[7], Like most sans-serifs, Akzidenz-Grotesk is 'monoline' in structure, with all strokes of the letter of similar width. [152], Berthold sued Target Corporation for copyright infringement and breach of contract in 2017, alleging that Target had asked a design firm to use the font in a promotional video without a license.[153]. Akzidenz Grotesk. Since Akzidenz Grotesk served as the source of inspiration for many other sans-serif fonts such as Helvetica, Univers, and Folio, these can be considered valid alternatives. Please, talk with the author for commercial use or for any support. Theinhardt foundry", "Some notes on the history of Akzidenz-Grotesk", "Akzidenz Grotesk roots (comments on forum thread)", "Origin of Akzidenz-Grotesk's weight now sorted. Akzidenz Grotesk is a grotesque sans-serif typeface that dates back to 1896. Originating during the late nineteenth century, Akzidenz-Grotesk belongs to a tradition of general-purpose, unadorned sans-serif types that had become dominant in German printing during the nineteenth century. [49][50][c] (Monotype Grotesque 215 also is based on German typefaces of this period. The fonts have perfect kerning, excellent diacritics, and a set of arrows reminding me those used in NYC subway signage. Akzidenz Grotesk BQ Bold is the perfect font for all your fun designs. [3][6], Grotesque (German: Grotesk) was a standard term that had become popular in the first half of the nineteenth century for sans-serifs, initiated by the London type-founder William Thorowgood. [85], Separately, Gerstner and other designers at his company GGK Basel launched a project in the 1960s to build Akzidenz-Grotesk into a coherent series, to match the new families appearing in the same style; it was used by Berthold for its Diatype system in the late 60s under the name of "Gerstner-Programm" but according to Lange it was never fully released. Aktiv Grotesk is one of my personal favorite grotesques. Created in 1898 by the H. Berthold AG type foundry, Akzidenz Grotesk (originally “Accidenz-Grotesk”) was the first widely used sans serif typeface, and influenced many later typefaces such as Helvetica, Univers, and others. [19] Two design patents on Akzidenz-Grotesk were filed in April 1898, first on the 14th in Stuttgart by Bauer and then on the 28th in Berlin by Berthold, leading Reynolds to conclude that the design was executed in Stuttgart. Akzidenz-Grotesk Next Extra Light. This is one for the real type purists. Alternatives to Akzidenz Grotesk Font. If you find Typewolf useful, please consider supporting the site to help make it a sustainable side project. [151] Akzidenz-Grotesk Bold Extended is used as the official font for the words "U.S. Air Force" in the display of the USAF symbol. It’s a very versatile font, that can be used in body text and headlines. Public Domain (Free for Commercial Use) 16 font files Download. [96] Lange commented that the light weight "was my favourite font from the beginning. Theinhardt. [72][73] Much printing around this time of body text accordingly used Monotype Grotesque as a lookalike. Berthold-Grotesk is somewhat less well-known than other German geometrics of the period. [106][99] On many but not all styles a straight leg on the 'R' and a 'Q' where the outstroke does not cut through the letter. Please, talk with the author for commercial use or for any support. In 2001 Lange helped Berthold complete the AG series with the additions of AG light italic, Super Italic, light condensed, condensed, medium condensed, extrabold italic, light extended italic, extended italic and medium extended italic. Font designer Dan Reynolds (above) and graphic design professor Indra Kupferschmid (below) have documented many aspects of the early history of Akzidenz-Grotesk. "[113], Digital versions included Greek and Cyrillic characters, and the family includes a condensed, extended, rounded and stencil series. [146][125] Spiekermann has also released with Ralph du Carrois a very loose digitisation of Akzidenz Grotesk, FF Real, in two optical sizes, with variant features like a two-storey 'g', ligatures, and a true italic. [123][124], Much more loosely, Transport, the typeface used on British road signs, was designed by Jock Kinneir and Margaret Calvert influenced by Akzidenz-Grotesk. 24 Independent Type Foundries That Monotype Doesn’t Own, Industry-Leading Designers Share Their 3 Favorite Typefaces. Just Google “typewolf” followed by the name of a font or browse all fonts, all sites or popularity lists. The Akzidenz Grotesk is one of the oldest typefaces on this list. Akzidenz Grotesk is the perfect font for all your fun designs. [65][73] Kupferschmid describes it as a "reworking of "Neue Moderne Grotesk", originally ca. [3], Akzidenz-Grotesk did not have italics until the post-war period. Hoffmann, director of the Haas Typefoundry, specified the design; Max Miedinger drew it under his guidance. Displaying 1 – 4 of 4 fonts. "[112] Late in life Lange made no apology for it, commenting when asked about a design alleged to be a copy of one of his own original designs: "there are also people who say that the best Helvetica is my AG Book. [120], Akzidenz-Grotesk Old Face, designed by Lange and released in 1984, was intended to be more true to the metal type than previous phototypesetting versions and incorporate more of the original type's inconsistencies of dimensions such as x-height. [122], Several type designers modelled typefaces on this popular typeface in the 1950s; Reynolds comments that the original Akzidenz-Grotesk has limitations in extended text: "the capital letters are slightly too dark. "Akzidenz" indicates its intended use as a typeface for commercial print runs such as publicity, tickets and forms, as opposed to fine printing, and "grotesque" was a standard name for sans-serif typefaces at the time. About the font Akzidenz Grotesk BQ Bold Akzidenz Grotesk BQ Bold is free for personal use only. *If you sign up for a Creative Cloud plan to access Adobe Fonts, I will receive a small commission. Helvetica is considered the. [103] Single-storey g.[104], upper case: Berthold serves these (special license) via Adobe/TypeKit. [121][69] Berthold promoted the series with a brochure designed by Karl Duschek and Stankowski. Bauer had earlier cut a typeface called Accidenz-Gothisch", "Akzidenz-Grotesk (Re-)Release Dates (comments on Typophile thread)", "Research update: Distribution of sans serifs in German-speaking foundries during the nineteenth century", "Mallet Magic – Harry Breuer And His Quintet", "The Academy of Sciences of the USSR's hieroglyphs font (1928)", "Berlin locations of the old Ferd. [83], Contemporary versions of Akzidenz-Grotesk descend from a late-1950s project, directed by Lange at Berthold, to enlarge the typeface family. Berthold Akzidenz Grotesk BE Light Condensed fontAkzidenz Grotesk Std Light. Typewolf is an independent typography resource created by Jeremiah Shoaf. The author works at company Adobe Systems Incorporated.The font family is Akzidenz Grotesk.And sub-family is Regular. The source of Akzidenz-Grotesk appears to be Berthold's 1897 purchase of the Bauer u. Cie Type Foundry of Stuttgart (not to be confused with the much better-known Bauer Type Foundry of Frankfurt); Kupferschmid concludes that the design appears to be related to a shadowed sans-serif (German: Schattierte Grotesk) sold by the Bauer Foundry and reviewed in a printing journal in 1896. [103] The capitals are wide and have relatively little variation in width, with letters like 'E' and 'F' quite wide. [39] This had been established by businessman and punchcutter Ferdinand Theinhardt, who was otherwise particularly famous for his scholarly endeavours in the field of hieroglyph and Syriac typefaces; he had sold the business in 1885. The original name of Helvetica was Neue Haas Grotesk but was later changed to Helvetica which means Swiss in Latin. Of everything on this list, … About the font Akzidenz Grotesk Akzidenz Grotesk is free for personal use only. [43][24][44][45][46][27][19][31][47] Reynolds additionally points out that Theinhardt sold his foundry to Oskar Mammen and Robert and Emil Mosig in 1885, a decade before Akzidenz-Grotesk was released, and there is no evidence that he cut any further fonts for them after this year. [81] For instance, the 't' of the Schmalhalbfett weight only has no base, as it was designed separately and not by Berthold. [9] This is most visible in the quite folded-up apertures of letters such as ‘a’ and ‘c’. Released in 1898, over half a century before … If you find Typewolf useful, then please use these links as a way to show your support. In 2001 Lange helped Berthold complete the AG series with the additions of AG light italic, Super Italic, light condensed, condensed, medium condensed, extrabold italic, light extended italic, extended italic and medium extended italic. I’m always happy to see Akzidenz Grotesk used on the web in place of Helvetica because it immediately gives the design a much more distinctive feel. Akzidenz Grotesk has a much lower x-height than Helvetica which is an easy way to tell the two apart. [30][31][32] Early references to Akzidenz-Grotesk at Berthold often use the alternative spelling 'Accidenz-Grotesk'; Reynolds suggests that the name may have been intended as a brand extension following on from an "Accidenz-Gothisch" blackletter face sold by the Bauer & Co. [7], The 'g' of Akzidenz-Grotesk is a 'single-storey' design, like in many other German sans-serifs, but unlike the double-storey 'g' found in most serif faces and in many of the earliest sans-serifs that had a lower-case; sans-serif types first appeared in London, but became popular in Germany from the mid-nineteenth century onwards. In 2013, Pentagram partner Domenic Lippa rated Akzidenz-Grotesk as "probably the best typeface ever designed...it doesn’t overdominate when used, allowing the designer more freedom and versatility". [118] A particularly striking feature is a blackletter-style default upper-case 'i' with a curl at the bottom: this is rarely encountered in the English-speaking world (it would more commonly be recognized as a J), but much more common in Germany. He but put forward Helvetica as an alternative. 18—Arial addendum no. I used it on my first Berthold business card and my letterhead. It has sometimes been sold as Standard or Basic Commercial in English-speaking countries, and a variety of digital versions have been released by Berthold and other companies. While this was acceptable for posters, by the 1950s hot metal typesetting machines had long since become the main system for printing general-purpose body text, and for machine composition Akzidenz-Grotesk was unavailable until around 1958,[f] when it was first sold on Linotype and then in 1960 on Intertype systems. It was one of the first fonts that started the neo-grotesque movement within the typography, and it was also one of the fonts that Helvetica is based on. Akzidenz Grotesk Std Ext. All the many imitations of Accidenz-Grotesk have not matched its character. The font family is Berthold Akzidenz Grotesk.And sub-family is Light Condensed. Originally Answered: What are some typefaces similar to Akzidenz-Grotesk that are available as webfonts? It is a neo-grotesque or realist design, deriving from the influential 19th-century typeface Akzidenz-Grotesk and other German and Swiss designs. It has been described as a “Helvetica killer.” The designers of Aktiv Grotesk wanted to create something in between Helvetica and Univers by removing the quirks from Helvetica and adding a bit of warmth to Univers. [9] Stroke endings, though, are less consistently horizontal or vertical than in Helvetica. [7][105] The 'M' is straight-sided with the diagonals meeting in the bottom centre of the letter. [107], It is important to note, however, that as the weights and sizes of Akzidenz-Grotesk were cut separately not all these features will appear on all styles. Lange was instrumental in developing the Akzidenz-Grotesk program at Berthold in the 1950s and 1960s. As bread-and-butter faces they are less good than the old sans faces...I find the best face in use today is the so-called ordinary jobbing sanserif, which is quiet and easy to read. [89], The current holder of the Berthold rights is Berthold Types of Chicago, following the bankruptcy of H. Berthold AG of Germany in 1993. Commercial Free Only. [9] During the metal type period, when italics for Akzidenz-Grotesk were not available, Amsterdam Continental marketed those of an unrelated typeface, Mercator, as companions instead.[3]. [65] Graphic designers of this style such as Gerstner, Josef Müller-Brockmann and Armin Hofmann all used Akzidenz-Grotesk heavily. [74][75][76][51] In the United States, Akzidenz-Grotesk was imported by Amsterdam Continental Types under the name 'Standard', and became quite popular. [7] If it had an intended meaning, it may have reflected the "primitive" feel of sans-serifs, or their roots in archaic Greek and Roman inscriptions, and was commonly used to mean "sans-serif" without negative implication. The Theinhardt foundry later merged with Berthold and also supplied the regular, medium and bold weights. Akzidenz-Grotesk is a grotesque which is earlier named as sans-serif typeface. Zusammen mit den Handsatz-Garnituren bilden die Linotype-Werkschiftgrade eine sehr stattliche Familie, die der Gestalter und Drucker oft und gern bei seiner Arbeit in Anspruch nehmen wird. It was the first sans-serif typeface to ever be widely used and it later influenced the design of Helvetica. Roboto has a dual nature. 473 except where stated otherwise: Reynolds prefers 'Bold Condensed' to describe the Schmalhalbfett and 'Condensed Heavy' for the Schmalfett. [42] As Lange commented, it was claimed in the post-war period that Royal-Grotesk's name referred to it being commissioned by the Prussian Academy of Sciences, but Kupferschmid was not able to find it used in its publications. [65], Although the digital data of Berthold releases of Akzidenz-Grotesk is copyrighted, and the name is trademarked,[130][131] the design of a typeface is in many countries not copyrightable, notably in the United States, allowing alternative interpretations under different names if they do not reuse digital data. [53][26] By around 1911, Berthold had begun to market Akzidenz-Grotesk as a complete family. [2] Both words were everyday, descriptive terms for typefaces of the time in the German language: Akzidenz meaning trade printing or printing for some occasion or event;[a] a modern German-language dictionary describes it as work such as advertisements and forms,[4] from Latin accidentia, defined by Lewis and Short as "that which happens, a casual event, a chance". The Helvetica typeface was developed in 1957 by Swiss typeface designers Max Miedinger and Eduard Hoffmann. [118] The 'J' has a top bar, the 'M' centre does not descend to the baseline and the 'G' and 'R' are simplified in the manner of Futura. [24][25] Berthold publications from the 1920s onwards dated the design to 1898,[26][10][27] when the firm registered two design patents on the family. Miedinger sought to refine the typeface making it more even and unified, with a higher x-height, tighter spacing and generally horizontal terminals. [18]) The differences in proportions between different sizes and weights of Akzidenz-Grotesk has led to a range of contemporary adaptations, reviving or modifying different aspects of the original design, discussed below. @kupfers was right. The site gets over 350,000 unique visitors a month; running it is expensive and time consuming. Font manufacturer is AkzidenzGroteskPro-BoldEx. It has a mechanical skeleton and the forms are largely geometric. Gedruckt wurde seit 1904 in der sogenannten Stefan-George-Schrift, einer Letternschrift, die der Graphiker Melchior Lechter im Jahre 1903 in Anlehnung an die Handschrift Georges aus einer freien Akzidenz-Grotesk-Schrift der Schriftgießerei Berthold, Berlin, geschaffen hatte. Sans-serifs had become very popular in Germany by the late nineteenth century, which had a large number of small local type foundries offering different versions. According to Kupferschmid, Ideal-Grotesk, a separate sans-serif face Berthold sold in the first half of the twentieth century, is a Venus knockoff, possibly made by electrotype copying. Font manufacturer is AkzidenzGroteskPro-BoldExIt. "[65] Berthold suggested in the 1980s that the originator of this use of Akzidenz-Grotesk in Zürich was German-born designer Anton Stankowski[69], Akzidenz-Grotesk was popular in this period although other typefaces such as Monotype Grotesque were used also: a problem with use of Akzidenz-Grotesk up to the late 1950s was that it was only available in individual units of metal type for manual composition. ♥. Released: 2009. Berthold derived it from an earlier Bauer & Co. display typeface", "Blue Pencil no. [52]) Seeman's 1926 Handbook of Typefaces (German: Handbuch der Schriftarten), a handbook of all the metal typefaces available in Germany, illustrates the wide range of sans-serif typefaces on sale in Germany by the time of its publication. Around the beginning of the twentieth century, these increasingly began to be branded as larger families of multiple matched styles. On this page you can download the font AkzidenzGroteskPro-BoldExIt version Version 001.001;Core 1.0.01;otf.5.02.2291;11.07W, which belongs to the family Akzidenz-Grotesk Pro Bold Ext (Subfamily Italic). Get flawless typography on every design project. Berthold first published Akzidenz-Grotesk in 1898. The display face appears to be Berthold's Herold. Roboto. "[97], A particular criticism of Akzidenz-Grotesk however, has often been that the regular weight has capitals that look unbalanced relative to the lower-case, as shown on the cover of Designing Programmes, which is problematic in extended text. 15—Helvetica and Standard", "Erik Spiekermann's Statements re Berthold", Berthold Announces the Release of Akzidenz-Grotesk in OpenType Format, "Differences - Akzidenz-Grotesk and Futura", "Differences - Akzidenz-Grotesk and Franklin Gothic", "Differences - Akzidenz-Grotesk and Helvetica", "German, Swiss, and Austrian typefaces named Royal or Akzidenz", "Differences - AG Schoolbook Medium and AG Book", "Neuwelt: an optimistic transatlantic sans serif type family", "BERTHOLD AKZIDENZ-GROTESK - Trademark Details", "AKZIDENZ-GROTESK NEXT – Trademark Details", "Compendium of U.S. Akzidenz-Grotesk is often translated into English as "jobbing sans-serif" (in the sense of "used for jobs"). It might be that we use Gothic 725 for large titling/headings and Helvetica/Arial for small body copy. [13] A 1921 Berthold specimen and company history described it almost apologetically: "In 1898 Accidenz-Grotesk was created, which has earned a laurel wreath of fame for itself. [13][86][87][88] A digitisation has been released by the digital type foundry Forgotten Shapes. "[99] Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas-Grotesk, released in 1957 and renamed Helvetica in 1961. Akzidenz-Grotesk's design descends from a school of general-purpose sans-serifs cut in the nineteenth century. [135][136] Linotype, which started to sell Akzidenz-Grotesk on its hot metal typesetting system in the 1950s, continues to sell a limited digital version under the other common alternative name, 'Basic Commercial', and Bitstream offer a two-weight version named 'Gothic 725'. Aktiv Grotesk is a grotesque sans-serif typeface released through Dalton Maag in 2010. [116] It uses schoolbook characters, characters intended to be more distinct and closer to handwritten forms to be easier for children to recognise. Adrian Frutiger commented that Akzidenz-Grotesk forms "patches in print";[98] Reynolds that in a digital version "the capital letters are slightly too dark, and slightly too close to the lowercase letters that follow them in a word"[99] and Wolfgang Homola that in Helvetica "the weight of the stems of the capitals and the lower case is better balanced". Long story told short: A client licensed Akzidenz Grotesk from Berthold years ago. [122] Designed by Bernd Möllenstädt and Dieter Hofrichter, this typeface family features readjusted x-heights and weights throughout the family, giving a more consistent design. [111] Former Berthold font designer Erik Spiekermann has called Lange's "answer to Helvetica. Auf eine kleine, vielleicht unbeabsichtigte Unschönheit möchten wir doch hinweisen. [13][14] Art historian Stephen Eskilson wrote that they "conveyed the functionalist ethos without appearing too stylised...in the manner of the more geometrically pure types. [13][16] This is common with nineteenth-century sans-serifs, which were not designed with the intention of forming an extended family that would match together. [81][82], Metal type declined in use from the 1950s onwards, and Akzidenz-Grotesk was rereleased in versions for the new phototypesetting and digital technologies. On this page you can download the font AkzidenzGroteskPro-BoldEx version Version 001.001;Core 1.0.01;otf.5.02.2291;11.07W, which belongs to the family Akzidenz-Grotesk Pro Bold Ext (Subfamily Regular). The metal type of Akzidenz-Grotesk shows variation between sizes, with adaptation of letter-spacing and proportions such as looser spacing at smaller text sizes, something that was normal practice in the design and engraving of metal type. [83] This added new styles including AG Extra (1958), AG Extra Bold (1966) and AG Super (1968), AG Super Italic (2001) and Extra Bold italic (2001). English names are taken from Berthold's Type Specimen (German: Schriftprobe) No. 3. By the 1960s, Berthold could claim in its type specimens that Akzidenz-Grotesk was: a type series which has proved itself in practice for more than 70 years and has held its ground to the present day against all comers...wherever one sees graphics and advertising of an international standard...starting a revival in Switzerland in recent years, Akzidenz-Grotesk has progressed all over the world and impressed its image in the typography of our time. About the font Berthold Akzidenz Grotesk Light Condensed Berthold Akzidenz Grotesk Light Condensed is free for personal use only. Using Linotype’s Basic Commercial is another option. [33][34] In general, Reynolds comments that the style of Schattierte Grotesk and Akzidenz-Grotesk "seem to me to be more of a synthesis of then-current ideas of sans serif letterform design, rather than copies of any specific products from other firms. [149], Besides use in Swiss-style poster design and in New York City transportation, Akzidenz-Grotesk is the corporate font of Arizona State University[150] and the American Red Cross (with Georgia). [10][11] Walter Tracy describes this style of 'g' as a common feature in German sans-serifs of the period and apparently influenced by the tradition of blackletter, still very popular for printing extended texts in Germany in the late nineteenth century, which uses a single-storey 'g' in upright composition.[12]. Protestant by Digital Graphic Labs. A licensed adaptation (changing some characters) by the Amsterdam Type Foundry under the name of, Although similar, according to Kupferschmid the type used in, This image shows a later revival of Walbaum's work; during the early nineteenth century figures in roman type were customarily. Lange was instrumental in developing the Akzidenz-Grotesk program at Berthold in the 1950s and 1960s. 3", "Type Specimen book H. Berthold AG, ca 1913", "Campaign posters for the Swiss Automobile Club", "Akzidenz-Grotesk auf der Linotype-Zeilengußmaschine (German)", "Akzidenz-Grotesk für Hand- und Maschinensatz (advert)", "The (Mostly) True Story of Helvetica and the New York City Subway", "Amsterdam Continental: A Handbook of Types", "Vintage Fonts: 35 Adverts From the Past", "From the Archives no. [142][143][144][145], Transport has also been digitised in several versions. [23][10], H. Berthold was founded in Berlin in 1858 initially to make machined brass printer's rule, moving into casting metal type particularly after 1893. Copyright Office Practices, § 906.4 ("Typeface, Typefont, Lettering, Calligraphy, and Typographic Ornamentation")", "The Last Time the US Considered Copyright Protection for Typefaces", "A Modern Sans-serif Infused With the Spirit of the NYC Subway", "NYC Gets A Major Rebrand (And Its First Official Pictograms)", "Interview with Erik Spiekermann and Ralph du Carrois", "Chicago Font Co. Takes Aim at Target's Use Of Typeface – Law360", "Die alte Akzidenz-Grotesk auf neuer Basis", https://en.wikipedia.org/w/index.php?title=Akzidenz-Grotesk&oldid=999519588, CS1 maint: bot: original URL status unknown, Creative Commons Attribution-ShareAlike License, Akzidenz-Grotesk (Standard, available on Linotype in modified form as series 57 with, Halbfett (Medium or literally semi-bold, available on Linotype in modified form as series 58 and as poster type), Mager (Light, sometimes sold as Royal-Grotesk), Extra (Extrabold Condensed, tighter-spaced than the Schmalfett weight), Extrafett (Compact, or literally, also extra-bold), Breithalbfett (Medium Extended, or literally Semi-bold Extended), Breitfett (Extrabold Extended, or literally Bold Extended), This page was last edited on 10 January 2021, at 16:30. [122] The family consists of 14 variants with 7 weights in roman and italic, in a single width. [40][41][42] Kupferschmid and Reynolds speculate that he was misled by Akzidenz-Grotesk appearing in a Theinhardt foundry specimen after Berthold had taken the company over. A square dot over the letter i, double-storey a. Berthold serves these (special license) via Adobe/TypeKit. Relatively little-known for a half-century after its introduction, it achieved iconic status in the post-war period as the preferred typeface of many Swiss graphic designers in what became called the 'International' or 'Swiss' design style which became popular across the Western world in the 1950s and 1960s. An alternative 'R' with curled leg was available by request. This gives a sense of simplicity and an absence of the adornment and flourishes seen in the more decorative sans-serifs of the late nineteenth century influenced by the Art Nouveau style. [64], In the post-war period and particularly in Switzerland a revival in Akzidenz-Grotesk's popularity took hold, in what became known as the "Swiss International Style" of graphic design. [27][35][18][26] Reynolds and Florian Hardwig have documented the Schmalhalbfett weight (semi-bold, or medium, condensed) to be a family sold by many German type-foundries, which probably originated from a New York type foundry.
Monster Hunter Stories Egg Locations, Episd Elementary Schools, Miniature Dachshund Available Puppies, Permanent Injunction Example, Spider-man Tv Series 1977 Dvd, Aditya Birla Sun Life Equity Fund, Butter Pat Cast Iron Review, Luke Shaw Fifa 21 Career Mode, Zerodha Vs Angel Broking Brokerage Calculator, Alienware Command Center Not Working, Dorcas Irish Name, A Christmas In Tennessee 123movies, Henderson State Football Schedule, Airbnb Isle Of Wight,