The original metal type showed extensive adaptation of the design to individual sizes, and several divergent digitisations have been released by different companies. The uppercase characters present proportions similar to those of classical Roman capitals. The lowercase has tall ascenders, which rise above the cap line, and uses nearly-circular, single-story forms for the 'a' and 'g', the former 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 signpainting, condensed lettering and nineteenth-century serif typefaces, in favour 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.

įutura has an appearance of efficiency and forwardness. It was developed as a typeface by the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926. It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period. It was designed as a contribution on the New Frankfurt-project. Shaar (Extra Bold, Extra Bold Italic)įutura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. Typeface © 1992 Fundicion Tipografica Neufville, S.A., Data © 1992 URW. At different times, different type foundries have marketed the same font under those names. By the way, if you think Futura looks like typefaces named Intertype and Spartan, you're right. The appealing spikiness of both fonts, however, makes for clean-looking headlines and text as easy to read as any sans serif face can be. As a result of this and its wider base, Futura has become the better known and more popular of the two families. Although it started life with some very eccentric letters, particularly 'a' and 'g', the lower-case alphabet of Futura is now a shade less eccentric and more polished. Kabel was designed by Rudolph Koch for Klingspor, while Futura was designed by Paul Renner for Bauer. Kabel and Futura are birds of a feather, and both fonts seem to have been fledged between 19.

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