Issuu on Google+

U F TU R


W Z FUTURA Foundry

Bauer Type Foundry

Designer

Paul Renner (1878–1950) Date Designed

1927

Classification Geometric Sans Serif

SHARPLY POINTED VERTEXES/APEXES


Z

Futura was designed during the early 1900s, a time period that was heavily influenced by Bauhaus design. With its emphasis on simplified forms, rationality, functionality, mass-production, and a retention of the individual artistic spirit, Futura fits beautifully into the Bauhaus aesthetic. The strong influence of geometry can be seen especially in the triangular “A” and the perfectly circular “o.” The consistent line weight, omission of flourishes, and classical Roman influences all contribute to this typeface’s distinct style. Despite the structure and bold feel, Futura retains a playfulness and approachability that makes it perfect for an entire range of print and advertising opportunities. IKEA uses futura, as well as ABSOLUT Vodka, Louis Vuitton, Red Bull, Best Buy, and director Wes Anderson. It’s in fact so prevalent within the design world that there was actually a campaign launched against its use, going as far to say that it was the “Saddam Hussein” and “Satan” of typefaces. Despite that, it’s a widely used and loved typeface because of its understated yet unique style and versatility.


Oa p ABCD EFGH IJKLM NOP QRST UV W XYZ

LACK OF FLOURISHES

PLAYFUL FEEL

12 3 4 5 67 8 9 0


V aA abcd efgh ijklm nop qrst uvw xyz

VERY LITTLE STRESS/ STROKE VARIATION

USES CIRCLES FOR DOTS

!@#$%^&*()


OHA Built on geometric shapes, including circles, squares, and triangles.

Paul Renner, the father of this typeface,

Though he was a very forward-thinking man,

was raised in Prussia in a strict Protestant up-

he was unreceptive to many modern forms

bringing. He was instilled with the very German

of expression, including jazz and cinema. He

values of leadership, duty, and responsibility.

wasn’t a fan of modern art either, and instead

He launched himself into a very suiting career

preferred the functionalist strain of modernism. .

designing typefaces, and was a prominent mem-

I really love Futura. It may be everywhere,

ber of the Deutscher Werkbund; a group of

but to me that just adds to the friendliness of

artists that eventually lead to the foundation of

it. It’s bold and playful, and can lean towards

Bauhaus itself. He was also an author of a few

either sophisticated or fun depending on the

design books, including Typography As Art. His

context. Sleek, modern, cool, and distinctive,

most renowned typeface was definitely Futura,

it’s the Wes Anderson of typefaces. So it’s

but he also designed Plak (1928) and Renner

slammin’ cool.

Antiqua (1939).


W “I now consider Paul Renner’s design one of the finest of all sans serifs” Doyald Young

FLAT TERMINALS

SP A CRI

ND

N DER

MO


Hayley Books KCAI Typography I Fall 2012


Futura Specimen Book