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вЂњIn 1918 this was considered to be amongst the earliest and most stable sign of London Transport design is the blue bar and red circle of todayвЂ™s underground symbol, whereas from before the first version of the logo design, which was introduced in 1908 with a solid red circle at the centre. вЂњModern Design of London underground logoвЂќ

The Image above depicts the modernised version of JohnstonвЂ™s London underground design in the twentieth century. вЂњImproved design of London Underground LogoвЂќ

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It is says that features of the font are the perfect circle of the letter вЂOвЂ™ and the use of a diamond-shaped dot above very small letters like вЂiвЂ™ and вЂjвЂ™ and for the full stop, commas, apostrophes etc. The typeface was also included in the London Tube map designs, as well as the name plates and general station signs. вЂњOriginal drawing for the London Underground roundel symbol. вЂњPhotograph from the London Transport MuseumвЂќ 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 (Gill, 2010).вЂќ вЂњThe typeface (sans вЂ“ serif) was commissioned by the Commercial Manager of the London Electric Railway Company Frank Pick in 1913, which was also known as вЂThe Underground GroupвЂ™, being part of his plan to boost the companyвЂ™s corporate image, and introduced in 1916. The making of the sans-serif alphabet that he designed for the London Underground Railways changed the look of typography in the twentieth century.вЂќ вЂњHis years of strong work continue to influence the spark of imagination even in todayвЂ™s hi-tech generation, which can also be recognized to his re-discovery of the power of tools, materials and creative methods. I have wrote a description of the influence that his work has had on the world of typeface and the discoveries that he has made, in relation to his work. In a manner that focuses on clear communication, minimizing the edges of the letter forms.

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My definition of the sans serif concept is that it shows a diverse aspect of how to simplify text from a specific form of type, by extracting certain elements and cutting out bits and pieces to give it more of a clear representation of lettering. Normal handwritten print is also considered sans serif.вЂќ вЂњA sans serif font is a clean modern type of font that has letters without serifs. вЂњEdward Johnston Printing blocks, seen in LondonвЂ™s Transport MuseumвЂќ This San-serif typeface, which became the iconic typeface used throughout the London underground system for 50 years, until it was re-designed in the 1980вЂ™s (Gill, 2010). Instead he simplified his typeface and portrayed it in a well presented strucutre. What I find interesting about his work, is how he didnвЂ™t drastically change the out look of the London underground by using any irregular elements in his style.

His work I find gives a strong example of self exploration, based on the skills that he had acquired through his years of learning the basic principles of craftsmanship and typography.Д«y my recollection of the background work on Edward Johnston, his work became a revelation of how to accurately communicate with such a wide range of people, which eventually became a continuing typeface that was used throughout the underground tube lines. Using his artistic genius he developed a new way of communicating through variable letter forms and typefaces. These skills included lettering, printing and typography. His skills brought him to develop one of his most famous designs, the sans вЂ“ serif Johnston typeface. вЂ The fatherвЂ™ of modern calligraphy Edward Johnston was a highly influential British craftsman, around the twentieth century. I will be looking at the influence that he has had on the style of typography and the direction of where he has taken it. In this article I will be analysing the work of master calligrapher Edward Johnston and his designs of typeface.

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