Designed by Paul Renner and released in 1927, the Futura typeface quickly became one of the most influential typographic designs of the 20th century. Renowned for its composition of geometric shapes, it has since been adopted by thousands of brands, used for headlines in an extensive number of tabloids and magazines, and has been incorporated into every possible style of marketing and advertising known to mankind; the average individual will almost certainly come across some form of print or digital media involving Futura in their daily life.

Unsurprisingly, Futura became widely known to me from of its use on the Channel 4 game show Countdown, on which it has now featured since 1987.

This entire redesign has been heavily inspired by the Inter typeface — designed by Rasmus Andersson — which has become my favourite font family in recent years, particularly for body text, due to its sleekness and easy readability at all sizes.

▸ Problems identified with Futura: ...

As someone who likes consistency, the one collective element of the Futura typeface that I've never been fond of are the pointed apexes on the characters with diagonal strokes in the lighter variants of the family; specifically (when referring to the basic Latin characters), the uppercase 'A', 'M', 'N', 'V' and 'W' and the lowercase counterparts of the latter two, in addition to the '4' figure. Pun intended, the use of the points on the thinnest three weights is pointless in my view. It has never appealed to me that they are included on thinnest three weights (Light, Book and Medium), only for them to be absent from the Demi variant onwards. In my redesign, the apexes have been completely chopped off to allow all of the straight-edged uppercase letters to sit level on the baseline.

Where I'm concerned, Futura Extra Bold, in its current form, can get in the bin. It's a detestable, inconsistent and visually unpleasing letdown from the rest of the weights in the family. Whether it's the sagging bottom edges of the crossbar on the 'T' glyph, or the horrendous curves that bend inwards on of all the characters containing a diagonal stroke, it's dreadful and needs to be erased — solely in my opinion, of course.

A desire of mine is to use the typeface at 90% width, which is possible to carry out when creating graphics the way I do: in the Adobe CC programs. This allows for both uppercase and lowercase examples of the 'O' to be displayed in a more circular structure as opposed to the elliptical formation they have at the standard width, namely in the Bold weight.
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