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Futura (typeface)
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Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period. It was developed as a typeface by the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926.
A metal type specimen sheet of Futura Bold Condensed. Many styles and weights of Futura were rapidly created as a brand extension.
A metal type specimen sheet of Futura Bold Condensed. Many styles and weights of Futura were rapidly created as a brand extension.
The commemorative plaque left on the Moon in July 1969 features text set in Futura.
The commemorative plaque left on the Moon in July 1969 features text set in Futura.
Cyrillic variant of the Futura typeface made for the Summer Olympic Games Moscow 1980.
Cyrillic variant of the Futura typeface made for the Summer Olympic Games Moscow 1980.
Autopilot controls of a Boeing 747 with legend written in Futura. Use of the font is widespread in the aerospace industry for flight instrument and co
Autopilot controls of a Boeing 747 with legend written in Futura. Use of the font is widespread in the aerospace industry for flight instrument and control markings
Gill Sans
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Gill Sans is a humanist sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards.
A drawing and photographed carving by Gill of the "Trajan" capitals on Trajan's Column in Rome, a model for the capitals of Gill Sans and Johnson. Res
An early version of Johnston on a London Underground metal sign. Johnston's design was rendered variably on some older signs, and this uses a condense
An early version of Johnston on a London Underground metal sign. Johnston's design was rendered variably on some older signs, and this uses a condensed "R" and four-terminal "W".
The gloomy, ultra-bold sans-serifs of the Figgins foundry. Gill and Johnston sought to create sans-serif designs that were modern and not as bold as t
The gloomy, ultra-bold sans-serifs of the Figgins foundry. Gill and Johnston sought to create sans-serif designs that were modern and not as bold as these. Gill argued in his Essay on Typography that such closed-up forms were counterproductively bold, less legible than lighter fonts of normal proportions.
Some of Gill's original art for Gill Sans, showing the original "Q", punctuation and two manicules
Some of Gill's original art for Gill Sans, showing the original "Q", punctuation and two manicules