It’s a very versatile font, that can be used in body text and headlines. [95] Kris Sowersby has written that he found the semi-bold and bold weights most satisfying. [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'. For other wights, you can use Work Sans but it’s not as closely matched as Archivo Black in typeface. First released in 1898, this font is one for the purists. Theinhardt. "[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. @kupfers was right. Akzidenz-Grotesk is a grotesque which is earlier named as sans-serif typeface. CS1 maint: bot: original URL status unknown (, sfn error: multiple targets (2×): CITEREFGerstner1963 (. [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. It is a neo-grotesque or realist design, deriving from the influential 19th-century typeface Akzidenz-Grotesk and other German and Swiss designs. Alternatives to Akzidenz Grotesk Font. 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. [103] Capitals in several weights have very noticeably thicker strokes than the lower-case. Free Alternative: GNU Free Font Sans [107], number: [65][73] Kupferschmid describes it as a "reworking of "Neue Moderne Grotesk", originally ca. Just Google “typewolf” followed by the name of a font or browse all fonts, all sites or popularity lists. Designer: François Rappo. [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'. 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. 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. 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. [142][143][144][145], Transport has also been digitised in several versions. [126][127], A completely different "Akzidenz-Grotesk" was made by the Haas Type Foundry of Switzerland. Roboto. 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. [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. Archivo Black can be used as an alternative for bold weight as it only has one weight. [e] Its comments would prove influential in later graphic design: Among all the types that are available, the so-called "Grotesque"...is the only one in spiritual accordance with our time. Edouard Hoffmann saw this typeface as an improvement on the late nineteenth century Berthold Gothic, Akzidenz Grotesk. [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. 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. [55] He commissioned some custom uncial-style alternate characters to print his poetry. 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". Long story told short: A client licensed Akzidenz Grotesk from Berthold years ago. Helvetica is considered the. 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. 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. Protestant by Digital Graphic Labs. "[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. Akzidenz-Grotesk Next Extra Light. [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. [83], Contemporary versions of Akzidenz-Grotesk descend from a late-1950s project, directed by Lange at Berthold, to enlarge the typeface family. Vielleicht ist hier eine Verbesserung noch angängig. [3][5] Akzidenzschrift was by the 1870s a generic term meaning typefaces intended for these uses. Berthold derived it from an earlier Bauer & Co. display typeface", "Blue Pencil no. The author works at company Adobe Systems Incorporated.The font family is Akzidenz Grotesk.And sub-family is Regular. 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. Edouard Hoffmann saw this typeface as an improvement on the late nineteenth century Berthold Gothic, Akzidenz Grotesk. 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. [125] However, many adaptations and letters influenced by other typefaces were incorporated to increase legibility and make characters more distinct. Displaying 1 – 4 of 4 fonts. Akzidenz-Grotesk is often translated into English as "jobbing sans-serif" (in the sense of "used for jobs"). 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. The font family is Berthold Akzidenz Grotesk.And sub-family is Light Condensed. Akzidenz Grotesk has a much lower x-height than Helvetica which is an easy way to tell the two apart. [110] As in some Helvetica versions, the cedilla is replaced with a comma. Akzidenz Grotesk. Neue Haas Grotesk. [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. Get flawless typography on every design project. Aileron by dot colon. [74][75][76][51] In the United States, Akzidenz-Grotesk was imported by Amsterdam Continental Types under the name 'Standard', and became quite popular. Sie erfreut sich solcher Beliebheit, daß sie nun auf die Setzmaschine kam. [7], Like most sans-serifs, Akzidenz-Grotesk is 'monoline' in structure, with all strokes of the letter of similar width. The web license for Akzidenz Grotesk is prohibitively expensive. [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]. [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-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. Its simple, neutral design has also influenced many later typefaces. [121][69] Berthold promoted the series with a brochure designed by Karl Duschek and Stankowski. 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. [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. 18—Arial addendum no. The font family is Akzidenz Grotesk BQ.And sub-family is Bold. Die Akzidenz-Grotesk is sechzig Jahre alt, und doch scheint sie nicht zu veraltern, sondern in ihrer Frische und Lebendigkeit für immer zu verharren. 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. The display face appears to be Berthold's Herold. The site gets over 350,000 unique visitors a month; running it is expensive and time consuming. [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. [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. [3] Its slanted form is an oblique rather than a true italic. Typewolf is an independent typography resource created by Jeremiah Shoaf. [119][120], Each weight is available in two fonts featuring alternative designs. in Berlin zeigt in einem hübsch angeordneten handlichen Heftchen zwei Garnituren Royal- und Akzidenz-Grotesk, beide sich ergänzende Schriften von vornehmer Wirkung, die um so mehr als zeitgemäß bezeichnet werden können, weil anscheinend nun endlich auch in der Druckausstattung der Akzidenzen Wege eingeschlagen werden, die zu einer wesentlichen Vereinfachung des Satzbildes führen dürften. [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. Public Domain (Free for Commercial Use) 16 font files Download. "[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. 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. Akzidenz Grotesk BQ Bold is the perfect font for all your fun designs. [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. [13][86][87][88] A digitisation has been released by the digital type foundry Forgotten Shapes. [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]. Akzidenz Grotesk is the perfect font for all your fun designs. If you find Typewolf useful, then please use these links as a way to show your support. Of everything on this list, … 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. Please, talk with the author for commercial use or for any support. [122] The family consists of 14 variants with 7 weights in roman and italic, in a single width. 3. 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. TypeKit uses a tracking pixel/cookie so with the current EU cookie law … [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. 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. [117], Generally based on Akzidenz-Grotesk Book, it includes a single-storey 'a', curled 'l', lower- and upper-case 'k' that are symmetrical, and 't', 'u' and 'y' without curls on the base. [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. Berthold Akzidenz Grotesk BE Light Condensed fontAkzidenz Grotesk Std Light. [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). [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. [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. [69], In December 2006, Berthold announced the release of Akzidenz-Grotesk Next. [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]. A top serif on the 1 and in some styles a downward-pointing serif on the top left of the 7. [147][148] A digitisation of Stefan George-Schrift by Colin Kahn has been published by P22. Berthold Akzidenz Grotesk alternative for web use. 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. 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. The fonts were released ever be widely used and it later influenced the design from. The author for commercial use or for any support sold in Germany during this period have! 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English names are taken from Berthold years ago is in a similar style is expensive and time consuming (! Straight-Sided with the diagonals meeting in the quite folded-up apertures of letters such as the ultra-bold Super...

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