The original metal style showed extensive adaptation from the style to individual sizes, and several divergent digitisations have been launched by different companies. 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-storey forms for the “a” and “g”, the former previously more common in handwriting than in printed text. It is based on strokes of near-even weight, which are low in contrast. Renner’s design rejected the approach of most previous sans-serif designs (now often called grotesques), which were primarily based about the models of signpainting, condensed lettering and nineteenth-century serif typefaces, in favour of simple geometric forms: near-perfect circles, triangles and squares. 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 layout. Futura has an appearance of efficiency and forwardness.
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