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Font Futura by Paul Renner

Futura is a geometric sans-serif typeface designed between 1924 and 1926 by Paul Renner. It is based on geometric shapes that became illustrative visual elements of the Bauhaus sketch characterize of 1919–1933. Commissioned by the Bauer class foundry, Futura was commercially released in 1927.

Paul Renner (August 9, 1878 – April 25, 1956) was a typeface designer, most notably of Futura. He was born in Wernigerode, Germany and died in Hödingen.
He was born in Prussia and had a strict Protestant upbringing, being educated in 19th century Gymnasium. He was brought up to have a very German sense of leadership, of duty and responsibility. He was suspicious of abstract art and disliked many forms of modern culture, such as jazz, cinema, and dancing. But equally, he admired the functionalist strain in modernism. Thus, Renner can be seen as a bridge between the traditional (19th century) and the modern (20th century). He attempted to fuse the Gothic and the roman typefaces.
Renner was a honoured associate of the Deutscher Werkbund (German Agitate Amalgamation). Two of his notable texts are Typografie als Kunst (Typography as Art) and Die Kunst der Typographie (The Art of Typography). He created a new set of guidelines for honest soft-cover destine and invented the accepted Futura, a geometric sans-serif font second-hand by scads typographers all the way through the 20th century and up cash-box the set. The typeface Architype Renner is based upon Renner\’s ahead of time theoretical probe of geometric letterforms for the Futura typeface, most of which were deleted from the physiognomy\’s symbol set in the future it was issued. Tasse, a 1994 typeface is a renascence of Renner\’s 1953 typeface Steile Futura. Renner was a sweetheart of the notable German typographer Jan Tschichold and a key party in the passionate ideological and artistic debates of that outdated.

The family was originally published in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932. Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson.

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. Renner’s initial design included several geometrically constructed alternative characters and ranging (old-style) figures, which can be found in the typeface Architype Renner.
Futura has an publication of expertise and forwardness. The typeface is derived from unsophisticated geometric forms (away-carry out circles, triangles and squares) and is based on strokes of forthcoming-orderly tonnage, which are low in disparity. (This is most identifiable in the on the brink of literally reverberating work of the o, but the fit is really degree ovoid.) In conniving Futura, Renner avoided the decorative, eliminating non-required elements. The lowercase has gangling ascenders, which take to the air exposed to the cap dance. The uppercase characters up to date proportions almost identical to those of traditional roman capitals. Unusual Futura conceive also included minute capitals and the old-luxury figures, which were dropped from the underived metal event of the exemplar. The digital versions of these glyphs were victory produced by Neufville Digital below the Futura ND family tree.

Usages Futura Fonts

Futura’s success spawned a range of new geometric sans-serif typefaces from competing foundries, and remains one of the most used sans-serif types into the twenty-first century. It is used prominently in the graphic identity of Union Pacific. The former Swiss airline Swissair also used Futura from the 1950s to the 1990s. Boeing commercial airplanes almost exclusively use a variation of Futura in their flightdeck labeling for both information decals and instrumentation. Futura remains an important typeface family and is used on a daily basis for print and digital purposes as both a headline and body font. Filmmaker Wes Anderson uses Futura extensively in his films, as did Stanley Kubrick. Futura was used on the commemorative plaque left on Earth’s moon by Apollo 11 astronauts in July 1969 (see photo at right). American conceptual artist Barbara Kruger uses the typeface in much of her language based artwork.
The revival of the BBC series, Doctor Who uses Futura for its credits, as did the original series during the early 1970s.
In Italy, RAI Radiotelevisione Italiana and Ferrovie dello Stato use Futura as their corporate fonts.
Car maker Volkswagen uses in its graphic identity a version of Futura modified by Erik Spiekermann’s design agency, SpiekermannPartners, called VW Headline. It differs slightly from standard Futura; for example, the letter O is perfectly round so as to emulate a car tire.
Wes Anderson’s films Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, and The Darjeeling Limited use Futura in the title sequences, in promotional material, and within the films themselves.
The cover of the debut album by the band Vampire Weekend was set in Futura.
The Sci Fi Channel uses a variation on the font family for its on-air and print branding.
The television series Futurama uses the font heavily.
The Illinois Institute of Technology uses the font for its publicity campaign.
It is a corporate branding font for Hewlett-Packard, where it has been used in product packages and manuals since 2004.
The Home Depot uses the font for print ads and signage.
The Reform Party of Canada which was Canada’s second largest political party from 1997 to 2000, used a modified bold italicized version of Futura for its logo. The capital M used in the logo was altered from how it traditionally appears in the Futura typeface.
The font has also been used extensively in the fashion industry, as the logo typeface for companies such as French fashion conglomerate Louis Vuitton and British Luxury department store Harvey Nichols.
IKEA uses a variation of it in their advertising and catalogs, renamed to Ikea Sans.
Alan Moore’s critically acclaimed and cult comic Watchmen and the accompanying film use the font in a condensed extra bold style for the title.

The Oakland Raiders use a variation of it as their primary wordmark.
It was the corporate branding font of Aarhus University for decades until they switched Passata on 11 December 2008, as a part of the implementation of a new visual identity.
Bennington College uses the font extensively.
Futura was used almost exclusively on CNN International in lower thirds, promos, and many opening titles from 1998-2006.
The NFL’s Pittsburgh Steelers use the condensed variation for the numbers and letters on their player’s uniforms.
Grand Theft Auto: San Andreas uses this font for most of the text in the game.
The Lance Armstrong Foundation uses it in their Livestrong branding.

Download Font Futura

Download all fonts in one file

Futura Bold Oblique

Futura Bold

Futura Book Oblique

Futura Book

Futura Condensed Bold Oblique

Download Futura Condensed Bold

Futura Condensed Extra Bold Oblique

Futura Condensed Extra Bold

Futura Condensed Light Oblique

Futura Condensed Light

Futura LT Condensed Medium Oblique

Futura Condensed Medium

Futura Extra Bold Oblique

Futura Extra Bold

Futura Heavy Oblique

Futura Heavy

Futura LT Light Oblique

Futura LT Light

Futura Medium Oblique

Futura LT Medium

Download all fonts in one file

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    [...] after Stanley Morison commissioned the occurrence Gill Sans to altercation the families of Erbar, Futura and Kabel which were being launched in Germany during the latter 1920s. Gill Sans was later [...]

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