newtransport specimen

8/17/2019 NewTransport Specimen

1/18

eNew Transport is a digital adaption of Transportlettering originally designed by Jock Kinneir& Margaret Calvert in the s; specificallyfor use on the United Kingdom’s new motorways

(followed by the all-purpose roads). With minormodifications, it is still in use today. New Transportis designed by Margaret Calvert & Henrik Kubeland is available in six weights: Thin, Light, Regular,

Medium, Bold & Black including Italics and SmallCapitals. The character set supports all EasternEuropean languages.

ThinLightRegularMediumBoldBlack

Thin ItalicLight ItalicRegular ItalicMedium ItalicBold ItalicBlack Italic

New TransportType Specimen

New Transport® 2009 Margaret Calvert & Henrik Kubel. Original design © Margaret Calvert and Jock Kinneir A2/SW/HKwww.newtransport.co.uk


2/18

Sometime in the mid-fifties, Jock Kinneir found himself waitingat the same Green Line bus stop as David Alford, one of thearchitects in the process of designing a second London airportat Gatwick. On discovering that they were close neighbours,David asked Jock if he had ever designed a signing systemfor an airport. Although Jock’s answer was ‘no – nobody had’,he was nevertheless invited to undertake a study for onehundred guineas. Jock maintained that if he hadn’t used thesame bus stop as David, all the signing commissions that were

to follow may never have happened; including the UK roadsigns which followed in , as a result of Gatwick, with aninvitation from Ministry of Transport to design the signsfor Britain’s new motorways.

With the nation taking to the roads in unprecedentednumbers, it soon became apparent that the existing networkwas inadequate, promoting the British Rail campaign ‘It’squicker by train’ – which of course it was (if only you couldfind a seat!). So plans were made for Britain to follow Germanyin the construction of new motorways, starting with thePreston by-pass, followed by the M1. Signing the motorways became a major issue,

as the current signs would fail to meet the needs of motoriststravelling at high speeds. Sir Colin Anderson, having workedwith Jock Kinneir on the design of a labelling system for P&OOrient Line, and aware of our work on Gatwick, approachedJock on behalf of the Committee, with a completely openbrief, apart from the request to use white lowercase letteringon a blue background, in line with Germany. (Sir Hugh Casson,Chairman of the Fine Arts Commission, had a strong preferencefor green – ‘as dark as old dinner jackets’ – and it becamethe ultimate choice for primary ‘A’ routes).

Battle of the Serif

First published in AGI: Graphic Design since .Thames & Hudson

Opposite:Jock Kinneir & Margaret Calvert c.


3/18

Transport original artwork, lowercase letters,tiling system – After what must have been a stormy initial meeting,

Jock received the following letter from Sir Colin: ‘I am anxiousyou shouldn’t embark upon inventing an alphabet of a characterquite “new”. We have, as a committee, got into the habit ofaccepting the general weight and appearance of the Germanalphabet as being the sort of thing we need! I think thereforesomething on those lines is what the Committee believesit wants…’ (Letter dated June ). A request which we chose to ignore – believing thatthe German Sans serif (designed by an engineer), althoughdemonstrably effective, would not sit well in the Englishlandscape. So we started from scratch, with a specificationfor the ideal letterform, having looked at other possibilities,(including adapting the typeface Akzidenz Grotesk – a majorinfluence regarding proportion and overall appearance). Important details, such as the curve on the endof the lowercase l (borrowed from Johnston), and the obliquelycut curved strokes of the letters a, c, e, f, g, j, s, t and y, werespecifically designed to help retain the word shape of placenames when slightly letterspaced; a necessary compromise

to offset the effect of ‘halation’, when viewed at the appropriate‘decision-making’ distance, in full glare of headlights. (Muchlike a Rembrandt portrait – with brush strokes merging tofocus the image). This specific letterform, after two attempts,and in two weights, was officially named ‘Transport’. After the official opening of the Preston by-pass, in, the new signs soon came under fire from the letteringestablishment; notably the stone engraver and letteringdesigner David Kindersley who, uninvited, had for sometimebeen working on a new seriffed letterform, in capitals only,specifically for use in black letters on a light background.He was passionate in his belief that his oddly weighted seriffed

‘alphabet’ was the ultimate answer, regarding both legibilityand economy. (Appearance didn’t seem to matter.) Kindersley’s unprofessional intervention succeededin generating a heated debate in the letter columns ofseveral respectable newspapers; gaining support from suchluminaries as Stanley Morison, and other outraged typographictraditionalists.Design magazine was quick to counter,with positive comments in our favour from Herbert Spencerand Colin Forbes, (both past presidents of AGI), makinga strong case for Modernism.


4/18

David Kindersley’s capital only alphabet, Legibility test carried out by the Road Research Laboratoryat Benton Airport in Thus the scene was set; and in true democratic fashion,

despite public acclaim and the full support of the Committee,tests were soon initiated by the Road Research Laboratoryto settle the issue. Rather comically, several volunteer airmenfrom Benton airport in Oxfordshire found themselves seated ona tiered platform, in the middle of the airfield, while a car drovetowards them with alternate combinations of signs mountedon the roof; composed of place names in Kindersley, Transport,and for good measure the Johnston-based standard, stillto be found in parts of central London. Ironically, Kindersley’sseriffed letters proved to be % more legible than Transport– a negligible amount given the unrealistic conditions governingthe tests. As a consequence, the ultimate choice rested onappearance. In the words of one observer, ‘Kindersley’s letterswere just so ugly.’ It was T.G. Usborne, a far-sighted civil servant servingthe Committee, who succeeded in persuading the Ministryto set up a second committee, chaired by Sir Walter Worboys,to take the entire road network into account. This made goodsense, as the system dictating the layout of the signs, based on

the width of the capital letter ‘I’, which Jock Kinneir so brilliantlydevised, would quite naturally accommodate other routeclassifications. Jock always maintained that this was throughgood fortune more than forethought. Having worked soclosely with Jock, it was more likely his innate ability to marshala complex number of factors, based on common sense, intoan elegant and comprehensive statement. The Worboys Report, published in , was presentedto Parliament by the Minister of Transport, Ernest Marples,during the premiership of Harold Macmillan, on December. It came into effect on January , under the titleThe Traffic Sign Regulations and General Directions

– six years since the first meeting of the Anderson Committee.

Margaret Calvert, London, First published in AGI: Graphic Design since .Published by Thames & Hudson,

Essay set in New Transport Regular and Bold /.


5/18

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z À Á Â Ã Ä Ā

Ă Å Ą Æ Ć Ĉ Č Ċ Ç Ď Đ È É Ê Ě Ë Ē Ĕ Ė Ę Ĝ Ğ Ġ Ģ Ĥ Ħ Ì Í Î Ĩ Ï Ī Ĭ İ

Į Ĵ Ķ Ĺ Ľ Ļ Ŀ Ł Ń Ň Ñ Ņ Ò Ó Ô Õ Ö Ō Ŏ Ő Ø Œ Ŕ Ř Ŗ Ś Ŝ Š Ş Ș Ť Ţ ŦÙ Ú Û Ũ Ü Ū Ŭ Ů Ű Ų Ẁ Ẃ Ŵ Ẅ Ỳ Ý Ŷ Ÿ Ź Ž Ŋ Ð Þ Ĳ a b c d e f g h i j

k l m n o p q r s t u v w x y z à á â ä ā ă å ą æ ć ĉ č ċ ç ď đ è é

ê ě ë ē ĕ ė ę ĝ ğ ġ ģ ĥ ħ ı į ĵ ķ ĸ ĺ ľ ļ ŀ ł ń ň ñ

ņ ŉ ò ó ô õ ö ō ŏ ő ø œ ŕ ř ŗ ś ŝ š ş ș ß ť ţ ŧ ù ú û ũ ü ū ŭ ů ű

ų ẁ ẃ ŵ ẅ ỳ ý ŷ ÿ ź ż ŋ ſ ð þ ĳ & ` ´ ˆ ˇ ˜ ¨ ¯ ˘ ˚ ˙ ˝ ˛ ¸ ‘ ’ π

, ; : . … ! ? / \ | ( ) [ ] { } ' " * - – — ‘’ “ ” ‚ „ ∆ µ ‹ › « » † ‡ ¶ § · • ^ ~ ¦ _ @ © ∏ ® ™ ℮ ¤ €

$ ¢ £ ¥ ƒ # 0 1 2 3 4 5 6 7 8 9 ⁄ ½ ¼ ¾ ° % ‰ + − ± × ÷ = ≠ ≈ < >

≤ ≥ √ ∞ ∫ ∑ ∂ ◊ ª º ↑ ↓ ↖ ↗ ↙ ↘ Ω

#

⁰ ¹ ² ³ ⁴ ⁵ ⁶ ⁷ ⁸ ⁹

₀ ₁ ₂ ₃ ₄ ₅ ₆ ₇ ₈ ₉ ⅓ ⅔

Type Specimen Overview of glyphs contained in the font.Key components highlighted.


New Transport


6/18

New TransportNew Transport ThinNew Transport Thin Italic

New Transport Thin New Transport Thin Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 + &%({[£€$¥@#]})©®-–—abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 + &%({[£€$¥@#]})©®-–—abcdefghijklmnopqrstuvwxyz

Sign SystemsAdvertising, WebsitesBooks & EditorialPackaging, DigitalMoving ImageExhibitionsMobile Devices…

36/36

Sign Systems Advertising, WebsitesBooks & EditorialPackaging, DigitalMoving ImageExhibitionsMobile Devices…

36/36



7/18

New TransportNew Transport ThinNew Transport Thin Italic

Sometime in the mid-fifties, Jock Kinneir found

himself waiting at the same Green Line bus stop

as David Alford, one of the architects in the process

of designing a second London airport at Gatwick.

On discovering that they were close neighbours,

David asked Jock if he had ever designed a s igning

system for an airport. Although Jock’s answer was

‘no – nobody had’, he was nevertheless invited to

undertake a study for one hundred guineas. Jock

maintained that if he hadn’t used the same bus stop

as David, all the signing commissions that were to

follow may never have happened; including the

UK road signs which followed in , as a result

of Gatwick, with an invitation from Ministry of

Transport to design the signs for Britain’s new

motorways. With the nation taking to the roads

in unprecedented ways numbers, it soon became

apparent that the existing network was inadequate,

promoting the British Rail campaign ‘It’s quicker

by train’ – which of course it was (if only you could

find a seat!). So plans were made for Britain to follow

Germany in the construction of new motorways,






David asked Jock if he had ever designed a signing

















Sometime in the mid-fifties, Jock Kinneir found himself waiting at thesame Green Line bus stop as David Alford, one of the architects in theprocess of designing a second London airport at Gatwick. On discoveringthat they were close neighbours, David asked Jock if he had ever designeda signing system for an airport. Although Jock’s answer was ‘no – nobodyhad’, he was nevertheless invited to undertake a study for one hundredguineas. Jock maintained that if he hadn’t used the same bus stop as

Sometime in the mid-fifties, Jock Kinneir found himself waiting at thesame Green Line bus stop as David Alford, one of the architects in theprocess of designing a second London airport at Gatwick. On discoveringthat they were close neighbours, David asked Jock if he had ever designeda signing system for an airport. Although Jock’s answer was ‘no – nobodyhad’, he was nevertheless invited to undertake a study for one hundredguineas. Jock maintained that if he hadn’t used the same bus stop as

8/10 8/10

10/12 10/12

18/20 18/20

Sometime in the mid-fifties, Jock Kinneir foundhimself waiting at the same Green Line busstop as David Alford, one of the architectsin the process of designing a second Londonairport at Gatwick. On discovering that they




8/18

New TransportNew Transport LightNew Transport Light Italic

New Transport Light New Transport Light Italic




36/36


36/36



9/18

New TransportNew Transport LightNew Transport Light Italic











as David, all the signing commissions t hat were to


















system for an airport. Although Jock’s answer was ‘no

– nobody had’, he was nevertheless invited to















Sometime in the mid-fifties, Jock Kinneir found himself waiting at thesame Green Line bus stop as David Alford, one of the architects in theprocess of designing a second London airport at Gatwick. On discoveringthat they were close neighbours, David asked Jock if he had everdesigned a signing system for an airport. Although Jock’s answer was‘no – nobody had’, he was nevertheless invited to undertake a study forone hundred guineas. Jock maintained that if he hadn’t used the same


Sometime in the mid-fifties, Jock Kinneir foundhimself waiting at the same Green Line busstop as David Alford, one of the architects in theprocess of designing a second London airportat Gatwick. On discovering that they were close

Sometime in the mid-fifties, Jock Kinneir foundhimself waiting at the same Green Line busstop as David Alford, one of the architects in theprocess of designing a second London airportat Gatwick. On discovering that they were close


8/10 8/10

10/12 10/12

18/20 18/20


10/18

New TransportNew Transport RegularNew Transport Regular Italic

New Transport Regular New Transport Regular Italic




36/36


36/36



11/18

New TransportNew Transport RegularNew Transport Regular Italic

Sometime in the mid-fifties, Jock Kinneir foundhimself waiting at the same Green Line bus stopas David Alford, one of the architects in the process

of designing a second London airport at Gatwick.On discovering that they were close neighbours,

David asked Jock if he had ever designed a signingsystem for an airport. Although Jock’s answer was


undertake a study for one hundred guineas. Jockmaintained that if he hadn’t used the same bus stop


follow may never have happened; including theUK road signs which followed in , as a resultof Gatwick, with an invitation from Ministry of

Transport to design the signs for Britain’s newmotorways. With the nation taking to the roads

in unprecedented ways numbers, it soon becameapparent that the existing network was inadequate,


by train’ – which of course it was (if only you couldfind a seat!). So plans were made for Britain to follow


Sometime in the mid-fifties, Jock Kinneir foundhimself waiting at the same Green Line bus stop

as David Alford, one of the architects in the processof designing a second London airport at Gatwick.

On discovering that they were close neighbours,David asked Jock if he had ever designed a signing


‘no – nobody had’, he was nevertheless invited toundertake a study for one hundred guineas. Jock

maintained that if he hadn’t used the same bus stopas David, all the signing commissions that were to

follow may never have happened; including theUK road signs which followed in , as a result

of Gatwick, with an invitation from Ministry ofTransport to design the signs for Britain’s new

motorways. With the nation taking to the roadsin unprecedented ways numbers, it soon became


promoting the British Rail campaign ‘It’s quickerby train’ – which of course it was (if only you could

find a seat!). So plans were made for Britain to followGermany in the construction of new motorways,






8/10 8/10

10/12 10/12

18/20 18/20


12/18

New TransportNew Transport MediumNew Transport Medium Italic

New Transport Medium New Transport Medium Italic





36/3636/36



13/18

New TransportNew Transport MediumNew Transport Medium Italic











promoting the British Rail campaign ‘It’s quickerby train’ – which of course it was (if only you

could find a seat!). So plans were made for Britainto follow Germany in the construction of new











promoting the British Rail campaign ‘It’s quicker bytrain’ – which of course it was (if only you could find

a seat!). So plans were made for Britain to followGermany in the construction of new motorways,

Sometime in the mid-fifties, Jock Kinneir found himself waiting at thesame Green Line bus stop as David Alford, one of the architects in theprocess of designing a second London airport at Gatwick. On discover-ing that they were close neighbours, David asked Jock if he had everdesigned a signing system for an airport. Although Jock’s answer was‘no – nobody had’, he was nevertheless invited to undertake a study forone hundred guineas. Jock maintained that if he hadn’t used the same

Sometime in the mid-fifties, Jock Kinneir found himself waiting at thesame Green Line bus stop as David Alford, one of the architects in the

process of designing a second London airport at Gatwick. On discoveringthat they were close neighbours, David asked Jock if he had everdesigned a signing system for an airport. Although Jock’s answer was‘no – nobody had’, he was nevertheless invited to undertake a study forone hundred guineas. Jock maintained that if he hadn’t used the same




8/10 8/10

10/12 10/12

18/20 18/20


14/18

New TransportNew Transport BoldNew Transport Bold Italic

New Transport Bold New Transport Bold Italic




36/36


36/36



15/18

New TransportNew Transport BoldNew Transport Bold Italic








of Gatwick, with an invitation from Ministryof Transport to design the signs for Britain’s new



















process of designing a second London airport at Gatwick. On discover-ing that they were close neighbours, David asked Jock if he had everdesigned a signing system for an airport. Although Jock’s answer was‘no – nobody had’, he was nevertheless invited to undertake a study forone hundred guineas. Jock maintained that if he hadn’t used the same




8/10 8/10

10/12 10/12

18/20 18/20


16/18

New TransportNew Transport Black New Transport Black Italic

New Transport Black New Transport Black Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 + &%({[£€$¥@#]})©∏®-–—abcdefghijklmnopqrstuvwxyz



36/36


36/36



17/18

New TransportNew Transport Black New Transport Black Italic

Sometime in the mid-fifties, Jock Kinneir foundhimself waiting at the same Green Line bus stopas David Alford, one of the architects in the processof designing a second London airport at Gatwick.On discovering that they were close neighbours,David asked Jock if he had ever designed a signingsystem for an airport. Although Jock’s answer was‘no – nobody had’, he was nevertheless invited toundertake a study for one hundred guineas. Jockmaintained that if he hadn’t used the same bus stopas David, all the signing commissions that were to

follow may never have happened; including theUK road signs which followed in , as a resultof Gatwick, with an invitation from Ministry ofTransport to design the signs for Britain’s newmotorways. With the nation taking to the roadsin unprecedented ways numbers, it soon becameapparent that the existing network was inadequate,promoting the British Rail campaign ‘It’s quickerby train’ – which of course it was (if only you couldfind a seat!). So plans were made for Britain tofollow Germany in the construction of new

Sometime in the mid-fifties, Jock Kinneir foundhimself waiting at the same Green Line bus stopas David Alford, one of the architects in the processof designing a second London airport at Gatwick.On discovering that they were close neighbours,David asked Jock if he had ever designed a signingsystem for an airport. Although Jock’s answer was‘no – nobody had’, he was nevertheless invited toundertake a study for one hundred guineas. Jockmaintained that if he hadn’t used the same bus stopas David, all the si gning commissions that were to

follow may never have happened; including theUK road signs which followed in , as a resultof Gatwick, with an invitation from Ministry ofTransport to design the signs for Britain’s newmotorways. With the nation taking to the roadsin unprecedented ways numbers, it soon becameapparent that the existing network was inadequate, promoting the British Rail campaign ‘It’s quickerby train’ – which of course it was (if only youcould find a seat!). So plans were made for Britainto follow Germany in the construction of new



process of designing a second London airport at Gatwick. On discover-ing that they were close neighbours, David asked Jock if he had everdesigned a signing system for an airport. Although Jock’s answer was‘no – nobody had’, he was nevertheless invited to undertake a study forone hundred guineas. Jock maintained that if he hadn’t used the same




8/10 8/10

10/12 10/12

18/20 18/20


18/18

Copyright notice

New Transport is a Trademarkof A2TYPE & A2/SW/HK

Contact

A2TYPE is a division of A2/SW/HK LimitedRegistered in England and Wales No. 54064910

Registered Office:1st Floor, 372 Old StreetLondon EC1V 9LTUnited KingdomTelephone: +44 020 7739 4249Email: [email protected]

New Transport is the only official digital versionof Transport lettering approved by its originaldesigner Margaret Calvert. New Transportfonts are distributed worldwide exclusively

by A2TYPE in London.

New Transport is registered as a font trading nameby UK Government Intellectual Property Office.

Print + web fonts specifically engineered for thispurpose are available in the following weights:

Thin Thin ItalicLight Light ItalicRegular Regular ItalicMedium Medium ItalicBold Bold ItalicBlack Black Italic

Language support:

All fonts support extended Latin & EasternEuropean language settings. All fonts include

Small Capitals.

New Transport

New Transport® 2009 Margaret Calvert & Henrik Kubel. Original design © Margaret Calvert and Jock Kinneir

More fontswww.a2-type.co.uk

A2/SW/HKwww.newtransport.co.uk

Type Specimen ThinLightRegularMediumBoldBlack

Thin ItalicLight ItalicRegular ItalicMedium ItalicBold ItalicBlack Italic

newtransport specimen

Documents