12/20/2023 0 Comments Futura typeface poster![]() I sort of want to believe it, but I can’t. In recent years numerous type fans and pop journalists have promulgated the idea that “Kubrik was a Futura man”. See also: Woody Allen’s Favorite : Title Designer Pablo Ferro : Retro Movie Titles : The Serif is Dying ![]() * As noted in various comments below, the opening titles for 2001: A Space Odyssey are actually set in Gill Sans, not Futura. It played a prominent role in The Royal Tenenbaums. My favorite director, Wes Anderson, is also fan of Futuraesque type. “So is that note to the postman a sort of private tribute from you to Kubrick?” I ask. “I did once get him to admit the beauty of Bembo,” he adds, “a serif.” Tony goes to his bookshelf and brings down a number of volumes full of examples of typefaces, the kind of volumes he and Kubrick used to study, and he shows them to me. “Is this the kind of thing you and Kubrick used to discuss?” I ask. The typeface Tony used to print it is exactly the same typeface Kubrick used for the posters and title sequences of Eyes Wide Shut and 2001*. It is not a remarkable note except for one thing. “Please put all mail in the white box under the colonnade across the courtyard to your right.” As I walk in, I notice something pinned to his letterbox. I take a break from the boxes to wander over to Tony’s office. Readers Gahlord Dewald and Matthew Thomas point us to a Guardian story in which it is revealed that Stanley Kubrick liked his fonts sans serif. Watch the story of the typeface in the following presentation directed by Parachutes & Christopher Van Wilson and animated by Parallel Studio Paris.Written by Typographica on March 27, 2004 Obviously, Futura's dominance is evident throughout our visual language, since Bauhaus and beyond. The original metal type showed extensive adaptation of the design to individual sizes, and several divergent digitizations have been released by different companies.Įventually, Futura was extensively marketed by Bauer and its American distribution arm by brochure as capturing the spirit of modernity, using the German slogan "die Schrift unserer Zeit" ("the typeface of our time") and in English "the typeface of today and tomorrow". ![]() ![]() ![]() 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 nearly-circular, single-story forms for the "a" and "g" -the former was previously more common in handwriting than in printed text. Renner's design rejected the approach of most previous sans-serif designs (now often called grotesques), which were based on the models of sign painting, condensed lettering and nineteenth-century serif typefaces, in favor of simple geometric forms: near-perfect circles, triangles, and squares.įutura is based on strokes of near-even weight, which are low in contrast. 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. The typeface was developed by the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926.įutura has an appearance of efficiency and forwardness. Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927.īased on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period Futura was designed as a c ontribution on the New Frankfurt-project. As Bauhaus100 reminds us of the importance of design in all things visual, Futura, the iconic font is more relevant than ever. ![]()
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