Let’s take a quick look into the relationship between François Rappo’s New Fournier and Cyrus Highsmith’s Scout. Scout takes its influence from lots of sources. More particularly, its letterforms tend to favor the English grotesque, while its fit and detail feel equal parts American gothic and contemporary sans.
Pierre Fournier’s work preceded and greatly influenced the designers of Romantic types such as Bodoni. An exact attention to detail renders the face both circumspect and human, seen most plainly here in the italic. This particular Fournier happens to include several carefully drawn optical sizes for setting headlines and display pieces as seen in the Large Headline weight below.
Together, each plays it straight as much as it has to, while allowing the other to indulge in a bit of play. Using composition to one’s advantage, this can show up as an occasional wisecrack or a regular piece of the typographic texture.