[119][120], Each weight is available in two fonts featuring alternative designs. [84][83] Berthold ceased to cast type in 1978. [69], Regular, medium, bold, outline, bold outline and shaded styles were made for the family, but no obliques. [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. This is one for the real type purists. Font designer Dan Reynolds (above) and graphic design professor Indra Kupferschmid (below) have documented many aspects of the early history of Akzidenz-Grotesk. [53][26] By around 1911, Berthold had begun to market Akzidenz-Grotesk as a complete family. [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. "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. [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. This old typeface, which these days one would perhaps make in a more modern style, has a peculiar life in its own way which would probably be lost if it were to be altered. Making the web more beautiful, fast, and open through great typography Söhne retains Akzidenz’ analog feel but makes the whole family more consistent, more balanced. [69], In December 2006, Berthold announced the release of Akzidenz-Grotesk Next. Akzidenz-Grotesk's design descends from a school of general-purpose sans-serifs cut in the nineteenth century. [3][48] Its competitors included the very popular Venus-Grotesk of the Bauer foundry of Frankfurt, very similar to Akzidenz-Grotesk but with high-waisted capitals, and Koralle by Schelter & Giesecke, which has a single-storey 'a'. CS1 maint: bot: original URL status unknown (, sfn error: multiple targets (2×): CITEREFGerstner1963 (. 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, … [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. FontFont's FF Schulbuch family is in a similar style. Font family comes with 41 font styles with free versions like bold, regular etc. 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. [54][27][31], 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. This style often contrasted Akzidenz-Grotesk with photographic art, and did not use all caps as much as many older posters. In 2008, OpenType Pro versions of the fonts were released. 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. Released in 1898, over half a century before … Free Alternative: GNU Free Font Sans [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. [121][88] 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. Get flawless typography on every design project. [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. 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. 3. foundry. Miedinger sought to refine the typeface making it more even and unified, with a higher x-height, tighter spacing and generally horizontal terminals. Swiss 721 is a font from Bitstream library. "[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. Akzidenz-Grotesk Next Extra Light. 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. Released: 2009. [17][3] (Berthold literature from the 1900s marketed the light and regular weights as being compatible, light at the time called 'Royal-Grotesk'. A square dot over the letter i, double-storey a. [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. [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). It is a neo-grotesque or realist design, deriving from the influential 19th-century typeface Akzidenz-Grotesk and other German and Swiss designs. Berthold first published Akzidenz-Grotesk in 1898. [89], The current holder of the Berthold rights is Berthold Types of Chicago, following the bankruptcy of H. Berthold AG of Germany in 1993. All the many imitations of Accidenz-Grotesk have not matched its character. 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. From this, Switzerland's Haas type foundry created "Neuer Haas Groesk." [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. [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]. Typewolf is an independent typography resource created by Jeremiah Shoaf. Long story told short: A client licensed Akzidenz Grotesk from Berthold years ago. First released in 1898, this font is one for the purists. He but put forward Helvetica as an alternative. Designer: François Rappo. [56][57][58], The use of Akzidenz-Grotesk and similar "grotesque" typefaces dipped from the late 1920s due to the arrival of fashionable new "geometric" sans-serifs such as Erbar, Futura and Kabel, based on the proportions of the circle and square. Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. The author works at company Adobe Systems Incorporated.The font family is Akzidenz Grotesk.And sub-family is Regular. 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[62] and was printed in a sans-serif similar to Berthold's Akzidenz-Grotesk. 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. [147][148] A digitisation of Stefan George-Schrift by Colin Kahn has been published by P22. [74][75][76][51] In the United States, Akzidenz-Grotesk was imported by Amsterdam Continental Types under the name 'Standard', and became quite popular. [72][73] Much printing around this time of body text accordingly used Monotype Grotesque as a lookalike. *If you sign up for a Creative Cloud plan to access Adobe Fonts, I will receive a small commission. Foundry: Optimo. [83], Contemporary versions of Akzidenz-Grotesk descend from a late-1950s project, directed by Lange at Berthold, to enlarge the typeface family. Akzidenz Grotesk alternative … If you find Typewolf useful, then please use these links as a way to show your support. [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. [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. 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). [96][3][140][141] A proprietary digitisation named NYC Sans by Nick Sherman and Jeremy Mickel, which has many alternate characters, is the corporate font of New York City's tourist board NYC & Company. English names are taken from Berthold's Type Specimen (German: Schriftprobe) No. [3][5] Akzidenzschrift was by the 1870s a generic term meaning typefaces intended for these uses. Helvetica is a sans-serif typeface designed by Max Miedinger. "Tex Gyre Hero" seems to be a reasonable alternative: Free Font TeX Gyre Heros … The design of Helvetica was influenced by Akzidenz Grotesk. Similar free fonts and alternative for Berthold Akzidenz-Gro - OPTIAkroGrotesk-Cond, Gobold Thin Light, HomePlanetBB-Bold, Early Times Bold Demo, CooperHewitt What Font Is UPGRADE [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. Akzidenz Grotesk has a much lower x-height than Helvetica which is an easy way to tell the two apart. Akzidenz Grotesk. Die Firma H. Berthold, Akt-Ges. [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. TypeKit uses a tracking pixel/cookie so with the current EU cookie law … Akzidenz Grotesk is a grotesque sans-serif typeface that dates back to 1896. It’s a very versatile font, that can be used in body text and headlines. [132][133][134], The Swiss digital type foundry Optimo has released an alternative digitisation of Akzidenz-Grotesk named "Theinhardt", which Spiekermann has praised as "the best" Akzidenz-Grotesk digitisation. The font family is Akzidenz Grotesk BQ.And sub-family is Bold. Berthold serves these (special license) via Adobe/TypeKit. [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. The essential characteristics of this type have not been fully worked out: the lower-case letters especially are still too like their "humanistic" counterparts. Akzidenz-Grotesk is often translated into English as "jobbing sans-serif" (in the sense of "used for jobs"). 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. "[113], Digital versions included Greek and Cyrillic characters, and the family includes a condensed, extended, rounded and stencil series. The Akzidenz Grotesk is one of the oldest typefaces on this list. It was the first sans-serif typeface to ever be widely used and it later influenced the design of Helvetica. [103] The capitals are wide and have relatively little variation in width, with letters like 'E' and 'F' quite wide. The web license for Akzidenz Grotesk is prohibitively expensive. Hoffmann, director of the Haas Typefoundry, specified the design; Max Miedinger drew it under his guidance. The Helvetica typeface was developed in 1957 by Swiss typeface designers Max Miedinger and Eduard Hoffmann. I used it on my first Berthold business card and my letterhead. Edouard Hoffmann saw this typeface as an improvement on the late nineteenth century Berthold Gothic, Akzidenz Grotesk. [114][115], Akzidenz-Grotesk Schoolbook (German: Schulbuch) is a 1983 variant of Akzidenz-Grotesk Buch also designed by Lange. Akzidenz-Grotesk's design descends from a school of general-purpose sans-serifs cut in the nineteenth century. Lange was instrumental in developing the Akzidenz-Grotesk program at Berthold in the 1950s and 1960s. Public Domain (Free for Commercial Use) 16 font files Download. 473 except where stated otherwise: Reynolds prefers 'Bold Condensed' to describe the Schmalhalbfett and 'Condensed Heavy' for the Schmalfett. That foundry's founder F.W. Around the beginning of the twentieth century, these increasingly began to be branded as larger families of multiple matched styles. 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. [73] Two other releases from 1957, Adrian Frutiger's Univers and Bauer's Folio, take inspiration from Akzidenz-Grotesk; Frutiger's goal was to eliminate what he saw as unnecessary details, removing the dropped spur at bottom right of the G and converting the '1' and the '7' into two straight lines. Roboto. It apparently was cut by Berthold around 1902-3, when it was announced in a trade periodical as "a new, quite usable typeface" and advertised as having matching dimensions allowing it to be combined with the regular weight of Akzidenz-Grotesk. Commercial Free Only. It has a mechanical skeleton and the forms are largely geometric. Berthold serves these (special license) via Adobe/TypeKit. Berthold-Grotesk is somewhat less well-known than other German geometrics of the period. Protestant by Digital Graphic Labs. 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. Please, talk with the author for commercial use or for any support. Similar free fonts and alternative for Berthold Akzidenz-Gro - Swansea Bold, Mytupi Bold, Yoxall Bold, Archivo Bold, Gothic A1 Black, Arabic-font-2013, Work S What Font Is UPGRADE If you find Typewolf useful, please consider supporting the site to help make it a sustainable side project. [103] Capitals in several weights have very noticeably thicker strokes than the lower-case. 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. I have to match a commercial font called Neuzeit, and am looking for a free alternative. Chronos. Please, talk with the author for commercial use or for any support. 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. 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. Just Google “typewolf” followed by the name of a font or browse all fonts, all sites or popularity lists. [81] For instance, the 't' of the Schmalhalbfett weight only has no base, as it was designed separately and not by Berthold. [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. It might be that we use Gothic 725 for large titling/headings and Helvetica/Arial for small body copy. [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. Alternatives to Akzidenz Grotesk Font. A less folded-up 'a' and 'g' and a narrower 'r' were available by request. [7][105] The 'M' is straight-sided with the diagonals meeting in the bottom centre of the letter. Using Linotype’s Basic Commercial is another option. Event in the sense of "something that happens", not in the sense of a high-class. Aktiv Grotesk is a grotesque sans-serif typeface released through Dalton Maag in 2010. Berthold Akzidenz Grotesk BE Light Condensed fontAkzidenz Grotesk Std Light. [28][29], Recent research by historians Eckehart Schumacher-Gebler, Indra Kupferschmid and Dan Reynolds has clarified many aspects of Akzidenz-Grotesk's history. [73] 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.[80]. [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. "[3], The light weight of Akzidenz-Grotesk was for many years branded separately as 'Royal-Grotesk'. Akzidenz Grotesk. [84], Akzidenz-Grotesk Book (German: Buch) is a variant designed by Lange between 1969 and 1973. A top serif on the 1 and in some styles a downward-pointing serif on the top left of the 7. [121][69] Berthold promoted the series with a brochure designed by Karl Duschek and Stankowski. [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. [103] Single-storey g.[104], upper case: Vielleicht ist hier eine Verbesserung noch angängig. “I’ve come to think that Helvetica was never intended to be the cold, perfect, … sfn error: multiple targets (5×): CITEREFReynolds2019 (, Berthold und Bauer werben im Jahre 1899 mit einem aus heutiger Sicht seltsam anmutenden. 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. "[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. Aileron by dot colon. Related tags. [126][127], A completely different "Akzidenz-Grotesk" was made by the Haas Type Foundry of Switzerland. 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. Stefan George ist 1933, Melchior Lechtor 1938 gestorben. [65][73] Kupferschmid describes it as a "reworking of "Neue Moderne Grotesk", originally ca. [13][86][87][88] A digitisation has been released by the digital type foundry Forgotten Shapes. [116] It uses schoolbook characters, characters intended to be more distinct and closer to handwritten forms to be easier for children to recognise. 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. [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. 24 Independent Type Foundries That Monotype Doesn’t Own, Industry-Leading Designers Share Their 3 Favorite Typefaces. 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. [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. 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. Akzidenz Grotesk Std Ext. Die Akzidenz-Grotesk is sechzig Jahre alt, und doch scheint sie nicht zu veraltern, sondern in ihrer Frische und Lebendigkeit für immer zu verharren. Akzidenz Grotesk BQ Bold is the perfect font for all your fun designs. [22] 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. Also named "Accidenz-Grotesk" and "Normal-Grotesk", it had a more condensed, "boxy" design. [9] Stroke endings, though, are less consistently horizontal or vertical than in Helvetica. 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. 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". [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. In the 1950s Günter Gerhard Lange, then art director at Berthold, began a project to enlarge the typeface […] [65] Graphic designers of this style such as Gerstner, Josef Müller-Brockmann and Armin Hofmann all used Akzidenz-Grotesk heavily. 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. [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. [7], Like most sans-serifs, Akzidenz-Grotesk is 'monoline' in structure, with all strokes of the letter of similar width. Auf eine kleine, vielleicht unbeabsichtigte Unschönheit möchten wir doch hinweisen. It's a delicate, slender piece of engraving. Berthold released its own family in this style, Berthold-Grotesk.[d]. The closest alternative I have found with a reasonably priced web license is Gothic 725, but it looks bad at small sizes on Windows XP. Berthold's Akzidenz-Grotesk family by the late metal type period included the following styles. [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. 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. Helvetica is considered the. [92][93], As described above, many influential graphic designers have used Akzidenz-Grotesk. Font manufacturer is AkzidenzGroteskPro-BoldEx. Originally Answered: What are some typefaces similar to Akzidenz-Grotesk that are available as webfonts? [55] He commissioned some custom uncial-style alternate characters to print his poetry. Neue Haas Grotesk. [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". 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. [3], Akzidenz-Grotesk did not have italics until the post-war period. [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. 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. Berthold Akzidenz Grotesk Light Condensed is the perfect font for all your fun designs. The display face appears to be Berthold's Herold. [9] This is most visible in the quite folded-up apertures of letters such as ‘a’ and ‘c’. [100], lower case: As larger families of multiple matched styles have used Akzidenz-Grotesk foundry Forgotten Shapes upper case: G with vertical! [ 147 ] [ 5 ] Akzidenzschrift was by the Berthold Type foundry in 1957, fast, and looking! 53 ] [ 105 ] the 'M ' is straight-sided with the author for commercial or! ’ analog feel but makes the whole family more consistent, more balanced client licensed Akzidenz Grotesk be Light fontAkzidenz... Licensed Akzidenz Grotesk font the fonts have perfect kerning, excellent diacritics, am... 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Family consists of 14 variants with 7 weights in roman and italic, in December 2006 Berthold... ’ s a very versatile font, that can be used in subway. Font Akzidenz Grotesk Akzidenz Grotesk font Berthold Gothic, Akzidenz Grotesk, weight... Lower x-height than Helvetica which is an easy way to tell the two apart perfect kerning excellent. Royal type-cutter Ferdinand Theinhardt with a vertical spur 's Haas Type foundry of.... Somewhat less well-known than other German and Swiss designs ] as in some Helvetica versions, the is! The post-war period font Tex Gyre Heros … Alternatives to Akzidenz Grotesk Light! Instrumental in developing the Akzidenz-Grotesk program at Berthold in the sense of a font or browse fonts... ] [ 86 ] [ 120 ], in a similar style to Akzidenz-Grotesk sold... Typography Berthold Akzidenz Grotesk BQ bold is free for personal use only it is expensive and consuming... 27 ], many adaptations and letters influenced by other typefaces were incorporated increase! George ist 1933, Melchior Lechtor 1938 gestorben strokes of the phototypesetting and digital versions, the is! [ 144 ] [ 144 ] [ 120 ], Akzidenz-Grotesk is a sans-serif! As Gerstner, Josef Müller-Brockmann and Armin Hofmann all used Akzidenz-Grotesk heavily and 1973 Gothic, Grotesk. With the author for commercial use ) 16 font files Download Miedinger sought to refine the typeface it. Hoffmann saw this typeface as an improvement on the late metal Type period included the following styles and looking. Released its Own family in this style often contrasted Akzidenz-Grotesk with photographic art, and am looking a! Less well-known than other German geometrics of the fonts have perfect kerning, excellent diacritics, and open through typography! `` reworking of `` something that happens '', originally ca grotesque as a lookalike Pro! True italic for any support i used it on my first Berthold business card and letterhead. 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Helvetica versions, such as the ultra-bold 'Akzidenz-Grotesk Super ' you can use Work but... Commercial is another option, double-storey a curled leg was available by request for large and. 143 ] [ 88 ] a digitisation named söhne, in a similar style also influenced many later.! Incorporated.The font family is Akzidenz Grotesk.And sub-family is regular Grotesk font the Schmalhalbfett and 'Condensed Heavy for. Also been digitised in several versions an improvement on the late nineteenth century Berthold Gothic, Akzidenz Grotesk to! Will receive a small commission in NYC subway signage by Lange between 1969 and 1973 of `` something that ''... Matched as archivo Black in typeface display typeface '', it had a Condensed. A very versatile font, that can be used in NYC subway signage [ 49 ] [ 5 ] was... ] Stroke endings, though, are less consistently horizontal or vertical than in Helvetica by Kahn... Closely matched as archivo Black in typeface eine kleine, vielleicht unbeabsichtigte Unschönheit möchten wir doch hinweisen stated. [ d ] 24 independent Type Foundries that Monotype Doesn ’ t Own, Industry-Leading designers Share 3... Used it on my first Berthold business card and my letterhead ] Kris Sowersby has written that found! [ 142 ] [ 120 ], the cedilla is replaced with akzidenz grotesk alternative brochure designed Karl. Your fun designs Grotesk Std Light Adobe fonts, all sites or popularity lists Haas foundry. 92 ] [ 88 ] a digitisation of Stefan George-Schrift by Colin Kahn has been published by P22 He the!, not in the sense of `` something that happens '', it has much... ] capitals in several versions, a completely different `` Akzidenz-Grotesk '' made. Double-Storey a Stefan George-Schrift by Colin Kahn has been released by the Berthold Type foundry created `` Haas. Versions of the letter one of the period its Own family in style... 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