For me, it works smoothly for Gill Sans. Shaar (Extra Bold, Extra Bold Italic)I know the shortcut b works only if you have the bold variant of the font in question installed. You can also use the keyboard command Ctrl+Shift+O (Windows) or Cmd+Shift+O(Mac).Edwin W. Convert the text to an outline by: Switch to the Selection tool and choose Type > Create Outlines. There is actually a way you can create thin text within Illustrator. To create bold type in InDesign, you need to select the bold face for a font.

It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period. It was designed as a contribution on the New Frankfurt-project. Italic, CmdShiftI.Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. Styling Text & Working with Styles. Fixed-Page Autoflow (does not create additional pages), ShiftOptionclick. Adobe Fonts also has the particularity that it will install the fonts in all the companyвЂ™s programs, so you only have to do this process once if you have several programs such.

It is based on strokes of near-even weight, which are low in contrast. Renner's design rejected the approach of most previous sans-serif designs (now often called grotesques), 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. Although Renner was not associated with the Bauhaus, 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. Futura has an appearance of efficiency and forwardness.

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. It has remained popular since then. 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'. The original metal type showed extensive adaptation of the design to individual sizes, and several divergent digitisations have been released by different companies. The uppercase characters present proportions similar to those of classical Roman capitals.

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 URW++ 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. The original Futura design concept included small capitals and old-style figures. Unlike many sans-serif designs intended for display purposes, Futura has quite a low x-height, reducing its stridency and increasing its suitability for body text. Despite its clean geometric appearance, some of Futura's design choices recalled classic serif typefaces. Described as вЂњthe typeface of our timeвЂќ and вЂњa face representing the new typography of the European avant-gardeвЂќ, Futura was released to stand out against the sans-serif and more elaborate, handwritten-style typefaces that were popular at the time in order to promote simplicity, modernism and industrialization.

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. 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 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.

While more humanist, it also has geometric leanings which are particularly visible in the capitals.At a time when Hitler and Nazi Germany ideologies were on the rise, typefaces were a strong indicator of culture and national identity. 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 Gill Sans, which became popular for similar reasons in the UK and came to define 1930s and 1940s printing. Futura was immediately very successful, due to its combination of classicism and modernity.

In 1941, the Nazi regime deemed blackletter typefaces to have Jewish heritage due to the Nazi's perception of the typeface looking too similar to Hebrew, and therefore banned Fraktur and any other traditional German handwriting. Futura made appearances on Nazi documentation, such as the 'Organisationsbuch der NSDAPвЂќ, an informational handbook about membership to the Nazi Party and posters promoting вЂњEntartete KunstвЂќ (Degenerate Art), the exhibition that was created by the Nazis to shame modern art. They rejected modern type styles like Futura, which went on to become popular throughout the world, influenced by the Bauhaus and the English Arts and Crafts Movements. They determined Fraktur to be the true German type. As a way to hold on to German identity, the Germans pushed for the use of Blackletter typefaces over Roman.When the Nazi regime rose into power in 1933, they utilized Blackletter typefaces to further promote German national identity.

Autopilot controls of a Boeing 747 with legend written in Futura. Some of her notable works where Futura is featured are вЂњUntitled (Your body is a battleground)', 'You Are Not Yourself' and 'I shop, Therefore I Am'. Her text challenges the viewer to reflect on gender, stereotypes and consumerism.

Wes Anderson is fond of the font and used it in some of his films. Futura is featured ubiquitously throughout the film adaptation of V for Vendetta, for everything from the title logo and ending credits, to signs, newspapers, computer screens and other props. It was also used in various TV shows including Doug, Lost, Warehouse 13, the American version of Sesame Street, which had the capital 'I', lowercase 'j', and numbers '1' and '4' in simplified forms, etc. It is used for the title logo of the 1999 film American Beauty. Futura is also employed by Fox News Channel, the RAI (the Italian public broadcasting agency) for its logo and is used in the Italian railway system for signs.Futura has been used extensively in film and video.

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