The story of a typeface...

CONTENTS A A

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Paul RennerDesigning FuturaFutura RegularFutura LightFutura BoldFutura Semi BoldFutura Bold CondensedFutura Regular ObliqueFutura Light ObliqueFutura BookSummaryAnatomy

PAUL RENNERAV

FUTURA 1

The early twentieth century brought the concern of gothic letterforms in German culture in which Renner’s position was progressively conistent. He desperately wanted the abolition of fraktur. His statements in the late 1920’s demand that any trace of ‘the writing hand’ be obliterated. Renner doubted the sustainability of roman letters

and understood that round elements had been broken and condensed in gothic script to save space He felt this matched the needs of the German language. He believed Fraktur had lost any function because it had derived from a luxury script, not for everyday use. He wanted to produce a ‘typeface of the time’.

X W

FUTURA2

DESIGNING FUTURA A A

3FUTURA

Renner’s starting point for his design was to reproduce the roman capitals. He described classical capitals as ‘isolated within their own boundaries’ and praised the elemental form, where letters were derived from the simpliest shapes: circles, squares and traingles. Futura capitals are based on these shapes. However the true innovention of futura was its lower case.

Everything followed from the desire to carry the strict geometric stucture of the upper case into the lower case. Renner looked to join capitals and lower case by a common basis in static construction. He wanted to create a harmony between the two. This was his reasoning for ridding all letters of serifs and additional decoration.

VW

4 FUTURA

1927FUTURA 5

1927FUTURA6

AaFUTURA 7

FUTURA REGULARX X

FUTURA8

AYou can see how the A of futura regular is based on geometric structure and simple shape forms. One differentiating characteristic of fututa is that the two stems carry on to form a point rather than creating a fl at top. The letterform is also completely symetrical.

FUTURA 9

AA

aFUTURA10

The lower case a is also completely symetrical but this time horizontally. Although Renner had no association with the Bauhaus, many of his theories on design coincided with the organisation. The simplicity and symetry of Futura typeface was one of them.

oa

FUTURA 11

o

FUTURA12

aAgain, here is shown how the lower case a has been derived from circle and rectanglular shapes, with slight alterations for improvement. The counter when it’s at its thickest (at the left) is the same width as the stem. The counter is also equal distance longer than the stem at both top and bottom.

oooooooooFUTURA 13

Here the alterations are shown regarding the circular part of the a. As the counter reaches the stem the weight decreases and falls inwards in order to avoid thick junctions between the curved and straight strokes. This applies to all the lower case letterforms with a sphere appeareance.

aFUTURA14

dadaThe lower case d is identical to the a just with an extention on the stem, known as the ascender. This highlights the udoubtedly strong consistentcy of Renner’s typeface and the beautiful simplicity of which it is based upon.

bqpd

FUTURA 15

This applies to the b, p, and q aswell but each letterform would be refl ected off each other. Thus the p is simply a refl ection of the b and the q a refl ection of the d.

The type above shows that the g is also an extention of the a but with an aditional descender. You can see through this that Rennet kept the development of futura as simple as possible.

FUTURA16

NN

gagag

FUTURA 17

BBBBBBBBBBBBBBBBBBBThe B has been derived from circular and rectangular shape, but Renner made the subtle alterations to clean the letterform up. The stroke weight remains the same all the way around, however you can see from the black area the counter moves inwards and as the counter reaches the stem it straightens out to horizontally join on.

FUTURA18

BHH

FUTURA 19

CcWhen comparing the upper case and lower case C you can see the ‘harmonious marriage’ that Renner wanted to create between the two. Both are exactly the same stroke weight and are based on the same princinple but the upper case is sim-ply larger in height. They also both have vertically cut stroke endings, so that they could be closely spaced un relation to subsequent characters.

CcCcCc

FUTURA20

The upper case D is also obtained through the exploration of shape. The counter is identical to the curve of a circle, but straightens out horizontally as it reaches the stem.

DDD

FUTURA 21

E EF EEEEE

FUTURA22

Renner made the E,F and L half-square in width and more importantly for him the horizontal strokes of the E were all the

same length. This also applied to the F. So The F is effectively the E minus the bottom crossbar and the L is minus the two top cross bars. Renner insisted that the thematic similarity between letters constructed on geometric princinples would provide coherance.

L LLFF

FUTURA 23

The lower case o is simply a hollowed out circle that makes the bowl, however with this letterform the stroke weight does not remain the same the entire way round. It gets thinner towards the top and the bottom, but this is completely symetrical.

ooo

FUTURA24

The lower case e, has a strong similarity to the lower case o as shown above, and the stroke weight changes in the same places. Although instead of the carrying on all the way round it stops half way where the crossbar joins each side creating the eye. The angle also changes where the bowl ends and it heads off towards the right.

eoeoeoooooooooooooooooooo

FUTURA 25

ij ijijijThe lower case i and j are a prime example of how simple and conistent this typeface is. The j has an entended stem shown above but everything else between the two letterforms are identical.

FUTURA26

IJIJIJIJIJIJIJThe upper case I and J are also extremely similar. Both the same stroke weight but heavier than the lower case i and j. You can see how the bottom curl of the J is based on a circular curve.

FUTURA 27

M M M The upper case M is completely symetrical and is made up of diagonal lines and based on trianglular form.

M M M M

FUTURA28

N N N The Upper case N may not be symetrical but also follows a strong geometric structure and the ends of the stems are either pointed or fl at.

N N N N N N N

FUTURA 29

nThe n is a similar structure to the a as the stroke weight decreases as it reaches the stem however it remains clean and clear by its two strong parallel stems.

hFUTURA30

hAgain the consistency within the typeface is shown by the lower case h, as it is a simple extention of n, by adding a ascender.

nhnhnhnh

VFUTURA 31

VV

Both the upper case V and W are symetrical and based on traingular shape, again with both fl at and pointed stems

WFUTURA32

WWWWWW

wv

FUTURA 33

ww

wwvwFUTURA34

The lower case v and w follow exactly the same principle as the upper case V and W with the same stoke weight but smaller in scale. Again showing Renner’s feeling that the energy of the small letters had to be limited in difference to it’s upper case.

Above shows how the w is a development of the v but doubled up and altered to join the stems smoothly.

WV

FUTURA 35

ZZZZZZZZZZZZZZZZZZZZZZZThe Z’s of Futura Regular again are very similar, but the lower case z is simply shorter in height. There is also a 10º difference within the angle between the bottom and slanted connecting stems.

60ºZZZZZZZ

FUTURA36

zzzzzzz50ºzz

FUTURA 37

SSSSSSSSSSSSSSSThe S is one of the most different letterforms within futura as its form is unlike the majority of other characters. However it is still strongly based upon circular shape.

FUTURA38

sssssssssssThe lower case s is again identical stroke weight as the upper case s, but smaller in scale.

FUTURA 39

KKKThe upper case K is made up of horizontal and diagonal lines which are aligned with the height of the veritical stem and developed from simple triangular shapes.

KKKK

FUTURA40

kkkThe lower case k, may look fairly different, however it is based on the same principles. The diagonal stems are placed lower down and are shorter although the rely on the same rules as the K but this changes the width of the letter. The other interesting difference is that the ascender on the k, makes it taller than its upper case. The reduces the overall visual weight of the capitals in text.

FUTURA 41

PPPPThe upper case P is also based upon a circular curve and again as the counter joins the stem it straightens out, but unlike when this happens in the a and n, the stroke weight stays the same.

FUTURA42

RRPRRRPRThe R is simply an alteration of the P by a small addition of a diagonal stem, which follows the same principles diagonal of the K and that aligns with the base of the horizontal stem.

FUTURA 43

UUUuUuUuUuUuuuuuuuuThe upper case and lower case U of futura medium is another example of the similarity between the two cases, as again it is the same stroke weight but smaller space inbetween the two stems.

FUTURA44

uuuuuuuThe letterform is also based upon accurate circular curves.

FUTURA 45

YYYYThe Y is also based around triangular form and both the upper case and lower case remain very similar apart from the angle of the stem coming off the v shape, in the lower case descender. Here is comes off at a 30 degree angle, rather an a straight vertical.

YYYYYYY

FUTURA46

yyyyyyyyyyyyyyyyy

FUTURA 47

TTtTtTttttttttttttttttttttttttThe T is one of the simplest letterforms within Renner’s futura. It is a symetrical design and made up of a vertical and horizontal line with the same stroke weight.

FUTURA48

ttThe lower case t, is also made up of a vertical and horizontal line but in a different format. Unlike the capital T it is not sym-etrical as the cross stroke is further to the right of the stem than the left.

FUTURA 49

OQOQOQOQOQOQQOQOQ

FUTURA50

GOGOGOOGOGOOOOThe upper case O, Q and G.

Each of these letterforms are quite obviously based on the shape of the circle. The O is quite literally a circular form which

gives the basis the Q which it exactly the same form with an additional diagonal tail. The G has more signifi cant changes. The circular form is the same for the majority of the letterform, however the spur brings the curve inwards making the width

smaller than that of the O and Q.

CC

FUTURA 51

ffffffThe lower case f bares a lot of similarity to the t, regarding the uneven cross stroke, but the stem is longer and curves at the top following a circular curve.

ffff

FUTURA52

lllllThe lower case l like the upper case I is as simple as they come, an even vertical line.

FUTURA 53

mmmThe small m is made up of three simple stems, two of which are arched, following a circular curve. The spaces inbetween the stems are both the size which creates a clean and neat design.

mmmm

mmFUTURA54

rmmrmmmrmHere you can see that the lower case r is identical to the fi rst part of the m. The shoulder of the r mimicks the the fi rst arch of the stem on the m, but stops at a diagonal slant.

FUTURA 55

XXXXXXXXXXXXXXXXXXXXX

Both the upper case and lower case X are symetrical. However interestingly the angle inside the stem is half the angle outside the stem.

60º 120º

FUTURA56

xX xxxX x

xxxxxxxx50º 130º

Although this does not apply to the lower case x, which remains the same stroke weight however due to the decrease in height these angles are altered.

FUTURA 57

HHHH

FUTURA58

Finally the upper case H, another delightfully simple and vertically symetrical letterform based on rectangular shape. However the spaces above and below the crossbar in this

character are not even. This adds to the unique form to futura.

KK

Aa

FUTURA 59

FUTURA LIGHTX X

FUTURA60

FUTURA 61

AaAaAaAa

FUTURA62

AAAAAaaaaaaa

Futura Light holds all the rules at futura regular but it has a much lighter stroke weight. As you can see from above futura light is much thinner but the design principles remain the same. This applies to all the letters in futura light.

FUTURA 63

Aa

FUTURA64

FUTURA BOLDX X

FUTURA 65

AaAaAaAa

FUTURA66

AaAAAAaaaAaaaaa

Futura Bold is the second variation and effectively does the opposite of Futura Light, it increases the stroke weight. The bold letter sacrifrices the semblance of geometry to achieve maximum boldness. However unlike Futura Light, Futura Bold also comes with some changes to certain letters.

FUTURA 67

THE DIFFERENCES A A

FUTURA68

AAAA

FUTURA 69

MNMMMNNMMMMMNNNN

FUTURA70

NNNNMMMMMMNN

FUTURA 71

VVWWWWVVVW

There are two very visible differences. The Bold weight avoid the pointed apexes in capital A,N,M,V, and W and in lower case v and w. To maintain these points in Futura Bold would have required too great a reduction of the internal space of the characters.

FUTURA72

VWVWWWVWWW

The points are fl attened so that the inner side of the stroke junction can be opened out. The second is that Futura Bold is signifi cantly shorter in height than Futura Regular, (highlighted by the horizontal lines).

1930FUTURA 73

1930FUTURA74

FUTURA 75

Aa

FUTURA76

FUTURA SEMI-BOLDX X

FUTURA 77

Futura Semi-Bold is a very slight variation of Futura Bold as you can see by the above. Semi bold is the black type and Bold has been placed over it in grey.

AAAAAaaaaa

FUTURA78

WWWWWwwwwww

The stroke weight is lighter than that of Futura Bold however the changes of the apexes from pointed to fl at also still applies in the Semi-Bold varitation.

FUTURA 79

Aa

FUTURA80

FUTURA BOLD CONDENSED

X X

FUTURA 81

AAAAAaaaaaaaaaAAaaaaaaaa

Renner was requested to design a further variation of Futura by customers for advertising this came to be Futura Bold Condensed.

FUTURA82

BBBBBbbbbbbbbbBBBBBbbbbbbbbbb

This version has an effortless quality to its adaptation from the standard width version.

FUTURA 83

CCCCCcccccCCCCCCCCc

These are all examples of Futura Bold Condensed and how it differs from Futura Bold.

FUTURA84

XXXXXxxxxxXXXXxxxx

You can see that the difference is purely within the width of the letterform. The type has simply been squashed inwards.

FUTURA 85

YYYYYyyyyy

Here are more examples of how different the Bold Condensed variation it in conjunction with Futura Bold.

FUTURA86

ZZZZZzzzzz

FUTURA 87

Aa

FUTURA88

FUTURA REGULAR OBLIQUEX X

FUTURA 89

AA

113º

107º

Futura Regular Oblique is precisely Futura Regular but with an added 6º angle to each letterform.

FUTURA90

a90º

a84º

FUTURA 91

WN WN90º

84º

70º

64º

FUTURA92

W H EH E

90º90º

84º84º

FUTURA 93

b db d

90º90º

84º84º

FUTURA94

pp

qq

90º90º

84º 84º

FUTURA 95

Aa

FUTURA96

FUTURA LIGHT OBLIQUEXX

FUTURA 97

AA

112º

106º

Futura Light Oblique does exactly the same to Futura Light by adding a 6º angle to each letterform.

FUTURA98

a90º

a84º

FUTURA 99

WN WN90º

64º84º

70º

FUTURA100

H EH E

90º90º

84º84º

pb d

b d

90º90º

FUTURA 101

84º 84º

p

p

q

q

90º90º

FUTURA102

84º 84º

1932FUTURA 103

1932FUTURA104

FUTURA 105

Aa

FUTURA106

FUTURA BOOKXX

FUTURA 107

Futura Buchschrift translated as Futura Book was added to the collection in 1932, intended specifically for book setting, as it’s name implies, and is a middle ground between Futura

Regular and Futura Light.

WVFUTURA BOOK

FUTURA108

Renner’s principle of maintaining an even texture of colour throughout a text set in Futura permeates all of it’s variants

and it is this that makes them seem like a member of a ‘modern’ type family.

WVFUTURA BOOK

FUTURA 109

AaAa

Aa

FUTURA110

Futura Regular

Futura Book

Futura Light

FUTURA 111

A ARenner famously said that Futura was to be ‘the typeface of our time’ and he commented saying that the typeface had achieved this due to its world wide success. It is still one of the best selling typefaces today. It’s characteristics allow it

to create a harmony and eveness of texture and the beautiful contingency between the upper and lower case

really make it a uniquely aesthetic typeface.

There are now many more variations of the typeface, which were either produced by other designers or after Renner’s

death in 1956.

FUTURA112

Aa

AaAa

AaAa

AaAa

Aa

Futura Light

Futura Light Oblique

Futura Book

Futura Regular

Futura Regular Oblique

Futura Semi Bold

Futura Bold

Futura Bold Condensed

WHig boverCaps Height

ApexStem

Crossbar

Tittle

Descender

FUTURA 113

The Anatomy of Futura Typeface

WHig boverx-height

Baseline

Ascender

Counter Bowl

Overshoot

Eye

Shoulder

Spur

Aperture

FUTURA114