Edouard Hoffmann saw this typeface as an improvement on the late nineteenth century Berthold Gothic, Akzidenz Grotesk.  This is most visible in the quite folded-up apertures of letters such as ‘a’ and ‘c’. Ulrich Stiehl suggests that this may have been one of the last additions to the metal type family: it does not appear in a 1959 advert.  Akzidenzschrift was by the 1870s a generic term meaning typefaces intended for these uses. Designed after Helvetica had become popular, it incorporates some of its features, such as strike-through tail in 'Q', a curved tail for the 'R', horizontal and vertical cut stroke terminators.  A digitisation has been released by the digital type foundry Forgotten Shapes.  Its slanted form is an oblique rather than a true italic. The display face appears to be Berthold's Herold. Font manufacturer is AkzidenzGroteskPro-BoldExIt. Please, talk with the author for commercial use or for any support. Akzidenz-Grotesk is a grotesque which is earlier named as sans-serif typeface. 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. The essential characteristics of this type have not been fully worked out: the lower-case letters especially are still too like their "humanistic" counterparts.  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'. " Berthold suggested in the 1980s that the originator of this use of Akzidenz-Grotesk in Zürich was German-born designer Anton Stankowski, 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 in 1898, over half a century before … 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.  Like Tschichold, Gerstner argued that the sans-serifs of the nineteenth century were more "matter-of-fact" (German: Selbstverständlichkeit) than the more "personal" recent sans-serifs of the previous decades. Typewolf is an independent typography resource created by Jeremiah Shoaf.  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.  As in some Helvetica versions, the cedilla is replaced with a comma. sfn error: multiple targets (5×): CITEREFReynolds2019 (, Berthold und Bauer werben im Jahre 1899 mit einem aus heutiger Sicht seltsam anmutenden.  Art historian Stephen Eskilson wrote that they "conveyed the functionalist ethos without appearing too stylised...in the manner of the more geometrically pure types. Theinhardt. Roboto. , number: Akzidenz Grotesk. Get this curated collection of full-size, high-resolution screenshots to add to your personal inspiration library when you subscribe to my weekly type roundup newsletter. A square dot over the letter i, double-storey a. "The 1869–1978 headquarters of Berthold today", "New details about the origins of Akzidenz-Grotesk", "Comments on Typophile thread – "Unborn: sans serif lower case in the 19th century, "A new basis for the old Akzidenz-Grotesk (English translation)", "Distribution of sans serif typefaces across German-speaking foundries in the 19th century", "Some notes on the history of Akzidenz-Grotesk Part 2", "Note on the original design patent for Akzidenz-Grotesk", "Notes on the history of Akzidenz-Grotesk Part 2a – Timeline", "Also, the name Accidenz-Grotesk likely came from Bauer & Co., too. , Like most sans-serifs, Akzidenz-Grotesk is 'monoline' in structure, with all strokes of the letter of similar width.  Kupferschmid describes it as a "reworking of "Neue Moderne Grotesk", originally ca. The font family is Berthold Akzidenz Grotesk.And sub-family is Light Condensed. Akzidenz-Grotesk's design descends from a school of general-purpose sans-serifs cut in the nineteenth century. 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. 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. Clean and direct, Helvetica owed much to the German Akzidenz Grotesk, which had been born in the last century out of Europe's modernist movement. The font family is Akzidenz Grotesk BQ.And sub-family is Bold. Displaying 1 – 4 of 4 fonts.  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. Adrian Frutiger commented that Akzidenz-Grotesk forms "patches in print"; 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" and Wolfgang Homola that in Helvetica "the weight of the stems of the capitals and the lower case is better balanced".  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. 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. " An unusual user of Berthold's Akzidenz-Grotesk in the period soon after its release, however, was the poet Stefan George. Die Akzidenz-Grotesk is sechzig Jahre alt, und doch scheint sie nicht zu veraltern, sondern in ihrer Frische und Lebendigkeit für immer zu verharren.  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. Font family comes with 41 font styles with free versions like bold, regular etc. ", The light weight of Akzidenz-Grotesk was for many years branded separately as 'Royal-Grotesk'. 24 Independent Type Foundries That Monotype Doesn’t Own, Industry-Leading Designers Share Their 3 Favorite Typefaces. However, during this period there was increasing interest in using sans-serifs as capturing the spirit of the time, most famously, Jan Tschichold's influential book The New Typography (German: Die Neue Typographie), which praised the aesthetic qualities of the "anonymous" sans-serifs of the nineteenth century and was printed in a sans-serif similar to Berthold's Akzidenz-Grotesk. Diese betrifft das Versal-R, dessen Querstrich zu tief steht, was auffällt und störend wirkt, wenn der Buchstabe zwischen B und E steht. 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". 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). Lange was instrumental in developing the Akzidenz-Grotesk program at Berthold in the 1950s and 1960s. @kupfers was right. FontFont's FF Schulbuch family is in a similar style. According to Paul Shaw, "exactly when Amsterdam Continental began importing Standard is unclear but it appears on several record album covers as early as 1957. Miedinger sought to refine the typeface making it more even and unified, with a higher x-height, tighter spacing and generally horizontal terminals.  The family consists of 14 variants with 7 weights in roman and italic, in a single width. 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.  Designed by Bernd Möllenstädt and Dieter Hofrichter, this typeface family features readjusted x-heights and weights throughout the family, giving a more consistent design. He but put forward Helvetica as an alternative. Akzidenz Grotesk BQ Bold is the perfect font for all your fun designs. Hoffmann, director of the Haas Typefoundry, specified the design; Max Miedinger drew it under his guidance. Die Schriftgießerei Bauer & Co., Stuttgart und Düsseldorf, veröffentlicht unter den heutigen Schriftproben eine schattierte Grotesk und bietet unseren Lesern mit dieser Schrift ein beliebtes, sehr verwendbares Material, das sich in ähnlicher, älterer Ausführung seit jener einen Platz auf allen guten Akzidenzien erhoben hat. From this, Switzerland's Haas type foundry created "Neuer Haas Groesk."  In addition, there is variation between weights: Karl Gerstner notes that even comparing one size (20pt), the medium and bold weights have different x-height, cap height and descender length to the light and regular weights. Berthold's Akzidenz-Grotesk family by the late metal type period included the following styles. "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. Swiss 721 is a font from Bitstream library. … Berthold Akzidenz Grotesk alternative for web use. Berthold serves these (special license) via Adobe/TypeKit. Event in the sense of "something that happens", not in the sense of a high-class. Akzidenz Grotesk is the perfect font for all your fun designs. Font manufacturer is AkzidenzGroteskPro-BoldEx. 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. , Although the digital data of Berthold releases of Akzidenz-Grotesk is copyrighted, and the name is trademarked, 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. Commercial Free Only. Berthold-Grotesk is somewhat less well-known than other German geometrics of the period. Berthold serves these (special license) via Adobe/TypeKit. 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. ) 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. Eine neue recht verwendbare Schrift hat die Firma H. Berthold Akt.-Ges in Berlin geschaffen, eine in acht Graden geschnittene Royal-Grotesk, die sich zu allen besseren Accidenzen verwenden lassen und infolge ihres scharfen und sauberen Schnitts zur besten Wirkung gelangen wird. English names are taken from Berthold's Type Specimen (German: Schriftprobe) No. Akzidenz-Grotesk Next Extra Light. , Akzidenz-Grotesk Book (German: Buch) is a variant designed by Lange between 1969 and 1973.  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. , 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.. The Akzidenz Grotesk is one of the oldest typefaces on this list. Aktiv Grotesk is one of my personal favorite grotesques.  In the United States, Akzidenz-Grotesk was imported by Amsterdam Continental Types under the name 'Standard', and became quite popular. Helvetica is considered the. 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. That foundry's founder F.W.  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.. An alternative 'R' with curled leg was available by request. , Recent research by historians Eckehart Schumacher-Gebler, Indra Kupferschmid and Dan Reynolds has clarified many aspects of Akzidenz-Grotesk's history. Akzidenz Grotesk is a grotesque sans-serif typeface, it has many weights.  This means that the letters are slanted without using handwriting forms.  Other weights were added by the time of the phototypesetting and digital versions, such as the ultra-bold 'Akzidenz-Grotesk Super'. " 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. The original name of Helvetica was Neue Haas Grotesk but was later changed to Helvetica which means Swiss in Latin. A 'folded-up' structure with narrow apertures and strokes curled up towards the vertical, most obvious on letters such as c, e, s and a. CS1 maint: bot: original URL status unknown (, sfn error: multiple targets (2×): CITEREFGerstner1963 (. Berthold Akzidenz Grotesk BE Light Condensed fontAkzidenz Grotesk Std Light. 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. "Tex Gyre Hero" seems to be a reasonable alternative: Free Font TeX Gyre Heros … , 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. 1909 by Wagner & Schmidt, Leipzig" The Haas Foundry created Helvetica in response to its decline in popularity in competition with Berthold's design.  The 'M' is straight-sided with the diagonals meeting in the bottom centre of the letter. Please, talk with the author for commercial use or for any support. , 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. Akzidenz Grotesk has a much lower x-height than Helvetica which is an easy way to tell the two apart. Lange was instrumental in developing the Akzidenz-Grotesk program at Berthold in the 1950s and 1960s. , Akzidenz-Grotesk did not have italics until the post-war period. Long story told short: A client licensed Akzidenz Grotesk from Berthold years ago. 18—Arial addendum no. Its simple, neutral design has also influenced many later typefaces. Protestant by Digital Graphic Labs.  It also incorporates a comma-style cedilla in the medium and bold weights, inward hook in regular-weighted ß, and a shortened horizontal serif on the regular-weighted 1. 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). About the font Akzidenz Grotesk BQ Bold Akzidenz Grotesk BQ Bold is free for personal use only. 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. ", In 1957, three notable competitors of Akzidenz-Grotesk appeared intended to compete with its growing popularity: Helvetica from the Haas foundry, with a very high x-height and tight letterspacing, Univers from Deberny & Peignot, with a large range of weights and widths, and Folio from Bauer. Roboto has a dual nature. , While apparently not unpopular, Akzidenz-Grotesk was not among the most intensively-marketed typefaces of the period, and was not even particularly aggressively marketed by Berthold. It was the first sans-serif typeface to ever be widely used and it later influenced the design of Helvetica.  Stroke endings, though, are less consistently horizontal or vertical than in Helvetica.  Shaw suggests that Helvetica "began to muscle out" Akzidenz-Grotesk in New York from around summer 1965, when Amsterdam Continental's marketing stopped pushing Standard strongly and began to focus on Helvetica instead.. Akzidenz Grotesk has a much lower x-height than Helvetica which is an easy way to tell the two apart. To proclaim sans-serif as the typeface of our time is not a question of being fashionable, it really does express the same tendencies to be seen in our architecture…there is no doubt that the sans-serif types available today are not yet wholly satisfactory as all-purpose faces. Akzidenz Grotesk Std Ext. , Besides use in Swiss-style poster design and in New York City transportation, Akzidenz-Grotesk is the corporate font of Arizona State University and the American Red Cross (with Georgia). 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. 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