Usageįutura remains an important typeface family and is used on a daily basis for print and digital purposes as both a headline and body font. While more humanist, it also has geometric leanings which are particularly visible in the capitals. In the UK Futura, while sometimes used, was overshadowed by Gill Sans, which became popular for similar reasons in the UK and came to define 1930s and 40s printing. It spawned a range of derivative geometric sans-serif typefaces from competing foundries, particularly in the United States. This plan was scrapped, although the characters did appear on an early specimen and more recently on at least one digitisation.įutura was immediately very successful, due to its combination of classicism and modernity. Renner's original plan was for two versions: a more conventional version suitable for general use, and a more eccentric, geometric lower case based on the circle and triangle. This is visible in the apparently almost perfectly round stroke of the o, which is nonetheless slightly ovoid, and in how the circular strokes of letters like b gently thin as they merge with the verticals. The design of Futura avoids the decorative, eliminating nonessential elements, but makes subtle departures from pure geometric designs that allow the letterforms to seem balanced. ![]() These were dropped from the original metal issue of the type and first offered digitally by Neufville Digital under the Futura ND family small caps are also available in the URW++ digitisation. The original Futura design concept included small capitals and old-style figures. Unlike many sans-serif designs intended for display purposes, Futura has quite a low x-height, reducing its stridency and increasing its suitability for body text. Matrices for machine composition were made by Intertype.ĭespite its clean geometric appearance, some of Futura's design choices recalled classic serif typefaces. Extra Bold Italic font was designed in 1955 by Edwin W. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. The family was originally cast in Light, Medium, Bold, and Bold Oblique fonts in 1928. Paul Renner began sketching his letters that would become Futura in 1924 the typeface was available for use three years later. The uppercase characters present proportions similar to those of classical Roman capitals. The lowercase has tall ascenders, which rise above the cap line, and uses a single-story 'a' and 'g', previously more common in handwriting than in printed text. It is based on strokes of near-even weight, which are low in contrast. Renner's design rejected the approach of most previous sans-serif designs (now often called grotesques), which were based on the models of signpainting, condensed lettering and nineteenth-century serif typefaces, in favour of simple geometric forms: near-perfect circles, triangles and squares. ![]() Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. ![]() Contentsįutura has an appearance of efficiency and forwardness. It was commissioned as a typeface by the Bauer Type Foundry, in reaction to Ludwig & Mayer's seminal Erbar of 1922. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–33. It was designed as a contribution on the New Frankfurt-project. Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner.
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