Icon
Brando
(Serif)
Brando
(Serif)
Brando
(Serif)
Icon
Icon
200px
54px
Icon
1.2
Icon
0px
Exquisite boxes
Exquisite boxes
Exquisite boxes
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Icon
200px
54px
Icon
1.2
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0px
Smith House
Smith House
Smith House
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Icon
200px
54px
Icon
1.2
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0px
Модернизм
Модернизм
Модернизм
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Icon
72px
32px
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1.2
Icon
0px
Craig Ellwood: The essence of architecture is the interrelation and interaction of mass, space, plane and line. The purpose of architecture is to enrich the joy and drama of living. The spirit of architecture is its truthfulness to itself: its clarity and logic with respect to its materials and structure.
Craig Ellwood: The essence of architecture is the interrelation and interaction of mass, space, plane and line. The purpose of architecture is to enrich the joy and drama of living. The spirit of architecture is its truthfulness to itself: its clarity and logic with respect to its materials and structure.
Craig Ellwood: The essence of architecture is the interrelation and interaction of mass, space, plane and line. The purpose of architecture is to enrich the joy and drama of living. The spirit of architecture is its truthfulness to itself: its clarity and logic with respect to its materials and structure.
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48px
24px
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1.3
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Building comes of age when it expresses its epoch. The constant change in technology demands a continuously maturing expression of itself. When technology reaches its fulfillment in perfect equilibrium with function, there is a transcendence into architecture.
Building comes of age when it expresses its epoch. The constant change in technology demands a continuously maturing expression of itself. When technology reaches its fulfillment in perfect equilibrium with function, there is a transcendence into architecture.
Building comes of age when it expresses its epoch. The constant change in technology demands a continuously maturing expression of itself. When technology reaches its fulfillment in perfect equilibrium with function, there is a transcendence into architecture.
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20px
18px
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1.4
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The truth about truth is it is — waiting for us to discover it. The consciousness of truth is not static, but ever progressively unfolding. We must strive for an intrinsic solution, not an extrinsic effect. Materials and methods will certainly change, but the basic laws of nature make finally everything timeless.
Architecture, by its own nature, must certainly be more than an expression of an idea. Art in architecture is not arbitrary stylism or ethereal symbolism, but rather the extent to which a building can transcend from the measurable into the immeasurable. The extent to which a building can evoke profound emotion.
Building comes of age when it expresses its epoch. The constant change in technology demands a continuously maturing expression of itself. When technology reaches its fulfillment in perfect equilibrium with function, there is a transcendence into architecture.
The truth about truth is it is — waiting for us to discover it. The consciousness of truth is not static, but ever progressively unfolding. We must strive for an intrinsic solution, not an extrinsic effect. Materials and methods will certainly change, but the basic laws of nature make finally everything timeless.
Architecture, by its own nature, must certainly be more than an expression of an idea. Art in architecture is not arbitrary stylism or ethereal symbolism, but rather the extent to which a building can transcend from the measurable into the immeasurable. The extent to which a building can evoke profound emotion.
Building comes of age when it expresses its epoch. The constant change in technology demands a continuously maturing expression of itself. When technology reaches its fulfillment in perfect equilibrium with function, there is a transcendence into architecture.
The truth about truth is it is — waiting for us to discover it. The consciousness of truth is not static, but ever progressively unfolding. We must strive for an intrinsic solution, not an extrinsic effect. Materials and methods will certainly change, but the basic laws of nature make finally everything timeless.
Architecture, by its own nature, must certainly be more than an expression of an idea. Art in architecture is not arbitrary stylism or ethereal symbolism, but rather the extent to which a building can transcend from the measurable into the immeasurable. The extent to which a building can evoke profound emotion.
Building comes of age when it expresses its epoch. The constant change in technology demands a continuously maturing expression of itself. When technology reaches its fulfillment in perfect equilibrium with function, there is a transcendence into architecture.
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Icon
16px
16px
Icon
1.4
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0px
The essence of architecture is the interrelation and interaction of mass, space, plane and line. The purpose of architecture is to enrich the joy and drama of living. The spirit of architecture is its truthfulness to itself: its clarity and logic with respect to its materials and structure.
The building is sculpture — and as such it possibly succeeds. But it does not truly succeed as architecture... Great architecture is primarily technique, and therefore a building must clearly reflect the order—the discipline — the measurable aspects of its being.
Mies, in his drawings, rarely allowed an interior partition to touch an interior wall, and this is what I tried to achieve. I know that Mies had it easy with the Farnsworth House, because there was one person who lived in the house.
The essence of architecture is the interrelation and interaction of mass, space, plane and line. The purpose of architecture is to enrich the joy and drama of living. The spirit of architecture is its truthfulness to itself: its clarity and logic with respect to its materials and structure.
The building is sculpture — and as such it possibly succeeds. But it does not truly succeed as architecture... Great architecture is primarily technique, and therefore a building must clearly reflect the order—the discipline — the measurable aspects of its being.
Mies, in his drawings, rarely allowed an interior partition to touch an interior wall, and this is what I tried to achieve. I know that Mies had it easy with the Farnsworth House, because there was one person who lived in the house.
The essence of architecture is the interrelation and interaction of mass, space, plane and line. The purpose of architecture is to enrich the joy and drama of living. The spirit of architecture is its truthfulness to itself: its clarity and logic with respect to its materials and structure.
The building is sculpture — and as such it possibly succeeds. But it does not truly succeed as architecture... Great architecture is primarily technique, and therefore a building must clearly reflect the order—the discipline — the measurable aspects of its being.
Mies, in his drawings, rarely allowed an interior partition to touch an interior wall, and this is what I tried to achieve. I know that Mies had it easy with the Farnsworth House, because there was one person who lived in the house.

Brando styles

Hairline
Extra Light
Light
Regular
Text
SemiBold
Bold
Black
Hairline Italic
Extra Light Italic
Light Italic
Regular Italic
Text Italic
SemiBold Italic
Bold Italic
Black Italic
Hairline
Hairline Italic
Extra Light
Extra Light Italic
Light
Light Italic
Regular
Regular Italic
Text
Text Italic
SemiBold
SemiBold Italic
Bold
Bold Italic
Black
Black Italic

Summary

Brando is a contemporary serif with humanist proportions, exploring the balance between mechanical and Egyptian forms. It was initially a proposal for a bank rebrand, then subsequently developed into the robust typeface it is today. The careful interaction of rigid and fluid strokes gives Brando its modern appeal and sturdiness. The light styles of Brando assume the shape of an elegant slab-serif with open letterforms, while the heavier weights feature just the right amount of contrast to give it an even and comfortable texture in text. The distinctive Italics strike a harmonious balance between true Italics and Oblique with supple and vigorous letterforms.

The Brando family comes in eight weights — Hairline to Black — making it ideal for display settings and the rigorous demands of text. It is perfect for editorial and identity design work that needs typographic distinction and flexibility. The comprehensive character set, including small caps, various figure styles, fractions, and mathematical symbols, covers over forty languages and makes Brando fit for complex typographic systems.

In practice

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Design and images by the Bern University of the Arts and Studio Lorenz Tschopp, Zurich, Switzerland. The complete works of Alain Findeli showcasing the Brando typeface published by Bold Monday.

In practice

↓
Spreads from the Dutch Magazine Voetbal International, established in 1965, showcase Brando in use with body copy and display text throughout the magazine. Brando is published by Bold Monday.

In practice

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The cover layout of the Dutch newspaper De Limburger showcases Brando in use for its masthead, titles, and typography used across printed and digital properties. Brando is published by Bold Monday.

Credits & details

Design
Mike Abbink
Design: Cyrillic
Aleksandra Samuļenkova
Engineering
Bold Monday
Awards
TDC 61 2015, Judges Choice

Purchase

Bold Monday
Visit
Group Copy 3

Language support

Arabic
Afrikaans
Albanian
Asu
Bashkir
Basque
Belarusian
Bemba
Bena
Bosnian
Breton
Bulgarian
Catalan
Cebuano
Chechen
Chiga
Chuvash
Colognian
Cornish
Corsican
Croatian
Czech
Danish
Dutch
Embu
English
Erzya
Esperanto
Estonian
Faroese
Filipino
Finnish
French
Friulian
Galician
Ganda
German
Gusii
Hawaiian
Hungarian
Icelandic
Ido
Inari
Sami
Indonesian
Interlingua
Irish
Italian
Javanese
Jju
Jola-Fonyi
Kabuverdianu
Kalaallisut
Kalenjin
Kamba
Kazakh
Kikuyu
Kinyarwanda
Kurdish
Kyrgyz
Latvian
Lithuanian
Lojban
Low German
Lower Sorbian
Luo
Luxembourgish
Luyia
Macedonian
Machame
Makhuwa-Meetto
Makonde
Malagasy
Malay
Maltese
Manx
Maori
Meru
Mohawk
Mongolian
Morisyen
North Ndebele
Northern Sami
Northern Sotho
Norwegian Bokmål
Norwegian Nynorsk
Nyanja
Nyankole
Occitan
Oromo
Ossetic
Polish
Portuguese
Quechua
Romanian
Romansh
Rombo
Rundi
Russian
Rwa
Sakha
Samburu
Sango
Sangu
Sardinian
Scottish Gaelic
Sena
Serbian
Shambala
Shona
Slovak
Slovenian
Soga
Somali
South Ndebele
Southern Sotho
Spanish
Swahili
Swati
Swedish
Swiss German
Taita
Tajik
Taroko
Tatar
Teso
Tongan
Tsonga
Tswana
Turkish
Turkmen
Tyap
Ukrainian
Upper Sorbian
Uzbek
Vunjo
Walloon
Walser
Welsh
Western Frisian
Wolof
Xhosa
Zulu