Its Futura digitizations largely recklessly imitate, often point for point, previous translations of the fonts into photo from metal. If anyone is going to produce an 'original' Steile, I think it is very unlikely to be FT Bauer.
The FT Bauer effort does not impress Bill Troop: FT Bauer has not shown the slightest originality in any of its digitizations or design choices.
Neufville (Wolfgang Hartmann's Fundicion Tipografica Bauer, or FT Bauer), who took over the Bauersche Giesserei, published the Steile Futura-inspired Futura ND Display. 
At Font Bureau in 1994, Guy Jeffrey Neslon published the great multi-width revival and extension, Tasse. Bill Troop continues: The FC/URW version is almost unusable because it is so amateurishly, in fact irrationally spaced and because there are so many incorrect glyphs. According to Bill Troop, Font Company did the work, and URW acquired the rights under typical IK licensing. It is an exact copy of the VGC digital version, with every defect preserved. The URW version of Steile Futra is called URW Topic. This digitization includes the two weights, medium and bold, both in regular and italic. One of the first digitizations was Bauer Topic by Font Company, which used a VGC photo master. Steile Futura started showing up as Bauer Topic in the mid to late 1950s. Perhaps the typeface was renamed merely in order to link it to the successful Futura family. By 1951, Renner had begun to work again, and his Grotesk began to appear in 1952 from the Bauer type foundry under the name of Steile Futura. However, progress on these typefaces seems to have been very slow, perhaps due to Renner's failing health: he had a serious heart attack in 1948 (at 70 years of age) which restricted his activity. Work on the Grotesk and Kursiv continued through the late 1930s and early 1940s. The italic accompaniment to this grotesk, simply called Renner-Kursiv, was actually a true cursive, marking a decided difference between this typeface and Futura. This design seems to have been taken over by the Bauer type foundry in 1938, and in 1939 the grotesk changed shape to some extent, becoming less modular and incorporating references to pen-made forms. The Stempel Renner-Grotesk was very condensed in its regular weight, with a consequent stress on the modular squareness of the letters. #Futura font family history trial
From Burke's book on Paul Renner: A typeface actually called Renner-Grotesk appeared in trial type castings by Stempel type foundry in May 1936. I summarize their conclusions as a timeline. Its origins were explored by type experts. In 1952, Paul Renner published Steile Futura ( Berthold). (2015).TYPE DESIGN INFORMATION PAGE last updated on 8 Famous Fonts And Designers Who Made Them – 99Designs. It has maintained its popularity and is used in famous logos such as Volkswagen, Supreme, IKEA and Party City. The lowercase has tall ascenders, while the uppercase characters use proportions similar to those of Roman Capitals.įutura was heavily marketed by Bauer and its American branch, “die schrift unserer zeit” (which is German for “the typeface of our time”) and “the typeface of today and tomorrow” in English. On the other hand, Renner’s design is based on strokes of near-even weight, which are low in contrast. For example, there were near-perfect circles, triangles and squares. Most previous sans-serif designs were based on models of sign-painting, condensed lettering and nineteenth-century serif typefaces, in favor of simple geometric forms. Renner’s approach in designing Futura did not take on most previous grotesques of sans-serif. It is said that it was designed in competition with Ludwig and Mayer’s seminal Erbar typeface which was designed in 1926. ” Designed by Paul Renner, Futura was designed as a contribution on the new Frankfurt project. It is referred to as, “the fully developed prototype of the century Geometric Sans-serif. Futura is a font which started being sketched in 1924 and was released in 1927, at the Bauer Type Foundry.
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