About Lady Rene Font Family
Looking back on my production to date, neither so little nor so large, it does not come as a surprise to find myself now introducing Lady René.
A brief review of my career would read as follows: graphic designer graduated from Buenos Aires University, a 10-year professorship in Typography in the same institution, an illustrator in the making.
For almost 15 years now my work has focused on the design of editorial pieces, predominantly books and CD sleeves. Typography proper has always been central to my research projects.
All my obsessions eventually embodied as much the search for a perfect, spotless text as for a daring and provoking one. In my view, "how-to-say-something" ranks highest amongst a graphic designer’s responsibilities.
It was in this vein that I called in the written word to illustrate, to draw, to narrate. Why not reverse the saying and proclaim that “a word is worth a thousand images”? If so, one single word could trigger endless meanings, associations, ideas, and memories in every reader’s mind. Language, we know, has a strong power and is a living expression of a culture.
In my illustrations, letters and drawings reunite in one synergy said and unsaid, the finiteness of the message and the freedom of the free reading.
And this is how and when, Lady René, my first born type font sees the light of day conceived out of a love of illustration and a reverence for the written word, recalling the whimsicality of the handmade drawing and reflecting its sensitive, warmth and spontaneity.
Enabled by the characteristics of Open Type and the hard, outstanding work of designer Ale Paul, Lady René succeeds in composing texts in a simple, organic way by means of its contextual and stylistic alternates, swash characters, ligatures and connecting words.
A bundle of decorative miscellanea completes the set of signs, enabling the user considerable freedom to create new typographic landscapes.
Lady René is then prepared, very much like a character in a short story, to come to life in the reader’s mind. I expect you will enjoy her as much as I did creating her.
Sudtipos is a new collective Argentinian type foundry. New blood, new attitude. A joint venture of four professional designers with lots of expertise in different areas like branding, packaging design, corporate identity, television and new media. “The foundry, or collective as we prefer to designate it, started because of that — packaging, editorial or brand designers making fonts for real designers” Alejandro Paul, one of the company’s founders, said in his Creative Characters interview. Alejandro “Ale” Paul made a name for himself drawing and programming some of the most intricate script fonts ever digitized. “My experience in branding product packaging was a natural catalyst for me to be interested in scripts and seek like-minded people for the collective.” The collective’s bestselling scripts include Bowling Script, Horizontes Script and Hipster Script Pro, which was named one of MyFonts’ most popular fonts of 2012, and was recognized by both Typographica and Type Directors Club that same year. “Our aim is to always be graphic designers making typefaces for graphic designers,” Ale said. “We try not to lose that particular focus. We’re always thinking about how to make a graphic designer’s work easier when it comes to using the type element in his or her design.”
The Premium Foundry Page can be viewed at: https://www.myfonts.com/a/font/premium-font-collections/Sudtipos