Following the Bauhaus design philosophy, German type designer Paul Renner first created Futura between 1924 and 1926. Although Renner was not a member of the Bauhaus, he shared many of its views, believing that a modern typeface should express modern models rather than be a rivial of a previous design. Futura was commercially released in 1927, commissioned by the Bauer type foundry.
While designing Futura, Renner avoided creating any non-essential elements, making use of basic geometric proportions with no serifs or frills. Futura's crisp, clean forms reflect the appearance of efficiency and forwardness even today
Futura had the honor of being the first typeface on the moon, chosen for a commemorative plaque left by the astronauts of Apollo 11 in 1969.
Futura (and its variants) have become an extremely popular typeface for countless corporate logos, commercial products, films and advertisements for years. In fact, so popular that certain art directors had began boycotting its.
Franklin Gothic and its related faces, are realist sans-serif typefaces originated by Morris Fuller Benton (1872–1948) in 1902. “Gothic” is an increasingly archaic term meaning sans-serif.
Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile, appearing in a variety of media from books to billboards. Despite a period of eclipse in the 1930s, after the introduction of such European faces as Kabel and Futura, they were re-discovered by American designers in the 1940s and have remained popular ever since.
The Franklin Gothic typeface is the primary influence for nearly all MoMA materials; it’s the basis of our logo and our official font “MoMA Gothic,” which were both created by Matthew Carter. We were happy to see that MoMA used a version of Franklin Gothic as long ago as the 1930s.