Today was see Futura highly used in advertising. Interestingly enough, the face was originally intended only to be used for the body text in books.

As of current, the Futura family now includes over 20 faces in total. It wasnвЂ™t until 1930 that the type family grew to include semi-bold, bold condensed, light oblique, and regular oblique, with a book weight added in 1932. The face was commercially released in light, regular, and bold weights. Although Renner didnвЂ™t attend the Bauhaus School of Design like many other prominent designers, Futura was greatly inspired by the modern design style of the Bauhaus movement.ДЄfter a few years of meticulously altering the letterforms of this typeface, Renner commissioned the Bauer type foundry in 1927. This was a typographic style many type designers was striving to achieve during this time. Futura has remained popular over the past century because of itвЂ™s modern look and readability.Д¬reated by German type designer, Paul Renner, in 1924, Futura was the first typeface of its time to combine geometric and old style figures into one face. The most common characteristics of Futura include itвЂ™s low crossbar, pointed apex, ascenders that rise above the ascender line, mono-weight strokes, crossbars that have an extended width, circular counter-space, center of the letters that extend to the baseline, and terminals that cut-off. For many designers and people alike, Futura, a sans serif typeface, is first on the list when choosing a typeface for a design. It is durable and timeless, and is worthy of being rediscovered and celebrated.When thinking of the vast amount of typefaces that have been produced over the last century, we often first recall the ones that have remained timeless even amidst the different design movements. 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 an examination of one of the most popular typefaces ever created, Futura. Includes essays by renowned design writers including Steven Heller, Erik Spiekermann and Christopher Burke'-Back cover. Starting from its origins in the New Frankfurt Project, and following its journey firther afield to Berlin, Prague, Paris, New York - and even the moon - this book tells the story of how Futura went from representing radicalism in design to dependability. A sans serif that takes its form from simple geometric shapes, Futura - the future - is a true design innovaiton. 'Designed by Paul Renner in 1927, Futura has become one of the most widely used typefaces the world has ever seen. The Typeface In Detail - Typefaces / Paul Renner - Proofs - Anatomical details - Futura and its environment - Futura goes international - Timeline.

Note continued: Searching for the typeface of our time - Paris - The beginnings of Futura in France - Jean Carlu - Maximilien Vox - New York - The Bauer Type Foundry in New York - Herbert Bayer: Futura in the MoMA catalogue - Futura and American advertising - Paul Rand and Futura - Ladislav Sutnar and Futura - Vanity Fair: the American magazine that promoted Futura - Moon - How did Futura get to the moon? - Futura. A Journey Around The World - The workshop and the commission 1920 - 1924 - Between antiquity and the avant-garde - The fading star of the classic types - Frankfurt - New Frankfurt - new architecture - Fritz Wichert - Hans and Grete Leistikow - Conceptions and reactions - The Bauersche Giesserei in the canon of the great type foundries - Heinrich Jost - Futura and the New Typography - Willi Baumeister - Hanover - Mr Anna Blume from Revon and the Futurists - Propaganda for artistically designed advertising - Berlin - Futura and `Form um 1930' - Munich - Munich as a centre for typography 1926 - 1933 - Jan Tschichold and Futura - Georg Trump - Futura on the road to success - Crisis in 1933 - the politicization of Futura - Futura and the NSDAP - Typography and National Socialism - Vienna - Otto Neurath and the Vienna Method of Pictorial Statistics (Isotype) - Gerd Arntz - Prague

Futura typeface