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Bree has a touch of cheekiness, a wide stance for each character, and an extra-large x-height. Alternates of these letters are available when a more neutral look is desired. As such, some of its most characteristic features are the single-story ‘a’, the cursive ‘e’, the outstroke curves of ‘v’ and ‘w’, the flourished ‘Q’, and the fluid shapes of ‘g’, ‘y’, and ‘z’. Bree is clearly influenced by handwriting. As an upright italic, Bree shows a pleasant mix of rather unobtrusive capitals with more vivid lowercase letters, giving text a lively appearance. The Bree font family is a spry sans serif by Veronika Burian and José Scaglione that delivers a spirited look and feel for branding and headline usage. Symphonie Grotesque is the work of Frode Helland, a type designer from Norway.
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It will surely also come into good use in design for galleries and publications about contemporary art. Symphonie Grotesque is an excellent selection for use in branding or in other kinds of corporate identity design. The fonts’ ascenders rise quite a bit above the tops of the capital letters, but the capitals and the numerals both share the same height. The middle-two diagonal-strokes of the ‘M’ remain visibly above the baseline in all of the family’s styles. Symphonie Grotesque’s numerals are tabular lining figures the ‘1’ always has a nice, wide base-stroke at its bottom. But in the italics, the ‘a’ becomes single-storey, and the ‘f’and ‘ß’ get descending tails, too.
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For example, in Symphonie Grotesque’s upright fonts, the ‘a’ is double-storey, while the ‘g’ is single-storey (just what one would expect for a typeface of this genre). Instead of just offering slanted, or oblique versions of the upright fonts’ letters, Symphonie Grotesque’s italic fonts include several unique, more cursive-style letterforms. Symphonie Grotesque’s italics are what really set it apart from other neo-Grotesque families. Each weight has an upright and an italic font on offer.
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There are five different weights available, ranging from Regular through Heavy. Symphonie Grotesque is a family of neo-Grotesque-style sans serif fonts. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family. The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen.Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use.