Editing Sans-serif (section)

===Twentieth-century sans-serifs===
[[File:LNER Class A4 4468 Mallard Nameplate.jpg|thumb|right|[[Gill Sans]] on the nameplate of a [[LNER Class A4 4468 Mallard|4468 ''Mallard'']] locomotive (built in 1938)<ref name="Badaracco">{{Cite journal |last=Badaracco |first=Claire |date=1991 |title=Innovative Industrial Design and Modern Public Culture: The Monotype Corporation, 1922–1932 |url=http://www.thebhc.org/sites/default/files/beh/BEHprint/v020/p0226-p0233.pdf |journal=Business & Economic History |publisher=Business History Conference |volume=20 (second series) |pages=229|access-date=19 December 2015}}</ref>]]

Throughout the nineteenth and early twentieth centuries sans-serif types were viewed with suspicion by many printers, especially those of [[Fine press|fine book printing]], as being fit only for advertisements (if that), and to this day{{When|date=August 2021}}<!-- "and to this day" → "and {{as of|lc=y|2021}}" if this still applies in 2021 --> most books remain printed in serif typefaces as body text.<ref name="Rogers, Updike, McCutcheon">{{Cite book |last1=Rogers |last2=Updike |last3=McCutcheon |url=https://archive.org/stream/workofbruceroger00updi/workofbruceroger00updi_djvu.txt |title=The work of Bruce Rogers, jack of all trades, master of one : a catalogue of an exhibition arranged by the American Institute of Graphic Arts and the Grolier Club of New York |date=1939 |publisher=Grolier Club, Oxford University Press |location=New York |pages=xxxv-xxxvii}}</ref> This impression would not have been helped by the standard of common sans-serif types of the period, many of which now seem somewhat lumpy and eccentrically shaped. In 1922, master printer [[Daniel Berkeley Updike]] described sans-serif typefaces as having "no place in any artistically respectable composing-room."<ref name="Printing types : their history, forms, and use; a study in survivals vol 2">{{Cite book |last=Updike |first=Daniel Berkeley |url=https://archive.org/stream/printingtypesth00updigoog/printingtypesth00updigoog_djvu.txt |title=Printing types : their history, forms, and use; a study in survivals vol 2 |date=1922 |publisher=Harvard University Press |edition=1st |location=Cambridge, MA |page=243 |access-date=17 August 2015}}</ref> In 1937 he stated that he saw no need to change this opinion in general, though he felt that [[Gill Sans]] and [[Futura (typeface)|Futura]] were the best choices if sans-serifs had to be used.{{sfn|Lawson|1990|p=330}}

Through the early twentieth century, an increase in popularity of sans-serif typefaces took place as more artistic sans-serif designs were released. While he disliked sans-serif typefaces in general, the American printer J. L. Frazier wrote of [[Copperplate Gothic]] in 1925 that "a certain dignity of effect accompanies{{Nbsp}}... due to the absence of anything in the way of frills", making it a popular choice for the stationery of professionals such as lawyers and doctors.<ref>{{Cite book |last=Frazier |first=J.L. |url=https://archive.org/details/typelorepopularf00fraz |title=Type Lore |date=1925 |location=Chicago |publisher = (self published) |page=[https://archive.org/details/typelorepopularf00fraz/page/20 20] |access-date=24 August 2015}}</ref> As Updike's comments suggest, the new, more constructed humanist and geometric sans-serif designs were viewed as increasingly respectable, and were shrewdly marketed in Europe and America as embodying classic proportions (with influences of Roman capitals) while presenting a spare, modern image.<ref name="Fifty Years of Typecutting, Monotype Recorder">{{Cite journal |date=1950 |title=Fifty Years of Typecutting |url=http://www.metaltype.co.uk/downloads/mr/mr_39_2.pdf |journal=Monotype Recorder |volume=39 |issue=2 |pages=11, 21 |access-date=12 July 2015}}</ref><ref>{{Cite web |title=Gill Sans Promotional Poster, 1928 |url=http://theredlist.com/wiki-2-343-917-998-view-type-profile-gill-eric.html |website=Red List |publisher=Monotype |access-date=17 August 2015 |archive-date=27 February 2020 |archive-url=https://web.archive.org/web/20200227184410/http://theredlist.com/wiki-2-343-917-998-view-type-profile-gill-eric.html |url-status=dead }}</ref><ref name="Preparing a Railway Timetable">{{Cite journal |last=Robinson |first=Edwin |date=1939 |title=Preparing a Railway Timetable |url=http://www.metaltype.co.uk/downloads/mr/mr_38_1.pdf |journal=Monotype Recorder |volume=38 |issue=1 |page=24 |access-date=12 July 2015}}</ref><ref>{{Cite journal |last=Hewitt |first=John |year=1995 |title=East Coast Joys: Tom Purvis and the LNER |journal=Journal of Design History |volume=8 |issue=4 |pages=291–311 |doi=10.1093/jdh/8.4.291 |jstor=1316023}}</ref><ref name="Type Tactics Grotesques">{{Cite journal |last=Horn |first=Frederick A. |date=1936 |title=Type Tactics No. 2: Grotesques: The Sans Serif Vogue |journal=Commercial Art |volume=20 |issue=132–135 |page=http://magazines.iaddb.org/issue/CAI/1936-04-01/edition/null/page/18}}</ref>

Futura in particular was extensively marketed by Bauer and its American distribution arm by brochure as capturing the spirit of modernity, using the German slogan "''die Schrift unserer Zeit''" ("the typeface of our time") and in English ''"the typeface of today and tomorrow"''; many typefaces were released under its influence as direct clones, or at least offered with alternate characters allowing them to imitate it if desired.<ref name="Futura: The Typeface of Today and Tomorrow">{{Cite web |last=Rhatigan |first=Dan |title=Futura: The Typeface of Today and Tomorrow |url=http://ultrasparky.org/archives/2014/01/futura_the_type.html |access-date=21 January 2018 |website=Ultrasparky}}</ref><ref name="Aynsley">{{Cite book |last=Aynsley |first=Jeremy |title=Graphic Design in Germany: 1890-1945 |date=2000 |publisher=University of California Press |isbn=9780520227965 |location=Berkeley |pages=102–5}}</ref><ref name="Shaw2017">{{Cite book |first=Paul |last= Shaw |page=[https://books.google.com/books?id=n7e0DgAAQBAJ&pg=PA210 210{{ndash}}213]|title=Revival Type: Digital Typefaces Inspired by the Past |date=April 2017 |publisher=Yale University Press |isbn=978-0-300-21929-6 }}</ref><ref name="Typographic Sanity">{{Cite web |last=Shaw |first=Paul |title=From the Archives: Typographic Sanity |url=http://www.paulshawletterdesign.com/2010/01/from-the-archives-no-9-typographic-sanity/ |access-date=26 December 2015 |publisher=Paul Shaw Letter Design}}</ref>

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