The design of the Benedikt family is rooted in our custom work for the Hans-Benedikt foundation in Augsburg (Figs. 2–5). Our affinity to Roman monumental writing can be seen in these custom capital letters made out of stainless steel.
The challenge now was to design additional type-family members. First came the upright lowercase letters (fig. 6), which retain the monumental character of the Roman capitals. They stand out from the usual antiqua approach – and therefore have a Roman appearance, e. g.: columnar shafts, symmetrical structure and an uppercase R on x‑height.
Of course, a matching italic is also needed. I refrained from using italics from the 16th century as a starting point, as in my opinion they are more representative of the calligraphic developments of the 15th and 16th centuries than of an actual rediscovery of antiquity. Therefore, they show a great distance to Roman shapes and are not the suitable in this case.
Roman italics were carved into wax tablets (among others). These slender shapes without significant stroke contrast served as a source of inspiration for Benedikt Italic, which is in turn reminiscent of contemporary rounded fonts. According to our Finaltype philosophy, the distinguishing character of an italic must be absolutely guaranteed! In this unusual constellation (upright fonts with monumental character and italics with wax tablet character) highlighting can be implemented very clearly. Benedikt Italic in combination with the upright version therefore represents something completely new, excels in performing its intended function, and is historically justified to boot.
Moderate bold weights complete the font family. As our Finaltype corporate font, the typeface can be seen in use on this website.