The 1920s in Weimar Germany saw a surge in adherence to modernist ideas about art and craft, including typography and type design. Weimar modernists, eager to put the nationalistic past of the Wilhelmine Empire and World War I behind them, promoted art and design that they saw as universal.
Typographer Jan Tschichold (1902-74) proclaimed a movement in printing he dubbed Die Neue Typographie (The New Typography). Tschichold announced that only the sans-serif letter — stripped of the traditional, small finishing strokes at the ends of the main strokes — was appropriate for the modern age.
Many Weimar modernists developed crisp sans-serif designs, but the most successful was 1927's Futura, a geometric sans-serif designed by Paul Renner (1878-1956). The underlying geometry of Futura, with its undecorated circles and lines, was thought to speak in a universal formal language that transcended national identity.