History of a typeface
Sans was originally commissioned by Paris-based Ruedi Baur
Integral Design and developed as a corporate font for Bayerische
Rück, a German insurance company, as part of their new visual
identity. According to the commissioner, the objective was to
de-protestantize Univers, the typeface which
Bayerische Rück had been using since Otl Aicher designed
their first visual identity in the 1970s.
The typeface reflects the original brief: it humanises
the communicated message and adds simple, informal elegance. The
most important criterion was to create a typeface which would
work equally well on paper and on the computer screen, and would
be consistent across all computer platforms. The typeface attempts
to reconcile two opposing design approaches: the rigidity of a
typeface designed for the computer screen and the flexibility
After first versions of the typeface were completed and digitised,
the project was cancelled as Bayerische Rück was acquired
by another even larger multinational corporation. This put an
early end to the story of the custom font, but also freed the
project to be further developed and independently published.
Fedra Sans is a multilingual contemporary
sans serif typeface developed for visual identities, designed
to work equally well on paper and on the computer screen. Fedra
Sans appears to work exceptionally well in small point sizes,
while it is elegant and distinguishable in larger ones. Also available
in an alternate version with more subtle construction principles.
Fedra Sans Display
Instead of extrapolating lighter versions of Fedra Sans
for display use, the the Fedra Sans Display family was
specially designed. This allowed to change the spacing and kerning
of the characters, based on the assumption that they would be
used in larger sizes. Fedra Display was designed in collaboration
with Dutch type designer Pieter van Rosmalen.
Fedra Mono was developed for an annual report
that required a fixedwidth counterpart to Fedra Sans. All
the letters in Fedra Mono share the same width, making
the typeface suitable for tabular setting in layouts that benefit
from the vertical alignment of characters.