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Citroën BX 4TC

Contributed by Florian Hardwig on Jan 10th, 2020. Artwork published in .
    Citroën BX 4TC 1
    Source: Jesper2cv. License: CC BY-NC-ND.

    The logo for the Citroën BX 4TC from 1986 is based on Sinaloa. Several modifications have been made, though: The stripe pattern in B and C as well as the letter X were flopped so that the lines face upwards, presumably for a more confident look. To increase homogeneity, the horizontal stripes in T were made diagonal, too. The aperture in C was enlarged for better legibility – in a model number like this, there is hardly any context that might help with that. In X and 4, the number of stripes were brought down from four to three. This adjustment wasn’t carried over to the other glyphs.

    The BX 4TC was specifically built as 4WD rally car. In order to comply with the Group B regulations, 200 street versions had to be produced, too. It was a major flop. From Wikipedia:

    Already discouraged by the car’s poor performance in motorsport and the demise of Group B, Citroën was only able to sell 62 roadgoing 4TCs; build quality and reliability problems led Citroën to buy back many of these 4TCs for salvage and destruction. With only a fraction of the original 200 examples remaining, the 4TC is now highly sought after.

    See also the post about Peugeot’s Group B rally car, the 205 Turbo 16, which also had a red logo with diagonal stripes and custom letterforms derived from a Letraset face.

    Citroën BX 4TC 2
    Source: Wouter Bregman. License: All Rights Reserved.
    Citroën BX 4TC 3
    Source: Gilles BONIN. License: CC BY-NC-ND.
    Model car.
    Source: MIMI3163. License: All Rights Reserved.

    Model car.

    Model car.
    Source: Unit Editions. License: All Rights Reserved.

    Sinaloa’s original glyph set on a sheet of rub-down letters from Letraset’s Letragraphica range (60pt, LG1702, 1974). The designer’s name, Rosmarie Tissi, is here misspelled with an extra e.


    • Sinaloa




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    1 Comment on “Citroën BX 4TC”

    1. I love seeing all this Sinaloa! Thanks for posting these fascinating examples.
      In this case I think the custom revisions to the letterforms actually make the result less dynamic. The alternating direction of the parallel lines in the font’s real letterforms give it a bouncing sort of energy that’s missing when they’re all going the same direction—just my two cents.

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