Peter Bil'ak
2002

362

sales@typotheque.com

Fedra was originally commissioned b
y Paris-based Ruedi Baur Integral Des
ign and developed as a corporate font
for Bayerische Rück, a German insur
ance company, as part of their new v
isual identity. According to the comm
issioner, the objective was to 'de-prot
estantize Univers', the typeface whic
h Bayerische Rück had been using sin
ce Otl Aicher designed their first visu
al identity in the 1970s. The typeface

te page). The spacing of'the font was altere
d, as well as the slope of the italics. Many с
haracters were redrawn creating a more fie
xible type family. Fedra was originally com
missioned by Paris-based Ruedi Baur Integ
ral Design and developed as a corporate fon
t for Bayerische Rück, a German insurance
company, as part of their new visual ¡denti
ty. According to the commissioner, the obje
ctive was to 'de-protestantize Univers', the
typeface which Bayerische Ruck had been

company, as part of their new
visual identity. accordinc to the
commissioner, the objective was to
'de-protestantize Univers', the
typeface which bayerische rück
had been using since otl alcher
desicned their first visual identity
in the 1970s. The typeface reflects

THE ORIGINAL BRIEF: IT HUMANISES
THE COMMUNICATED MESSACE AND
ADDS SIMPLE, INFORMAL ELEGANCE.T

reflects the original brief: it humani
ses the communicated message and
adds simple, informal elegance. The
most important criterion was to crea
te a typeface which works equally we
11 on paper and on the computer sere
en, and is consistent across all comp
uter platforms. After first versions о
f the typeface were completed and di
gitised, the project was cancelled as
Bayerische Ruck was acquired by ano

using since Otl Aicher designed their first
visual identity in the 1970s. The typeface r
eflects the original brief: it humanises the
communicated message and adds simple, i
nformal elegance. The most important cut
efion was to create a typeface which work
s equally well on paper and on the comput
er screen, and is consistent across all comp
uter platforms. After first versions of the t
ypeface were completed and digitised, the
project was cancelled as Bayerische Ruck

he most important criterion was
to create a typeface which works
equally well on paper and on the
computer screen, and is consistent
across all computer platforms.
After first versions of the typefa
ce were completed and dicitised,
the project was cancelled as baye
rische Rück was acquired by anot
her even larcer multinational
corporation. This put an early end

ther even larger multinational corp
oration. This put an early end to the
story of the custom font. Since a lot
of work had been done already, I dec
ided to complete the typeface, addin
g extra weights and expert fonts. Sh
ortly before the planned release dat
e of the typeface, my studio was bro
ken into, and my computers and bac
k-up system containing all the font
data were stolen. What initially see

was acquired by another even larger mult
¡national corporation. This put an early en
à to the story of the custom font. Since a lot
of work had been done already, I decid
ed to complete the typeface, adding extra
weights and expert fonts. Shortly before t
he planned release date of the typeface, m
y studio was broken into, and my compute
rs and back-up system containing all the f
ont data were stolen. What ¡nitially seeme
à like the ultimate designer's disaster was

to the story of the custom font.
Since a lot of work had bee n done
already, i decided to complete the
typeface, addinc extra weichts and
expert fonts. shortly before the
planned release date of the type
face, my studio was broken into, a
nd my computers and back-up syste
m containing all the font data
were stolen. what initially seeme
d like the ultimate designer's disa

med like the ultimate designer's di
saster was actually beneficial for Fe
dra. The incident delayed its releas
e, allowing me to re-examine the ea
rly design decisions, made under t
he assumption that the font would
be exclusive to the company and ne
ver publicly available. The new vers
ion is more versatile, offering a wid
er range of fonts, a number of spec
ial typographic features (see opposi

actually publicly available. The new vers
ion is more versatile, offering a wider ran
ge of fonts, a number of special typograp
hie features (see opposite page). The spa
ring of the font was altered, as well as th
e slope of the italics. Many characters w
ere redrawn creating a more flexible type
family. Fedra was originally commission
ed by Paris-based Ruedi Baur Integral D
esign and developed as a corporate font f
or Bayerische Rück, a German insurance

ster was actually beneficial for
Fedra. The incident delayed its
release, allowing me to re-exam
ine the early desicn decisions,
made under the assumption that
the font would be exclusive to
the company and never publicly
available. the new version is mo
re versatile, offerinc a wider ra
nce of fonts, a number of special
typographic features (see opposi

Fedra Serif A Book

Peter Bil'ak
2002

Fedra Serif A No

Peter BUM
2002

Fedra Serif Л Meditiгг

Peter ВІГак
2002

Peter BUM
2002

www.typotheque.com

363