![What can I say about that suit that hasn’t already been said about Afghanistan; It looks bombed out and depleted.—Silky Johnston
There are two paths you have to go through to find the mythical Futura Alternates, by which i mean the old style figures, small caps and the released-only-in-japan-on-a-double-ep alternate glyphs. The first is The Foundry’s Archetype Renner which provides the crazy a, g, f, n, m, r, ff, and æ alternates. It actually does this by not including other glyphs in the font and instead putting the assorted old style figures where the []s are and so forth. The experience is closest to setting lead type from within inDesign, as you leave the glyphs palate open so you can make sure you can swap out the right glyphs contextually as your heart desires as ‘twere a california job case without the associated cleanup.
The second is Neufville Digital’s 1999 reissue of Bauer’s original 1928 Futura release. While The Foundry’s offering feels like a typeface you might have bought on a floppy disk in a mid ’90s museum gift shop (ala p22) Neufville’s offering is distinctly more prosaic, lacking five separate as but is fantastically utilitarian and includes an amazing € symbol.
The winners here are the condensed weights, the small caps, and the display weight. Those features in particular are so great that you can skip the normal futuras entirely once you play with them.
Futura ND Display is just amazing, hailing four years later (1932), it toes the line between Rob Roy Kelly and Rudy Ray Moore, except it leans (predictably) more towards Dolemite. Tungsten too mechanical? Why not try this instead.
The condensed weights (1950) are equally fascinating. My favorite is the light weight set all uppercase, which is rocking such an impersonal interoffice mail vibe that it feels like you’re photo-typesetting a coworker’s early termination letter at 3:20 on a thursday afternoon. These are tough times; you shouldn’t feel this reflects upon you personally.
—marcos](http://29.media.tumblr.com/tumblr_kwu9m83Oau1qzw88io1_400.png)
What can I say about that suit that hasn’t already been said about Afghanistan; It looks bombed out and depleted.
—Silky Johnston
There are two paths you have to go through to find the mythical Futura Alternates, by which i mean the old style figures, small caps and the released-only-in-japan-on-a-double-ep alternate glyphs. The first is The Foundry’s Archetype Renner which provides the crazy a, g, f, n, m, r, ff, and æ alternates. It actually does this by not including other glyphs in the font and instead putting the assorted old style figures where the []s are and so forth. The experience is closest to setting lead type from within inDesign, as you leave the glyphs palate open so you can make sure you can swap out the right glyphs contextually as your heart desires as ‘twere a california job case without the associated cleanup.
The second is Neufville Digital’s 1999 reissue of Bauer’s original 1928 Futura release. While The Foundry’s offering feels like a typeface you might have bought on a floppy disk in a mid ’90s museum gift shop (ala p22) Neufville’s offering is distinctly more prosaic, lacking five separate as but is fantastically utilitarian and includes an amazing € symbol.
The winners here are the condensed weights, the small caps, and the display weight. Those features in particular are so great that you can skip the normal futuras entirely once you play with them.
Futura ND Display is just amazing, hailing four years later (1932), it toes the line between Rob Roy Kelly and Rudy Ray Moore, except it leans (predictably) more towards Dolemite. Tungsten too mechanical? Why not try this instead.
The condensed weights (1950) are equally fascinating. My favorite is the light weight set all uppercase, which is rocking such an impersonal interoffice mail vibe that it feels like you’re photo-typesetting a coworker’s early termination letter at 3:20 on a thursday afternoon. These are tough times; you shouldn’t feel this reflects upon you personally.
—marcos
