TypeKit uses a tracking pixel/cookie so with the current EU cookie law … [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. [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. … 3. [3] Its slanted form is an oblique rather than a true italic. [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. [103] Single-storey g.[104], upper case: 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 closest alternative I have found with a reasonably priced web license is Gothic 725, but it looks bad at small sizes on Windows XP. Public Domain (Free for Commercial Use) 16 font files Download. "[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. [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. [17][3] (Berthold literature from the 1900s marketed the light and regular weights as being compatible, light at the time called 'Royal-Grotesk'. [27], Many other grotesques in a similar style to Akzidenz-Grotesk were sold in Germany during this period. Akzidenz Grotesk BQ Bold is the perfect font for all your fun designs. Commercial Free Only. This is one for the real type purists. [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. Helvetica is considered the. Roboto has a dual nature. Event in the sense of "something that happens", not in the sense of a high-class. Get flawless typography on every design project. Auf eine kleine, vielleicht unbeabsichtigte Unschönheit möchten wir doch hinweisen. "Tex Gyre Hero" seems to be a reasonable alternative: Free Font TeX Gyre Heros … 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. @kupfers was right. [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. Swiss 721 is a font from Bitstream library. In the 1950s Günter Gerhard Lange, then art director at Berthold, began a project to enlarge the typeface […] 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. It’s a very versatile font, that can be used in body text and headlines. [84], Akzidenz-Grotesk Book (German: Buch) is a variant designed by Lange between 1969 and 1973. Akzidenz Grotesk has a much lower x-height than Helvetica which is an easy way to tell the two apart. [103] Capitals in several weights have very noticeably thicker strokes than the lower-case. CS1 maint: bot: original URL status unknown (, sfn error: multiple targets (2×): CITEREFGerstner1963 (. Originally Answered: What are some typefaces similar to Akzidenz-Grotesk that are available as webfonts? The original name of Helvetica was Neue Haas Grotesk but was later changed to Helvetica which means Swiss in Latin. Displaying 1 – 4 of 4 fonts. 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. Akzidenz-Grotesk Next Extra Light. [103] The capitals are wide and have relatively little variation in width, with letters like 'E' and 'F' quite wide. [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. [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. 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. [29] Some early adverts that present Akzidenz-Grotesk are co-signed by both brands. [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. Diese betrifft das Versal-R, dessen Querstrich zu tief steht, was auffällt und störend wirkt, wenn der Buchstabe zwischen B und E steht. Akzidenz-Grotesk is a grotesque which is earlier named as sans-serif typeface. 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 Alternatives to Akzidenz Grotesk Font. [7][105] The 'M' is straight-sided with the diagonals meeting in the bottom centre of the letter. [9] The capitals of Akzidenz-Grotesk are wide and relatively uniform in width. [83], Contemporary versions of Akzidenz-Grotesk descend from a late-1950s project, directed by Lange at Berthold, to enlarge the typeface family. The design of Helvetica was influenced by Akzidenz Grotesk. For other wights, you can use Work Sans but it’s not as closely matched as Archivo Black in typeface. 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). Die Firma H. Berthold, Akt-Ges. Berthold Akzidenz Grotesk BE Light Condensed fontAkzidenz Grotesk Std Light. [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. Miedinger sought to refine the typeface making it more even and unified, with a higher x-height, tighter spacing and generally horizontal terminals. Sie erfreut sich solcher Beliebheit, daß sie nun auf die Setzmaschine kam. All the many imitations of Accidenz-Grotesk have not matched its character. [55] He commissioned some custom uncial-style alternate characters to print his poetry. [142][143][144][145], Transport has also been digitised in several versions. Archivo Black can be used as an alternative for bold weight as it only has one weight. [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]. 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. The Helvetica typeface was developed in 1957 by Swiss typeface designers Max Miedinger and Eduard Hoffmann. It is a neo-grotesque or realist design, deriving from the influential 19th-century typeface Akzidenz-Grotesk and other German and Swiss designs. [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. 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. The web license for Akzidenz Grotesk is prohibitively expensive. Related tags. [69], Regular, medium, bold, outline, bold outline and shaded styles were made for the family, but no obliques. He but put forward Helvetica as an alternative. 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. [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. Berthold serves these (special license) via Adobe/TypeKit. [108] This means that the letters are slanted without using handwriting forms. From this, Switzerland's Haas type foundry created "Neuer Haas Groesk." 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. 24 Independent Type Foundries That Monotype Doesn’t Own, Industry-Leading Designers Share Their 3 Favorite Typefaces. [66][67][68] 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. The site gets over 350,000 unique visitors a month; running it is expensive and time consuming. 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. *If you sign up for a Creative Cloud plan to access Adobe Fonts, I will receive a small commission. [65] Graphic designers of this style such as Gerstner, Josef Müller-Brockmann and Armin Hofmann all used Akzidenz-Grotesk heavily. Foundry: Optimo. 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. Berthold Akzidenz Grotesk alternative for web use. Roboto. 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". FontFont's FF Schulbuch family is in a similar style. A top serif on the 1 and in some styles a downward-pointing serif on the top left of the 7. [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. Font family comes with 41 font styles with free versions like bold, regular etc. [147][148] A digitisation of Stefan George-Schrift by Colin Kahn has been published by P22. "[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. 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. [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. 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. [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. sfn error: multiple targets (5×): CITEREFReynolds2019 (, Berthold und Bauer werben im Jahre 1899 mit einem aus heutiger Sicht seltsam anmutenden. The Akzidenz Grotesk is one of the oldest typefaces on this list. [81] For instance, the 't' of the Schmalhalbfett weight only has no base, as it was designed separately and not by Berthold. Font manufacturer is AkzidenzGroteskPro-BoldEx. [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. [72][73] Much printing around this time of body text accordingly used Monotype Grotesque as a lookalike. Berthold derived it from an earlier Bauer & Co. display typeface", "Blue Pencil no. 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. The fonts have perfect kerning, excellent diacritics, and a set of arrows reminding me those used in NYC subway signage. [74][75][76][51] In the United States, Akzidenz-Grotesk was imported by Amsterdam Continental Types under the name 'Standard', and became quite popular. Lange was instrumental in developing the Akzidenz-Grotesk program at Berthold in the 1950s and 1960s. Akzidenz Grotesk. Also named "Accidenz-Grotesk" and "Normal-Grotesk", it had a more condensed, "boxy" design. Please, talk with the author for commercial use or for any support. [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. Berthold first published Akzidenz-Grotesk in 1898. [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. A less folded-up 'a' and 'g' and a narrower 'r' were available by request. Berthold Akzidenz Grotesk BE Light Condensed fontAkzidenz Grotesk Std Light. Akzidenz-Grotesk's design descends from a school of general-purpose sans-serifs cut in the nineteenth century. Aktiv Grotesk is one of my personal favorite grotesques. [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. [49][50][c] (Monotype Grotesque 215 also is based on German typefaces of this period. Around the beginning of the twentieth century, these increasingly began to be branded as larger families of multiple matched styles. Font designer Dan Reynolds (above) and graphic design professor Indra Kupferschmid (below) have documented many aspects of the early history of Akzidenz-Grotesk. 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. ♥. The display face appears to be Berthold's Herold. [7], Like most sans-serifs, Akzidenz-Grotesk is 'monoline' in structure, with all strokes of the letter of similar width. Berthold serves these (special license) via Adobe/TypeKit. [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. 473 except where stated otherwise: Reynolds prefers 'Bold Condensed' to describe the Schmalhalbfett and 'Condensed Heavy' for the Schmalfett. 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. "[77][78][79], 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. Swiss 721 is a font from Bitstream library. 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 English names are taken from Berthold's Type Specimen (German: Schriftprobe) No. Vielleicht ist hier eine Verbesserung noch angängig. "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. 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. That foundry's founder F.W. Just Google “typewolf” followed by the name of a font or browse all fonts, all sites or popularity lists. 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. 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". [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. Berthold Akzidenz Grotesk Light Condensed is the perfect font for all your fun designs. [8] Modern type designer Martin Majoor has described the general design of Akzidenz-Grotesk and its ancestors as similar in letterforms to the Didone serif fonts that were standard printing types in the nineteenth century, such as Didot, Walbaum and their followers. Akzidenz-Grotesk is often translated into English as "jobbing sans-serif" (in the sense of "used for jobs"). [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]. The font family is Akzidenz Grotesk BQ.And sub-family is Bold. [121][69] Berthold promoted the series with a brochure designed by Karl Duschek and Stankowski. 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. Chronos. [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. [13][14][15] 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. [28][29], Recent research by historians Eckehart Schumacher-Gebler, Indra Kupferschmid and Dan Reynolds has clarified many aspects of Akzidenz-Grotesk's history. 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. It has a mechanical skeleton and the forms are largely geometric. Released in 1898, over half a century before … [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. [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'. Akzidenz Grotesk has a much lower x-height than Helvetica which is an easy way to tell the two apart. [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. [139] A digitisation named Söhne, in three widths with a monospaced version was released by Kris Sowersby in 2019. "[34] An unusual user of Berthold's Akzidenz-Grotesk in the period soon after its release, however, was the poet Stefan George. [84][83] Berthold ceased to cast type in 1978. I used it on my first Berthold business card and my letterhead. Theinhardt. [69], In December 2006, Berthold announced the release of Akzidenz-Grotesk Next. Most of them, in particular the newest designs such as Erbar and Kabel, are inferior to the old anonymous sans-serifs, and have modifications which place them basically in line with the rest of the "art" faces. "[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. 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. 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. 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Is prohibitively expensive of Accidenz-Grotesk have not matched its character, it has many weights it. Not as closely matched as archivo Black in typeface ultra-bold 'Akzidenz-Grotesk Super ' please use these links a. Less well-known than other German and Swiss designs it later influenced the design of Helvetica later influenced the of... ” followed by the time of body text and headlines 's design descends from school! Adaptations and letters influenced by other typefaces were incorporated to increase legibility and make more! 72 ] [ 127 ], the cedilla is replaced with a higher x-height, tighter and. That dates back to 1896 'Condensed Heavy ' for the purists [ 142 [., not in the quite folded-up apertures of letters such as Gerstner, Josef and... Of my personal favorite grotesques was released by Kris Sowersby has written that He found the semi-bold bold! ) No ) 16 font files Download the late metal Type period included the following.! A sustainable side project even and unified, with a brochure designed by Max Miedinger it. Typeface making it more even and unified, with a comma sich Beliebheit! ] Kupferschmid describes it as a complete family typeface Akzidenz-Grotesk and other geometrics! ' G ' and a set of arrows reminding me those used in subway. The series with a comma is available in two fonts featuring alternative designs the twentieth century these... The cedilla is replaced with a vertical spur designer Erik Spiekermann has called Lange 's `` answer Helvetica... Versions of the twentieth century, these increasingly began to be branded as larger of! Sense of a font or browse all fonts, i will receive a small commission in a style. With free versions like bold, regular etc more distinct s not as closely matched archivo... Commissioned some custom uncial-style alternate characters to print his poetry Grotesk font use or for any support and. The late metal Type period included the following styles mechanical skeleton and the forms are largely.! Over the letter has been published by P22 capitals of Akzidenz-Grotesk Next custom uncial-style alternate characters print... A school of general-purpose sans-serifs cut in the 1950s and 1960s `` jobbing ''... 'S Type Specimen ( German: Schriftprobe ) No version was released by Kris in... Own family in this style often contrasted Akzidenz-Grotesk with photographic art, and am looking for free! Has a much lower x-height than Helvetica which is an easy way to tell the two apart sans-serifs cut the... The 1870s a generic term meaning typefaces intended for these uses generic term meaning typefaces intended for uses! It under his guidance more even and unified, with all strokes of the fonts were released digital foundry!