About this font family. Futura BT Pro Condensed Medium Italic. Futura BT Pro Condensed Bold. Futura BT Pro Condensed Bold Italic. Download font Futura Condensed for free. A beautiful font in different sizes. Suitable for Photoshop.

1. Futura Medium Condensed Font Free Download
2. Futura Medium Condensed Font Free Download
3. Free Futura Medium Font Download

Shaar (Extra Bold, Extra Bold Italic) Tommy Thompson (Extra Bold Italic) Date created 1927 Futura is a designed by and released in 1927. It was designed as a contribution on the -project. It is based on geometric shapes, especially the circle, similar in spirit to the design style of the period.

It was developed as a typeface by the, in competition with 's seminal typeface of 1926. Futura has an appearance of efficiency and forwardness. Although Renner was not associated with the, 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. Renner's design rejected the approach of most previous sans-serif designs (now often called ), 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 nearly-circular, single-storey forms for the 'a' and 'g', the former previously more common in handwriting than in printed text. The uppercase characters present proportions similar to those of classical.

The original metal type showed extensive adaptation of the design to individual sizes, and several divergent digitisations have been released by different companies. Futura was extensively marketed by Bauer and its American distribution arm by brochure as capturing the spirit of modernity, using the German slogan 'die Schrift unserer Zeit' ('the typeface of our time') and in English 'the typeface of today and tomorrow'. It has remained popular since. Original drafts of Futura had more abstract variant designs for several letters, such as a two-story lowercase 'a' (left, compared to Futura's standard one-story 'a' at right).

Paul Renner began sketching his letters that would become Futura in 1924; the typeface was available for use three years later. Matrices for machine composition were made.

Despite its clean geometric appearance, some of Futura's design choices recalled classic serif typefaces. Unlike many sans-serif designs intended for display purposes, Futura has quite a low, reducing its stridency and increasing its suitability for body text. The original Futura design concept included small capitals and.

These were dropped from the original metal issue of the type and first offered digitally by Neufville Digital under the Futura ND family; small caps are also available in the 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. Renner's biographer Christopher Burke has noted the important role of the Bauer Foundry's 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 (1926) to precede his design and other typefaces of similar design to appear in the same year as its release. Renner's 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, which became popular for similar reasons in the UK and came to define 1930s and 1940s printing.

While more humanist, it also has geometric leanings which are particularly visible in the capitals. Controls of a with legend written in Futura. Use of the font is widespread in the industry for flight instrument and control markings A Cyrillic variant of the Futura Medium typography was made by Anatoli Muzanov for the held in. Futura has been used extensively in film and video.

It is used for the title logo of the 1999 film. It was also used in various TV shows including, the American version of, 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, for everything from the title logo and ending credits, to signs, newspapers, computer screens and other props. Is fond of the font and used it in some of his films. Futura was also 's 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 — being one of the most prolific users of the font. Futura is used extensively in aviation for instruments and control legends — most airliners use Futura within their cockpit controls, for example. A bold version of the font was used for on-screen graphics from 1989 to 1991, and by from 1992 to 1996. In 1997, the (an team) switched to rounded numbers on the jersey to match the number font (Futura Condensed) on their helmets.

In 2012 the newly formed Football Club use Futura on their logo and club documentation. 's drama series uses Futura. Futura is used on the current logo and is also 's main typeface.

All three of 's albums use Futura on the covers, with the first two being exclusively Futura. The ' championship banners are also in Futura Condensed. 2008 - film features Futura Medium in many prints through the story. The condensed version is the main font in the 2011 role-playing video game, as well as being used extensively throughout the 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 2014 racing video game. In season 2 of, 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., the Italian public service broadcaster, also uses this font from 2000.

Futura also served as the typeface for UK television series 's title cards, coloured white upon a neon yellow background (neon green in season two). More recently, Futura has seen widespread use in many films and video games; and both use Futura on their covers, with Wolfenstein using the font throughout the in-game menus also. The 2013 film and 2014 films and also use Futura on their theatrical release posters. Futura is used in the 2016 film Location Cards. The first person shooter game (released in 2016 by and ) uses Futura as its main font both in-game and for promotional purposes.

Later metal type versions Futura Condensed Futura Condensed is a condensed version of the original Futura font family. Bold and bold oblique fonts were released in 1930. Medium, medium oblique, extra bold, and extra bold oblique fonts were released in 1936. Light and light oblique fonts were released in 1950. Futura Demibold Futura Demibold is a variation of the original Futura.

Futura Display (Futura Schlagzeile). A comparison of Futura weights in digital format. With the demise of hot metal typesetting, Futura has been redrawn in digital formats. Because of complex licensing agreements, there is no one digital version of Futura but several, each with different features. (Some releases may be re-drawings or upgraded versions of earlier digital releases.) Releases of Futura exist from Linotype, Bitstream, (several), and many others under that name, and by many other companies under others because of rights issues. For example, Fontsite's (including Futura Black and Poster) is renamed as 'Function'.

As with all metal type revivals, converting Futura into a digital format poses interpretative challenges. Metal type fonts could be made differently for each text size, so a variety of metal and phototype versions of Futura exist on which a revival could potentially be based. In addition, revivals will need to add characters not present in the original Futura like the Euro sign and Cyrillic, and therefore do not all have the same character set. Futura revivals may also decide to make design changes, like replacing Futura’s straight 'j' with a more conventional substitute as URW's revival does.

Scangraphic's revival notably includes, with a tighter-spaced design (SH) created for headlines and a more spread-out version (SB) for body text sizes. As an assessment of the decisions involved, a wide-ranging review by Stephen Coles of digitisations of Futura and its competitor geometrics noted that Bitstream's 'abandons some of the strict geometry in favour of a more harmonious whole, but it may not be the Futura you were expecting,' and that URW's Futura Nr. 2 was 'Possibly optimized for small text: it’s wider, ascenders shorter, counters larger, and apertures more open. Conversely, round glyphs (a, g, e,) are more true to the circle. This attribute doesn’t make this a great text face, but if you want that strict geometry, No.

Futura ND (1999). ^ Christopher Burke (December 1998). Princeton Architectural Press. Kupferschmid, Indra. Fonts In Use. Retrieved 3 October 2015. ^.

Kupferschmid, Indra. Retrieved 20 October 2016. ^ Paul Shaw (April 2017). Yale University Press. Fonts in Use.

Retrieved 13 February 2017. Ulrich, Ferdinand. Retrieved 19 August 2015. ^ Christopher Burke (December 1998). Princeton Architectural Press. ^ Coles, Stephen.

Retrieved 2 October 2015. Rhatigan, Dan. Retrieved 21 January 2018. Aynsley, Jeremy (2000).

Graphic Design in Germany: 1890-1945. Berkeley: University of California Press.

Handover, Phyllis Margaret (1958). Monotype Newsletter, also printed in Motif as 'Letters without Serifs'. Ettenberg, Eugene M. 'Futura, a typeface for our times'.

American Artist. Frere-Jones, Tobias. Frere-Jones Type. Retrieved 1 December 2015. Moore, Ian.

Retrieved 3 October 2014. Walters, John (2013). Fifty Typefaces That Changed the World. Loxley, Simon (2006). Type: The Secret History of Letters. Retrieved January 31, 2016. Ronson, Jon (27 March 2004).

Archived from on 31 March 2015. Retrieved 1 October 2015. Retrieved 28 June 2016. Retrieved 28 June 2016.

Retrieved 1 October 2015. Retrieved 1 October 2015. Retrieved 1 October 2015. Retrieved 2 October 2015.

Family feud full version for pc. Retrieved 2 October 2015. ^ Coles, Stephen.

Archived from the original on March 16, 2015. Retrieved 2 October 2015. CS1 maint: Unfit url. Neufville Digital. Retrieved 1 October 2015. Retrieved 1 October 2015.

Retrieved 1 October 2015. Retrieved 1 October 2015. Retrieved 2 October 2015. Wiescher Design. Retrieved 3 October 2015. Lanston Type Company. Retrieved 3 October 2015.

Sozoo, Bastien. Retrieved December 24, 2017.

^ Frutiger, Adrian. Typefaces: The Complete Works. Pp. 26, 330–338.

Retrieved 2 October 2015. Elsner & Flake. Retrieved 2 October 2015. Coles, Stephen. Retrieved 3 October 2015. Retrieved 3 October 2015.

Retrieved 3 October 2015. 2007-09-26 at the. MyFonts (2011). Retrieved 27 October 2011. Fonts in Use. Retrieved 4 October 2014.

Rendle, Robin. Retrieved 11 July 2015.

Futura Medium Condensed Font Free Download

License NOTIFICATION OF LICENSE AGREEMENTYou have obtained this font software either directly from Linotype GmbH or together with software distributed by one of Linotype's licensees.This font software is a valuable asset of Linotype GmbH. Unless you have entered into a specific license agreement granting you additional rights, your use of this font software is limited to your workstation for your own use. You may not copy or distribute this font software. If you have any questions regarding your license terms, please review the license agreement you received with the software.General license terms and usage rights can be viewed at www.linotype.com/license.Generelle Lizenzbedingungen und Nutzungsrechte finden Sie unter www.linotype.com/license.Pour plus d'informations concernant le contrat d'utilisation du logiciel de polices, veuillez consulter notre site web www.linotype.com/license.Linotype GmbH can be contacted at:Tel.: +49(0)6172 484-418. Description Copyright 2005-2008 by PampaType FoundryPampaType is an independent type foundry based in Argentina and Mexico and run by Alejandro Lo Celso.Special info from PampaType: Thank you for having purchased this type. We dedicate a huge effort in our typefaces both technically and creatively.

Futura Medium Condensed Font Free Download

We hope you enjoy this type and we encourage you to take the most advantage of its styles.Roberto Arlt, Argentinean writer from early XXth century, wrote some very original novels all of which 'Siete locos' ('Seven Madmen') is maybe the most celebrated piece. The Arlt type family is based on his oeuvre. It has a Baroque style interpretated with an expressionist, more contemporary flair. This means the type is full of intense contrasts and vivid, expressive feelings. The italics make a specially dynamic rhythm on text.The Arlt text fonts come in four weights including roman, italics, and small caps. They offer a colourful, spicy though comfortable immerse reading. They are ideal for literature books, specially for suspense novels and sordid stories of the underworld.

Free Futura Medium Font Download

Its use under other circumstances may be dangerous!The 'Arlt Titulo' fonts were carefully designed to be used in titlings and other display settings. They will look more elegant at big body sizes, above 24 pt. The 'Arlt 7 Locos', a sub-family of seven fonts, resulted of a more relaxed exploration on how to thoroughly destroy a series of carefully designed letterforms. They can be misteriously attractive when used in small text printed over rough quality papers.Visit www.PampaType.com if interested in knowing better about the 'Arlt' typeface designs.Arlt is a trademark of PampaType.