Contact details

Jeremy Tankard Typography Ltd
Windyridge
4 Worts Causeway
Cambridge CB1 8RL
England, UK

T +44 (0)1223 47 46 14 
E info@typography.net

If you wish to receive our occasional Typography Update emails
please send a request to subscribe@typography.net

@JeremyTankard

NOTE: If you are contacting us from outside the UK we may not be available immediately or take longer than normal to reply. This will be due to time differences.

Registered Office is
Harwood House · 43 Harwood Road · London SW6 4QP · UK
Registered in England · Number 04706912

 


Close

Your privacy
The information you supply during placing an order is used solely for the purposes of licensing and posting. Your information is kept confidential and not shared in any form with any other parties without your permission.

Online purchasing
The online transaction you place with us is carried out by WorldPay www.worldpay.com. During your online purchase you supply your payment card details to WorldPay, not to Jeremy Tankard Typography.

Use of cookies
We set cookies to enable you to use typography.net, browse fonts and make online purchases. Cookies are used sparsely for analytical and functionality purposes. They are not used to gather personal information and are not used for advertising or social media. Please refer our Use of cookies section.

By using and browsing the typography.net web site, you are approving the use of cookies by Jeremy Tankard Typography. If you have an objection to our use of cookies you must disable cookies in your browser or stop using the site.

Collection and delivery
Following a successful transaction you will receive an email containing a link to the fonts you have licensed. If you do not receive this email please check your junk folder as it may have been filtered by your email application. The font software remains available for download for 24 hours following your payment transaction or until you have downloaded your fonts.

Refunds and returns
Please check that your order is correct as software cannot be replaced if wrongly ordered. You accept that following a successful purchase the font software ordered is non-returnable and non-refundable.

Licence Agreement
All font software is supplied with the JTT Products Licence Agreement. You agree to the terms and conditions of this agreement when you purchase the fonts. A copy of this is supplied with the font pack. You can review a copy at the Information section of this web site.

Universal access
Due to the design of our web site some universal access functions may not perform correctly. Please refer to your operating system to improve your user experience in this respect.

Disclaimer
By accessing and using this web site you agree and accept that it is provided on an 'as is' basis and to be bound by the terms and conditions set out here. In addition, Jeremy Tankard Typography does not represent or warrant that the information accessible via this web site is accurate, complete or current. Jeremy Tankard Typography or any of its employees or representatives shall not be held responsible for any damages arising out of or in connection with the use or for any misinterpretation of information provided on this web site.

Close

These are the Bliss 2 fonts. For more information please view the PDF at the bottom of this page.

Please click here for information about buying fonts from this site.

About Bliss

In 1906 Edward Johnston's seminal book Writing & illuminating & lettering was first published. The ideas Johnston put forward, both in this book and in his lectures, were to inspire a revival of interest in calligraphy and to inform the wider fields of lettering and type in England. One of Johnston's ideas was a belief that a block sans serif form could be made more harmonious and acceptable if it were derived from the proportions of the Roman square capital letter. Bliss began with a nod of recognition to this idea.

Early development
[open/close]

However, during the development of Bliss, five typefaces in all were studied, each with a unique and interesting history; Johnston's Underground, Gill Sans, the Transport typeface, Syntax and Frutiger. With the Underground type, Johnston put into practice his ideas of a linear block sans serif. Eric Gill, a friend and collaborator of Johnston, draws heavily on Johnston's example for his own Gill Sans of c.1928. Transport, designed for the Department of Transport, utilises features and ideas from Johnston and Gill as well as concepts found in some of the continental type forms of the 1950s – such as the single bowl form of the g. The designer, Jock Kinneir, also worked hard to avoid ambiguity between characters sharing similar basic forms.

Hans Eduard Meier developed the idea of a dynamic structure within the normally rigid forms of a sans serif type. His Syntax typeface is drawn over the structure of an Old Face letter. As with Gill Sans it has humanistic subtleties of proportion together with weighted shading and open forms, but differs in that it has oblique terminals to the stokes. The underlying influence of the pen-written forms has resulted in an energetic type form.

Adrian Frutiger developed his Frutiger type from the design of a legible signage typeface for Roissy airport, France. Looking at the optics of letters seen at a distance, it became obvious that the forms had to be open, making them individually more readable and resulting in clearer word shapes.

In developing Bliss, forms were chosen for their simplicity, legibility and 'Englishness' (where forms are typically softer, more flowing and generous in their curves). The lowercase forms demonstrate some of these ideas, for example, the l is clearly different in form to a capital Iand a number 1; the roman two-bowled g is traditionally found in English sans serif designs. A great deal of the character of Bliss is found in the lowercase letters. Influenced by Meier's reasoning of 'dynamic structure', the resulting letters have a more natural feel and flow to them.

Bliss roman g
[open/close]

In contrast to the nineteenth century tradition of grotesque sans serifs, in which the proportions of the capitals tend to be even, the proportions of Bliss have been influenced by the Roman square capital resulting in a varied width to their forms. The horizontal top strokes of E F T and Z have oblique cuts that are balanced by the same detail in the rounded lower strokes of C J Q and S. These terminal details are expanded in the lowercase.

The compliment italic of Bliss follows a more flowing structure reminiscent of its written ancestor. Beyond this structural difference the four key lowercase characters have been drawn in sympathy with the rest of Bliss. The sloped forms of a and e are retained so not to make the type too soft, whereas cursive forms of f and g are included to maintain the rhythm and flow.

Drawing of Bliss italic g
[open/close]

Fonts Try it out   Sample  
Try it out    
Try it out    
Try it out    
Try it out    
Try it out    
Try it out    
Try it out    
Try it out    
Try it out    
Try it out    
Try it out    
Try it out    
Try it out    
Try it out    

Information about this typeface

The PDF files show the complete character set together with a variety of language settings. Bliss is style-linked as follows; the italic fonts are style-linked to the romans.

Bliss is licensed in weight packs, for instance, Bliss Light (menu name Bliss 2 Light) contains both the roman and italic of the Light weight.

These fonts have the menu name 'Bliss 2', please view the PDF below for more information about the font name.

  Information about the number '2' in some font names

Bliss® is a registered trademark of JT Types Ltd.