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. Paul Renner began sketching his letters that would become Futura in 1924 the typeface was available for use three years later.ĭespite its clean geometric appearance, some of Futura's design choices recalled classic serif typefaces. Different designers have expressed different opinions on which style is preferable. Helvetica’s are more uniform in width, following the grotesque model. Futura’s capitals are inspired by Roman square capitals, with considerable variation in width. The uppercase characters present proportions similar to those of classical Roman capitals.ĭifferent sans-serif designs take different decisions on the proportions of the 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 sign painting, condensed lettering and nineteenth-century serif typefaces, in favor 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. It was commissioned as a typeface by the Bauer Type Foundry, in reaction to Ludwig & Mayer's seminal Erbar of 1922.įutura has an appearance of efficiency and forwardness. It was designed as a contribution on the New Frankfurt-project and it is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–33. It is durable and timeless, and is worthy of being rediscovered and celebrated.įutura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. Charting its Bauhaus origins to its use as the first font on the moon in 1969, this book tells the story of how the typeface went from representing radicalism in design to dependability. Celebrating its 90th anniversary this year, the story of Futura is a fascinating one. This is a stunning examination of one of the most popular typefaces ever created. Annette Ludwig, Director of the Gutenberg Museum and Isabel Naegele, Professor of Typography at the University of Mainz this stunning book tells the story of the iconic font which redefined the graphic design in it’s own ways, Futura. Edited by Petra Eisele, Professor of Design History and Design Theory at the University of Mainz, Dr.
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