced the modern idea of streamline shapes and type forms.
1916开始，埃德华 琼斯顿的伦敦地铁字体引发了大批现代、人文主义的黑体无衬线字体在美国和欧洲的出现。美国和英国所受的影响来自于字体描绘的技能，包括书法和石刻。而现代无衬线字体来自德国和东欧的艺术运动。这两种无衬线字体在字型和设计起源上非常之不同。