AW Conqueror Sans was born out of this desire to fuse geometric and humanistic sans. 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. AW Conqueror Sans is a claimed French synthesis of Germanic Modernism and English classical tradition.

Spheres of influence

The core set of capitals are based on the proportions of the Roman capitals like Futura, Erbar, Nobel, Johnston, Gill Sans. During the 1930s, the Futura was a true success. Since then, Monotype offered a geometric version of the Gill Sans, and Linotype added Futura-like variants to WA Dwiggins’ Metro. AW Conqueror Sans is kind of a “fusion” of this approach.

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. The “a” is more influenced by the Erbar, and by the Futura for its single storey variant. 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. Besides, the “a, f” follow the Gill Sans italic concepts. 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.

In addition, AW Conqueror Sans in both romans and italics features swashes capitals and minuscules, forms usually associated with Renaissance serif italics. Indeed, it is Ludovico Vincentino Arrighi who published La Operina, a writing manual in 1522, which, on each page, presents more magnificent ornate compositions than the others. The swashes forms of the AW Conqueror Sans are directly influenced by these principles.

Using AW Conqueror Sans on a daily basis means the empowerment to propose different tones in one’s graphic projects. In the morning, sober layout, asymmetrical composition using and heavy AW Conqueror Sans with tight approaches. In the afternoon, classical centred typography on a book cover, all in swashes capitals in light and italic weights of AW Conqueror Sans.

AW Conqueror Sans and its extensions

As you can see, it’s a typeface that offers various possibilities. AW Conqueror Sans is available in 8 weights, roman and italic, which perfectly match with AW Conqueror Didot. They both share a common glyph set (1040 glyphs). This variant of “a” is present in both families, etc.

AW Conqueror Sans is the initial reference point for an extended family, including AW Conqueror Inline, Slab, Carved, Didot. The potential of these mixed families is powerful. Because AW Conqueror typefaces are based on an identical structure, and compatible proportions. It’s a great toolbox for easy-to-use titling and text for all graphic designers and enthusiasts, from the most skilled to beginners. All AW Conqueror variants can be used harmoniously, together and in contrast.

How to use AW Conqueror Sans?

Let’s see some applications, some homage to iconic British design. Original pieces by Eric Gill, Jan Tschichold, Alan Fletcher, Colin Forbes, Bob Gill, Ken Garland and others extracts from foundries.