ORIGINAL FUTURA book demibold bcld light med lum abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 The weights of Futura are indicaled above; the weighls for which an oblique was cul ore set in i there is a medium Condensed, a bold Condensed, and Futura display. letter: it is a really well-designed face without bad optical illusions; it has a large character count; it contains, as a family, probably the greatest ränge of well-related weights and variants of any one face; it offers foolproof reproduction in all processes. If anyone is in doubt about the position of the Futura style in advertising or printing in general, he might consult the surveys made by Eugene Ettenberg and Professor Thomas Blaine Stanley, in the American Printer of December, 1950 in the first case and in Printer s Ink of November 14, 1952 in the second. Both anal- yses show that the sans-serif faces as a class are well up at the top of advertising and print- ing type usage. A careful examination of the figures in each case reveals that such type has no rival for display use. The Bauer firm had an early Futura Publicity slogan which, translated, said, "A type conquers the world." This was more prophetic perhaps than they meant it to be. that recommends itself to the contemporary de- signer; his thinking is as clean and as straight- forward as his Futura. No story of Futura would be complete with out some examination of its wide use as a dis play and text letter, often under other names and mostly as a linotype or monotype face. Intertype's Futura is, of course, the original Futura suited to the slug-casting machine. There can be little doubt that both Linotype s Spartan and Monotype's Twentieth Century lean very heavily indeed on the Futura design. Both corri- panies abandoned earlier sans-serif faces which were obviously inferior to Futura—Metro in the first instance and Sans Serif in the second. ATF, too, tried Bernhard Gothic and then went over to the foundry variety of Spartan. There is no question that the original Futura won the long and hard-fought battle of the sans serifs. There are various reasons for the dominant use of the Futura design as a display and utility 3 2

Print Magazine en | 1953 | | page 34