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Bree typeface specimen
Typeface Review


Reviewed by Ricardo Cordoba on April 7, 2009

Bree contrasts forthright caps with a lively cursive-inspired lowercase to make a charming upright italic.

Veronika Burian and José Scaglione, of TypeTogether, based this sans on their foundry’s logotype. Its clean and fluid look is perfect for eye-catching titles and logos.

As with all good work, careful attention has been given to the details: the looped tails of g, y, and z; the petals that form the asterisk; the opposing curves that give shape to the section glyph; the billowing lines of accents and quotation marks. There are even two forms of ampersand.

Burian and Scaglione thoughtfully added traditional-looking alternates to the script-influenced characters, extending Bree’s usefulness. It’s easy to change the way a text looks by switching to the alternate glyphs. Other OpenType-enabled features include four sets of numerals, a wide range of fractions, and diacritics for over 40 languages that use the Latin alphabet.

In early 2009, TypeTogether expanded this bold, friendly family by adding obliques to the original five weights, thus giving us one more reason to fall in love with Bree.

Ricardo Cordoba is a graphic designer based in Brooklyn, New York. His interests include book covers and typeface design. He is a frequent contributor to Typographica and Quipsologies.


  1. Simply put: brilliant, elegant and yet a workhorse.

  2. Brendon says:

    I love this typeface. I use it all over my blog now. Beautiful.

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Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles with Caren Litherland and designed by Chris Hamamoto. Founded in 2002 by Joshua Lurie-Terrell. Relaunched in 2009 by Coles and Hamamoto.

Set in Bureau Grot by Font Bureau, Nocturno Display by Nikola Djurek, Fern (unreleased) by David Jonathan Ross, and JAF Bernini Sans by Tim Ahrens.

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