Glypha is a condensed adjustment to Frutiger’s slab serif, Serifa, released in 1967 after the basic forms of Univers. Its name, derived from “hieroglyph,” is meant to remind people of Egypt. Higher x-heights and oval-based curves increase legibility while giving the illusion of a narrower form that is useful for headlines/space-restricted projects. Glypha’s horizontal, square serifs and variant stroke widths appear forcibly engineered, but its numerous weights are a testament to its utility.

Maple, a derivative of retired Process Grotesque, is a grotesque sans serif that captures the idiosyncrasies and spunk of 19th and early 20th-century industrial-inspired sans. Its variety of weights offers texture at text and display sizes. Lowercase f’s bent hook, the centered tail on capital Q, irregular terminals, and thin tapering bring unpredictability to no-nonsense letterforms. Exaggerated stem slits add dynamism and a modern sensibility absent from past iterations.

Futura, one of the first geometric sans serifs, epitomizes Renner’s belief that a modern typeface should be a new design. Avoiding ornament, its forms are based on shapes that became visual elements associated with the Bauhaus. Elongated strokes end in sharp triangles on capital A and M, and the counter of the O is optically round. As the name implies, the typeface came to symbolize the future and was used accordingly on the commemorative plaque left on the Moon in 1969.