This project provides a brief overview of the history of the font Futura while employing a stylistic Bauhaus aesthetic. Exploring ways to evoke the essence of a fonts' characteristics and history is a fun way to learn about the formal elements of typography and the designers who have shaped the way that we see and and communicate visually today. It isn't a product for purchase, but a study in package design.

In 1924 Paul Renner designed a geometric sans-serif typeface, Futura. Designed as a contribution to the New Frankfurt project based on geometric shapes, especially the circle, utilizing a similar spirit as the Bauhaus design style of the period. Bauer Type Foundry developed Futura in competition with Ludwig & Mayer's influential Erbar typeface of 1926. Futura's mood is modern, efficient, and forward. Renner was not associated with the Bauhaus; however, he shared many of its views and felt typefaces should express modern models rather than be a revision of an antiquated design. Designers previously based sans-serif designs on the principles of sign painting, condensed lettering, and nineteenth-century serif typefaces. Renner's design utilized simple geometric forms: circles, triangles, and squares. Based on low contrast strokes of near-even weight. The lowercase has tall ascenders rising above the cap line and uses nearly circular forms for the "a" and "g." These tall ascenders were previously more common in handwriting than in printed text. The uppercase characters are proportionally similar to those of classical Roman capitals. The original metal type was designed in individual sizes.  Futura was  marketed extensively by Bauer in Europe and the United States by capturing the spirit of modernity. Bauer employed the German slogan "die Schrift unserer Zeit" ("the typeface of our time") and in English "the typeface of today and tomorrow." Futura remains popular today.