An A5 16 page zine exploring the creation and progression of the Futura typeface.

This zine explores a symbolic approach to creating a manual on how to create a zine through the metaphor of baking a cake. I particularly like this zine due to the placement of text and images that seem quite isolated but fit the layout perfectly well. There is a subtle symmetry in the placement of text and images that is satisfying to the eye. The choice of the two colours is visually appealing as well- giving a feminine and organic vibe. 

I decided to adopt a heavy style influence and visual approach through referencing Barbara Kruger's artworks which utilise the Futura typeface in a very provocative and visually appealing way. 

“die Schrift unserer Zeit” - Bauer Type Foundry

The Futura typeface was created by Paul Renner in 1927 as a contribution to the ‘New Frankfurt project’- an affordable public housing project supported by many renowned architects in Europe (Storozynsky, 2021). Renner’s geometric sans serif typeface was then released by The Bauer Type Foundry, instantly becoming a commercial success due to its sharp, clear, and modern vision.

The Bauer Type Foundry called Futura
“die Schrift unserer Zeit,” or in English, “the font of our time”. ‘Futura’ became a progressive and controversial font that represented the European Avante- Garde (Keung, 2020).The font also challenged nazi- ideologists and opposed the popular use of the Blackletter type- a more gothic script with decorative serifs.

Futura’s geometric Bauhaus design style is apparent through the simple, modern, functional geometric form, informed by the Bauhaus ideology of ‘function over form’.

The font is clear and sharp, without any unnecessary ornamental elements.

The typeface is extremely versatile due to its clear ‘no nonsense’ approach to communicating. It has been used widely in statistical graphing, maps, comic strips, print advertising, iconic artworks, and large corporations logos.

Most notable mentions include Barbara Kruger’s artworks, and brands like Calvin Klein, Ikea, Absolut Vodka, Domino’s Pizza, Nike, Supreme, and Volkswagen.

Futura is a geometric sans- serif typeface, consisting of low contrast and even width strokes. 

A most significant typographical feature that makes this font so special and versatile is its low contrast strokes and symmetry. 

The type anatomy of futura is nearly completely symmetrical, with strokes that are nearly uniform throughout the form of each letter. This allows the font to be used in a variety of design settings as it remains legible even with a lower font size. This is why you will see Futura on billboards, logo branding, yet still in smaller print and online publications. 

The famous creator of the ‘Futura’ Font is Paul Renner- a renowned German graphic designer, type designer and typographer. 

Renner was born August 9th,1878 in Wernigerode, Germany. In 1926, he became the head at the Printing Trade School in Münich. Soo after, he rose as the director of the Master School for Germany’s Printers.  

Renner would become most well known for designing the Futura typeface that would become the milestone creation of the 20th century. His creation of Futura would continue to leave an enduring influence on the modern typeface design. 

Renner both despised parts of modern culture yet was equally fascinated by the functionalist strain in modernism. Through his fonts, many believe he ‘bridged between nineteenth and twentieth century tradition’ (FamousGraphicDesigners, 2020). 

Quote: “Cultural Bolshevist”

Renner was largely controversial and politically loud- spoken on his distaste for the Nazi- party and ideologies. 

He blatantly took a stand against the Nazi movement through his very scandalous booklet, ‘Kulturbolschewismus’ (Cultural Bolshevism). He published this in 1932, with contents that overtly condemned the Nazi Ideology. 

Renner was named a ‘Cultural Bolshevist’, meaning an intellectual subversive, by the Nazi Party. This term was used by Nazi Germany to denounce secularist, modernist and progressive cultural movements.

The Futura designer continuously communicated his controversial opinions and love of culture through his writing, teaching, and designing. His ideals were greatly influenced by prominent scholarly figures; including Nietzsche, Goethe, Kant and Schiller. 

Futura has been esteemed as a ‘timeless’ font. Reasonably so, with its versatile symmetrical form and contemporary look- it is a popular choice for artworks and branding even now.

Barbara Kruger’s contemporary artworks like ‘I shop therefore I am’ (1989), boldly uses the Futura font to criticise society that our existence is no longer solidified by our thoughts, but by our over- consumption and consumerist ways. The choice of font mimics advertisement material and magazine text, further reinforcing consumerist nature.

Moreover, this trend of applying bold, sans serif and geometric typeface into branding and product material has been continuously seen throughout history and still to this day. Through works of Barbara Kruger, and major brands like Nike and Supreme- using bolded sans serif type in designs are a favoured way to make clear visual statements.

In an almost enduring legacy by the Bauhaus Ideology; function is preferred over form. We can predict that the design industry will continue this legacy by producing designs with visually succinct typefaces- such as Futura.

This zine explores the Futura typeface and its interesting history and progression into the modern design world. By analysing the font anatomy of the typeface and delving into the type trends that arose from the creation of this font, I was able to reflect on my learnings of the significance of typography in design and in the greater world.

Creating this zine was a challenging yet rewarding experience. It was especially rewarding to discover how type can be used as the main (and only) illustrative element in a creative piece of work. This encouraged me to see type as more than just writing or a font, but another way of drawing or illustrating a page.

My initial choice of the Futura font was heavily influenced by my interest in Barbara Kruger’s artworks. I have always revered her artistic vision and commentary on social and political issues through her bold use of typography and photography. I planned to  reference her iconic colour scheme of red, white, and black, however I ultimately decided that I would only use red and white. This was partly due to finding solid black to be too jarring to the eye in my zine. The final zine cover especially borrows from Krugers ‘I shop therefore I am’ phrase, instead stating ‘I type therefore I am’. Similarly, the page designs all reference Kruger’s style.

I do think my conceptual approach to the zine focused too extensively on Kruger’s use of Futura, and caused a disconnect with the zine creation to be my own authentic style. In reflection, I believe that in the future, I may try to employ my own style as the primary design approach, rather than adopting the use of my style influences.

Culture in the Third Reich: Overview. United States Holocaust Memorial Museum. https://encyclopedia.ushmm.org/content/en/article/culture-in-the-third-reich-overview

FamousGraphicDesigners.org. (2020). Paul Renner. https://www.famousgraphicdesigners.org/paul-renner

Keung, L. (2020). All About the Futura Font and Its History. Envato Tuts. 

Storozynsky, T. (2021). Behind The Font: Why The Futura Typeface Never Looks Dated. Extensis. https://www.extensis.com/blog/why-the-futura-typeface-never-looks-dated#:~:text=Hold%20For%20Futura%3F-,A%20Brief%20History%20Of%20Futura,Bauer%20Type%20Foundry%20in%201927.