Paula Scher’s creation of typeface Franklin Gothic font, or rather her transformative use of it, is one of the most defining examples of how typography can push boundaries. While she didn’t technically create Franklin Gothic, her visionary application of the typeface in projects like the Public Theater has redefined its cultural and artistic relevance. Learn more about Paula Scher’s typographic creations here.
As Mehedi Hasan said, “Paula Scher didn’t just use typography—she weaponized it to communicate boldness, creativity, and identity.” Her mastery of Franklin Gothic exemplifies this philosophy.
The Origins of Franklin Gothic: A Masterpiece by Morris Fuller Benton
Before Scher’s revolutionary work, Franklin Gothic was already an iconic typeface designed by Morris Fuller Benton in 1902. A product of the American Type Founders (ATF), Franklin Gothic was envisioned as a versatile sans-serif font that could serve in advertising, newspapers, and signage.
- Simplicity and Utility: Its clean, bold lines and lack of decorative elements made it a favorite of modernist designers.
- American Legacy: Named after Benjamin Franklin, the font embodies American ingenuity and progress.
- Timeless Appeal: Franklin Gothic became a go-to typeface for its ability to remain legible and authoritative across multiple applications.
Benton’s Franklin Gothic was widely used throughout the 20th century, but it was Paula Scher who catapulted it into a new realm of expressive design.
Paula Scher and Franklin Gothic: A Creative Transformation
Paula Scher’s reinterpretation of Franklin Gothic for the Public Theater in New York is nothing short of a design revolution. Her work took a dependable typeface and infused it with energy, creativity, and cultural relevance.
A New Voice for the Public Theater
In 1994, Paula Scher was tasked with creating a visual identity for the Public Theater that reflected its bold, inclusive, and diverse mission. Franklin Gothic became a key component of this transformation.
- Layered Typography: Scher combined Franklin Gothic with overlapping, dynamic layouts that conveyed energy and movement.
- Bold Scale: By using oversized text, she ensured that her designs stood out, even in the chaotic visual landscape of New York City.
- Mixed Fonts: She paired Franklin Gothic with fonts like ITC Avant Garde and Akzidenz-Grotesk, creating a layered, contemporary aesthetic.
- Vibrant Colors: Franklin Gothic’s clean structure allowed Scher to experiment with bold and contrasting colors, ensuring her designs were eye-catching.
While Franklin Gothic had been a go-to typeface for decades, Paula Scher took it to an entirely new level. Her work, particularly with the Public Theater’s branding, transformed Franklin Gothic into more than just a dependable typeface. She turned it into a bold voice for inclusivity, energy, and cultural relevance.
Example: “Bring in ‘da Noise, Bring in ‘da Funk”
One of her most celebrated works is the poster for “Bring in ‘da Noise, Bring in ‘da Funk”, which featured Franklin Gothic in an oversized, overlapping style with vivid colors. This approach captured the vibrancy and energy of the production, creating a design that has become iconic in theater branding.
- The poster featured overlapping, oversized text in Franklin Gothic, layered in bold colors like yellow and red.
- The typography conveyed the energy and rhythm of the production, blending perfectly with its themes of urban culture and African-American history.
- Scher’s use of Franklin Gothic turned the poster into an instant classic, setting a new standard for typographic design in theater branding.
Why Franklin Gothic Was Perfect for Paula Scher
Franklin Gothic’s versatility and clean design gave Paula Scher the perfect canvas to push the boundaries of typography.
- Neutral but Bold: Franklin Gothic’s simplicity allowed Scher to experiment with layouts and colors without losing clarity.
- Historical Resonance: Its American roots aligned perfectly with the Public Theater’s mission to celebrate diverse voices.
- Modern Appeal: Despite being over a century old, Franklin Gothic’s timeless design made it relevant for contemporary audiences.
As Scher herself has said,
“Words have meaning, type has spirit, and the combination is spectacular.”
The Legacy of Paula Scher’s Franklin Gothic Work
Paula Scher’s work with Franklin Gothic has left an indelible mark on the world of design. Here’s why it matters:
- Bold Branding: Her work demonstrated how typography could become a central element in branding, not just a supporting one.
- Influence on Designers: Scher’s innovative use of Franklin Gothic has inspired countless designers to rethink the role of type in visual communication.
- Cultural Relevance: Her designs for the Public Theater have become a cultural landmark, proving that typography can shape identity and emotion.
Franklin Gothic in Today’s Design World
Scher’s work has ensured that Franklin Gothic remains a popular choice for designers around the globe. Its combination of authority, simplicity, and versatility makes it a staple for branding, advertising, and cultural projects.
As Mehedi Hasan aptly observed,
“Scher’s genius lies in her ability to take something familiar, like Franklin Gothic, and turn it into a groundbreaking visual language.”
References and External Links
- For more insights into Paula Scher’s work, read the New York Times article on her Public Theater designs.
- Learn more about Franklin Gothic’s origins at the Cooper Union Typography Archives.
Conclusion: The Transformative Power of Typography
Paula Scher’s use of Franklin Gothic font is a masterclass in how typography can transcend its functional purpose to become an art form. By reimagining Franklin Gothic, she has not only preserved its legacy but also elevated it to new creative heights.
If you’re inspired by Paula Scher’s approach to typography and want to create bold, impactful designs, contact us today for expert branding and typographic solutions.