Futura typeface Wikipedia. Futura is a geometric sans seriftypeface designed by Paul Renner and released in 1. Din Condensed Bold Free Font Download' title='Din Condensed Bold Free Font Download' />Our online tool allows you to create Wedding Invitations instantly. Try it today DIN Bold font and free fonts download for Windows and Mac OS at FreakFonts largest collection free TrueType and OpenType fonts. Arabic fonts are beautiful, but hard to find. I never thought searching for arabic fonts could be so complicated but it was. I wanted a true arabic font, not the. It was designed as a contribution on the New Frankfurt project. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1. It was commissioned as a typeface by the Bauer Type Foundry, in reaction to Ludwig Mayers seminal Erbar of 1. Futura has an appearance of efficiency and forwardness. 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. Renners design rejected the approach of most previous sans serif designs now often called grotesques, which were based on the models of signpainting, condensed lettering and nineteenth century serif typefaces, in favour of simple geometric forms near perfect circles, triangles and squares. It is based on strokes of near even weight, which are low in contrast. The lowercase has tall ascenders, which rise above the cap line, and uses a single story a and g, previously more common in handwriting than in printed text. The uppercase characters present proportions similar to those of classical Roman capitals. Releaseedit. Different sans serif designs take different decisions on the proportions of the capitals. Futuras capitals are inspired by Roman square capitals, with considerable variation in width. Helveticas are more uniform in width, following the grotesque model. Different designers have expressed different opinions on which style is preferable. This illustration compares Futura Demi with Helvetica Neue Medium. An early American metal type specimen sheet of Futura Oblique. The design shows a hypothetical layout advertising a car, emphasising Futuras modernity and cleanliness. A metal type specimen sheet of Futura Bold Condensed. Many styles and weights of Futura were rapidly created as a brand extension. Paul Renner began sketching his letters that would become Futura in 1. The DIN 1451 typeface family includes both a medium Mittelschrift and a condensed Engschrift version an older extended version Breitschrift is no longer used. Matrices for machine composition were made by Intertype. Despite its clean geometric appearance, some of Futuras design choices recalled classic serif typefaces. Unlike many sans serif designs intended for display purposes, Futura has quite a low x height, reducing its stridency and increasing its suitability for body text. The original Futura design concept included small capitals and old style figures. These were dropped from the original metal issue of the type and first offered digitally by Neufville Digital under the Futura ND family citation needed small caps are also available in the URW digitisation. The design of Futura avoids the decorative, eliminating nonessential elements, but makes subtle departures from pure geometric designs that allow the letterforms to seem balanced. This is visible in the apparently almost perfectly round stroke of the o, which is nonetheless slightly ovoid, and in how the circular strokes of letters like b gently thin as they merge with the verticals. Renners biographer Christopher Burke has noted the important role of the Bauer Foundrys manufacturing team in adapting the design for different sizes of text, a feature not seen in digital releases. However, Renner expressed some disappointment with the slow design and release process, as it allowed Erbar 1. Renners original plan was for two versions a more conventional version suitable for general use, and a more eccentric, geometric lower case based on the circle and triangle. This plan was scrapped, although the characters did appear on an early specimen and more recently on at least one digitisation. Futura was immediately very successful, due to its combination of classicism and modernity. It spawned a range of derivative geometric sans serif typefaces from competing foundries, particularly in the United States. In the UK Futura, while sometimes used, was overshadowed by Gill Sans, which became popular for similar reasons in the UK and came to define 1. While more humanist, it also has geometric leanings which are particularly visible in the capitals. The commemorative plaque left on the Moon in July 1. Futura. Futura remains an important typeface family and is used on a daily basis for print and digital purposes as both a headline and body font. The font is also used extensively in advertisements and logos, notably by IKEA until 2. Supreme, Party City, Volkswagen, Royal Dutch Shell, Crayola, Fremantle. Media and HP in their print ads. Particularly until the 1. Cyrillic variant of the Futura typeface made for the Summer Olympic Games Moscow 1. Autopilot controls of a Boeing 7. Futura. Use of the font is widespread in the aerospace industry for flight instrument and control markings. A Cyrillic variant of the Futura Medium typography was made by Anatoli Muzanov for the 1. Summer Olympics held in Moscow. Futura has been used extensively in film and video. It is used for the title logo of the 1. American Beauty. It was also used in various TV shows including Doug, Lost, Warehouse 1. American version of Sesame Street, which had the capital I, lowercase j, and numbers 1 and 4 in simplified forms, etc. Futura is featured ubiquitously throughout the film adaptation of V for Vendetta, for everything from the title logo and ending credits, to signs, newspapers, computer screens and other props. Wes Anderson is fond of the font and used it in some of his films. Futura was also Stanley Kubricks favorite typeface. Transport is another important area where Futura has been used extensively due to its ability to be read quickly from a distance it can be found extensively in the instrument panel graphics within automobiles Mercedes Benz being one of the most prolific users of the font. Futura is used extensively in aviation for instruments and control legends most Boeing airliners use Futura within their cockpit controls, for example. A bold version of the font was used for NBC Sports on screen graphics from 1. CBS Sports from 1. In 1. 99. 7, the Pittsburgh Steelers an American Football team switched to rounded numbers on the jersey to match the number font Futura Condensed on their helmets. In 2. 01. 2 the newly formed Western Sydney Wanderers Football Club use Futura on their logo and club documentation. Futura is used on the current TV5 Philippines logo and is also Animax Asias main typeface. All three of Vampire Weekends albums use Futura on the covers, with the first two being exclusively Futura. The Boston Celtics championship banners are also in Futura Condensed. City of Ember features Futura Medium in many prints through the story. The condensed version is the main font in the 2. The Elder Scrolls V Skyrim, as well as being used extensively throughout the Watchmen graphic novel as well as the movie based on it. The Medium version is a font used predominantly alongside the Stratum 2 font in the 2. Driveclub. In season 2 of Stargate Universe, episode Common Descent Part 1 the ancestors of the crew state that one of the two continents was named Futura. There are several references to the name being a font in the episode. RAI, the Italian public service broadcaster, also uses this font from 2. Futura also served as the typeface for UK television series Utopias title cards, coloured white upon a neon yellow background neon green in season two. DIN 1. 45. 1 Wikipedia. DIN 1. 45. 1 is a sans seriftypeface that is widely used for traffic, administrative and technical applications. It was defined by the German standards body DIN Deutsches Institut fr Normung German Institute for Standardization in the standard sheet DIN 1. Schriften typefaces in 1. Similar standards existed for stencilled letters. Originally designed for industrial uses, the first DIN type fonts were a simplified design that could be applied with limited technical difficulty. Due to the designs legibility and uncomplicated, unadorned design, it has become popular for general purpose use in signage and display adaptations. Many adaptations and expansions of the original design have been released digitally. OvervieweditEarly DIN Fette Engschrift specimen. Fette Engschrift is a single weight of the DIN 1. The DIN 1. 45. 1 typeface family includes both a medium Mittelschrift and a condensed Engschrift version an older extended version Breitschrift is no longer used since the early 1. Germany. DIN 1. 45. Germany and a number of other countries. It was also used on German car number plates from 1. January 1. 99. 5 by FE Schrift, a typeface especially designed to make the plates more tamper proof and to optimize automatic character recognition. The typeface has gained popularity due to its wide exposure through its release as a Post. Script typeface in 1. Since then it is also used by non governmental organisations and businesses. For graphic design and desktop publishing, several type foundries offer redesigned and extended versions of this typeface. Historyedit. German road signs using both the DIN 1. Mittelschrift left and Engschrift right typefaces. In 1. 93. 1 the DIN institute published DIN 1. It contained several standard typefaces for mechanically engraved lettering, hand lettering, lettering stencils and printing types. These were to be used in the areas of signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation. The origins of DIN 1. Engschrift Condensed for hand lettering go back to 1. Kniglich Preuische Eisenbahn Verwaltung Royal Prussian Railway Administration standardized the lettering to be used on all its rolling stock in a master drawing pattern drawing known as Musterzeichnung IV 4. In 1. 91. 5 the then Prussian Hessian Railways decided that all lettering on railway platforms and stations had to be executed according to the 1. As a by product of the merger of all German railway companies into Deutsche Reichsbahn in 1. Prussian railway typeface had already become a national de facto standard before the DIN Committee of Typefaces took up its work for DIN 1. The DIN Committee of Typefaces was headed by the Siemens engineer Ludwig Goller 1. Siemens Halske in Berlin between 1. The design included not only the DIN Engschrift but also a DIN Mittelschrift medium width, now very popular. A DIN Breitschrift Extended design was also included, but it has never been widely used. In order to enable quick and easy reproduction, all drawings were originally based on a coarse grid and could be executed with compass and rulers. The standard sheet DIN 1. Schriften typefaces was released in 1. With some minor changes DIN 1. In 1. 93. 8 Temporary Order No. DIN 1. 45. 1 to be used on the new German Autobahn motorways. This and other similar regulations resulted in DIN 1. German public lettering until today. Stencilled and DIN style lettering on a street sign in Steinlah, a district of Haverlah. In 1. 92. 3 Stempel was the first type foundry that produced printing types according to a DIN Standard. The design follows DIN 1. In 1. 92. 9, the Berthold type foundry released a similar typeface. DIN 1. 6 had also been made available as lettering templates engraved in celluloid material for drafting use by the company of Filler and Fiebig in Berlin. Stencils for lettering technical drawings to DIN standards. Within the scope of public and technical lettering the use of the DIN 1. Harry Potter And The Philosophers Stone First Edition. They were released as celluloid lettering stencils for smaller applications, as larger metal stencils for application to machinery, vehicles and airplanes, and as cast metal lettering for street and building signage. Printing types according to DIN 1. During World War II DIN 1. Protectorate of Bohemia and Moravia. The 1. 94. 3 version of DIN 1. Cyrillic characters, although their design did not match the weight and proportions of DIN Mittelschrift. Geometric sans serif lettering and typefaces were very popular in the 1. At the Bauhaus the design of lettering on coarse grids was advocated by Herbert Bayer and Joost Schmidt during the Dessau period. Although being designed in a similar way, the DIN typefaces lacked elegance and did not take advantage from these design trends. Inspired by the DIN standard, a consortium of Dutch organisations created an equivalent standard lettering, NEN 3. Created by a group of designers including Jan van Krimpen, the design has no similarity to the DIN standard it is a humanist family with serif and sans serif styles. The sans serif is similar to Gill Sans and Johnston and the serif on the Garalde model. Releasesedit. A sign in an older version of DIN Mittelschrift. Note the different structure of the a and how curved strokes do not thin as they connect, as at the join of the h. The transferable lettering sheet company, Letraset made several variants available in the 1. Also the Berthold type foundry adopted the DIN typefaces for their optomechanical phototype setting systems such as Staromat. In 1. 98. 0 the DIN typefaces were redrawn by Adolf Gropp 1. Frankfurt. The drawings were made on a finer grid. This enabled an exact definition of details such as the amount of overshoot of round characters e. C, G and O below the baseline and above the cap height. Also characters such as S for which an accurate construction drawing had never been made were now defined using lines and arcs for the new cutting plotters that were to be used for the lettering on motorway signage. A number of the glyphs were changed, in particular those for a, 6 and 9 as well as t in DIN Engschrift. By the mid 1. 98. Linotype adopted the redrawn DIN typefaces for digital photocomposition. Together with Adobe they released it as DIN Mittelschrift and DIN Engschrift in 1. Thus the typefaces became part of the AdobeLinotype Post. Script typeface library. The use of DIN typefaces started to appear in the work of cutting edge graphic designers and design studios such as Uwe Loesch in Germany, Tel Design in the Netherlands as well as David Carson and April Greiman in the USA. Soon other leading designers began using DIN Mittelschrift and Engschrift, making it a popular option to other sans serif faces. Third party adaptationseditWith the popularity of the DIN fonts, with their minimal, modern design, several designers and companies have released their own interpretations and adaptations, often adding new weights such as light or extra bold, and italics, causing a range of digital interpretations to exist. One of the most famous and best selling digitisations of DIN is FF DIN 1. Dutch typeface designer Albert Jan Pool for Font. Font. 91. 01. Typographica editor Stephen Coles has particularly praised it for the quality of its hinting for onscreen display. Users include the New York City Ballet, ETH Zurich, The Verge and the film The Wolf of Wall Street. Unlike the original design, it uses conventional weight names.