Archived from the original on 30 March It was also used for signage in the New York subway system during the seventies. Many other grotesques in a similar style to Akzidenz-Grotesk were sold in Germany during this period. The history of Akzidenz-Grotesk The design of Akzidenz Grotesk cannot be attributed to a specific typographer. G with a vertical spur.
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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 AG Date released ? Archived from the original on 28 June Retrieved 12 November 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.
It is a solid but rather expensive choice for setting body text and head titles. University of Reading archived. It uses schoolbook characterscharacters intended to be more distinct and closer to handwritten forms to be easier for children to recognise. Retrieved 19 January G with a vertical spur.
With its horizontal and vertical strokes of almost the same thickness and grotessk regularized capital letters with few variations of width, Akzidenz Grotesk stood out starkly on the page — especially when that page also included the highly-decorated types that were popular in the same era. Much more loosely, Transportthe typeface used on British road signs, was designed by Jock Kinneir and Margaret Calvert influenced by Akzidenz-Grotesk.
Akzidenz-Grotesk in use
Akzidenz-Grotesk is used on the national logo and national guidelines require the font to be used on all chapter logos. Story of a Typeface.
The essential characteristics of this type have not been fully worked out: Like most sans-serifs, Akzidenz-Grotesk is 'monoline' in structure, with all strokes of the letter of similar width. 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 Die Neue Typographiewhich 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.
The Swiss digital type foundry Optimo has released an alternative interpretation of Akzidenz-Grotesk named "Theinhardt". As is normal in fojt cut during the metal type period, Akzidenz-Grotesk shows variation between sizes of metal type, with adaptation of letter-spacing and proportions to different sizes.
Identifont - Akzidenz-Grotesk
Akzidenz-Grotesk is a sans-serif typeface family originally released by the Grotexk Type Foundry of Berlin. Akzidenz-Grotesk was popular in this period although other typefaces such as Monotype Grotesque were used also: Stroke endings are though less consistently horizontal or vertical than in Helvetica.
This style often contrasted Akzidenz-Grotesk with photographic art, and did not use all caps as much as many older posters. Grotessk George istMelchior Lechtor gestorben.
Berthold typefaces Grotesque sans-serif typefaces Letterpress typefaces Photocomposition typefaces Typefaces with infant variants Digital typefaces Products introduced in 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.
Groteso 's FF Schulbuch family is in a similar style. An American specimen of Akzidenz-Grotesk under the name 'Standard'. Archived from the original PDF on Berthold sued Target Corporation for copyright infringement and breach of contract inalleging that Target had asked a design firm to use the font in a promotional video without a license.
Archived from the original on 30 March Eine neue recht verwendbare Schrift hat die Firma H. On Frutiger's typeface Univers, grotrsk by Akzidenz-Grotesk Univers doesn't form patches in print, like Akzidenz-Grotesk for example, because the uppercase letters are only drawn grottesk bolder than the lowercase.
With the end of mass use of metal type, Akzidenz-Grotesk has been rereleased and adapted in versions for the new phototypesetting and digital technologies.
Paul Shaw Letter Design blog. The similarities of Helvetica and Akzidenz-Grotesk are apparent, but the subtle differences include the uppercase and lowercase C and the uppercase GJR and Q.