Paul Renner situates his art and his actions between physical and metaphysical extremes. His actions are anarchic, subversive and experimental, and his constructions focus on the idea of creating a Gesamtkunstwerk. He is particularly interested in art as synaesthetic perception. His exhibition projects culminate in the staging of theatrical soirĂŠes at which visual arts and performing arts are infused with culinary art. He also designs buildings (Theatrum Anatomicum), stages festivals (Vakanz) and founds travel clubs (The Hell Fire Touring & Dining Club) for such events. His art projects are often the products of temporary co-productions with other artists.
CONTENT 1 History of Futura 2 History of Paul Renner 3 Analysis of Futura characteristic 4 Analysis of Futura comparison 5 Family of Futura Font
HISTORY OF FUTURA In
typography, Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919â€“1933.Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer's seminal Erbar of 1922, Futura was commercially released in 1936. The family was originally cast in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932. Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson. Matrices for machine composition were made by Intertype.
HISTORY OF PAUL RENNER
Paul Renner (August 9, 1878 â€“ April 25, 1956) was a typeface designer, most notably of Futura. He was born in Wernigerode, Germany and died in HĂśdingen. He was born in Prussia and had a strict Protestant upbringing, being educated in a 19th century Gymnasium. He was brought up to have a very German sense of leadership, of duty and responsibility. He was suspicious of abstract art and disliked many forms of modern culture, such as jazz, cinema, and dancing. But equally, he admired the functionalist strain in modernism. Thus, Renner can be seen as a bridge between the traditional (19th century) and the modern (20th century). He attempted to fuse the Gothic and the roman typefaces.
Avenir’s lowercase “k” has a diagonal stroke that attaches to its stream at a higher point than Gotham’s
Gotham’s lowercase “k” has a leg that is connected to its diagonal stroke,unlike Avenir’s leg which is connected to both the stem and diagonal stroke
COMPARISON ascenders rise above the ascender line pointed opex
Futura Medium crossband hav an extended width
circular counterspace extend to the baseline