Lipton is currently on the faculty at RISD where he teaches both type design and calligraphy. After leaving Bitstream in 1991, Lipton once again created an independent lettering studio and designed many original typefaces including Bickham Script Pro for Adobe and Sloop for Font Bureau. In his tenure as a senior designer, Lipton developed two original type families: Arrus, and Cataneo (in collaboration with Jacqueline Sakwa). In 1983, Lipton joined Bitstream, an innovative digital type foundry under the guidance of Mike Parker and Matthew Carter and helped to make Bitstream’s retail library one of the most respected in the industry. Essentially self-taught, Lipton continued his calligraphic studies independently and upon graduating in 1974 he freelanced as a calligrapher, sign painter, and graphic designer eventually establishing a studio in Cambridge, Massachusetts.
He began his lettering journey while studying art and design in college where he was introduced to the magic of calligraphy. Bree has been chosen for such wide-ranging uses as Breast Cancer Awareness Month in the US, the branding for the country of Peru, and numerous layouts including mobile apps, magazines, newspapers, and books.Richard Lipton is a senior designer at Type Network developing original typefaces as well as custom font designs for international clients. Bree is in the perfect position for the next digital revolution.The complete Bree font family, along with our entire catalogue, has been optimised for today’s varied screen uses. Additionally, Bree was designed in variable font format for those who want complete control over the font’s appearance while simultaneously saving digital weight in the form of kilobytes and megabytes. More than that, Vietnamese support was added to Bree Latin, and the Bree Greek and Bree Cyrillic scripts were designed from scratch to parallel the Latin’s tone.
A few shapes were updated or added (the ‘k’ and German capital ‘ß’), two entirely new weights were added (Book and Book Italic), and spacing was perfected. All this adds up to a big personality, so even when set in small text there is no skimming past the words Bree voices.In 2019, the Bree font family got a huge update. 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.
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