The superfamily Pepi and Rudi is based on playful experimentation with basic geometric shapes — the circle, rectangle and triangle — elements that laid the foundations for typographic Modernism.

Simple and purposeful typefaces of Herbert Bayer and Paul Renner set a brand new trend at the beginning of the twentieth century. Typefaces derived from a circle were praised for their newness, pragmatism and novelty in the use of shapes. Rudolf Wolf’s subsequently released Egyptienne Memphis, labelled as “Futura with serifs”, established a de facto new stylistic school of thought that catered to the new needs of modern design, for which previous typefaces were in effect outdated due to their overly ornamental nature.

The Pepi and Rudi introduces a number of current elements into a time-proven concept of primitively constructed typefaces. The typeface’s somewhat uniform character width establishes a more regular rhythm; the character set is expanded, and legibility is improved thanks to taller lowercase. A wide range of ten styles, from hairline-thin to extra-thick with adequate Italics allow for universal use across the whole scope of graphic design. Carefully designed diacritics, clear punctuation marks, table number characters, ligatures, arrows or alternative lowercase characters are standard; this is sure to please everyone needing to work effectively with a neutral, geometric headline typeface.