Indeed, the more Chancery-like “a” in its design contrasts with the more modernist “b, d, p, q” in their simplification which removes calligraphic traces. Besides, the “a, f” follow the Gill Sans italic concepts. In italics, drawn narrower, AW Conqueror Sans reinterprets Gill’s idea: a rigorous italic like a roman but which sometimes reveals some aspects of a Renaissance italic. The “a” is more influenced by the Erbar, and by the Futura for its single storey variant. Let’s look at some of the glyphs: The lower case “b, d, p, q” are directly influenced by Eric Gill’s, while the “y” is influenced by some of Jan Tschichold’s alphabets. AW Conqueror Sans is kind of a “fusion” of this approach. Since then, Monotype offered a geometric version of the Gill Sans, and Linotype added Futura-like variants to WA Dwiggins’ Metro. During the 1930s, the Futura was a true success. The core set of capitals are based on the proportions of the Roman capitals like Futura, Erbar, Nobel, Johnston, Gill Sans. AW Conqueror Sans is a claimed French synthesis of Germanic Modernism and English classical tradition. It remains a typeface fundamentally influenced by both Bauhaus spirit - with its simplified geometric forms - and Jan Tschichold’s attempts to link this modular spirit to Eric Gill’s humanist sans serif. Superior letters and superior and inferior numerals,ĪW Conqueror Sans was born out of this desire to fuse geometric and humanistic sans.
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