Monotype Grotesque was somewhat overshadowed from the late 1920s due to the arrival of new sans-serifs such as Kabel, Futura and Gill Sans, also by Monotype. With their cleaner, more constructed and geometric appearance, these designs came to define graphic design of the 1930s, especially in Britain and parts of Europe. (Pierpont was irritated by Monotype advisor Stanley Morison's enthusiasm for marketing Gill Sans, saying that he could "see nothing in this design to recommend it and much that is objectionable.") However, while it never achieved the popularity of Akzidenz Grotesk, it remained a steady seller through the twentieth century. A particular revival of interest took place after the war, and it is often found in avant-garde printing of this period from western and central Europe, such as the journal "Typographica" designed by Herbert Spencer, since (unlike Akzidenz-Grotesk) it was available from the outset for hot metal machine composition.