Pefer Bil'ak
2001
Available also in Turkish and Central
European encodings.
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ABCDEFGHIJKLMNOPQRSTUVWXYZ/ AÄÄAAÄCD Ë É Ê ÈÌ ÍTÑÍ0ÓOOOO Ú 0 Ü Ù V2™ j aaaaaaçeeeeiiiinoooo0ouuuuyztf»,jo°n оцэптл#регьѵ=л—«»<>......$€€/c^£tí%%o [0123456789] (0123456789) {0123456789} aecefiflffifff^fhligóÜSsYyPlDZzH^yB^HX, < И ><1 î>< ►□ ■ ■ □ ■ О • О •*0*=+±<>о-х-^ ©00©0©®®®©1§ ОШ4567%4567890 -^Т'Ч«-.^ Peter Bil'ak ABCDEFGHl]KLMNOPQRSTUVWXYZ?l¿¡@ Light Book Normal Medium Bold 358 sales@typotheque.com Fedra was originally commissioned by Pa lies. Many characters were redrawn creating MPANY, AS PARTOFTHEIRNEWVISUALID entity. Accordi NC то the сом mission Fedra Sans Light rding to the commissioner, the objecti company, as part of their new visual identity. TL Aicher DESIGN ED THEIR FIRST VISUAL identity in the 1970s.the typeface re and is consistent across all computer cross all computer platforms. After first vers ED AND DIGITISED, THE PROJECT WAS CA ed release date of the typeface, my s p system containing ali the font data were MY COMPUTERS AND BACK-UP SYSTEM С er publicly available. The new versio well as the slope of the italics. Many chara TILE, OFFERING A WIDER RANGE OF FON Peter Bil'ak гооі Peter BUM Fedra Sans Medium Peter Bil'ak Fedra Sans Bold Peter BUM www.typotheque.com 359 94
2001
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ris-based Ruedi Baur Integral Design and
developed as a corporate font for Bayeris
che Rück, a German insurance company,
as part of their new visual Identity. Ace
a more flexible type family. Fedra was origina
Ну commissioned by Paris-based Ruedi Baur I
ntegral Design and developed as a corporate f
ont for Bayerische Rück, a German insurance
er, the objective was to'de-protesta
ntize Univers', the typeface which Ba
yerische rück had been using since о
ve was to 'de-protestantize Un¡vers', th
e typeface which Bayerische Rück had
been using since Otl Alcher designed t
heirfirst visual identity in the 1970s.Th
e typeface reflects the original brief: it
humanises the communicated messag
e and adds simple, informal elegance.T
he most important criterion was to ere
ate a typeface which works equally wel
I on paper and on the computer screen.
According to the commissioner, the objective
was to 'de-protestantize Univers', the typefac
e which Bayerische Rück had been using sine
e Otl Aicher designed their first visual identit
y In the 1970s. The typeface reflects the origi
nal brief: it humanises the communicated me
ssage and adds simple, informal elegance. Th
e most important criterion was to create a ty
peface which works equally well on paper an
d on the computer screen, and is consistent a
flectsthe original brief: it humanis
es the communicated message and a
dds simple, informal elegance.the
most importantcriterion was to cre
ate atypeface which works equally
well on paperandonthe computer
screen, and is consistent across all
computer platforms. After first ver
sions of the typeface we re complet
platforms. After first versions of the ty
peface were completed and digitised, t
he project was cancelled as Bayerische
Rück was acquired by another even la
rger multinational corporation.This p
ut an early end to the story of the cus
torn font. Since a lot of work had been
done already, I decided to complete th
e typeface, adding extra weights and
expert fonts. Shortly before the plann
ions of the typeface were completed ana digi
Used, the project was cancelled as Bayerisch
e Rück was acquired by another even larger
multinational corporation. This put an early
end to the story of the custom font. Since a I
ot of work had been done already, I decided t
0 complete the typeface, adding extra weigh
ts and expert fonts. Shortly before the plann
ed release date of the typeface, my studio wa
s broken into, and my computers and back-u
NCELLED AS BAYERISCHE RÜCK WAS ACQ
UIRED BY ANOTHER EVEN LARGER MULTI
NATIONAL CORPORATION. THIS PUT AN EA
RLY END TO THE STORY OF THE CUSTOM
FONT. SINCE A LOT OF WORK HAD BEEN
DONE ALREADY, I DECIDED TO COMPLETE
THE TYPEFACE, ADDING EXTRA WEIGHTS
AND EXPERT FONTS. SHORTLY BEFORE TH
E PLANNED RELEASE DATE OF THE TYPEF
ACE, MY STUDIO WAS BROKEN INTO, AND
tudio was broken Into, and my comp
uters and back-up system containing
all the font data were stolen. What i
nitially seemed like the ultimate desi
gner's disaster was actually beneficia
I for Fedra. The incident delayed its r
elease, allowing me to re-examine th
e early design decisions, made under
the assumption that the font would
be exclusive to the company and nev
stolen. What ¡nitially seemed like the ultima
te designer's disaster was actually beneficia
I for Fedra. The incident delayed its release,
allowing me to re-examine the early design
decisions, made under the assumption that
the font would be exclusive to the company
and never publicly available. The new versio
n is more versatile, offering a wider range of
fonts, a number of special typographic feat
ures. The spacing of the font was altered, as
ONTAINING ALL THE FONT DATA WERE ST
OLEN. WHAT INITIALLY SEEMED LIKE THE
ULTIMATE DESIGNER'S DISASTER WAS ACT
UALLY BENEFICIAL FOR FEDRA. THE INCID
ENT DELAYED ITS RELEASE, ALLOWING ME
TO RE-EXAMINE THE EARLY DESIGN DECIS
IONS, MADE UNDER THE ASSUMPTION TH
AT THE FONT WOULD BE EXCLUSIVE ТО T
HE COMPANY AND NEVER PUBLICLY AVAIL
ABLE. THE NEW VERSION IS MORE VERSA
n is more versatile, offering a wider
range of fonts, a number of special
typographic features (see opposite p
age). The spacing of the font was al
tered, as well as the slope of the ita
cters were redrawn creating a more fiexibl
e type family. Fedra was originally commis
stoned by Paris-based Ruedi Baur Integral
Design and developed as a corporate font f
or Bayerische Rück, a German insurance co
TS, A NUMBER OF SPECIAL TYPOGRAPHIC
FEATURES (SEE OPPOSITE PAGE). THE SP
ACING OF THE FONT WAS ALTERED, AS W
ELL AS THE SLOPE OF THE ITALICS. MAN
Y CHARACTERS WERE REDRAWN CREATIN
2001
Z001
2001