Futura Alternatives

Kabel was part of the first wave of Futura followers, but offered a very original flavor of its own. Straight strokes end on an angle, there are several uncommon shapes (Q, W, b, e, f), and the unique ‘a’ and ‘g’ integrate the circle into 2-story forms. (ITC Kabel offers the ballooned x-height typical of that foundry’s interpretations. I wish there was a Kabel with proportions between the original’s and ITC’s.)

Super Grotesk is the East German Futura. Major differences from Futura include the straight sided ‘G’, tailed ‘t’, and various angled terminals.

Another revival of Arno Drescher’s Super Grotesk, but not as well drawn as FF Super Grotesk, in my opinion. The “Small Sizes” style, however, with its large x-height, short extenders, and deep ink traps, is interesting and unique among the revivals.

Continuing on the Super Grotesk line, Superla is based on the 1980s adaption of the typeface for phototype use. It is a much smoother design than the quirky metal originals. It also adds extra styles at the extremes of the weight spectrum (the Black is especially funky). Overall, a very functional and underused contemporary alternative to Futura.

Bitstream’s version of Neuzeit Grotesk. The proportions and various ink-gain compensations indicate that it is probably based on a smaller metal size. Only two weights versus URW’s four.

FontFont’s new release is inspired by models that came before Futura, such as Erbar and Neuzeit Grotesk, but its main goal is modern usability. This means versatile proportions (suitable for sizes where Futura falters), a large range of weights and typographic extras, and exemplary screen performance.

Bitstream’s Metro revival includes italics.

This major revival and expansion from 2013 is by far the most complete digital version of Metro. It reintroduces the more unusual glyphs from the original Metro No. 1 while retaining as alternates all the others found in No. 2.

Akira Kobayashi’s very loose interpretation of Metro, designed for Linotype’s “Office” series in which every font has the same character widths, allowing easy changes without text reflow.

A copy of Futura made for the U.S. market. The metal face was commonly used in the 1940s–60s but it has mostly fallen into obscurity since then. This is an interesting option if you want Futura with a little wonkiness, but use with care: the spacing/kerning needs a lot of help.

Now synonymous with 1990s typography, Brody’s Bauhaus-inspired design has a variety of distinctive characteristics, including round, spurless forms (m, u), pointed apexes (M, M, V, W), and ornamental crossbars (A, B, E, F, K, P, R, k).

A revised and expanded Avenir, with small caps, redesigned true italics, a new range of condensed weights, and more language support. Also new is a Rounded variant in four weights.

A more recent design in the Humanist/Geometric tradition of Avenir, but with more simplified forms overall. Differences include square dots, abrupt junctions where curves meet stems, and an ‘s’ that leans ever more forward as the weights increase. (I am not sure if this last characteristic is a virtue.)

A contemporary creation made to emulate an antique feeling, with its soft contours, low x-height, and long extenders.

Responding to the popularity of his Brandon Grotesque, von Döhren released this variant with proportions optimized for smaller type.

A deliberately mechanical typeface, Ano is a headline system in which styles are designed to match stroke weight at a variety of sizes for an appealing graphic effect.

Similar in style to Geometria. Equip has the advantage of multiple widths and a slab serif companion.