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 countless 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, I became known to Futura from of its use on the Channel 4 game show Countdown, on which it has featured in various guises 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.
Personal likes and dislikes with Futura
In the time I've been familiar with the Futura typeface, certain inconsistencies have caught my attention, which I've aimed to resolve in my iteration of this world-renowned antique of typography. Some of these are detailed below.

Pointed apexesas someone who likes consistency, the one feature of the Futura typeface I've never been fond of is the series of pointed apexes stemming from those characters possessing slanted strokes. For instance, in the Latin alphabet (part of the Basic Latin Unicode block), they are found in the lighter weights of the uppercase 'A', 'M', 'N', 'V' and 'W', as well as the lowercase counterparts of the latter two. I've never fully understood the purpose of the apexes, given they are absent from the Demi weight onwards. In my redesign, they have been excluded from all weights to allow each of the straight-edged uppercase letters to sit level on the baseline.

Standard widtha preference of mine is to use the Futura typeface at 90% width in the design material I use it in, which is possible to carry out when creating graphics in the Adobe Creative Cloud programs that I use. This allows for both the uppercase and lowercase versions of the and 'C' and 'O' to be displayed in a more circular structure as opposed to the elliptical shape they have at the standard width, namely in the Bold weight — which this redesign is drawn from.
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