“Despite its reputation as the ultimate modern typeface, Futura Now is surprisingly warm,” he explains. “It brings some much-needed humanity back to the world of geometric sans serifs,” says Steve Matteson, Monotype’s Creative Type Director who led the design team. It’s more truly Futura-like than any digital version you’ve ever worked with. Futura Now offers designers a chance to see Futura with fresh eyes. Futura is a Registered Trademark of Bauer Types S.L.įor nearly 90 years, Paul Renner’s Futura has been as popular as it is versatile-from children’s books to fashion magazines to the plaque on the Moon.Futura is a typographic icon.
The commemorative plaque left on the Moon in July 1969 features text set in Futura.
Futura works well for short blocks of text copy and captions. It is a good choice for space-sensitive environments. Futura is an exceptionally versatile typeface, suitable for headlines, sub-headings and body text at a smaller point sizes. Boutros Futura was designed to work harmoniously with the URW-Latin whilst respecting Arabic calligraphic and cultural rules. The Futura URW family has sixth weights for each - Latin and Arabic - variant (Extra Bold, Bold, Demi, Medium, Book and Light). In 1928 it was striking, tasteful and radical and today it continues to be a popular typographic choice to express strength, elegance and clarity. One of the great names in typography, Futura is a geometric sans-serif typeface originally designed by Paul Renner for the Bauer Type Foundry in 1928.
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For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.įutura is a modern bilingual typeface designed and created by two professional groups, each expert in their own field. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. In addition to the adjustment of spacing, there are also adjustments in the design. The kerning tables, as well, have been individualized for each of these type varieties. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. That of the Bodytypes is adjusted for readability.
The most obvious differentiation can be found in the spacing. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions.
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