Now sold by FontFont as FF Super Grotesk (digitized in 1999 by Svend Smital), the typeface has seen a revival as designers have begun to notice those personality quirks that make it stand out from the still-ubiquitous cheapness of Futura. As you may know, Super Grotesk is said to be some kind of a rip-off of Futura, extremely often used in the eastern part of Germany (DDR) during the German division from 1949 to 1990, while Futura was one of the most commonly used fonts of the western part (BRD).
For typography class I compared two quite similar fonts: Futura by Paul Renner and Super Grotesk by Anton Drescher. This is a project from my communications design studies at HTW Berlin done in 2010. In 2010, Peter Rudolph produced a short comparative study between the two typefaces to see where their differences lie. Frequently mistaken for Futura, Super Grotesk is it’s own type family, rumored to be created as the East German equivalent at a time when type of all metals was blocked from crossing the Iron Curtain.
The typeface you might spot on the printed copy of our syllabus is one that might seem familiar at first glance, but more than likely it’s actually not what you think it is.
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