FUTURE OF From Nazi to the

FUTURA Moon
THE NAZI Lorem ipsum dolor
sit amet,

DEFIER consectetur

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CONSULTANTS
PAUL RENNER DEFIED
THE NAZIS AND
CREATED FUTURA

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CONSULTANTS
Paul Renner’s Futura
• Futura was the first geometric san-serif.
• Has an appearance of efficiency and forwardness.
• Derived from simple geometric forms-strokes of near-even weight , low
in contrast.
• Vastly different from the typefaces based on sign painting, condensed
lettering and the 19th century serif typefaces.
• Simple geometric shapes represent function over form, and no essential
decorative elements based on the BAUHAUS design style.
• The geometric shapes which are a representative of the visual elements
of BAUHAUS style(1919-1933).
• Futura’s effect was felt far wide and many US typefaces sprung up due
to its emergence.
• The simple geometrics helps it to work everywhere which is digital and
print and longform and headlines.
• It has a versatile nature and has 6 different weights, with a condensed
versions in 3 weights and a inline, for eg: Condensed, Demibold,
Display, Black, Steile Futura and Futura Inline.
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CONSULTANTS
SECRETS OF
THE BUZZ

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CONSULTANTS
THE SIMPLE FORMS OF FUTURA

• In Futura gave G and S have Diagonal terminals.

• ‘W’ is an upside down version of ‘M’.
• ‘f’ top is very small.
• The numericals are aligned
• Straight Stem overlapping circles, with thinner lines
coming towards the Stem.
• ‘p’ looks like reverse ‘q’ as well as ‘b’ and ‘d’ being
vertically reflected.
• In Futura, ‘o’ is in perfect circles which is distinct from all
others ‘o’ in other type faces.
• All the edges are with sharp Apex.
• Lower case ‘a’ is a single story ‘a’.
• ‘?’ Looks like a horizontally flipped ‘s’ and ‘!’ is an upside
down ‘i’.

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CONSULTANTS
THE STORY

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CONSULTANTS
• Paul Renner was a individual with suspicions of abstract art
and disliked the many forms of modern cultures, but had
equally admired the functionality of modernism.
• Due to the accession of Hitler’s accession into power, Gothic
type enmeshed into the nostalgic notions of the German
Culture.
• Paul was inspired by the ideology of BAUHAUS which was a
fusion of art and technology.
• Although he wasn’t a part of BAUHAUS, he was inspired by
their Ideology and shared many of their ideas.
• Talking about Renner, he was responsible for the assistance
in the bibliophile culture present before the WW1.
• When working on FUTURA he wanted to fuse the Old Gothic
Typefaces with the New Modern Roman Typefaces.
• Renner sought to remove the ‘National Dress’ of
Germany(Drindl-look gothic) through the help of his new
typeface in which he was finding balance between lower
case and capitals.
• He began design in 1924 and submitted it to the baur type
foundery in 1925.

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CONSULTANTS
PAUL RENNER’S WORK

FUTURA TYPEFACE
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CONSULTANTS
DIE KUNST DER
TYPOGRAPHIE FIRST UP 10
CONSULTANTS
TYPOFRAFIE ALS KUNST

IN BOTH OF HIS WORKS ‘TYPOGAFIE ALS

KUNST’ AND ‘DIE KUNST DER TYPOGRAFIE’
HE SET DOWN GUIDELINES FOR
SOPHISTICATED BOOK DESIGNS.

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CONSULTANTS
DAS MODERNE BUCH
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CONSULTANTS
RENNER ANTIQUA
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CONSULTANTS
BALLADE

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CONSULTANTS
MODERN USE OF
FUTURA
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CONSULTANTS
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CONSULTANTS
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CONSULTANTS
A BRIEF DETAIL WHY IKEA REMOVED
FUTURA
• Was used b IKEA for 50 years before being
scratched off from their catalogue.
• Used a specially commissioned version of
Futura, the IKEA Sans.
• IKEA removed it in their 2010 catalogue
issue.
• Faced a lot of backlash because of their
decision.
• They replaced it because of different mode of
typefaces for Web and Print.
• Therefore Futura not being web friendly lead
to it being replaced by veranda.
• Verdana was the most common font In all the
big companies, leading to a downgrade in
the portrayal of their catalogue rather than
being.
• Ironically though, Futura also became
available for the web after a few years from
being scratched.
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CONSULTANTS
 FIRST UP 19
CONSULTANTS
 RATTAN AMNIT SINGH
ABHISHEAK DAS

BY PRANATI JAIN