608:
doubt that the sans-serif types available today are not yet wholly satisfactory as all-purpose faces. The essential characteristics of this type have not been fully worked out: the lower-case letters especially are still too like their "humanistic" counterparts. 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. 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.
435:
959:
892:
646:
934:
282:, cap height and descender length to the light and regular weights. This is common with nineteenth-century sans-serifs, which were not designed with the intention of forming an extended family that would match together. (Berthold literature from the 1900s marketed the light and regular weights as being compatible, light at the time called 'Royal-Grotesk'.) 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.
307:
2589:, p. 24:"Royal-Grotesk was my favourite font from the beginning. I used it on my first Berthold business card and my letterhead. It's a delicate, slender piece of engraving and came from the royal punchcutter Ferdinand Theinhardt. His foundry came to Berthold in 1908. People always talk about how this sans-serif typeface is "anonymous", but it's now clear that it's Theinhardt's. Royal-Grotesk was made for royal scientific printing. And Theinhardt added to it the normal, semi-bold and bold. For me those four weights of Akzidenz-Grotesk are the best."
471:
540:
1282:
1294:
658:
1969:
another. Italic faces existed for decades before they were considered as companions for romans, just as poster types shouted in a range of emphatic tones before they were reimagined as "bold" or "condensed" cousins. The notion that a type family should be planned from the outset is a
Modernist concoction, and it's one that type designers have lived with for less than a century…For more than a century before Helvetica, the sans serif landscape was dominated by unrelated designs.
1175:
532:
296:
424:
359:
200:
1120:
820:
1025:
29:
1060:
784:
993:
515:
created, which has earned a laurel wreath of fame for itself. 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. All the many imitations of
Accidenz-Grotesk have not matched its character." An unusual user of Berthold's Akzidenz-Grotesk in the period soon after its release, however, was the poet
728:
682:, and for machine composition Akzidenz-Grotesk was unavailable until around 1958, when it was first sold on Linotype and then in 1960 on Intertype systems. Much printing around this time of body text accordingly used Monotype Grotesque as a lookalike. In the United States, Akzidenz-Grotesk was imported by Amsterdam Continental Types under the name 'Standard', and became quite popular. According to
811:, which is problematic in extended text. 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".
1101:
1401:, however, became a popular standard typeface in Dutch printing. Some twentieth-century sources used different terminology to distinguish between the traditional "grotesques/gothics" and the new faces of the 1920s, such as restricting the term "sans-serifs" to the latter group. The term "industrial" has also been used for the early grotesque sans-serifs like Akzidenz-Grotesk.
503:
634:) than the more "personal" recent sans-serifs of the previous decades. Art historian Stephen Eskilson wrote that they "conveyed the functionalist ethos without appearing too stylised...in the manner of the more geometrically pure types." Berthold suggested in the 1980s that the originator of this use of Akzidenz-Grotesk in
2803:
Origin of
Akzidenz-Grotesk's weight now sorted. @kupfers was right. Berthold derived it from an earlier Bauer & Co. display typeface called Schattierte Grotesk. Berthold bought Bauer & Co. The new Berlin + Stuttgart company made an "unschattierte" version, which Berthold began selling in 1898
1135:
at the Haas
Foundry used it as a model for the typeface Neue Haas-Grotesk, released in 1957 and renamed Helvetica in 1961. Miedinger sought to refine the typeface making it more even and unified, with a higher x-height, tighter spacing and generally horizontal terminals. Two other releases from 1957,
1091:
In
December 2006, Berthold announced the release of Akzidenz-Grotesk Next. Designed by Bernd Möllenstädt and Dieter Hofrichter, this typeface family features readjusted x-heights and weights throughout the family, giving a more consistent design. Original release of the family consists of 14 variants
399:
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, and Reynolds found that Berthold's records indicate that the design originated in Stuttgart. Some early adverts that present Akzidenz-Grotesk are co-signed by both brands.
450:, Berthold's post-war artistic director, who was considered effectively the curator of the Akzidenz-Grotesk design, said in a 2003 interview Akzidenz-Grotesk came from the Ferdinand Theinhardt type foundry, and this claim has been widely copied elsewhere. This had been established by businessman and
3067:
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. Stefan George ist 1933,
754:
Contemporary versions of
Akzidenz-Grotesk descend from a late-1950s project, directed by Lange at Berthold, to enlarge the typeface family. 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). Berthold ceased
607:
Among all the types that are available, the so-called "Grotesque"...is the only one in spiritual accordance with our time. 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
2037:
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
462:
typefaces; he had sold the business in 1885. Kupferschmid and
Reynolds speculate that he was misled by Akzidenz-Grotesk appearing in a Theinhardt foundry specimen after Berthold had taken the company over. Reynolds additionally points out that Theinhardt sold his foundry to Oskar Mammen and Robert
408:
The light weight of Akzidenz-Grotesk was for many years branded separately as 'Royal-Grotesk'. 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
404:
following on from an "Accidenz-Gothisch" blackletter face sold by the Bauer & Co. foundry. 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
3467:
Die Akzidenz-Grotesk is sechzig Jahre alt, und doch scheint sie nicht zu veraltern, sondern in ihrer Frische und Lebendigkeit für immer zu verharren. Sie erfreut sich solcher Beliebheit, daß sie nun auf die Setzmaschine kam. Zusammen mit den Handsatz-Garnituren bilden die Linotype-Werkschiftgrade
1165:
A completely different "Akzidenz-Grotesk" was made by the Haas Type Foundry of Switzerland. Also named "Accidenz-Grotesk" and "Normal-Grotesk", it had a more condensed, "boxy" design. Kupferschmid describes it as a "reworking of "Neue Moderne Grotesk", originally ca. 1909 by Wagner & Schmidt,
856:
G with a vertical spur. The capitals are wide and have relatively little variation in width, with letters like 'E' and 'F' quite wide. The 'M' is straight-sided with the diagonals meeting in the bottom centre of the letter. Capitals in several weights have very noticeably thicker strokes than the
717:
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
2497:
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. Auf eine kleine,
1071:
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. It also incorporates a comma-style cedilla in the
1043:
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. The 'J' has a top bar, the 'M' centre does not descend to the baseline and the 'G' and 'R' are simplified in the
114:
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. Relatively little-known for a half-century after its introduction, it achieved iconic
1968:
The notion of the "type family" is so central to typography that it's easy to forget how recent an invention it is. Throughout most of its history, typography simply evolved the forms that were the most useful and the most interesting, generally with indifference toward how they related to one
514:
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. A 1921 Berthold specimen and company history described it almost apologetically: "In 1898 Accidenz-Grotesk was
2006:
Die Firma H. Berthold, Akt-Ges. 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
849:
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. Stroke endings, though, are less consistently horizontal or vertical than in Helvetica. A square dot over the letter i, double-storey a. Single-storey g.
1004:) is a variant designed by Lange between 1969 and 1973. 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. As in some Helvetica versions, the
758:
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
1711:
With its horizontal and vertical strokes of almost the same thickness and its 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
1334:
used Akzidenz-Grotesk in the original "CC" logo and the subsequent, lowercase wordmark. In 2018, the CC Accidenz Commons font was designed specifically for Creative Commons as an open-licensed replacement for Akzidenz-Grotesk, although the design has a very limited character set.
478:
Many other grotesques in a similar style to Akzidenz-Grotesk were sold in Germany during this period. Around the beginning of the twentieth century, these increasingly began to be branded as larger families of multiple matched styles. Its competitors included the very popular
463:
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. As Lange commented, it was claimed in the post-war period that Royal-Grotesk's name referred to it being commissioned by the
866:
It is important to note, however, that as the weights and sizes of Akzidenz-Grotesk were cut separately not all these features will appear on all styles. For instance, the 't' of the Schmalhalbfett weight only has no base, as it was designed separately and not by Berthold.
617:
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. This style often contrasted Akzidenz-Grotesk with photographic art, and did not use
2498:
vielleicht unbeabsichtigte Unschönheit möchten wir doch hinweisen. Diese betrifft das Versal-R, dessen Querstrich zu tief steht, was auffällt und störend wirkt, wenn der Buchstabe zwischen B und E steht. Vielleicht ist hier eine Verbesserung noch angängig. Chronos.
1136:
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.
803:
has written that he found the semi-bold and bold weights most satisfying. Lange commented that the light weight "was my favourite font from the beginning. I used it on my first Berthold business card and my letterhead. It's a delicate, slender piece of engraving."
594:
and others carrying out radical experiments to break the rigid schemes of conventional typography. He became a leading advocate of Modernist design: first with an influential 1925 magazine supplement; then a 1927 personal exhibition; then with his most noted work
1044:
manner of Futura. A particularly striking feature is a blackletter-style default upper-case 'i' with a curl at the bottom: this is rarely encountered in the English-speaking world (it would more commonly be recognized as a J), but much more common in Germany.
1472:
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 or Berthold's Hauptprobe Nr. 470, but it does in the slightly later Schriftprobe Nr. 473, which he suggests dates from c.
878:. This means that the letters are slanted without using handwriting forms. 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.
1012:
has called it Lange's "answer to Helvetica". 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."
499:), 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. By around 1911, Berthold had begun to market Akzidenz-Grotesk as a complete family.
246:
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.
4820:, p. 97: "The curved indent in the upstroke of the 1, like in Akzidenz Grotesk, was something alien to me. An upstroke is something simple and not so fanciful, horizontal with a bump in it. Accordingly, my 1 is simple, like the 7 is too."
669:
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
983:
Reynolds prefers 'Bold Condensed' to describe the Schmalhalbfett and 'Condensed Heavy' for the Schmalfett. Other weights were added by the time of the phototypesetting and digital versions, such as the ultra-bold 'Akzidenz-Grotesk Super'.
362:
A 1905 advertisement for Berthold in a Swedish printing journal, offering Royal-Grotesk, later branded as the light weight of Akzidenz-Grotesk, for sale. The sans-serif type is used in a secondary role underneath a more decorative heading
190:
around 1830. The name may have reflected the "primitive" feel of sans-serifs, or their roots in archaic Greek and Roman inscriptions, and by the late nineteenth century was commonly used to mean "sans-serif", without negative implication.
709:
from Bauer. 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.
325:
Akzidenz-Grotesk's design descends from a school of general-purpose sans-serifs cut in the nineteenth century. Sans-serifs had become very popular in Germany by the late nineteenth century, which had a large number of small local
770:
format in 2006, under the name Akzidenz-Grotesk Pro, and added matching Cyrillic and Greek characters the next year. Berthold Types' co-owner Harvey Hunt died in 2022, and the rights to its typeface library were acquired by
3388:
3386:
3384:
1130:
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."
839:, a design intended for maximum legibility, shows a much more open design. Twentieth-century neo-grotesques such as Helvetica intensify the effect by making almost all terminals horizontal or vertical.
1858:
167:
was by the 1870s a generic term meaning typefaces intended for these uses. A modern German-language dictionary describes it as work such as advertisements and forms. The origin of the word is Latin
5771:
1200:, 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'.
147:
Akzidenz-Grotesk is often translated into English as "jobbing sans-serif", "jobbing" in the sense of "used for jobs". Both words were everyday, descriptive terms for typefaces of the time in the
1083:
Regular, medium, bold, outline, bold outline and shaded styles were made for the family, but no obliques. Berthold promoted the series with a brochure designed by Karl Duschek and Stankowski.
1397:
Berthold-Grotesk is somewhat less well-known than other German geometrics of the period. A licensed adaptation (changing some characters) by the Amsterdam Type Foundry under the name of
1388:
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.
535:
A 1969 poster exemplifying the trend of the 1950s and 60s: solid red colour, simplified images and the use of a grotesque face. This design, by Robert Geisser, appears to use Helvetica.
375:
and Dan Reynolds has clarified many aspects of Akzidenz-Grotesk's history. The source of Akzidenz-Grotesk appears to be Berthold's 1897 purchase of the Bauer u. Cie Type Foundry of
799:
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".
807:
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
566:
However, during this period there was increasing interest in using sans-serifs as capturing the spirit of the time, most famously captured in the writings of German typographer
5952:
Schriftkünstler – A historiographic examination of the relationship between handcraft and art regarding the design and making of printers' type in Germany between 1871 and 1914
5934:
Schriftkünstler – A historiographic examination of the relationship between handcraft and art regarding the design and making of printers' type in Germany between 1871 and 1914
5916:
Schriftkünstler – A historiographic examination of the relationship between handcraft and art regarding the design and making of printers' type in Germany between 1871 and 1914
5898:
Schriftkünstler – A historiographic examination of the relationship between handcraft and art regarding the design and making of printers' type in Germany between 1871 and 1914
1151:
influenced by Akzidenz-Grotesk. However, many adaptations and letters influenced by other typefaces were incorporated to increase legibility and make characters more distinct.
962:
With its four-terminal 'w', Akzidenz-Grotesk Skelett (Extralight Extended) was one of the most divergent and least popular members of the family in the metal type period.
400:
Early references to Akzidenz-Grotesk at Berthold often use the alternative spelling 'Accidenz-Grotesk'; Reynolds has suggested that the name may have been intended as a
5822:
211:, Akzidenz-Grotesk is 'monoline' in structure, with all strokes of the letter of similar width. This gives a sense of simplicity and an absence of the adornment and
2961:
1229:
NYC Sans: A proprietary digitisation by Nick Sherman and Jeremy Mickel, which has many alternate characters, is the corporate font of New York City's tourist board
1625:
Handbuch zur neuen Rechtschreibung und Zeichensetzung : für Studierende und Lehrende an Schulen und Universitäten sowie für alle an der Sprache Interessierten
1328:
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.
440:
Font designer Dan Reynolds (above) and graphic design professor Indra Kupferschmid (below) have documented many aspects of the early history of Akzidenz-Grotesk.
1414:
and Ulrich Stiehl shows Linotype sales material saying that it was "taken over to the Linotype machine" in 1958, although Eskilson reports 1959 for its release.
1187:
3083:
899:
Berthold's Akzidenz-Grotesk family by the late metal type period included the following styles. English names are taken from Berthold's Type Specimen (German:
2412:"Also, the name Accidenz-Grotesk likely came from Bauer & Co., too. That foundry's founder F.W. Bauer had earlier cut a typeface called Accidenz-Gothisch"
929:
Schmalhalbfett (Medium Condensed, originally called "Steinschrift eng". Not designed by Berthold. The 'R' has a curled leg and in metal type the 't' no base.)
603:
and praised the aesthetic qualities of the "anonymous" sans-serifs of the nineteenth century. Its comments would prove influential in later graphic design:
1869:
5671:
5519:
1609:
Vollständiges theoretisch-praktisches Handbuch der Typographie nach ihrem heutigen Standpunkt, zweiter Band: Das Drucken in seinen verschiedenen Branchen
5782:
182:) was a standard term that had become popular in the first half of the nineteenth century for sans-serifs. It was introduced by the London type-founder
759:"Gerstner-Programm" but according to Lange it was never fully released. A digitisation has been released by the digital type foundry Forgotten Shapes.
630:
all used Akzidenz-Grotesk heavily. Like Tschichold, Gerstner argued that the sans-serifs of the nineteenth century were more "matter-of-fact" (German:
5570:
415:
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.
6124:
6104:
2092:
3178:
Tschichold J. Die neue Typographie. Ein Handbuch für zeitgemäß Schaffende, Verlag des Bildungsverbandes der Deutschen Buchdrucker, Berlin 1928.
2513:
6081:
not showing Akzidenz-Grotesk. The advert showcases "modern and successful" faces, illustrating the eclipse of Akzidenz-Grotesk in this period.
5990:
5811:
4894:
4467:
3564:
3537:
3267:
3121:
3044:
3017:
2839:
2338:
5013:
270:, with adaptation of letter-spacing and proportions such as looser spacing at smaller text sizes, something that was normal practice in the
6129:
686:, "exactly when Amsterdam Continental began importing Standard is unclear but it appears on several record album covers as early as 1957."
4764:
4018:
2789:"Origin of Akzidenz-Grotesk's weight now sorted. @kupfers was right. Berthold derived it from an earlier Bauer & Co. display typeface"
4582:
6114:
1092:
with 7 weights in roman and italic, in a single width. Extended and Condensed widths were added later, expanded the family to 42 fonts.
484:
645:
5858:
5757:
5014:"Compendium of U.S. Copyright Office Practices, § 906.4 ("Typeface, Typefont, Lettering, Calligraphy, and Typographic Ornamentation")"
3662:
3596:
Exactly when Amsterdam Continental began importing Standard is unclear but it appears on several record album covers as early as 1957.
4936:
3845:
3163:
3003:
2056:
1632:
1016:
Digital versions included Greek and Cyrillic characters, and the family includes a condensed, extended, rounded and stencil series.
762:
H. Berthold AG of Germany declared bankruptcy in 1993 and the holder of the Berthold rights from 1993 to 2022 was Berthold Types of
1194:
Theinhardt: A release by Swiss digital type foundry Optimo, praised by Spiekermann has as "the best" Akzidenz-Grotesk digitisation.
5411:
1067:
version of Akzidenz-Grotesk intended to incorporate more of the original inconsistencies and different x-heights of the metal type
251:
describes this style of 'g' as a common feature in German sans-serifs of the period and apparently influenced by the tradition of
5340:
4557:
2007:
Druckausstattung der Akzidenzen Wege eingeschlagen werden, die zu einer wesentlichen Vereinfachung des Satzbildes führen dürften.
4071:
1047:
Each weight is available in two fonts featuring alternative designs. In 2008, OpenType Pro versions of the fonts were released.
857:
lower-case. On many but not all styles a straight leg on the 'R' and a 'Q' where the outstroke does not cut through the letter.
203:
Digital variants of Akzidenz-Grotesk, showing the slight inconsistencies and idiosyncrasies between different weights and widths
5644:
4658:
2760:
1423:
This image shows a later revival of Walbaum's work; during the early nineteenth century figures in roman type were customarily
1190:, notably in the United States, allowing alternative interpretations under different names if they do not reuse digital data.
547:
The use of Akzidenz-Grotesk and similar "grotesque" typefaces dipped from the late 1920s due to the arrival of fashionable new
124:
5594:
5241:
4002:
958:
933:
891:
259:
for printing extended texts in Germany in the late nineteenth century, which uses a single-storey 'g' in upright composition.
6109:
5020:
3233:
2885:
1166:
Leipzig". The Haas Foundry created Helvetica in response to its decline in popularity in competition with Berthold's design.
351:
particularly after 1893. Berthold publications from the 1920s onwards dated the design to 1898, when the firm registered two
5831:
4351:
4300:
2623:
434:
318:, detail below) released by the Bauer & Co. foundry of Stuttgart in 1896, the year before it was taken over by Berthold.
6038:
131:
in the 1950s and 1960s. Its simple, neutral design has also influenced many later typefaces. It has sometimes been sold as
4407:
4276:
1197:
2230:
5877:
4628:
Walker, Sue; Reynolds, Linda (1 January 2003). "Serifs, sans serifs and infant characters in children's reading books".
1361:
1305:
Besides use in Swiss-style poster design and in New York City transportation, Akzidenz-Grotesk is the corporate font of
683:
563:, based on the proportions of the circle and square. Berthold released its own family in this style, Berthold-Grotesk.
464:
3971:
3581:
107:
indicates its intended use as a typeface for commercial print runs such as publicity, tickets and forms, as opposed to
6099:
6094:
5675:
4794:
4223:
The capital letters are slightly too dark, and slightly too close to the lowercase letters that follow them in a word.
3365:
3089:
2684:
2651:
1178:
Comparison of two distinguishing characters (uppercase "J" and lowercase "a") in Akzidenz-Grotesk and Gothic 725 Bold
1352:
has used custom versions of Akzidenz-Grotesk supplied by Berthold as a corporate typeface, amongst other typefaces.
1182:
Although the digital data of Berthold releases of Akzidenz-Grotesk is copyrighted, and the name is trademarked, the
6119:
3468:
eine sehr stattliche Familie, die der Gestalter und Drucker oft und gern bei seiner Arbeit in Anspruch nehmen wird.
483:
of the Bauer foundry of Frankfurt, very similar to Akzidenz-Grotesk but with high-waisted capitals, and Koralle by
5546:
5052:
4432:
1040:, characters intended to be more distinct and closer to handwritten forms to be easier for children to recognise.
470:
3309:
2979:
2446:
1802:
689:
In 1957, three notable competitors of Akzidenz-Grotesk appeared intended to compete with its growing popularity:
662:
623:
348:
4122:
3284:
2706:
996:
Berthold's phototype Akzidenz-Grotesk Buch was heavily based on Helvetica; the two are almost indistinguishable.
914:
Halbfett (Medium or literally semi-bold, available on Linotype in modified form as series 58 and as poster type)
5695:
5499:
4965:
1652:
1306:
743:
Metal type declined in use from the 1950s onwards, and Akzidenz-Grotesk was rereleased in versions for the new
48:
5619:
2563:
1520:
583:
4047:
3637:
368:
5550:
5079:
5057:
796:
447:
256:
4859:
3925:
539:
239:
of letters such as 'a' and 'c'. The capitals of Akzidenz-Grotesk are wide and relatively uniform in width.
2303:
1281:
5039:
The copyright law does not protect typeface or mere variations of typographic ornamentation or lettering.
2514:"Research update: Distribution of sans serifs in German-speaking foundries during the nineteenth century"
454:
Ferdinand Theinhardt, who was otherwise particularly famous for his scholarly endeavours in the field of
159:
means some occasion or event (in the sense of "something that happens", not in the sense of a high-class
5720:
1293:
1037:
675:
333:
223:
has described the general design of Akzidenz-Grotesk and its ancestors as similar in letterforms to the
92:
4097:
3189:
306:
6012:
4989:
3456:
3153:
1582:
783:
6078:
4711:
4528:
2386:
Typotektur: Architektur und Typografie im 20. Jahrhundert : der Modellfall einer Zusammenführung
2131:
1258:
1241:
1140:
937:
Akzidenz-Grotesk had several condensed weights in the metal type period, such as this condensed bold.
832:
824:
732:
702:
455:
236:
6058:
3609:
3334:
657:
1236:
FF Real: A very loose digitisation by Erik Spiekermann and with Ralph du Carrois, available in two
1224:
1212:
836:
828:
224:
187:
5024:
3808:
2855:
2026:
1174:
531:
5526:
5439:
4379:
3946:
3782:
3737:"Alte Bleisatz-Schriftproben der Akzidenz-Grotesk (Old foundry type samples of Akzidenz-Grotesk)"
1949:
1908:
1325:
1314:
1310:
1248:
488:
380:
232:
212:
183:
2157:
358:
6028:
4772:
4026:
1747:
6044:
6008:
5986:
5980:
5854:
5807:
5801:
5753:
5157:
4890:
4884:
4586:
4463:
4158:
3841:
3560:
3533:
3263:
3257:
3229:
3159:
3117:
3040:
3034:
3013:
3007:
2975:
2955:
2937:
2835:
2829:
2334:
2328:
2255:
1984:
1628:
1607:
1586:
1482:
According to Florian Hardwig, the 'W' and 'w' were the normal form on some Berthold specimens.
1247:
St G Schrift: A digitisation of Stefan George-Schrift designed by Colin Kahn and published by
1220:
1119:
819:
748:
694:
556:
199:
6072:
6024:
5128:
4508:
4208:
3750:
3554:
3527:
3111:
2736:
2475:
599:
in 1927. This book was a manifesto of modern design, in which he condemned all typefaces but
372:
5824:
Type design in the age of the machine. The 'Breite Grotesk' by J. G. Schelter & Giesecke
5651:
5623:
5598:
5124:
4833:
4637:
4504:
4075:
2767:
2442:
1945:
1398:
1331:
1230:
1148:
1105:
1064:
1024:
1009:
863:
A top serif on the 1 and in some styles a downward-pointing serif on the top left of the 7.
795:
As described above, many influential graphic designers have used Akzidenz-Grotesk. In 2013,
772:
744:
706:
639:
560:
552:
480:
228:
3885:
2093:"Distribution of sans serif typefaces across German-speaking foundries in the 19th century"
1059:
5745:
5103:
4944:
4006:
2601:
Liste der Hieroglyphischen Typen aus der Schriftgießerei des Herrn F. Theinhardt in Berlin
736:
591:
459:
401:
295:
172:
148:
116:
5315:
2067:
1957:
1953:
409:
the regular weight of Akzidenz-Grotesk. Reynolds and Florian Hardwig have documented the
215:
seen in the more decorative sans-serifs of the late nineteenth century influenced by the
4607:
2788:
2599:
2411:
2392:
Berthold und Bauer werben im Jahre 1899 mit einem aus heutiger Sicht seltsam anmutenden
870:
Akzidenz-Grotesk did not have italics until the post-war period. Its slanted form is an
28:
6054:
6032:
5192:
4683:
3213:
1776:
1318:
1204:
1160:
567:
423:
65:
5949:
Reynolds, Dan (2020). "Chapter 6: Type design in German foundries from 1871 to 1914".
5182:
4738:
4561:
992:
278:
notes that even comparing one size (20pt), the medium and bold weights have different
6088:
6020:
6016:
5767:
5213:
4484:
4375:
4154:
3838:
Sans Serif: The Ultimate Sourcebook of Classic and Contemporary Sans Serif Typography
3221:
2538:
1854:
1743:
1252:
1210:
Standard CT: A digitisation by American publisher CastleType, originally created for
1132:
907:
Akzidenz-Grotesk (Standard, available on Linotype in modified form as series 57 with
800:
650:
627:
520:
516:
507:
396:
352:
275:
220:
136:
128:
3752:
Akzidenz-Grotesk von Berthold, Probe 429A (digitisation: Stephen Coles/Thomas Maier)
1912:
1803:"Comments on Typophile thread – "Unborn: sans serif lower case in the 19th century""
727:
395:). Akzidenz-Grotesk was based on this design, but with the drop shadow removed. Two
5976:
5495:
5270:
4911:
4127:
3999:
3406:
3217:
3033:
Achim Aurnhammer; Wolfgang Braungart; Stefan Breuer; Ute Oelmann (1 January 2016).
2360:
1798:
1424:
1237:
1144:
908:
871:
713:
By the 1960s, Berthold could claim in its type specimens that Akzidenz-Grotesk was:
587:
579:
451:
327:
271:
267:
248:
160:
60:
5868:
Reynolds, Dan (2019). "The godfather: retracing the origins of Akzidenz-Grotesk".
5803:
Swiss Graphic Design: The Origins and Growth of an International Style, 1920–1965
4457:
622:
as much as many older posters. Graphic designers of this style such as Gerstner,
227:
serif fonts that were standard printing types in the nineteenth century, such as
6066:
6062:
3736:
3494:
2273:
1298:
875:
671:
388:
252:
216:
120:
510:
commissioned alternate characters for Akzidenz-Grotesk for printing his poetry.
5459:
4401:
4399:
3774:
2393:
2052:
1342:
1317:). Akzidenz-Grotesk Bold Extended is used as the official font for the words "
791:. Gerstner, a fan of Akzidenz-Grotesk, advocated systematic methods in design.
548:
263:
208:
108:
85:
53:
41:
5386:
4653:
4651:
1036:) is a 1983 variant of Akzidenz-Grotesk Buch also designed by Lange. It uses
823:
The letterforms of Akzidenz-Grotesk show a "folded-up" structure with narrow
5365:
3979:
2190:
1124:
1109:
1100:
690:
679:
678:
machines had long since become the main system for printing general-purpose
571:
384:
376:
341:
242:
The 'g' of Akzidenz-Grotesk is a 'single-storey' design, like in many other
111:, and "grotesque" was a standard name for sans-serif typefaces at the time.
6047:, showing Schattierte-Grotesk and co-branding mentioning Berthold and Bauer
5672:"Making the Visible Visible – Open Access to Berlin's Typographical Legacy"
4641:
635:
5483:
4531:
Antwort auf Helvetica, für die Berthold keine Lizenz kriegte von Linotype.
2676:
1500:
A less folded-up 'a' and 'g' and a narrower 'r' were available by request.
1491:
A less folded-up 'a' and 'g' and a narrower 'r' were available by request.
3490:
1048:
767:
619:
279:
88:
36:
1289:
used Akzidenz-Grotesk. It was replaced with Helvetica in later editions.
5218:
5187:
5133:
4513:
4202:
4200:
4198:
2860:
2604:. Buchdruckerei der Königl. Akademie der Wissenschaften (G. Vogt). 1875
1113:
1005:
763:
698:
575:
502:
474:
A German banknote from 1918, using a range of sans-serifs of the period
312:
Akzidenz-Grotesk seems to be a derivative of this shadowed sans-serif (
243:
5435:
2454:
1810:
1785:
Monotype Newsletter, Also Printed in Motif as "Letters Without Serifs"
951:
Extra (Extrabold Condensed, tighter-spaced than the Schmalfett weight)
467:, but Kupferschmid was not able to find it used in its publications.
5967:
Schwemer-Scheddin, Yvonne (2003). "Sonderheft Günter Gerhard Lange".
5319:
4993:
4969:
4148:
4146:
4144:
4000:
Berthold Announces the Release of Akzidenz-Grotesk in OpenType Format
2714:
1699:
1349:
718:
over the world and impressed its image in the typography of our time.
337:
96:
5950:
5932:
5914:
5896:
5699:
5080:"The Last Time the US Considered Copyright Protection for Typefaces"
3451:
3449:
2447:"Akzidenz-Grotesk (Re-)Release Dates (comments on Typophile thread)"
4346:
4344:
3582:"The (Mostly) True Story of Helvetica and the New York City Subway"
3447:
3445:
3443:
3441:
3439:
3437:
3435:
3433:
3431:
3429:
2330:
Creative Type: A Sourcebook of Classic and Contemporary Letterforms
1780:
1738:
1736:
1734:
1732:
831:
serif typefaces popular in Europe at the time, such as the work of
5931:
Reynolds, Dan (2020). "Chapter 3: Writing history as a designer".
3907:
3905:
1338:
1292:
1280:
1173:
1118:
1099:
1058:
1023:
991:
957:
932:
890:
818:
782:
726:
656:
644:
538:
530:
501:
469:
357:
344:
198:
163:
or occasion) and was therefore used as a term for trade printing;
5571:"Chicago Font Co. Takes Aim at Target's Use Of Typeface – Law360"
4837:
4462:. Springer Science & Business Media. pp. 225–8, 235–40.
1341:
has used a typeface based on Akzidenz-Grotesk, commissioned from
1123:
The regular weight of Akzidenz-Grotesk had a lower x-height than
491:
also is based on German typefaces of this period.) Seeman's 1926
235:
and their followers. This is most visible in the quite folded-up
5249:
4271:
4269:
4267:
2437:
2435:
2433:
2431:
1859:"A new basis for the old Akzidenz-Grotesk (English translation)"
1223:
in 2019. It is digitised by Kris Sowersby, in three widths with
1073:
976:
Breithalbfett (Medium Extended, or literally Semi-bold Extended)
274:
of metal type. In addition, there is variation between weights:
5242:"A Modern Sans-serif Infused With the Spirit of the NYC Subway"
4408:"German, Swiss, and Austrian typefaces named Royal or Akzidenz"
2645:
2643:
2624:"The Academy of Sciences of the USSR's hieroglyphs font (1928)"
387:). The Bauer foundry had recently released a sans-serif with a
6075:(c. 1960 specimen, photographed by Stephen Coles/Thomas Maier)
5341:"NYC Gets A Major Rebrand (And Its First Official Pictograms)"
3407:"Akzidenz-Grotesk auf der Linotype-Zeilengußmaschine (German)"
2354:
2352:
2350:
4795:"Neuwelt: an optimistic transatlantic sans serif type family"
3732:. Berlin/Stuttgart: H. Berthold/Zweigwerk Stuttgart. c. 1966.
2361:"Notes on the history of Akzidenz-Grotesk Part 2a – Timeline"
1104:
Comparison of distinguishing characters in Akzidenz-Grotesk,
2327:
Cees W. de Jong; Alston W. Purvis; Friedrich Friedl (2005).
2152:
2150:
2148:
1445:
An alternative 'R' with curled leg was available by request.
1436:
An alternative 'R' with curled leg was available by request.
4759:
4757:
4755:
4733:
4731:
1143:, the typeface used on British road signs, was designed by
1076:, and a shortened horizontal serif on the regular-weighted
1028:
Akzidenz-Grotesk Schulbuch, showing its unusual capital 'i'
4072:"Monotype Acquires Berthold's Renowned Typeface Inventory"
2114:
2112:
2021:
2019:
2017:
1693:
1691:
1689:
1687:
979:
Breitfett (Extrabold Extended, or literally Bold Extended)
5849:
Müller, Lars; Malsy, Victor; Kupferschmid, Indra (2009).
2231:"Note on the original design patent for Akzidenz-Grotesk"
2224:
2222:
2031:
Archiv für Buchdruckerkunst und verwandte Geschäftszweige
1072:
medium and bold weights, inward hook in regular-weighted
186:
as the name for sans-serifs in the specimen books of his
5878:"Footnotes C: Retracing the origins of Akzidenz-Grotesk"
5620:"Introducing CC Accidenz Commons: An Open-Licensed Font"
3724:
3722:
3720:
3718:
3716:
3714:
3712:
3710:
3708:
3706:
3704:
3702:
3082:
Lane, John A.; Lommen, Mathieu; de Zoete, Johan (1998).
3039:. Walter de Gruyter GmbH & Co KG. pp. 480–481.
1979:
1977:
1891:
1889:
1008:
is replaced with a comma. Former Berthold font designer
3700:
3698:
3696:
3694:
3692:
3690:
3688:
3686:
3684:
3682:
3484:
3482:
3480:
3478:
3457:"Akzidenz-Grotesk für Hand- und Maschinensatz (advert)"
3392:
3360:
3358:
3356:
3354:
2879:
2877:
582:, where he was introduced to important artists such as
5830:(MA). University of Reading (archived). Archived from
5595:"A Masterwork in Simplicity: The Story of the CC Logo"
5412:"Interview with Erik Spiekermann and Ralph du Carrois"
3556:
Drip-dry Shirts: The Evolution of the Graphic Designer
3061:
Gewerblicher Rechtsschutz und Urheberrecht Zeitschrift
2907:
2905:
2652:"Berlin locations of the old Ferd. Theinhardt foundry"
2191:"Some notes on the history of Akzidenz-Grotesk Part 2"
674:. While this was acceptable for posters, by the 1950s
5913:
Reynolds, Dan (2020). "Chapter 2: Research methods".
5053:""Types" of Protection for Font and Typeface Designs"
4705:
4703:
3803:
3801:
3799:
697:, with a very high x-height and tight letterspacing,
4301:"Differences - Akzidenz-Grotesk and Franklin Gothic"
2831:
Revival Type: Digital Typefaces Inspired by the Past
2184:
2182:
2180:
2178:
2176:
1771:
1769:
1767:
1612:. Verlag d. Leipziger Vereinsdruckerei. p. 431.
175:as "that which happens, a casual event, a chance".
139:
have been released by Berthold and other companies.
3226:
The New Typography: a handbook for modern designers
2707:"Akzidenz Grotesk roots (comments on forum thread)"
1849:
1847:
1845:
1843:
1841:
1839:
1583:"New details about the origins of Akzidenz-Grotesk"
1576:
1574:
1572:
948:". Available as poster type, 'R' with a curled leg)
71:
59:
47:
35:
5955:(PhD). Hochschule für Bildende Künste Braunschweig
5937:(PhD). Hochschule für Bildende Künste Braunschweig
5919:(PhD). Hochschule für Bildende Künste Braunschweig
5901:(PhD). Hochschule für Bildende Künste Braunschweig
5294:
3831:
3829:
2260:Almänna Svenska Boktryckareföreningens Meddelanden
1570:
1568:
1566:
1564:
1562:
1560:
1558:
1556:
1554:
1552:
954:Extrafett (Compact, or literally, also extra-bold)
574:design principles after visiting the first Weimar
4828:
4826:
4544:
4433:"John Williams – The John Towner Touch album art"
4177:
3911:
3663:"From the Archives no. 15—Helvetica and Standard"
3012:. Princeton Architectural Press. pp. 115–8.
2586:
2297:
2295:
2293:
1639:Drucksache von geringem Umfang, Anzeige, Formular
1379:The display face appears to be Berthold's Herold.
5748:(2009). Osterer, Heiden; Stamm, Philipp (eds.).
4659:"Differences - AG Schoolbook Medium and AG Book"
3310:"Campaign posters for the Swiss Automobile Club"
2562:Hardwig, Florian; Reynolds, Dan (14 June 2019).
1285:The cover of Josef Müller-Brockmann's 1961 book
1261:: Designed by Jock Kinneir and Magaret Calvert.
705:, with a large range of weights and widths, and
135:in English-speaking countries, and a variety of
4966:"BERTHOLD AKZIDENZ-GROTESK - Trademark Details"
3251:
3249:
3247:
3245:
3158:. Princeton Architectural Press. pp. 7–8.
2677:"Some notes on the history of Akzidenz-Grotesk"
1676:Lewis, Charlton Thomas; Short, Charles (1922).
1653:""Herzlichen Glückwunsch" wedding cards (1919)"
1240:, with variant features like a two-storey 'g',
942:Schmalfett (Bold Condensed, originally called "
379:(not to be confused with the much better-known
5023:. 22 December 2014. p. 13. Archived from
4352:"Differences - Akzidenz-Grotesk and Helvetica"
3775:"Phototypesetting with the Berthold 'diatype'"
1521:"The 1869–1978 headquarters of Berthold today"
1051:'s FF Schulbuch family is in a similar style.
917:Mager (Light, sometimes sold as Royal-Grotesk)
766:. Berthold Types released Akzidenz-Grotesk in
3367:Berthold exklusiv Probe 013: Akzidenz-Grotesk
3259:Graphic Design: A New History, Second Edition
2564:"Mallet Magic – Harry Breuer And His Quintet"
1267:New Transport: Published by A2/SW/HK Limited.
1063:Sample image of Akzidenz-Grotesk Old Face, a
8:
4525:
3610:"Amsterdam Continental: A Handbook of Types"
3465:
3065:
2938:"Type Specimen book H. Berthold AG, ca 1913"
2495:
2390:
2035:
2004:
943:
739:Akzidenz-Grotesk (top) and Helvetica (below)
543:Art exhibition poster by Armin Hofmann, 1959
410:
313:
154:
123:graphic designers in what became called the
101:
21:
5772:"Die alte Akzidenz-Grotesk auf neuer Basis"
4990:"AKZIDENZ-GROTESK NEXT – Trademark Details"
4277:"Differences - Akzidenz-Grotesk and Futura"
3972:"Erik Spiekermann's Statements re Berthold"
3840:. London: Thames & Hudson. p. 23.
2960:: CS1 maint: numeric names: authors list (
2834:. Yale University Press. pp. 190–205.
1251:, it is based on the design of German poet
3529:Iconic Designs: 50 Stories about 50 Things
3088:. De Graaf. pp. 29–31. Archived from
3036:Stefan George und sein Kreis: Ein Handbuch
2162:. Leipzig: Seemann. 1926. pp. 181–218
1287:The Graphic Artist and His Design Problems
523:alternate characters to print his poetry.
27:
3638:"Vintage Fonts: 35 Adverts From the Past"
3262:. Yale University Press. pp. 290–1.
3188:Kupferschmid, Indra (21 September 2014).
2886:"Blue Pencil no. 18—Arial addendum no. 3"
2304:"Notes on the Origin of Akzidenz-Grotesk"
1272:Atkins: A version published by Softmaker.
903:) No. 473 except where stated otherwise:
405:any specific products from other firms."
5982:Letters of Credit: A View of Type Design
4817:
4335:
4323:
4258:
4246:
4189:
3872:
3860:
3532:. Bloomsbury Publishing. pp. 81–3.
3463:. Berthold/Linotype (advert): 56. 1959.
2815:
2359:Kupferschmid, Indra (25 December 2017).
2213:
2118:
1932:
1895:
5752:(English ed.). Basel: Birkhäuser.
2254:Boktryckareföreningen, Svenska (1905).
2189:Kupferschmid, Indra (11 October 2017).
1511:
1372:
125:"International" or "Swiss" design style
5851:Helvetica Forever: Story of a Typeface
5721:"New Global Brand Typeface for Nissan"
4910:Kupferschmid, Indra (30 August 2007).
4886:British Railways: The Nation's Railway
4234:
3513:
3256:Eskilson, Stephen (28 February 2012).
2953:
1723:
1680:. Oxford: Clarendon Press. p. 16.
1543:
1216:magazine under the name "Standard CT".
843:Characteristics of this typeface are:
20:
5645:"Creative Commons Style Guide (2019)"
4860:"From Akzidenz to Transport Solution"
4209:"Review: Graphic Design and the Soul"
3393:Müller, Malsy & Kupferschmid 2009
3285:"Reputations: Josef Müller-Brockmann"
3139:The Typography of Press Advertisement
2923:
2911:
2675:Kupferschmid, Indra (12 April 2012).
1830:
1321:" in the display of the USAF symbol.
1032:Akzidenz-Grotesk Schoolbook (German:
920:Fett (Bold, available as poster type)
747:technology, including Berthold's own
7:
5051:Justus, Dana; Estoesa, Ivy Clarice.
4121:Lippa, Domenic (14 September 2013).
3553:Lucienne Roberts (1 November 2005).
3526:Grace Lees-Maffei (8 January 2015).
3155:Jan Tschichold: A Life in Typography
2735:Jan-Pool, Albert (23 January 2014).
1203:Gothic 725: A two-weight version by
5895:Reynolds, Dan (2020). "Chapter 1".
3636:Budrick, Callie (19 October 2015).
1186:of a typeface is in many countries
4883:Jackson, Tanya (31 January 2013).
4858:Sudjic, Deyan (11 November 2011).
4459:Font Technology: Methods and Tools
4406:Reynolds, Dan (12 February 2019).
4019:"News: AG goes Greek and Cyrillic"
3559:. AVA Publishing. pp. 27–29.
3335:"Posters for the Zurich Town Hall"
3228:. University of California Press.
3009:Paul Renner: The Art of Typography
2705:Spiekermann, Erik; Reynolds, Dan.
2650:Reynolds, Dan (25 February 2019).
2622:Reynolds, Dan (22 February 2019).
2302:Reynolds, Daniel (28 April 2023).
1651:Hardwig, Florian (2 August 2018).
1581:Reynolds, Dan (11 November 2019).
661:Classical music concert poster by
570:. In 1923 Tschichold converted to
487:, which has a single-storey 'a'. (
119:as the preferred typeface of many
91:family originally released by the
14:
5547:"Displaying the Air Force Symbol"
4682:Coles, Stephen (26 August 2012).
4207:Reynolds, Dan (2 November 2010).
3755:. Stuttgart: H. Berthold. c. 1960
3370:. Berlin: Berthold Fototype. 1984
3190:"Live Type Research in Barcelona"
2884:Shaw, Paul; Kupferschmid, Indra.
751:, and then digital technologies.
6079:Berthold advertisement from 1937
5240:Stinson, Liz (21 January 2020).
4710:Coles, Stephen (20 March 2016).
3978:. Berthold Types. Archived from
3068:Melchior Lechtor 1938 gestorben.
2229:Reynolds, Dan (23 August 2019).
433:
422:
305:
294:
127:which became popular across the
6045:Berthold specimens from c. 1913
5723:. Kontrapunkt. 10 November 2015
4769:Microsoft Typography (archived)
4456:Peter Karow (6 December 2012).
4023:Microsoft Typography (archived)
3785:from the original on 2021-11-15
3333:Coles, Stephen (3 April 2012).
2687:from the original on 2013-03-30
2537:Reynolds, Dan (29 April 2019).
2512:Reynolds, Dan (13 April 2019).
1606:Marahrens, August, ed. (1870).
1519:Reynolds, Dan (12 April 2018).
1362:Berthold Akzidenz Dialog System
1096:Similarities to other typefaces
1000:Akzidenz-Grotesk Book (German:
6125:Typefaces with infant variants
6105:Grotesque sans-serif typefaces
5876:Reynolds, Dan (16 July 2019).
5316:"NYC SANS – Trademark Details"
5021:United States Copyright Office
4889:. History Press. p. 130.
3667:Paul Shaw Letter Design (blog)
3308:Raposo, Tânia (15 July 2013).
3116:. 010 Publishers. p. 45.
2890:Paul Shaw Letter Design (blog)
2091:Reynolds, Dan (12 June 2018).
2038:guten Akzidenzien erhoben hat.
895:Akzidenz-Grotesk's bold weight
519:. He commissioned some custom
330:offering different versions.
1:
6039:Akzidenz Grotesk sample books
5750:Typefaces: The Complete Works
4048:"Harvey Hunt Obituary (2022)"
3085:Dutch Typefounders' Specimens
1219:Söhne: A version released by
967:Skelett (Extralight Extended)
923:Schmalmager (Light Condensed)
16:Grotesque sans-serif typeface
5806:. Laurence King Publishing.
5520:"Brand identity at a glance"
5339:Miller, Meg (10 June 2016).
4098:"The designer as programmer"
465:Prussian Academy of Sciences
347:printer's rule, moving into
219:style. Modern type designer
6130:Products introduced in 1898
5969:Typografische Monatsblätter
5676:Staatliche Museen zu Berlin
4937:"Wagner & Schmidt, etc"
4771:. Microsoft. Archived from
4684:"Knowledge (XXG) Redefined"
4025:. Microsoft. Archived from
3283:Schwemer-Scheddin, Yvonne.
2396:für die 'Accidenz-Grotesk'.
1748:"My Type Design Philosophy"
1463:Or Halbfette Bücher-Grotesk
970:Breitmager (Light Extended)
815:Distinctive characteristics
6146:
6115:Photocomposition typefaces
6041:digitised by Ulrich Stiehl
4630:Information Design Journal
4585:. Berthold. Archived from
4560:. Berthold. Archived from
4431:Hudson, Rob (4 May 2023).
4155:"Söhne design information"
2134:. The Happy Dragon's Press
1777:Handover, Phyllis Margaret
1700:"A Neo-Grotesque Heritage"
1627:. Schöningh. p. 254.
1348:Japanese car manufacturer
1158:
1020:Akzidenz-Grotesk Schulbuch
369:Eckehart Schumacher-Gebler
340:in 1858 initially to make
266:of Akzidenz-Grotesk shows
5821:Homola, Wolfgang (2004).
4765:"News: The Next Akzidenz"
4526:
3836:de Jong, Cees W. (2006).
3466:
3066:
2936:N1KE (21 February 2012).
2496:
2391:
2384:Wanetzky, Harald (1995).
2159:Handbuch der Schriftarten
2036:
2005:
1623:Muthmann, Gustav (2000).
1170:Alternative digitisations
1155:"Akzidenz-Grotesk" (Haas)
1055:Akzidenz-Grotesk Old Face
944:
638:was German-born designer
527:Mid-twentieth-century use
497:Handbuch der Schriftarten
411:
314:
102:
26:
5800:Hollis, Richard (2006).
5500:Arizona State University
5366:"NYC Go rebrand details"
5145:ist ja auch die beste AG
3947:"Berthold Goes Bankrupt"
3110:Middendorp, Jan (2004).
2828:Paul Shaw (April 2017).
2256:"Berthold advertisement"
2057:"The Face of Uniformity"
1307:Arizona State University
5551:United States Air Force
5496:"Elements of the brand"
5058:The National Law Review
3617:Type Design Information
2737:"Stefan George Schrift"
2333:. Inmerc. p. 331.
2274:"Reklameschrift Herold"
945:Bücher-Grotesk halbfett
653:for Japanese exhibition
549:"geometric" sans-serifs
485:Schelter & Giesecke
268:variation between sizes
4642:10.1075/idj.11.2.04wal
4545:Schwemer-Scheddin 2003
4178:Schwemer-Scheddin 2003
3912:Schwemer-Scheddin 2003
3491:"The Birth of a Giant"
3152:McLean, Ruari (1997).
3141:. pp. 86–88, etc.
2761:"Ferdinand Theinhardt"
2587:Schwemer-Scheddin 2003
2480:Archiv für Buchgewerbe
1989:Archiv für Buchgewerbe
1302:
1290:
1179:
1127:
1116:
1068:
1033:
1029:
1001:
997:
963:
938:
900:
896:
840:
792:
755:to cast type in 1978.
740:
720:
666:
663:Josef Müller-Brockmann
654:
632:Selbstverständlichkeit
631:
624:Josef Müller-Brockmann
610:
544:
536:
511:
496:
489:Monotype Grotesque 215
475:
392:
364:
204:
195:Design characteristics
179:
155:
6110:Letterpress typefaces
6029:AG Book Stencil et al
6013:Akzidenz-Grotesk Next
6009:Akzidenz-Grotesk Pro+
5158:"Basic Commercial LT"
4935:Kupferschmid, Indra.
4912:"Haas Normal-Grotesk"
4583:"AG Book Rounded Pro"
4483:Schwartz, Christian.
4380:"Inclined to be dull"
3970:Hunt, Harvey (2004).
3489:Kupferschmid, Indra.
3137:Day, Kenneth (1956).
1296:
1284:
1177:
1122:
1103:
1087:Akzidenz-Grotesk Next
1062:
1038:schoolbook characters
1027:
995:
988:Akzidenz-Grotesk Buch
961:
936:
894:
822:
787:Karl Gerstner's book
786:
730:
715:
703:Deberny & Peignot
676:hot metal typesetting
660:
648:
605:
542:
534:
505:
493:Handbook of Typefaces
473:
361:
202:
93:Berthold Type Foundry
4608:"AG Schoolbook® Pro"
3976:Typophile (archived)
3730:Schriftprobe Nr. 473
3063:. 1943. p. 45.
2804:as Accidenz-Grotesk.
2711:Typophile (archived)
2451:Typophile (archived)
2027:"Schriftprobenschau"
1746:(29 November 2004).
1454:Or Enge Steinschrift
1244:, and a true italic.
1225:a monospaced version
833:Justus-Erich Walbaum
809:Designing Programmes
789:Designing Programmes
733:New York City Subway
597:Die neue Typographie
448:Günter Gerhard Lange
272:design and engraving
6069:(for American uses)
5410:Ulrich, Ferdinand.
4485:"Neue Haas Grotesk"
4123:"The 10 best fonts"
3926:"Gerstner-Programm"
3886:"Gerstner-Programm"
3813:Berthold Types blog
3781:. Typography.Guru.
2978:(14 January 2006).
2539:"Longina-Schriften"
1950:Frere-Jones, Tobias
1909:Frere-Jones, Tobias
1781:"Grotesque Letters"
1213:San Francisco Focus
1139:Much more loosely,
887:Metal type versions
723:Post-metal releases
393:Schattierte Grotesk
367:Recent research by
315:Schattierte Grotesk
188:Fann Street Foundry
178:Grotesque (German:
23:
6100:Linotype typefaces
6095:Berthold typefaces
5527:American Red Cross
5246:AIGA Eye On Design
4005:2006-05-18 at the
3928:. Forgotten Shapes
3809:"Akzidenz-Grotesk"
3414:Sanskritweb (blog)
3004:Burke, Christopher
2976:Cartwright, Justin
2033:: 404, 407. 1896.
1915:. Frere-Jones Type
1678:A Latin Dictionary
1425:of variable height
1410:Date according to
1326:Target Corporation
1311:American Red Cross
1303:
1297:Political debate,
1291:
1180:
1128:
1117:
1069:
1030:
998:
964:
939:
897:
841:
793:
741:
672:manual composition
667:
655:
584:László Moholy-Nagy
578:exhibition at the
545:
537:
512:
476:
381:Bauer Type Foundry
373:Indra Kupferschmid
365:
349:casting metal type
205:
184:William Thorowgood
6120:Digital typefaces
5992:978-1-56792-240-0
5813:978-1-85669-487-2
5626:. 28 October 2019
5125:Spiekermann, Erik
4896:978-0-7524-9742-6
4834:Calvert, Margaret
4739:"AG Old Face Pro"
4505:Spiekermann, Eric
4469:978-3-642-78505-4
4159:Klim Type Foundry
4096:Hollis, Richard.
3566:978-2-940373-08-6
3539:978-0-85785-353-0
3269:978-0-300-17260-7
3123:978-90-6450-460-0
3046:978-3-11-045688-2
3019:978-1-56898-158-1
3006:(December 1998).
2980:"Prophet of doom"
2926:, p. 58, 92.
2856:"Venus – MyFonts"
2841:978-0-300-21929-6
2443:Spiekermann, Erik
2340:978-90-6611-250-6
1946:Hoefler, Jonathan
1587:Klim Type Foundry
1412:Helvetica Forever
1231:NYC & Company
1221:Klim Type Foundry
1188:not copyrightable
775:later that year.
79:
78:
6137:
6055:Akzidenz-Grotesk
6007:Berthold pages:
5996:
5972:
5963:
5961:
5960:
5945:
5943:
5942:
5927:
5925:
5924:
5909:
5907:
5906:
5891:
5889:
5888:
5873:
5864:
5845:
5843:
5842:
5836:
5829:
5817:
5796:
5794:
5793:
5787:
5781:. Archived from
5779:Der Druckspiegel
5776:
5763:
5746:Frutiger, Adrian
5732:
5731:
5729:
5728:
5717:
5711:
5710:
5708:
5707:
5698:. Archived from
5692:
5686:
5685:
5683:
5682:
5668:
5662:
5661:
5659:
5658:
5652:Creative Commons
5649:
5641:
5635:
5634:
5632:
5631:
5624:Creative Commons
5616:
5610:
5609:
5607:
5606:
5599:Creative Commons
5591:
5585:
5584:
5582:
5581:
5567:
5561:
5560:
5558:
5557:
5543:
5537:
5536:
5534:
5533:
5524:
5516:
5510:
5509:
5507:
5506:
5492:
5486:
5484:Akzidenz Grotesk
5481:
5475:
5474:
5472:
5471:
5456:
5450:
5449:
5447:
5446:
5432:
5426:
5425:
5423:
5422:
5407:
5401:
5400:
5398:
5397:
5383:
5377:
5376:
5374:
5373:
5364:Lessard, Emily.
5361:
5355:
5354:
5352:
5351:
5336:
5330:
5329:
5327:
5326:
5312:
5306:
5305:
5303:
5302:
5291:
5285:
5284:
5282:
5281:
5266:
5260:
5259:
5257:
5256:
5237:
5231:
5230:
5228:
5227:
5209:
5203:
5202:
5200:
5199:
5179:
5173:
5172:
5170:
5169:
5154:
5148:
5147:
5142:
5141:
5121:
5115:
5114:
5112:
5111:
5100:
5094:
5093:
5091:
5090:
5078:Coles, Stephen.
5075:
5069:
5068:
5066:
5065:
5048:
5042:
5041:
5036:
5035:
5029:
5018:
5010:
5004:
5003:
5001:
5000:
4986:
4980:
4979:
4977:
4976:
4962:
4956:
4955:
4953:
4952:
4943:. Archived from
4932:
4926:
4925:
4923:
4922:
4907:
4901:
4900:
4880:
4874:
4873:
4871:
4870:
4855:
4849:
4848:
4846:
4845:
4830:
4821:
4815:
4809:
4808:
4806:
4805:
4793:Gehlhaar, Jens.
4790:
4784:
4783:
4781:
4780:
4761:
4750:
4749:
4747:
4746:
4741:. Berthold Types
4735:
4726:
4725:
4723:
4722:
4707:
4698:
4697:
4695:
4694:
4679:
4673:
4672:
4670:
4669:
4655:
4646:
4645:
4625:
4619:
4618:
4616:
4615:
4610:. Berthold Types
4604:
4598:
4597:
4595:
4594:
4579:
4573:
4572:
4570:
4569:
4554:
4548:
4542:
4536:
4535:
4533:
4532:
4522:
4521:
4501:
4495:
4494:
4492:
4491:
4480:
4474:
4473:
4453:
4447:
4446:
4444:
4443:
4428:
4422:
4421:
4419:
4418:
4403:
4394:
4393:
4391:
4390:
4372:
4366:
4365:
4363:
4362:
4348:
4339:
4333:
4327:
4321:
4315:
4314:
4312:
4311:
4297:
4291:
4290:
4288:
4287:
4273:
4262:
4256:
4250:
4244:
4238:
4232:
4226:
4225:
4220:
4219:
4204:
4193:
4187:
4181:
4175:
4169:
4168:
4166:
4165:
4153:Sowersby, Kris.
4150:
4139:
4138:
4136:
4135:
4118:
4112:
4111:
4109:
4108:
4093:
4087:
4086:
4084:
4083:
4078:. 25 August 2022
4068:
4062:
4061:
4059:
4058:
4044:
4038:
4037:
4035:
4034:
4015:
4009:
3997:
3991:
3990:
3988:
3987:
3967:
3961:
3960:
3958:
3957:
3943:
3937:
3936:
3934:
3933:
3921:
3915:
3909:
3900:
3899:
3897:
3896:
3882:
3876:
3870:
3864:
3858:
3852:
3851:
3833:
3824:
3823:
3821:
3820:
3815:. Berthold Types
3805:
3794:
3793:
3791:
3790:
3770:
3764:
3763:
3761:
3760:
3747:
3741:
3740:
3733:
3726:
3677:
3676:
3674:
3673:
3658:
3652:
3651:
3649:
3648:
3633:
3627:
3626:
3624:
3623:
3614:
3605:
3599:
3598:
3593:
3592:
3577:
3571:
3570:
3550:
3544:
3543:
3523:
3517:
3511:
3505:
3504:
3502:
3501:
3486:
3473:
3472:
3470:
3469:
3453:
3424:
3423:
3421:
3420:
3411:
3405:Stiehl, Ulrich.
3402:
3396:
3390:
3379:
3378:
3376:
3375:
3362:
3349:
3348:
3346:
3345:
3330:
3324:
3323:
3321:
3320:
3305:
3299:
3298:
3296:
3295:
3280:
3274:
3273:
3253:
3240:
3239:
3210:
3204:
3203:
3201:
3200:
3185:
3179:
3176:
3170:
3169:
3149:
3143:
3142:
3134:
3128:
3127:
3107:
3101:
3100:
3098:
3097:
3079:
3073:
3072:
3070:
3069:
3057:
3051:
3050:
3030:
3024:
3023:
3000:
2994:
2993:
2991:
2990:
2972:
2966:
2965:
2959:
2951:
2949:
2948:
2933:
2927:
2921:
2915:
2909:
2900:
2899:
2897:
2896:
2881:
2872:
2871:
2869:
2868:
2852:
2846:
2845:
2825:
2819:
2813:
2807:
2806:
2800:
2799:
2784:
2778:
2777:
2775:
2774:
2768:Klingspor Museum
2765:
2757:
2751:
2750:
2748:
2747:
2732:
2726:
2725:
2723:
2722:
2713:. Archived from
2702:
2696:
2695:
2693:
2692:
2672:
2666:
2665:
2663:
2662:
2647:
2638:
2637:
2635:
2634:
2619:
2613:
2612:
2610:
2609:
2596:
2590:
2584:
2578:
2577:
2575:
2574:
2559:
2553:
2552:
2550:
2549:
2534:
2528:
2527:
2525:
2524:
2509:
2503:
2502:
2500:
2499:
2492:
2491:
2472:
2466:
2465:
2463:
2462:
2453:. Archived from
2439:
2426:
2425:
2423:
2422:
2407:
2401:
2400:
2398:
2397:
2394:Jugendstillayout
2381:
2375:
2374:
2372:
2371:
2356:
2345:
2344:
2324:
2318:
2317:
2315:
2314:
2299:
2288:
2287:
2285:
2284:
2270:
2264:
2263:
2262:: 106, 336, 368.
2251:
2245:
2244:
2242:
2241:
2226:
2217:
2211:
2205:
2204:
2202:
2201:
2186:
2171:
2170:
2168:
2167:
2154:
2143:
2142:
2140:
2139:
2128:
2122:
2116:
2107:
2106:
2104:
2103:
2088:
2082:
2081:
2079:
2078:
2072:
2066:. Archived from
2064:Graphic Exchange
2061:
2049:
2043:
2042:
2040:
2039:
2023:
2012:
2011:
2009:
2008:
2001:
2000:
1981:
1972:
1971:
1965:
1964:
1958:Hoefler & Co
1942:
1936:
1930:
1924:
1923:
1921:
1920:
1905:
1899:
1893:
1884:
1883:
1881:
1880:
1874:
1868:. Archived from
1866:Der Druckspiegel
1863:
1851:
1834:
1828:
1822:
1821:
1819:
1818:
1809:. Archived from
1795:
1789:
1788:
1773:
1762:
1761:
1759:
1758:
1740:
1727:
1721:
1715:
1714:
1708:
1707:
1695:
1682:
1681:
1673:
1667:
1666:
1664:
1663:
1648:
1642:
1641:
1620:
1614:
1613:
1603:
1597:
1596:
1594:
1593:
1578:
1547:
1541:
1535:
1534:
1532:
1531:
1516:
1501:
1498:
1492:
1489:
1483:
1480:
1474:
1470:
1464:
1461:
1455:
1452:
1446:
1443:
1437:
1434:
1428:
1421:
1415:
1408:
1402:
1395:
1389:
1386:
1380:
1377:
1332:Creative Commons
1149:Margaret Calvert
1065:phototypesetting
1010:Erik Spiekermann
973:Breit (Extended)
947:
946:
745:phototypesetting
640:Anton Stankowski
437:
426:
414:
413:
391:effect (German:
317:
316:
309:
298:
158:
137:digital versions
105:
104:
82:Akzidenz-Grotesk
31:
24:
22:Akzidenz-Grotesk
6145:
6144:
6140:
6139:
6138:
6136:
6135:
6134:
6085:
6084:
6025:AG Book Rounded
6004:
5999:
5993:
5985:. D.R. Godine.
5975:
5966:
5958:
5956:
5948:
5940:
5938:
5930:
5922:
5920:
5912:
5904:
5902:
5894:
5886:
5884:
5875:
5867:
5861:
5853:. Lars Müller.
5848:
5840:
5838:
5834:
5827:
5820:
5814:
5799:
5791:
5789:
5785:
5774:
5766:
5760:
5744:
5740:
5735:
5726:
5724:
5719:
5718:
5714:
5705:
5703:
5696:"Nissan Global"
5694:
5693:
5689:
5680:
5678:
5670:
5669:
5665:
5656:
5654:
5647:
5643:
5642:
5638:
5629:
5627:
5618:
5617:
5613:
5604:
5602:
5601:. 25 March 2015
5593:
5592:
5588:
5579:
5577:
5569:
5568:
5564:
5555:
5553:
5545:
5544:
5540:
5531:
5529:
5522:
5518:
5517:
5513:
5504:
5502:
5494:
5493:
5489:
5482:
5478:
5469:
5467:
5458:
5457:
5453:
5444:
5442:
5434:
5433:
5429:
5420:
5418:
5409:
5408:
5404:
5395:
5393:
5385:
5384:
5380:
5371:
5369:
5368:. Emily Lessard
5363:
5362:
5358:
5349:
5347:
5338:
5337:
5333:
5324:
5322:
5314:
5313:
5309:
5300:
5298:
5293:
5292:
5288:
5279:
5277:
5269:Blažek, Filip.
5268:
5267:
5263:
5254:
5252:
5239:
5238:
5234:
5225:
5223:
5212:Castle, Jason.
5211:
5210:
5206:
5197:
5195:
5181:
5180:
5176:
5167:
5165:
5156:
5155:
5151:
5139:
5137:
5123:
5122:
5118:
5109:
5107:
5102:
5101:
5097:
5088:
5086:
5077:
5076:
5072:
5063:
5061:
5050:
5049:
5045:
5033:
5031:
5027:
5016:
5012:
5011:
5007:
4998:
4996:
4988:
4987:
4983:
4974:
4972:
4964:
4963:
4959:
4950:
4948:
4934:
4933:
4929:
4920:
4918:
4909:
4908:
4904:
4897:
4882:
4881:
4877:
4868:
4866:
4857:
4856:
4852:
4843:
4841:
4838:"New Transport"
4832:
4831:
4824:
4816:
4812:
4803:
4801:
4792:
4791:
4787:
4778:
4776:
4763:
4762:
4753:
4744:
4742:
4737:
4736:
4729:
4720:
4718:
4712:"Design Museum"
4709:
4708:
4701:
4692:
4690:
4681:
4680:
4676:
4667:
4665:
4657:
4656:
4649:
4627:
4626:
4622:
4613:
4611:
4606:
4605:
4601:
4592:
4590:
4581:
4580:
4576:
4567:
4565:
4556:
4555:
4551:
4543:
4539:
4519:
4517:
4503:
4502:
4498:
4489:
4487:
4482:
4481:
4477:
4470:
4455:
4454:
4450:
4441:
4439:
4430:
4429:
4425:
4416:
4414:
4405:
4404:
4397:
4388:
4386:
4374:
4373:
4369:
4360:
4358:
4350:
4349:
4342:
4334:
4330:
4322:
4318:
4309:
4307:
4299:
4298:
4294:
4285:
4283:
4275:
4274:
4265:
4257:
4253:
4245:
4241:
4233:
4229:
4217:
4215:
4206:
4205:
4196:
4188:
4184:
4176:
4172:
4163:
4161:
4152:
4151:
4142:
4133:
4131:
4120:
4119:
4115:
4106:
4104:
4095:
4094:
4090:
4081:
4079:
4070:
4069:
4065:
4056:
4054:
4046:
4045:
4041:
4032:
4030:
4017:
4016:
4012:
4007:Wayback Machine
3998:
3994:
3985:
3983:
3969:
3968:
3964:
3955:
3953:
3945:
3944:
3940:
3931:
3929:
3924:Raabe, Marcel.
3923:
3922:
3918:
3910:
3903:
3894:
3892:
3884:
3883:
3879:
3871:
3867:
3859:
3855:
3848:
3835:
3834:
3827:
3818:
3816:
3807:
3806:
3797:
3788:
3786:
3773:Hermann, Ralf.
3772:
3771:
3767:
3758:
3756:
3749:
3748:
3744:
3735:
3734:
3728:
3727:
3680:
3671:
3669:
3660:
3659:
3655:
3646:
3644:
3635:
3634:
3630:
3621:
3619:
3612:
3607:
3606:
3602:
3590:
3588:
3579:
3578:
3574:
3567:
3552:
3551:
3547:
3540:
3525:
3524:
3520:
3512:
3508:
3499:
3497:
3488:
3487:
3476:
3461:Gebrauchsgrafik
3455:
3454:
3427:
3418:
3416:
3409:
3404:
3403:
3399:
3391:
3382:
3373:
3371:
3364:
3363:
3352:
3343:
3341:
3332:
3331:
3327:
3318:
3316:
3307:
3306:
3302:
3293:
3291:
3282:
3281:
3277:
3270:
3255:
3254:
3243:
3236:
3214:Tschichold, Jan
3212:
3211:
3207:
3198:
3196:
3187:
3186:
3182:
3177:
3173:
3166:
3151:
3150:
3146:
3136:
3135:
3131:
3124:
3109:
3108:
3104:
3095:
3093:
3081:
3080:
3076:
3059:
3058:
3054:
3047:
3032:
3031:
3027:
3020:
3002:
3001:
2997:
2988:
2986:
2974:
2973:
2969:
2952:
2946:
2944:
2935:
2934:
2930:
2922:
2918:
2910:
2903:
2894:
2892:
2883:
2882:
2875:
2866:
2864:
2854:
2853:
2849:
2842:
2827:
2826:
2822:
2814:
2810:
2797:
2795:
2787:Reynolds, Dan.
2786:
2785:
2781:
2772:
2770:
2763:
2759:
2758:
2754:
2745:
2743:
2734:
2733:
2729:
2720:
2718:
2704:
2703:
2699:
2690:
2688:
2674:
2673:
2669:
2660:
2658:
2649:
2648:
2641:
2632:
2630:
2621:
2620:
2616:
2607:
2605:
2598:
2597:
2593:
2585:
2581:
2572:
2570:
2561:
2560:
2556:
2547:
2545:
2536:
2535:
2531:
2522:
2520:
2511:
2510:
2506:
2489:
2487:
2474:
2473:
2469:
2460:
2458:
2441:
2440:
2429:
2420:
2418:
2410:Reynolds, Dan.
2409:
2408:
2404:
2383:
2382:
2378:
2369:
2367:
2358:
2357:
2348:
2341:
2326:
2325:
2321:
2312:
2310:
2301:
2300:
2291:
2282:
2280:
2272:
2271:
2267:
2253:
2252:
2248:
2239:
2237:
2228:
2227:
2220:
2212:
2208:
2199:
2197:
2188:
2187:
2174:
2165:
2163:
2156:
2155:
2146:
2137:
2135:
2130:
2129:
2125:
2117:
2110:
2101:
2099:
2090:
2089:
2085:
2076:
2074:
2070:
2059:
2051:
2050:
2046:
2025:
2024:
2015:
1998:
1996:
1983:
1982:
1975:
1962:
1960:
1944:
1943:
1939:
1931:
1927:
1918:
1916:
1907:
1906:
1902:
1894:
1887:
1878:
1876:
1872:
1861:
1853:
1852:
1837:
1829:
1825:
1816:
1814:
1797:
1796:
1792:
1775:
1774:
1765:
1756:
1754:
1742:
1741:
1730:
1722:
1718:
1705:
1703:
1702:. Adobe Systems
1697:
1696:
1685:
1675:
1674:
1670:
1661:
1659:
1650:
1649:
1645:
1635:
1622:
1621:
1617:
1605:
1604:
1600:
1591:
1589:
1580:
1579:
1550:
1542:
1538:
1529:
1527:
1518:
1517:
1513:
1509:
1504:
1499:
1495:
1490:
1486:
1481:
1477:
1471:
1467:
1462:
1458:
1453:
1449:
1444:
1440:
1435:
1431:
1422:
1418:
1409:
1405:
1396:
1392:
1387:
1383:
1378:
1374:
1370:
1358:
1279:
1172:
1163:
1157:
1098:
1089:
1057:
1022:
990:
926:Eng (Condensed)
889:
884:
817:
781:
731:Signage on the
725:
649:1959 poster by
615:
613:The Swiss style
592:Kurt Schwitters
529:
445:
444:
443:
442:
441:
438:
429:
428:
427:
402:brand extension
355:on the family.
336:was founded in
323:
322:
321:
320:
319:
310:
301:
300:
299:
288:
197:
173:Lewis and Short
165:Akzidenzschrift
149:German language
145:
117:post-war period
17:
12:
11:
5:
6143:
6141:
6133:
6132:
6127:
6122:
6117:
6112:
6107:
6102:
6097:
6087:
6086:
6083:
6082:
6076:
6070:
6048:
6042:
6036:
6003:
6002:External links
6000:
5998:
5997:
5991:
5973:
5964:
5946:
5928:
5910:
5892:
5865:
5860:978-3037781210
5859:
5846:
5818:
5812:
5797:
5768:Gerstner, Karl
5764:
5759:978-3764385811
5758:
5741:
5739:
5736:
5734:
5733:
5712:
5687:
5663:
5636:
5611:
5586:
5575:www.law360.com
5562:
5538:
5511:
5487:
5476:
5451:
5436:"St G Schrift"
5427:
5402:
5378:
5356:
5331:
5307:
5297:. Hex Projects
5286:
5261:
5232:
5204:
5193:Bitstream Inc.
5174:
5149:
5129:"Twitter post"
5116:
5095:
5070:
5043:
5005:
4981:
4957:
4927:
4902:
4895:
4875:
4850:
4822:
4810:
4785:
4751:
4727:
4699:
4674:
4647:
4636:(3): 106–122.
4620:
4599:
4574:
4549:
4537:
4509:"Twitter post"
4496:
4475:
4468:
4448:
4423:
4395:
4376:Majoor, Martin
4367:
4340:
4328:
4316:
4292:
4263:
4251:
4249:, p. 250.
4239:
4227:
4194:
4182:
4170:
4140:
4113:
4088:
4063:
4039:
4010:
3992:
3962:
3938:
3916:
3901:
3877:
3865:
3863:, p. 141.
3853:
3846:
3825:
3795:
3765:
3742:
3678:
3653:
3628:
3608:Devroye, Luc.
3600:
3572:
3565:
3545:
3538:
3518:
3516:, p. 201.
3506:
3474:
3425:
3397:
3380:
3350:
3325:
3300:
3275:
3268:
3241:
3234:
3222:Kinross, Robin
3205:
3180:
3171:
3164:
3144:
3129:
3122:
3102:
3074:
3052:
3045:
3025:
3018:
2995:
2967:
2928:
2916:
2901:
2873:
2847:
2840:
2820:
2818:, p. 138.
2808:
2779:
2752:
2727:
2697:
2667:
2639:
2614:
2591:
2579:
2554:
2529:
2504:
2476:"Schriftprobe"
2467:
2427:
2402:
2376:
2346:
2339:
2319:
2289:
2265:
2246:
2218:
2216:, p. 137.
2206:
2172:
2144:
2123:
2121:, p. 139.
2108:
2083:
2044:
2013:
1985:"Schriftprobe"
1973:
1937:
1925:
1900:
1885:
1855:Gerstner, Karl
1835:
1823:
1790:
1763:
1744:Majoor, Martin
1728:
1716:
1683:
1668:
1643:
1633:
1615:
1598:
1548:
1536:
1510:
1508:
1505:
1503:
1502:
1493:
1484:
1475:
1465:
1456:
1447:
1438:
1429:
1416:
1403:
1390:
1381:
1371:
1369:
1366:
1365:
1364:
1357:
1354:
1324:Berthold sued
1319:U.S. Air Force
1278:
1275:
1274:
1273:
1270:
1269:
1268:
1265:
1256:
1245:
1234:
1227:
1217:
1208:
1201:
1195:
1171:
1168:
1161:Normal-Grotesk
1159:Main article:
1156:
1153:
1097:
1094:
1088:
1085:
1056:
1053:
1021:
1018:
989:
986:
981:
980:
977:
974:
971:
968:
956:
955:
952:
949:
931:
930:
927:
924:
921:
918:
915:
912:
888:
885:
883:
880:
874:rather than a
816:
813:
780:
777:
737:screen-printed
724:
721:
614:
611:
568:Jan Tschichold
528:
525:
439:
432:
431:
430:
421:
420:
419:
418:
417:
412:Schmalhalbfett
397:design patents
353:design patents
328:type foundries
311:
304:
303:
302:
293:
292:
291:
290:
289:
287:
284:
196:
193:
144:
141:
115:status in the
77:
76:
73:
69:
68:
66:H. Berthold AG
63:
57:
56:
51:
49:Classification
45:
44:
39:
33:
32:
15:
13:
10:
9:
6:
4:
3:
2:
6142:
6131:
6128:
6126:
6123:
6121:
6118:
6116:
6113:
6111:
6108:
6106:
6103:
6101:
6098:
6096:
6093:
6092:
6090:
6080:
6077:
6074:
6071:
6068:
6064:
6060:
6056:
6052:
6049:
6046:
6043:
6040:
6037:
6034:
6033:AG Schoolbook
6030:
6026:
6022:
6018:
6014:
6010:
6006:
6005:
6001:
5994:
5988:
5984:
5983:
5978:
5977:Tracy, Walter
5974:
5970:
5965:
5954:
5953:
5947:
5936:
5935:
5929:
5918:
5917:
5911:
5900:
5899:
5893:
5883:
5879:
5874:Lay summary:
5871:
5866:
5862:
5856:
5852:
5847:
5837:on 2011-01-12
5833:
5826:
5825:
5819:
5815:
5809:
5805:
5804:
5798:
5788:on 2017-10-15
5784:
5780:
5773:
5769:
5765:
5761:
5755:
5751:
5747:
5743:
5742:
5737:
5722:
5716:
5713:
5702:on 2022-06-26
5701:
5697:
5691:
5688:
5677:
5673:
5667:
5664:
5653:
5646:
5640:
5637:
5625:
5621:
5615:
5612:
5600:
5596:
5590:
5587:
5576:
5572:
5566:
5563:
5552:
5548:
5542:
5539:
5528:
5521:
5515:
5512:
5501:
5497:
5491:
5488:
5485:
5480:
5477:
5465:
5461:
5455:
5452:
5441:
5437:
5431:
5428:
5417:
5413:
5406:
5403:
5392:
5388:
5382:
5379:
5367:
5360:
5357:
5346:
5342:
5335:
5332:
5321:
5317:
5311:
5308:
5296:
5290:
5287:
5276:
5272:
5265:
5262:
5251:
5247:
5243:
5236:
5233:
5221:
5220:
5215:
5214:"Standard CT"
5208:
5205:
5194:
5190:
5189:
5184:
5178:
5175:
5163:
5159:
5153:
5150:
5146:
5136:
5135:
5130:
5126:
5120:
5117:
5105:
5099:
5096:
5085:
5081:
5074:
5071:
5060:
5059:
5054:
5047:
5044:
5040:
5030:on 2014-12-23
5026:
5022:
5015:
5009:
5006:
4995:
4991:
4985:
4982:
4971:
4967:
4961:
4958:
4947:on 2017-01-19
4946:
4942:
4941:kupferschrift
4938:
4931:
4928:
4917:
4913:
4906:
4903:
4898:
4892:
4888:
4887:
4879:
4876:
4865:
4861:
4854:
4851:
4839:
4835:
4829:
4827:
4823:
4819:
4818:Frutiger 2009
4814:
4811:
4800:
4799:Jens Gehlhaar
4796:
4789:
4786:
4775:on 2017-06-19
4774:
4770:
4766:
4760:
4758:
4756:
4752:
4740:
4734:
4732:
4728:
4717:
4713:
4706:
4704:
4700:
4689:
4685:
4678:
4675:
4664:
4660:
4654:
4652:
4648:
4643:
4639:
4635:
4631:
4624:
4621:
4609:
4603:
4600:
4589:on 2017-10-02
4588:
4584:
4578:
4575:
4564:on 2017-10-02
4563:
4559:
4558:"AG Book Pro"
4553:
4550:
4547:, p. 23.
4546:
4541:
4538:
4534:
4530:
4516:
4515:
4510:
4506:
4500:
4497:
4486:
4479:
4476:
4471:
4465:
4461:
4460:
4452:
4449:
4438:
4434:
4427:
4424:
4413:
4409:
4402:
4400:
4396:
4385:
4381:
4377:
4371:
4368:
4357:
4353:
4347:
4345:
4341:
4338:, p. 61.
4337:
4336:Frutiger 2009
4332:
4329:
4326:, p. 18.
4325:
4324:Frutiger 2009
4320:
4317:
4306:
4302:
4296:
4293:
4282:
4278:
4272:
4270:
4268:
4264:
4260:
4259:Gerstner 1963
4255:
4252:
4248:
4247:Frutiger 2009
4243:
4240:
4237:, p. 33.
4236:
4231:
4228:
4224:
4214:
4210:
4203:
4201:
4199:
4195:
4192:, p. 96.
4191:
4190:Frutiger 2009
4186:
4183:
4179:
4174:
4171:
4160:
4156:
4149:
4147:
4145:
4141:
4130:
4129:
4124:
4117:
4114:
4103:
4099:
4092:
4089:
4077:
4073:
4067:
4064:
4053:
4049:
4043:
4040:
4029:on 2017-06-19
4028:
4024:
4020:
4014:
4011:
4008:
4004:
4001:
3996:
3993:
3982:on 2014-10-23
3981:
3977:
3973:
3966:
3963:
3952:
3948:
3942:
3939:
3927:
3920:
3917:
3914:, p. 26.
3913:
3908:
3906:
3902:
3891:
3887:
3881:
3878:
3874:
3873:Gerstner 1963
3869:
3866:
3862:
3861:Reynolds 2019
3857:
3854:
3849:
3847:9780500513118
3843:
3839:
3832:
3830:
3826:
3814:
3810:
3804:
3802:
3800:
3796:
3784:
3780:
3776:
3769:
3766:
3754:
3753:
3746:
3743:
3738:
3731:
3725:
3723:
3721:
3719:
3717:
3715:
3713:
3711:
3709:
3707:
3705:
3703:
3701:
3699:
3697:
3695:
3693:
3691:
3689:
3687:
3685:
3683:
3679:
3668:
3664:
3657:
3654:
3643:
3639:
3632:
3629:
3618:
3611:
3604:
3601:
3597:
3587:
3583:
3576:
3573:
3568:
3562:
3558:
3557:
3549:
3546:
3541:
3535:
3531:
3530:
3522:
3519:
3515:
3510:
3507:
3496:
3492:
3485:
3483:
3481:
3479:
3475:
3471:
3462:
3458:
3452:
3450:
3448:
3446:
3444:
3442:
3440:
3438:
3436:
3434:
3432:
3430:
3426:
3415:
3408:
3401:
3398:
3394:
3389:
3387:
3385:
3381:
3369:
3368:
3361:
3359:
3357:
3355:
3351:
3340:
3336:
3329:
3326:
3315:
3311:
3304:
3301:
3290:
3286:
3279:
3276:
3271:
3265:
3261:
3260:
3252:
3250:
3248:
3246:
3242:
3237:
3231:
3227:
3223:
3219:
3218:McLean, Ruari
3215:
3209:
3206:
3195:
3194:Kupferschrift
3191:
3184:
3181:
3175:
3172:
3167:
3165:9781568980843
3161:
3157:
3156:
3148:
3145:
3140:
3133:
3130:
3125:
3119:
3115:
3114:
3106:
3103:
3092:on 2016-02-08
3091:
3087:
3086:
3078:
3075:
3071:
3062:
3056:
3053:
3048:
3042:
3038:
3037:
3029:
3026:
3021:
3015:
3011:
3010:
3005:
2999:
2996:
2985:
2981:
2977:
2971:
2968:
2963:
2957:
2943:
2939:
2932:
2929:
2925:
2920:
2917:
2914:, p. 98.
2913:
2908:
2906:
2902:
2891:
2887:
2880:
2878:
2874:
2863:
2862:
2857:
2851:
2848:
2843:
2837:
2833:
2832:
2824:
2821:
2817:
2816:Reynolds 2019
2812:
2809:
2805:
2794:
2790:
2783:
2780:
2769:
2762:
2756:
2753:
2742:
2738:
2731:
2728:
2717:on 2015-03-21
2716:
2712:
2708:
2701:
2698:
2686:
2682:
2681:kupferschrift
2678:
2671:
2668:
2657:
2653:
2646:
2644:
2640:
2629:
2625:
2618:
2615:
2603:
2602:
2595:
2592:
2588:
2583:
2580:
2569:
2565:
2558:
2555:
2544:
2540:
2533:
2530:
2519:
2515:
2508:
2505:
2501:
2485:
2481:
2477:
2471:
2468:
2457:on 2014-06-28
2456:
2452:
2448:
2444:
2438:
2436:
2434:
2432:
2428:
2417:
2413:
2406:
2403:
2399:
2395:
2387:
2380:
2377:
2366:
2365:Kupferschrift
2362:
2355:
2353:
2351:
2347:
2342:
2336:
2332:
2331:
2323:
2320:
2309:
2305:
2298:
2296:
2294:
2290:
2279:
2275:
2269:
2266:
2261:
2257:
2250:
2247:
2236:
2232:
2225:
2223:
2219:
2215:
2214:Reynolds 2019
2210:
2207:
2196:
2195:kupferschrift
2192:
2185:
2183:
2181:
2179:
2177:
2173:
2161:
2160:
2153:
2151:
2149:
2145:
2133:
2132:"Brass Rules"
2127:
2124:
2120:
2119:Reynolds 2019
2115:
2113:
2109:
2098:
2094:
2087:
2084:
2073:on 2016-11-18
2069:
2065:
2058:
2054:
2048:
2045:
2041:
2032:
2028:
2022:
2020:
2018:
2014:
2010:
1994:
1990:
1986:
1980:
1978:
1974:
1970:
1959:
1955:
1951:
1947:
1941:
1938:
1934:
1933:Gerstner 1963
1929:
1926:
1914:
1910:
1904:
1901:
1897:
1896:Gerstner 1963
1892:
1890:
1886:
1875:on 2017-10-15
1871:
1867:
1860:
1856:
1850:
1848:
1846:
1844:
1842:
1840:
1836:
1833:, p. 58.
1832:
1827:
1824:
1813:on 2014-06-28
1812:
1808:
1804:
1800:
1799:Mosley, James
1794:
1791:
1786:
1782:
1778:
1772:
1770:
1768:
1764:
1753:
1749:
1745:
1739:
1737:
1735:
1733:
1729:
1726:, p. 29.
1725:
1720:
1717:
1713:
1701:
1698:Berry, John.
1694:
1692:
1690:
1688:
1684:
1679:
1672:
1669:
1658:
1654:
1647:
1644:
1640:
1636:
1634:9783506741097
1630:
1626:
1619:
1616:
1611:
1610:
1602:
1599:
1588:
1584:
1577:
1575:
1573:
1571:
1569:
1567:
1565:
1563:
1561:
1559:
1557:
1555:
1553:
1549:
1546:, p. 24.
1545:
1540:
1537:
1526:
1522:
1515:
1512:
1506:
1497:
1494:
1488:
1485:
1479:
1476:
1469:
1466:
1460:
1457:
1451:
1448:
1442:
1439:
1433:
1430:
1426:
1420:
1417:
1413:
1407:
1404:
1400:
1394:
1391:
1385:
1382:
1376:
1373:
1367:
1363:
1360:
1359:
1355:
1353:
1351:
1346:
1344:
1340:
1336:
1333:
1329:
1327:
1322:
1320:
1316:
1312:
1308:
1300:
1295:
1288:
1283:
1277:Notable users
1276:
1271:
1266:
1263:
1262:
1260:
1257:
1254:
1253:Stefan George
1250:
1246:
1243:
1239:
1238:optical sizes
1235:
1232:
1228:
1226:
1222:
1218:
1215:
1214:
1209:
1206:
1202:
1199:
1196:
1193:
1192:
1191:
1189:
1185:
1176:
1169:
1167:
1162:
1154:
1152:
1150:
1146:
1142:
1137:
1134:
1133:Max Miedinger
1126:
1121:
1115:
1111:
1107:
1102:
1095:
1093:
1086:
1084:
1081:
1079:
1075:
1066:
1061:
1054:
1052:
1050:
1045:
1041:
1039:
1035:
1026:
1019:
1017:
1014:
1011:
1007:
1003:
994:
987:
985:
978:
975:
972:
969:
966:
965:
960:
953:
950:
941:
940:
935:
928:
925:
922:
919:
916:
913:
910:
906:
905:
904:
902:
893:
886:
881:
879:
877:
873:
868:
864:
862:
858:
855:
851:
848:
844:
838:
834:
830:
827:, similar to
826:
821:
814:
812:
810:
805:
802:
801:Kris Sowersby
798:
790:
785:
778:
776:
774:
769:
765:
760:
756:
752:
750:
746:
738:
734:
729:
722:
719:
714:
711:
708:
704:
700:
696:
692:
687:
685:
681:
677:
673:
664:
659:
652:
651:Armin Hofmann
647:
643:
641:
637:
633:
629:
628:Armin Hofmann
625:
621:
612:
609:
604:
602:
598:
593:
589:
585:
581:
577:
573:
569:
564:
562:
558:
554:
550:
541:
533:
526:
524:
522:
518:
517:Stefan George
509:
508:Stefan George
504:
500:
498:
494:
490:
486:
482:
481:Venus-Grotesk
472:
468:
466:
461:
457:
453:
449:
436:
425:
416:
406:
403:
398:
394:
390:
386:
382:
378:
374:
370:
360:
356:
354:
350:
346:
343:
339:
335:
331:
329:
308:
297:
286:Early history
285:
283:
281:
277:
276:Karl Gerstner
273:
269:
265:
260:
258:
254:
250:
245:
240:
238:
234:
230:
226:
222:
221:Martin Majoor
218:
214:
210:
201:
194:
192:
189:
185:
181:
176:
174:
171:, defined by
170:
166:
162:
157:
152:
150:
142:
140:
138:
134:
130:
129:Western world
126:
122:
118:
112:
110:
109:fine printing
106:
98:
94:
90:
87:
83:
74:
72:Date released
70:
67:
64:
62:
58:
55:
52:
50:
46:
43:
40:
38:
34:
30:
25:
19:
6059:AG Condensed
6051:Fonts in Use
6050:
6021:AG Book Pro+
5981:
5968:
5957:. Retrieved
5951:
5939:. Retrieved
5933:
5921:. Retrieved
5915:
5903:. Retrieved
5897:
5885:. Retrieved
5881:
5869:
5850:
5839:. Retrieved
5832:the original
5823:
5802:
5790:. Retrieved
5783:the original
5778:
5749:
5725:. Retrieved
5715:
5704:. Retrieved
5700:the original
5690:
5679:. Retrieved
5666:
5655:. Retrieved
5639:
5628:. Retrieved
5614:
5603:. Retrieved
5589:
5578:. Retrieved
5574:
5565:
5554:. Retrieved
5541:
5530:. Retrieved
5514:
5503:. Retrieved
5490:
5479:
5468:. Retrieved
5463:
5454:
5443:. Retrieved
5430:
5419:. Retrieved
5415:
5405:
5394:. Retrieved
5390:
5381:
5370:. Retrieved
5359:
5348:. Retrieved
5345:Fast Company
5344:
5334:
5323:. Retrieved
5310:
5299:. Retrieved
5289:
5278:. Retrieved
5275:Typographica
5274:
5264:
5253:. Retrieved
5245:
5235:
5224:. Retrieved
5222:. CastleType
5217:
5207:
5186:
5183:"Gothic 725"
5177:
5166:. Retrieved
5161:
5152:
5144:
5138:. Retrieved
5132:
5119:
5108:. Retrieved
5104:"Theinhardt"
5098:
5087:. Retrieved
5084:Typographica
5083:
5073:
5062:. Retrieved
5056:
5046:
5038:
5032:. Retrieved
5025:the original
5008:
4997:. Retrieved
4984:
4973:. Retrieved
4960:
4949:. Retrieved
4945:the original
4940:
4930:
4919:. Retrieved
4915:
4905:
4885:
4878:
4867:. Retrieved
4863:
4853:
4842:. Retrieved
4813:
4802:. Retrieved
4798:
4788:
4777:. Retrieved
4773:the original
4768:
4743:. Retrieved
4719:. Retrieved
4716:Fonts in Use
4715:
4691:. Retrieved
4688:Fonts in Use
4687:
4677:
4666:. Retrieved
4662:
4633:
4629:
4623:
4612:. Retrieved
4602:
4591:. Retrieved
4587:the original
4577:
4566:. Retrieved
4562:the original
4552:
4540:
4527:AG Buch war
4524:
4518:. Retrieved
4512:
4499:
4488:. Retrieved
4478:
4458:
4451:
4440:. Retrieved
4437:Fonts In Use
4436:
4426:
4415:. Retrieved
4411:
4387:. Retrieved
4384:Eye magazine
4383:
4370:
4359:. Retrieved
4355:
4331:
4319:
4308:. Retrieved
4304:
4295:
4284:. Retrieved
4280:
4261:, p. 3.
4254:
4242:
4230:
4222:
4216:. Retrieved
4212:
4185:
4180:, p. 24
4173:
4162:. Retrieved
4132:. Retrieved
4128:The Guardian
4126:
4116:
4105:. Retrieved
4101:
4091:
4080:. Retrieved
4066:
4055:. Retrieved
4051:
4042:
4031:. Retrieved
4027:the original
4022:
4013:
3995:
3984:. Retrieved
3980:the original
3975:
3965:
3954:. Retrieved
3951:Telecompaper
3950:
3941:
3930:. Retrieved
3919:
3893:. Retrieved
3890:Fonts in Use
3889:
3880:
3875:, p. 8.
3868:
3856:
3837:
3817:. Retrieved
3812:
3787:. Retrieved
3778:
3768:
3757:. Retrieved
3751:
3745:
3729:
3670:. Retrieved
3666:
3661:Shaw, Paul.
3656:
3645:. Retrieved
3641:
3631:
3620:. Retrieved
3616:
3603:
3595:
3589:. Retrieved
3585:
3580:Shaw, Paul.
3575:
3555:
3548:
3528:
3521:
3509:
3498:. Retrieved
3464:
3460:
3417:. Retrieved
3413:
3400:
3372:. Retrieved
3366:
3342:. Retrieved
3339:Fonts In Use
3338:
3328:
3317:. Retrieved
3314:Fonts In Use
3313:
3303:
3292:. Retrieved
3288:
3278:
3258:
3225:
3208:
3197:. Retrieved
3193:
3183:
3174:
3154:
3147:
3138:
3132:
3112:
3105:
3094:. Retrieved
3090:the original
3084:
3077:
3064:
3060:
3055:
3035:
3028:
3008:
2998:
2987:. Retrieved
2984:The Guardian
2983:
2970:
2945:. Retrieved
2941:
2931:
2919:
2893:. Retrieved
2889:
2865:. Retrieved
2859:
2850:
2830:
2823:
2811:
2802:
2796:. Retrieved
2792:
2782:
2771:. Retrieved
2755:
2744:. Retrieved
2740:
2730:
2719:. Retrieved
2715:the original
2710:
2700:
2689:. Retrieved
2680:
2670:
2659:. Retrieved
2655:
2631:. Retrieved
2627:
2617:
2606:. Retrieved
2600:
2594:
2582:
2571:. Retrieved
2568:Fonts in Use
2567:
2557:
2546:. Retrieved
2542:
2532:
2521:. Retrieved
2517:
2507:
2494:
2488:. Retrieved
2483:
2479:
2470:
2459:. Retrieved
2455:the original
2450:
2419:. Retrieved
2415:
2405:
2389:
2385:
2379:
2368:. Retrieved
2364:
2329:
2322:
2311:. Retrieved
2307:
2281:. Retrieved
2278:Fonts in Use
2277:
2268:
2259:
2249:
2238:. Retrieved
2234:
2209:
2198:. Retrieved
2194:
2164:. Retrieved
2158:
2136:. Retrieved
2126:
2100:. Retrieved
2096:
2086:
2075:. Retrieved
2068:the original
2063:
2047:
2034:
2030:
2003:
1997:. Retrieved
1992:
1988:
1967:
1961:. Retrieved
1940:
1935:, p. 7.
1928:
1917:. Retrieved
1903:
1898:, p. 5.
1877:. Retrieved
1870:the original
1865:
1826:
1815:. Retrieved
1811:the original
1806:
1793:
1784:
1755:. Retrieved
1751:
1719:
1710:
1704:. Retrieved
1677:
1671:
1660:. Retrieved
1657:Fonts in Use
1656:
1646:
1638:
1624:
1618:
1608:
1601:
1590:. Retrieved
1539:
1528:. Retrieved
1524:
1514:
1496:
1487:
1478:
1468:
1459:
1450:
1441:
1432:
1419:
1411:
1406:
1393:
1384:
1375:
1347:
1337:
1330:
1323:
1304:
1286:
1211:
1183:
1181:
1164:
1145:Jock Kinneir
1138:
1129:
1090:
1082:
1077:
1070:
1046:
1042:
1031:
1015:
999:
982:
901:Schriftprobe
898:
869:
865:
860:
859:
853:
852:
846:
845:
842:
808:
806:
794:
788:
761:
757:
753:
742:
716:
712:
695:Haas foundry
688:
668:
616:
606:
600:
596:
588:El Lissitzky
580:Haus am Horn
565:
546:
521:uncial-style
513:
492:
477:
446:
407:
366:
332:
324:
261:
257:very popular
249:Walter Tracy
241:
206:
177:
168:
164:
161:social event
153:
146:
132:
113:
100:
81:
80:
18:
6017:AG Old Face
5460:"Transport"
4235:Homola 2004
3514:Hollis 2006
3495:Font Bureau
3395:, p. .
2053:Shinn, Nick
1995:: 149. 1904
1913:"MicroPlus"
1724:Homola 2004
1544:Hollis 2006
1299:West Berlin
1264:URW version
876:true italic
854:upper case:
847:lower case:
452:punchcutter
389:drop shadow
334:H. Berthold
253:blackletter
217:Art Nouveau
209:sans-serifs
6089:Categories
6073:Probe 429A
6053:coverage:
5959:2020-04-21
5941:2020-04-21
5923:2020-04-21
5905:2020-04-21
5887:2022-01-29
5841:2018-01-17
5792:2017-10-15
5727:2022-07-08
5706:2022-07-21
5681:2022-07-21
5657:2022-01-26
5630:2022-01-26
5605:2022-01-26
5580:2017-10-06
5556:2020-10-01
5532:2020-04-30
5505:2020-04-30
5470:2016-03-01
5445:2019-12-20
5421:2016-07-21
5396:2016-07-21
5372:2018-12-01
5350:2018-12-01
5325:2018-12-01
5301:2018-12-01
5295:"NYC Sans"
5280:2021-01-10
5255:2020-03-06
5226:2018-12-01
5198:2017-12-23
5196:Retrieved
5168:2017-10-20
5164:. Linotype
5140:2016-07-21
5110:2016-07-21
5089:2020-04-25
5064:2020-04-10
5034:2014-12-22
4999:2018-12-01
4975:2020-04-25
4951:2017-01-18
4921:2017-01-18
4869:2016-07-21
4844:2016-03-01
4804:2020-03-29
4779:2020-04-30
4745:2017-10-01
4721:2016-07-13
4693:2016-07-13
4668:2020-04-30
4663:Identifont
4614:2020-04-19
4593:2017-10-01
4568:2017-10-01
4520:2016-07-21
4490:2014-11-28
4442:2023-05-11
4417:2019-02-14
4389:2015-06-20
4361:2020-04-25
4356:Identifont
4310:2020-04-25
4305:Identifont
4286:2020-04-25
4281:Identifont
4218:2019-04-17
4164:2019-11-26
4134:2020-04-19
4107:2020-04-25
4082:2022-08-31
4057:2022-08-31
4052:Legacy.com
4033:2020-04-30
3986:2017-10-20
3956:2017-10-20
3932:2018-06-26
3895:2017-10-15
3819:2017-12-27
3789:2021-05-03
3759:2017-12-24
3672:2017-12-27
3647:2017-12-27
3622:2017-12-27
3591:2017-12-27
3500:2017-01-18
3419:2017-10-20
3374:2017-10-01
3344:2020-04-19
3319:2020-04-19
3294:2018-10-07
3235:0520071476
3199:2018-06-29
3113:Dutch Type
3096:2017-08-04
2989:2018-06-29
2947:2017-12-23
2924:Tracy 2003
2912:Tracy 2003
2895:2017-12-27
2867:2016-07-13
2798:2018-10-07
2773:2017-06-30
2746:2017-06-30
2721:2020-04-30
2691:2017-01-19
2661:2019-02-27
2633:2019-02-23
2608:2017-10-21
2573:2019-12-24
2548:2019-11-26
2523:2019-05-07
2490:2017-12-22
2486:: 19. 1903
2461:2015-06-20
2421:2017-10-20
2370:2017-12-27
2313:2023-04-29
2283:2018-07-23
2240:2019-11-26
2200:2017-10-15
2166:2017-06-30
2138:2020-04-30
2102:2018-06-27
2077:2019-12-31
1999:2017-12-22
1963:2017-10-21
1954:"Knockout"
1919:2015-12-01
1879:2017-10-15
1831:Tracy 2003
1817:2016-10-15
1757:2015-11-12
1752:Typotheque
1706:2015-10-15
1662:2021-06-28
1592:2019-11-26
1530:2018-06-27
1507:References
1343:LucasFonts
1114:Univers 55
456:hieroglyph
264:metal type
213:flourishes
207:Like most
169:accidentia
103:"Akzidenz"
86:sans-serif
42:Sans-serif
5870:Footnotes
5387:"FF Real"
4840:. A2-Type
1807:Typophile
1259:Transport
1242:ligatures
1205:Bitstream
1141:Transport
1125:Helvetica
1110:Helvetica
1034:Schulbuch
825:apertures
797:Pentagram
779:Reception
693:from the
691:Helvetica
684:Paul Shaw
680:body text
572:Modernist
506:The poet
495:(German:
385:Frankfurt
377:Stuttgart
237:apertures
143:Etymology
54:Grotesque
6067:Standard
5979:(2003).
5770:(1963).
5416:FontShop
5391:Linotype
5106:. Optimo
4076:Monotype
4003:Archived
3783:Archived
3224:(eds.).
3216:(1998).
2956:cite web
2685:Archived
2055:(2003).
1857:(1963).
1779:(1958).
1356:See also
1309:and the
1198:Linotype
1049:FontFont
882:Versions
837:Frutiger
773:Monotype
768:OpenType
620:all caps
551:such as
342:machined
280:x-height
255:, still
156:Akzidenz
133:Standard
89:typeface
37:Category
6063:AG Book
5882:TypeOff
5738:Sources
5466:. URW++
5464:MyFonts
5271:"Söhne"
5219:MyFonts
5188:MyFonts
5162:MyFonts
5134:Twitter
4514:Twitter
4412:TypeOff
4213:TypeOff
3779:YouTube
2861:MyFonts
2793:Twitter
2656:Typeoff
2628:Typeoff
2518:Typeoff
2416:Twitter
2308:TypeOff
2235:TypeOff
2097:Typeoff
1525:Typeoff
1315:Georgia
1006:cedilla
909:oblique
872:oblique
861:number:
764:Chicago
749:Diatype
699:Univers
601:Grotesk
576:Bauhaus
233:Walbaum
180:Grotesk
61:Foundry
5989:
5857:
5810:
5756:
5320:Justia
4994:Justia
4970:Justia
4916:Flickr
4893:
4466:
3844:
3563:
3536:
3266:
3232:
3162:
3120:
3043:
3016:
2942:Flickr
2838:
2741:Flickr
2543:Flickr
2337:
1631:
1350:Nissan
1313:(with
1301:, 1970
1184:design
1112:, and
829:Didone
665:, 1957
636:Zürich
557:Futura
460:Syriac
338:Berlin
244:German
225:Didone
97:Berlin
5835:(PDF)
5828:(PDF)
5786:(PDF)
5775:(PDF)
5648:(PDF)
5523:(PDF)
5028:(PDF)
5017:(PDF)
4529:GGL's
3642:Print
3613:(PDF)
3410:(PDF)
2764:(PDF)
2071:(PDF)
2060:(PDF)
1873:(PDF)
1862:(PDF)
1473:1966.
1399:Nobel
1368:Notes
1339:Volvo
1106:Folio
707:Folio
701:from
561:Kabel
553:Erbar
363:face.
345:brass
229:Didot
121:Swiss
84:is a
5987:ISBN
5872:(3).
5855:ISBN
5808:ISBN
5754:ISBN
5250:AIGA
4891:ISBN
4864:Port
4464:ISBN
3842:ISBN
3586:AIGA
3561:ISBN
3534:ISBN
3264:ISBN
3230:ISBN
3160:ISBN
3118:ISBN
3041:ISBN
3014:ISBN
2962:link
2836:ISBN
2335:ISBN
1712:era.
1629:ISBN
1147:and
1002:Buch
626:and
559:and
458:and
262:The
75:1898
5440:P22
4638:doi
4102:Eye
3289:Eye
1249:P22
735:in
383:of
95:of
6091::
6065:,
6061:,
6057:,
6031:,
6027:,
6023:,
6019:,
6015:,
6011:,
5880:.
5777:.
5674:.
5650:.
5622:.
5597:.
5573:.
5549:.
5525:.
5498:.
5462:.
5438:.
5414:.
5389:.
5343:.
5318:.
5273:.
5248:.
5244:.
5216:.
5191:.
5185:.
5160:.
5143:.
5131:.
5127:.
5082:.
5055:.
5037:.
5019:.
4992:.
4968:.
4939:.
4914:.
4862:.
4836:.
4825:^
4797:.
4767:.
4754:^
4730:^
4714:.
4702:^
4686:.
4661:.
4650:^
4634:11
4632:.
4523:.
4511:.
4507:.
4435:.
4410:.
4398:^
4382:.
4378:.
4354:.
4343:^
4303:.
4279:.
4266:^
4221:.
4211:.
4197:^
4157:.
4143:^
4125:.
4100:.
4074:.
4050:.
4021:.
3974:.
3949:.
3904:^
3888:.
3828:^
3811:.
3798:^
3777:.
3681:^
3665:.
3640:.
3615:.
3594:.
3584:.
3493:.
3477:^
3459:.
3428:^
3412:.
3383:^
3353:^
3337:.
3312:.
3287:.
3244:^
3220:;
3192:.
2982:.
2958:}}
2954:{{
2940:.
2904:^
2888:.
2876:^
2858:.
2801:.
2791:.
2766:.
2739:.
2709:.
2683:.
2679:.
2654:.
2642:^
2626:.
2566:.
2541:.
2516:.
2493:.
2484:40
2482:.
2478:.
2449:.
2445:.
2430:^
2414:.
2388:.
2363:.
2349:^
2306:.
2292:^
2276:.
2258:.
2233:.
2221:^
2193:.
2175:^
2147:^
2111:^
2095:.
2062:.
2029:.
2016:^
2002:.
1993:41
1991:.
1987:.
1976:^
1966:.
1956:.
1952:.
1948:;
1911:.
1888:^
1864:.
1838:^
1805:.
1801:.
1783:.
1766:^
1750:.
1731:^
1709:.
1686:^
1655:.
1637:.
1585:.
1551:^
1523:.
1345:.
1108:,
1080:.
835:.
642:.
590:,
586:,
555:,
371:,
231:,
151:.
99:.
6035:,
5995:.
5971:.
5962:.
5944:.
5926:.
5908:.
5890:.
5863:.
5844:.
5816:.
5795:.
5762:.
5730:.
5709:.
5684:.
5660:.
5633:.
5608:.
5583:.
5559:.
5535:.
5508:.
5473:.
5448:.
5424:.
5399:.
5375:.
5353:.
5328:.
5304:.
5283:.
5258:.
5229:.
5201:.
5171:.
5113:.
5092:.
5067:.
5002:.
4978:.
4954:.
4924:.
4899:.
4872:.
4847:.
4807:.
4782:.
4748:.
4724:.
4696:.
4671:.
4644:.
4640::
4617:.
4596:.
4571:.
4493:.
4472:.
4445:.
4420:.
4392:.
4364:.
4313:.
4289:.
4167:.
4137:.
4110:.
4085:.
4060:.
4036:.
3989:.
3959:.
3935:.
3898:.
3850:.
3822:.
3792:.
3762:.
3739:.
3675:.
3650:.
3625:.
3569:.
3542:.
3503:.
3422:.
3377:.
3347:.
3322:.
3297:.
3272:.
3238:.
3202:.
3168:.
3126:.
3099:.
3049:.
3022:.
2992:.
2964:)
2950:.
2898:.
2870:.
2844:.
2776:.
2749:.
2724:.
2694:.
2664:.
2636:.
2611:.
2576:.
2551:.
2526:.
2464:.
2424:.
2373:.
2343:.
2316:.
2286:.
2243:.
2203:.
2169:.
2141:.
2105:.
2080:.
1922:.
1882:.
1820:.
1787:.
1760:.
1665:.
1595:.
1533:.
1427:.
1255:.
1233:.
1207:.
1078:1
1074:ß
911:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.