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What are its distinguishing characteristics? By now, perhaps, Futura needs no introduction-but it does deserve a deep dive.Ĭover for the French magazine Arts et metiers graphique, designed by Jean Carlu Paul Rand was a big fan, as was the Bauhaus school.Īnd this month, Futura is the sole subject of a new tome from Laurence King, titled simply Futura: The Typeface. It’s graced both the big and small screens, in the title credits for American Beauty and the alphabet taught on Sesame Street, and can be found all over the films of Wes Anderson and Stanley Kubrick. It’s used in artworks by Barbara Kruger and Jenny Holzer. Futura is the font in ads and logos for everyone from Nike and Volkswagen to the Pittsburgh Steelers (and, improbably, Party City). It immediately became popular upon its release by the Bauer Type Foundry in 1927, and today it’s pretty much everywhere.
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If you’re reading this, you’ve almost definitely heard of Futura. He set out to create a face that followed a “consistently unified, elementary language of form,” and with that, Futura was born. In the summer of 1924, when Renner was commissioned to design “the typeface of our time,” those design motifs were, if not directly on his mind, certainly in the air. At the time, modernist artists, architects, and designers were busy shrugging off the weight of history with a new regard for the uniform, the rational, and the functional. That’s according to type designer Paul Renner, who in the 1920s was nonetheless beginning to rethink san serifs’ position as inferior to serifs and scripts. Back story: Before they were trendy with lifestyle startups and Presidential campaigns, and even before they were popular with the avant garde, sans serifs were considered a “proletarian typeface family with no renowned predecessors,” relegated mainly to newspaper supplements and the Bible.