The Weissenhofsiedlung in Stuttgart exemplifies the modernist vision of a promising future through rational design principles; photo by Marcel Strauss

Geometric Future

Exploring the Design Journey of Zeist: A Geometric Sans Serif Typeface.

Geometric sans serifs have significantly shaped typography for decades, their design rooted in fundamental shapes like circles, squares, and triangles. These typefaces are cornerstones of modern graphic design, emerging during the early 20th century, a period marked by transformative shifts in art and design.

The rise of geometric sans serifs paralleled the modernist movement of the early 1900s, which marked a shift from ornate designs, focused on individual expression, to a preference for simplicity and functionality.

Central to this movement was the Bauhaus school, which emphasised the unity of art, craft, and industry, inspired designers to create typefaces that embodied these principles. Pioneers like Paul Renner, with his iconic Futura, epitomised the Bauhaus ethos by combining aesthetic appeal and legibility with simple geometric shapes. This trend flourished in Germany with typefaces like Jakob Erbar’s Erbar Grotesk, Rudolf Koch’s Kabel, and Wilhelm Pischner’s Neuzeit Grotesk. The genre also experienced notable revivals in the 1970s with Herb Lubalin’s Avant Garde and in the late 1980s with Adrian Frutiger’s Avenir.

1922, Erbar by Jakob Erbar

1927, Futura by Paul Renner

1927, Kabel by Rudolf Koch

1928, Neuzeit Grotesk by Wilhelm Pischner

1929, Elegant Grotesque by Hans Möhrig

1938, Fundamental by Arno Drescher

1970, ITC Avant Garde by Herb Lubalin

1987, Avenir by Adrian Frutiger

Geometric sans serif typefaces are characterised by their minimalist design, uniform stroke weight, and consistent letterforms. Their logical construction gives the impression that every element is purposefully designed, creating an almost calculated appearance. This clean look embodies the modernist promise of a better future, as reflected in names like Futura, Neuzeit Grotesk (German for ‘new time’), Avant Garde, and Avenir (French for ‘future’).

But why does this genre remain so popular, especially in today’s world of endless typographic choices? In my view, it’s because graphic designers appreciate the clarity and simplicity of geometric sans serif letterforms, and understanding their construction makes them even more appealing — at least, that’s my theory.

True or not, people appreciate geometric sans serifs for their straightforwardness and relatability. I can relate, too — my first typeface was a geometric sans serif called Buenos Aires.

Many type designers, myself included, often start their practice with geometric sans serifs, drawn to their plainness and symmetry. Though seemingly simple, mastering these designs demands fluency in subtle details due to the limited design options. Making the ‘O’ appear circular is a challenge; a perfect circle won’t work. It’s like a minimalist pop song where every note must be perfect; otherwise, the whole piece falls apart.

This genre offers a plethora of options, especially in the last decade with numerous variations. So, why create a new one? For me, it’s about approaching this genre with fresh enthusiasm, exploring its intricate details to uncover new possibilities. Without stepping too far outside my expertise here; maybe it’s my modernist quest in these post modern times to find the perfect construction of geometric letterforms. Or maybe, after 12 more years of experience in type design, I just enjoy revisiting this genre with more insight.

Understanding the history of this genre is crucial when starting a project like this. Geometric sans serifs have their roots in two key periods of Grotesque fonts, beginning with early predecessors like Venus Grotesk (see also my essay about The Birth of Isola), evolving into Geometric Grotesques, and later transitioning into Neo Grotesque fonts like Univers. This evolution signifies a transition from a less structured design approach to a more structured one, culminating in a blend with the Neo Grotesque style. The challenge in this project was finding the right balance between geometric concepts and Neo Grotesque elements.

The Grotesque,
published 1907, Venus Grotesk by Bauer Type Foundry

The Geometric Grotesque,
published 1927, Futura by Paul Renner

The Neo Grotesque,
published 1957, Univers by Adrian Frutiger, combines the strengths of its predecessors in a synthesis that is more structured than Venus Grotesk but less rigid than Futura.

During the development, I realised it would be valuable for users to have options to customise the font’s appearance, so I incorporated four dynamic axes.

The Terminal Axis lets you modify the letter terminals, a nod to the evolution of sans serif design. You can switch between angular terminals, reminiscent of early sans serifs, and horizontal terminals, which became dominant in the decades following the 1950s with typefaces like Univers and Helvetica.

The x-Height Axis offers an intriguing feature: the ability to adjust the x-height from low to tall. This axis is particularly fascinating as it allows you to explore typographic history. Early grotesques from the 1920s were characterised by a low x-height, reflecting classical serif proportions. As the century progressed, x-heights gradually increased, reaching their peak in the 1970s with typefaces like ITC Avant Garde.

The Weight Axis ranging from Hairline to Black, allowing for flexibility in visual impact.

And last but not least, Italic Axis that allows you to adjust the slant from 1 to 12 degrees, effectively creating an italic version of the typeface.

Terminal Axis; from angled to horizontal terminals

x-Height Axis; from Low to Tall

Weight Axis; from Hairline to Black weight

Italic Axis; Axis from upright to italic

The result of my design process is Zeist, my quintessential geometric sans serif typeface. It draws inspiration from classic 1920s designs, nodding to Futura with a less rigid approach. It pays homage to Neuzeit Grotesk with a more cohesive form language and it salutes Avenir with a more constructed aesthetic.