9/4/2023 0 Comments Futura typeface design![]() Paul Renner began sketching his letters that would become Futura in 1924 the typeface was available for use three years later. 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 a single-story 'a' and 'g', 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. Contentsįutura has an appearance of efficiency and forwardness. It was commissioned as a typeface by the Bauer Type Foundry, in reaction to Ludwig & Mayer's seminal Erbar of 1922. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–33. It was designed as a contribution on the New Frankfurt-project. The font combination makes for a clean, quirky, instantly pleasing pairing.Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. The slightly innocent smile of Souvenir plays into the strident personality of Futura in a way that lightens the mood of both. So here we have two very different typefaces from two distinct periods, created for almost different purposes, that somehow bring out the best in each other. In contrast, Futura is bold, optimistic, and serious, concerned with modernism and forwardness.įollowing Bauhaus's principles of futurism, Paul Renner created Futura in 1927, emphasising geometric forms hence we find near-perfect circles, triangles and squares within each letter. It was created in 1914 and envisaged as a throwback to earlier Art Nouveau models. ![]() Mixing two such strong typographic personalities is a risk that rarely pays off as they fight it out.Īllan Haley described Souvenir as being “like Times Roman dipped in chocolate” – playful, goofy and light. Some fonts are members of ‘superfamilies', meaning they come with different weights, styles and classifications specially designed to work together.įor example, the Avenir superfamily includes the following sub-fonts: Avenir Heavy, Avenir Medium, Avenir Light, Avenir Next, Avenir Bold, Avenir Condensed, Avenir Roman, and Avenir Oblique, all of which come in italic, bold and regular font pairs.Īny font combinations will work well together, so you cannot go wrong by keeping it in the family. ![]() The most straightforward way of guaranteeing that a font pairing works perfectly is by using different fonts within the same typeface family. So when it comes to font combinations, the golden rule is complement or contrast, but never conflict. Then you know you have found a pairing that rolls off the eye. If you get the combo right, the viewer can almost not notice what you have done. The more similar they are, the more likely they will clash.Įqually, two very different fonts could be in danger of pulling your design in opposite directions. The idea of using multiple fonts is to create visual diversity, so there's no point in choosing broadly identical two. The ideal combination should harmonise without risking being too similar. The last thing you want is both fonts to fight for the viewer's attention. ![]() ![]() For starters, always look for font pairings that complement one another. ![]()
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