䘀唀吀唀刀䄀 吀夀倀䔀䘀䄀䌀䔀 䄀一䄀䰀夀匀䤀匀
笀
䄀 挀漀洀瀀氀攀琀攀 猀琀甀搀礀 漀渀
䘀甀琀甀爀愀 吀礀瀀攀昀愀挀攀
䐀攀戀漀樀礀漀琀椀 䐀愀猀
笀
A Geometric Sans
Near perfect geometric shapes
Near perfect strokes
Balanced form
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz The vibe conveyed by Futura is defined by wods like efficiency, symmetry, and advancement. Void of decoration and glamor Futura is a sans-serif typeface, which means that it is without serifs. In other words, it doesn’t have a stroke addition to the end of each letter form. It was designed by Paul Renner in 1927. Futura even though it was created in the late 20’s, it posses a surprisingly modern look which is why it continues to be used to this day. Sans serif fonts were first introduced in the 20’s, and futura is known for being one of the very first sans serif typefaces. When futura was first introduced people were impressed by its unique characteristics.
The man behind
FUTURA
P
aul Friedrich August Renner (August 9, 1878 - April 25, 1956) was a typeface designer, born in Wernigerode, Germany. In 1927 he designed the futura typeface, which became one of the most successful and most-used types of the 20th century, he also designed another typeface Century Gothic. He attempted to fuse the Gothic and the Roman typefaces. He was a prominent member of the Deutscher Werkbund (German Work Federation). Two of his major texts are Typographie als Kunst (Typography as Art) and Die Kunst der Typographie (The Art of Typography). He created a new set of guidelines for good book design. The typeface Architype Renenr is based upon Renner’s early experimental explorations of geometric letterforms for the futura typeface, most of which were deleted from the face’s character set before it was issued. All his designed typefaces are Architype Renner, Futura, Plak, Futura Black, Futura Light, Ballade and Renner Antiqua. Tasse, a 1994 typeface is a revival of Renner’s 1953 typeface Steila Futura. He also wrote many books which are Typographie als Kunst, Mechanisierte Grafik, Kulturbolschewismus, Die Kunst der Typographie, Das moderne Buch, Ordnung und Harmonie der Farben, Vom Geheimnis der Darstellung.
uppercase
1
lowercase
16
numbers
28
special characteristics
30
anatomy
33
1
A 2
Apex
Cap line
Cap height
Baseline
BP Apex
Cap line
Cap height
3
Baseline
C 4
Apex
Cap line
Cap height
Baseline
D
Apex
5
Cap line
Cap height
Baseline
E 6
Apex
Cap line
Cap height
Baseline
H Apex
Cap line
Cap height
7
Baseline
J 8
Apex
Cap line
Cap height
Baseline
L 9
Apex
Cap line
Cap height
Baseline
N Apex
Cap line
Cap height
10
Baseline
O Apex
Cap line
Cap height
11
Baseline
S 12
Apex
Cap line
Cap height
Baseline
U
Apex
13
Cap line
Cap height
Baseline
V 14
Apex
Cap line
Cap height
Baseline
XZ Apex
Cap line
Cap height
15
Baseline
Cap height
16
a
Ascender
Descender
17
x-Height
Baseline
bd Ascender
Descender
18
x-Height
Baseline
ce Ascender
Descender
19
x-Height
Baseline
f 20
Ascender
x-Height
Baseline
Descender
g
Ascender
Descender
21
x-Height
Baseline
h
Ascender
Descender
22
x-Height
Baseline
j 23
Ascender
x-Height
Baseline
Descender
k Ascender
Descender
24
x-Height
Baseline
n
Ascender
Descender
25
x-Height
Baseline
vy Ascender
Descender
26
x-Height
Baseline
x 27
Ascender
x-Height
Baseline
Descender
28
sharp joints
0123456789 The 1 has a flat top on flag, to distinguish it from the lowercase L, the ‘l’. The terminal of the 1 is the only one that is not flat like the other numerals. The 3 consists of two connected semi-circles. The 4 is made of three strokes and is an uppercase design because the vertical stroke begins at the cap height and ends at the baseline. The second stroke is a diagonal that connects with the vertical and the third stroke is a horizontal positioned at approximately one-forth of the overall cap height, and its length is essential to the balance of the character. The vertical of the 5 is actually a diagonal, and it is connected to a horizontal line. The sahpe of the bowl is fuller than the top portion of the character. The 6 unlike in other fonts has a straight line which is the stroke ascending from the bowl. The bottom bowl of the 8 is slightly larger than the top one. The 9 is exactly a 6 upside down. 29
30
All letters have same stroke width/height
BDEFHIKLNPRT Every stem is a rectangle or a straight line
31
pointed apex
ascenders rise above the ascender line monoweight strokes
low crossbar
Futura Medium crossbars have an extended width
circular counterspace extends to the baseline
32
cut-off terminal
33
cap line
x-height
x s AK q bQn
arm
cap height
spine
baseline
leg
cross bar
line weight
counter
ascender
shoulder
descender
terminal
sans seriff
bowl
tail
34