Akzidenz-Grotesk - Knowledge

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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.

478: 1025: 947: 701: 995: 309:, 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. 334: 2687:, 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." 514: 589: 1360: 1372: 713: 2047:

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.

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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

783: 737:, 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 866:, 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". 1179: 1479:, 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. 552: 689:) 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 2901:

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

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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,

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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

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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.

493:, 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 3170:

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,

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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

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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

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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

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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

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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

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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

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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

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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,

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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

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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

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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,

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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

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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

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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

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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

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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

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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

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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.

1076:) 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 813:

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

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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

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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.

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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

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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

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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.

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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

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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.

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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.

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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."

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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

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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.

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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.

933:. 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. 1084:

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."

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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.

4933:, 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." 724:

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

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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'.

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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

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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.

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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.

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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

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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

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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."

894:, 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. 1936: 188:

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

5884: 1278:, 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'. 163:

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

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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.

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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

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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.

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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.

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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

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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".

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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

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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

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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

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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

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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

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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

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influenced by Akzidenz-Grotesk. However, many adaptations and letters influenced by other typefaces were incorporated to increase legibility and make characters more distinct.

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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.

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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

5935: 238:, 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 3059: 1307:

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

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Handbuch zur neuen Rechtschreibung und Zeichensetzung : für Studierende und Lehrende an Schulen und Universitäten sowie für alle an der Sprache Interessierten

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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.

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Font designer Dan Reynolds (above) and graphic design professor Indra Kupferschmid (below) have documented many aspects of the early history of Akzidenz-Grotesk.

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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.

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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.)

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and praised the aesthetic qualities of the "anonymous" sans-serifs of the nineteenth century. Its comments would prove influential in later graphic design:

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Vollständiges theoretisch-praktisches Handbuch der Typographie nach ihrem heutigen Standpunkt, zweiter Band: Das Drucken in seinen verschiedenen Branchen

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Berthold's Akzidenz-Grotesk family by the late metal type period included the following styles. English names are taken from Berthold's Type Specimen (

814:"Gerstner-Programm" but according to Lange it was never fully released. A digitisation has been released by the digital type foundry Forgotten Shapes. 5683: 458:

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.

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Tschichold J. Die neue Typographie. Ein Handbuch für zeitgemäß Schaffende, Verlag des Bildungsverbandes der Deutschen Buchdrucker, Berlin 1928.

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all used Akzidenz-Grotesk heavily. Like Tschichold, Gerstner argued that the sans-serifs of the nineteenth century were more "matter-of-fact" (

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not showing Akzidenz-Grotesk. The advert showcases "modern and successful" faces, illustrating the eclipse of Akzidenz-Grotesk in this period.

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with 7 weights in roman and italic, in a single width. Extended and Condensed widths were added later, expanded the family to 42 fonts.

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Exactly when Amsterdam Continental began importing Standard is unclear but it appears on several record album covers as early as 1957.

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Digital versions included Greek and Cyrillic characters, and the family includes a condensed, extended, rounded and stencil series.

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H. Berthold AG of Germany declared bankruptcy in 1993 and the holder of the Berthold rights from 1993 to 2022 was Berthold Types of

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Theinhardt: A release by Swiss digital type foundry Optimo, praised by Spiekermann has as "the best" Akzidenz-Grotesk digitisation.

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version of Akzidenz-Grotesk intended to incorporate more of the original inconsistencies and different x-heights of the metal type

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describes this style of 'g' as a common feature in German sans-serifs of the period and apparently influenced by the tradition of

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Druckausstattung der Akzidenzen Wege eingeschlagen werden, die zu einer wesentlichen Vereinfachung des Satzbildes führen dürften.

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Each weight is available in two fonts featuring alternative designs. In 2008, OpenType Pro versions of the fonts were released.

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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.

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Digital variants of Akzidenz-Grotesk, showing the slight inconsistencies and idiosyncrasies between different weights and widths

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This image shows a later revival of Walbaum's work; during the early nineteenth century figures in roman type were customarily

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The use of Akzidenz-Grotesk and similar "grotesque" typefaces dipped from the late 1920s due to the arrival of fashionable new

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for printing extended texts in Germany in the late nineteenth century, which uses a single-storey 'g' in upright composition.

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Leipzig". The Haas Foundry created Helvetica in response to its decline in popularity in competition with Berthold's design.

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particularly after 1893. Berthold publications from the 1920s onwards dated the design to 1898, when the firm registered two

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in the 1950s and 1960s. Its simple, neutral design has also influenced many later typefaces. It has sometimes been sold as

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Walker, Sue; Reynolds, Linda (1 January 2003). "Serifs, sans serifs and infant characters in children's reading books".

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Besides use in Swiss-style poster design and in New York City transportation, Akzidenz-Grotesk is the corporate font of

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indicates its intended use as a typeface for commercial print runs such as publicity, tickets and forms, as opposed to

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The capital letters are slightly too dark, and slightly too close to the lowercase letters that follow them in a word.

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Comparison of two distinguishing characters (uppercase "J" and lowercase "a") in Akzidenz-Grotesk and Gothic 725 Bold

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has used custom versions of Akzidenz-Grotesk supplied by Berthold as a corporate typeface, amongst other typefaces.

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Although the digital data of Berthold releases of Akzidenz-Grotesk is copyrighted, and the name is trademarked, the

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eine sehr stattliche Familie, die der Gestalter und Drucker oft und gern bei seiner Arbeit in Anspruch nehmen wird.

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of the Bauer foundry of Frankfurt, very similar to Akzidenz-Grotesk but with high-waisted capitals, and Koralle by

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In 1957, three notable competitors of Akzidenz-Grotesk appeared intended to compete with its growing popularity:

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Berthold's phototype Akzidenz-Grotesk Buch was heavily based on Helvetica; the two are almost indistinguishable.

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Halbfett (Medium or literally semi-bold, available on Linotype in modified form as series 58 and as poster type)

5808: 5612: 5078: 1730: 1384: 798:

Metal type declined in use from the 1950s onwards, and Akzidenz-Grotesk was rereleased in versions for the new

59: 5732: 2661: 1598: 632: 4155: 3745: 400: 5663: 5192: 5170: 851: 490: 283: 4972: 4033: 588: 266:

of letters such as 'a' and 'c'. The capitals of Akzidenz-Grotesk are wide and relatively uniform in width.

2391: 1359: 5152:

The copyright law does not protect typeface or mere variations of typographic ornamentation or lettering.

2612:"Research update: Distribution of sans serifs in German-speaking foundries during the nineteenth century" 497:

Ferdinand Theinhardt, who was otherwise particularly famous for his scholarly endeavours in the field of

180:

means some occasion or event (in the sense of "something that happens", not in the sense of a high-class

5833: 1371: 1115: 730: 365: 250:

has described the general design of Akzidenz-Grotesk and its ancestors as similar in letterforms to the

103: 4205: 3292: 333: 6125: 5102: 3559: 3256: 1660: 838: 6191: 4824: 4641: 2474:

Typotektur: Architektur und Typografie im 20. Jahrhundert : der Modellfall einer Zusammenführung

2219: 1336: 1319: 1218: 998:

Akzidenz-Grotesk had several condensed weights in the metal type period, such as this condensed bold.

887: 879: 787: 757: 498: 263: 6171: 3717: 3437: 712: 1314:

FF Real: A very loose digitisation by Erik Spiekermann and with Ralph du Carrois, available in two

1302: 1290: 891: 883: 251: 214: 5137: 3916: 2953: 2109: 1252: 580: 5639: 5552: 4487: 4054: 3890: 3845:"Alte Bleisatz-Schriftproben der Akzidenz-Grotesk (Old foundry type samples of Akzidenz-Grotesk)" 2027: 1986: 1403: 1392: 1388: 1326: 531: 412: 259: 239: 210: 2245: 390: 6141: 4885: 4134: 1825: 6157: 6121: 6099: 6093: 5967: 5920: 5914: 5866: 5270: 5003: 4997: 4699: 4571: 4266: 3949: 3668: 3641: 3366: 3360: 3332: 3262: 3220: 3138: 3132: 3111: 3105: 3073: 3053: 3035: 2933: 2927: 2422: 2416: 2343: 2062: 1706: 1685: 1664: 1560:

According to Florian Hardwig, the 'W' and 'w' were the normal form on some Berthold specimens.

1325:

St G Schrift: A digitisation of Stefan George-Schrift designed by Colin Kahn and published by

1298: 1197: 874: 803: 749: 605: 226: 6185: 6137: 5241: 4616: 4316: 3858: 3662: 3635: 3214: 2834: 2568: 648:

in 1927. This book was a manifesto of modern design, in which he condemned all typefaces but

404: 5937:

Type design in the age of the machine. The 'Breite Grotesk' by J. G. Schelter & Giesecke

5764: 5736: 5711: 5237: 4946: 4750: 4612: 4183: 2865: 2535: 2023: 1476: 1409: 1308: 1226: 1183: 1142: 1096: 1081: 918:

A top serif on the 1 and in some styles a downward-pointing serif on the top left of the 7.

850:

As described above, many influential graphic designers have used Akzidenz-Grotesk. In 2013,

827: 799: 761: 694: 609: 601: 523: 255: 3993: 2181:"Distribution of sans serif typefaces across German-speaking foundries in the 19th century" 1137: 5858: 5216: 5057: 4114: 2699:

Liste der Hieroglyphischen Typen aus der Schriftgießerei des Herrn F. Theinhardt in Berlin

791: 640: 502: 439: 322: 193: 164: 132: 5428: 2155: 2035: 2031: 447:

the regular weight of Akzidenz-Grotesk. Reynolds and Florian Hardwig have documented the

242:

seen in the more decorative sans-serifs of the late nineteenth century influenced by the

4720: 2886: 2697: 2504: 2485:

Berthold und Bauer werben im Jahre 1899 mit einem aus heutiger Sicht seltsam anmutenden

925:

Akzidenz-Grotesk did not have italics until the post-war period. Its slanted form is an

39: 6167: 6145: 5305: 4796: 3316: 1854: 1396: 1282: 1238: 616: 466: 76: 6062:

Reynolds, Dan (2020). "Chapter 6: Type design in German foundries from 1871 to 1914".

5295: 4851: 4674: 1058: 305:

notes that even comparing one size (20pt), the medium and bold weights have different

6201: 6133: 6129: 5880: 5326: 4592: 4483: 4262: 3946:

Sans Serif: The Ultimate Sourcebook of Classic and Contemporary Sans Serif Typography

3324: 2636: 1932: 1821: 1330: 1288:

Standard CT: A digitisation by American publisher CastleType, originally created for

1210: 968:

Akzidenz-Grotesk (Standard, available on Linotype in modified form as series 57 with

855: 705: 676: 569: 565: 556: 434: 384: 302: 247: 152: 144: 3860:

Akzidenz-Grotesk von Berthold, Probe 429A (digitisation: Stephen Coles/Thomas Maier)

1990: 1881:"Comments on Typophile thread – "Unborn: sans serif lower case in the 19th century"" 782: 433:). Akzidenz-Grotesk was based on this design, but with the drop shadow removed. Two 6089: 5608: 5383: 5024: 4235: 4107: 3509: 3320: 3131:

Achim Aurnhammer; Wolfgang Braungart; Stefan Breuer; Ute Oelmann (1 January 2016).

2448: 1876: 1502: 1315: 1222: 969: 926: 768:

By the 1960s, Berthold could claim in its type specimens that Akzidenz-Grotesk was:

636: 628: 494: 359: 298: 294: 275: 181: 71: 5981:

Reynolds, Dan (2019). "The godfather: retracing the origins of Akzidenz-Grotesk".

5916:

Swiss Graphic Design: The Origins and Growth of an International Style, 1920–1965

4565: 671:

as much as many older posters. Graphic designers of this style such as Gerstner,

254:

serif fonts that were standard printing types in the nineteenth century, such as

6179: 6175: 3844: 3602: 2361: 1376: 930: 726: 420: 279: 243: 136: 17: 559:

commissioned alternate characters for Akzidenz-Grotesk for printing his poetry.

5572: 4509: 4507: 3882: 2486: 2140: 1420: 1395:). Akzidenz-Grotesk Bold Extended is used as the official font for the words " 846:. Gerstner, a fan of Akzidenz-Grotesk, advocated systematic methods in design. 597: 290: 235: 124: 96: 64: 52: 5499: 4766: 4764: 1114:) is a 1983 variant of Akzidenz-Grotesk Buch also designed by Lange. It uses 878:

The letterforms of Akzidenz-Grotesk show a "folded-up" structure with narrow

5478: 4087: 2278: 1202: 1187: 1178: 745: 734: 733:

machines had long since become the main system for printing general-purpose

620: 416: 408: 373: 269:

The 'g' of Akzidenz-Grotesk is a 'single-storey' design, like in many other

127:, and "grotesque" was a standard name for sans-serif typefaces at the time. 6160:, showing Schattierte-Grotesk and co-branding mentioning Berthold and Bauer 5785:"Making the Visible Visible – Open Access to Berlin's Typographical Legacy" 4754: 690: 5596: 4644:

Antwort auf Helvetica, für die Berthold keine Lizenz kriegte von Linotype.

2774: 1578:

A less folded-up 'a' and 'g' and a narrower 'r' were available by request.

1569:

A less folded-up 'a' and 'g' and a narrower 'r' were available by request.

3598: 1126: 822: 668: 306: 99: 47: 1367:

used Akzidenz-Grotesk. It was replaced with Helvetica in later editions.

5331: 5300: 5246: 4621: 4310: 4308: 4306: 2958: 2702:. Buchdruckerei der Königl. Akademie der Wissenschaften (G. Vogt). 1875 1191: 1077: 818: 753: 624: 551: 517:

A German banknote from 1918, using a range of sans-serifs of the period

339:

Akzidenz-Grotesk seems to be a derivative of this shadowed sans-serif (

270: 5548: 2547: 1888: 1863:

Monotype Newsletter, Also Printed in Motif as "Letters Without Serifs"

1017:

Extra (Extrabold Condensed, tighter-spaced than the Schmalfett weight)

510:, but Kupferschmid was not able to find it used in its publications. 6080:

Schwemer-Scheddin, Yvonne (2003). "Sonderheft Günter Gerhard Lange".

5432: 5106: 5082: 4256: 4254: 4252: 4108:

Berthold Announces the Release of Akzidenz-Grotesk in OpenType Format

2812: 1777: 1427: 773:

over the world and impressed its image in the typography of our time.

369: 107: 6063: 6045: 6027: 6009: 5812: 5193:"The Last Time the US Considered Copyright Protection for Typefaces" 3554: 3552: 2540:"Akzidenz-Grotesk (Re-)Release Dates (comments on Typophile thread)" 4454: 4452: 3690:"The (Mostly) True Story of Helvetica and the New York City Subway" 3550: 3548: 3546: 3544: 3542: 3540: 3538: 3536: 3534: 3532: 2418:

Creative Type: A Sourcebook of Classic and Contemporary Letterforms

1858: 1816: 1814: 1812: 1810: 886:

serif typefaces popular in Europe at the time, such as the work of

6044:

Reynolds, Dan (2020). "Chapter 3: Writing history as a designer".

4015: 4013: 1416: 1370: 1358: 1251: 1196: 1177: 1136: 1095: 1057: 1023: 993: 945: 873: 837: 781: 711: 699: 587: 579: 550: 512: 389: 376: 225: 184:

or occasion) and was therefore used as a term for trade printing;

5684:"Chicago Font Co. Takes Aim at Target's Use Of Typeface – Law360" 4950: 4570:. Springer Science & Business Media. pp. 225–8, 235–40. 1419:

has used a typeface based on Akzidenz-Grotesk, commissioned from

1201:

The regular weight of Akzidenz-Grotesk had a lower x-height than

534:

also is based on German typefaces of this period.) Seeman's 1926

262:

and their followers. This is most visible in the quite folded-up

5362: 4379: 4377: 4375: 2530: 2528: 2526: 2524: 1937:"A new basis for the old Akzidenz-Grotesk (English translation)" 1301:

in 2019. It is digitised by Kris Sowersby, in three widths with

1151: 1042:

Breithalbfett (Medium Extended, or literally Semi-bold Extended)

301:

of metal type. In addition, there is variation between weights:

5355:"A Modern Sans-serif Infused With the Spirit of the NYC Subway" 4516:"German, Swiss, and Austrian typefaces named Royal or Akzidenz" 2743: 2741: 2722:"The Academy of Sciences of the USSR's hieroglyphs font (1928)" 419:). The Bauer foundry had recently released a sans-serif with a 6188:(c. 1960 specimen, photographed by Stephen Coles/Thomas Maier) 5454:"NYC Gets A Major Rebrand (And Its First Official Pictograms)" 3510:"Akzidenz-Grotesk auf der Linotype-Zeilengußmaschine (German)" 2442: 2440: 2438: 4908:"Neuwelt: an optimistic transatlantic sans serif type family" 3840:. Berlin/Stuttgart: H. Berthold/Zweigwerk Stuttgart. c. 1966. 2449:"Notes on the history of Akzidenz-Grotesk Part 2a – Timeline" 1182:

Comparison of distinguishing characters in Akzidenz-Grotesk,

2415:

Cees W. de Jong; Alston W. Purvis; Friedrich Friedl (2005).

2240: 2238: 2236: 1523:

An alternative 'R' with curled leg was available by request.

1514:

An alternative 'R' with curled leg was available by request.

4872: 4870: 4868: 4846: 4844: 1221:, the typeface used on British road signs, was designed by 1154:, and a shortened horizontal serif on the regular-weighted 1100:

Akzidenz-Grotesk Schulbuch, showing its unusual capital 'i'

4180:"Monotype Acquires Berthold's Renowned Typeface Inventory" 2202: 2200: 2104: 2102: 2100: 1771: 1769: 1767: 1765: 1045:

Breitfett (Extrabold Extended, or literally Bold Extended)

5962:

Müller, Lars; Malsy, Victor; Kupferschmid, Indra (2009).

2319:"Note on the original design patent for Akzidenz-Grotesk" 2312: 2310: 2114:

Archiv für Buchdruckerkunst und verwandte Geschäftszweige

1150:

medium and bold weights, inward hook in regular-weighted

213:

as the name for sans-serifs in the specimen books of his

5991:"Footnotes C: Retracing the origins of Akzidenz-Grotesk" 5733:"Introducing CC Accidenz Commons: An Open-Licensed Font" 3832: 3830: 3828: 3826: 3824: 3822: 3820: 3818: 3816: 3814: 3812: 3810: 3185:

Lane, John A.; Lommen, Mathieu; de Zoete, Johan (1998).

3137:. Walter de Gruyter GmbH & Co KG. pp. 480–481. 2057: 2055: 1969: 1967: 1080:

is replaced with a comma. Former Berthold font designer

3808: 3806: 3804: 3802: 3800: 3798: 3796: 3794: 3792: 3790: 3592: 3590: 3588: 3586: 3560:"Akzidenz-Grotesk für Hand- und Maschinensatz (advert)" 3495: 3463: 3461: 3459: 3457: 2977: 2975: 631:, where he was introduced to important artists such as 5943:(MA). University of Reading (archived). Archived from 5708:"A Masterwork in Simplicity: The Story of the CC Logo" 5525:"Interview with Erik Spiekermann and Ralph du Carrois" 3664:

Drip-dry Shirts: The Evolution of the Graphic Designer

3159:

Gewerblicher Rechtsschutz und Urheberrecht Zeitschrift

3005: 3003: 2750:"Berlin locations of the old Ferd. Theinhardt foundry" 2279:"Some notes on the history of Akzidenz-Grotesk Part 2" 729:. While this was acceptable for posters, by the 1950s 6026:

Reynolds, Dan (2020). "Chapter 2: Research methods".

5166:""Types" of Protection for Font and Typeface Designs" 4818: 4816: 3911: 3909: 3907: 752:, with a very high x-height and tight letterspacing, 4409:"Differences - Akzidenz-Grotesk and Franklin Gothic" 2929:

Revival Type: Digital Typefaces Inspired by the Past

2272: 2270: 2268: 2266: 2264: 1849: 1847: 1845: 1690:. Verlag d. Leipziger Vereinsdruckerei. p. 431. 196:as "that which happens, a casual event, a chance". 155:

have been released by Berthold and other companies.

3329:

The New Typography: a handbook for modern designers

2805:"Akzidenz Grotesk roots (comments on forum thread)" 1927: 1925: 1923: 1921: 1919: 1917: 1661:"New details about the origins of Akzidenz-Grotesk" 1654: 1652: 1650: 1014:". Available as poster type, 'R' with a curled leg) 82: 70: 58: 46: 6068:(PhD). Hochschule für Bildende Künste Braunschweig 6050:(PhD). Hochschule für Bildende Künste Braunschweig 6032:(PhD). Hochschule für Bildende Künste Braunschweig 6014:(PhD). Hochschule für Bildende Künste Braunschweig 5407: 3939: 3937: 2348:Almänna Svenska Boktryckareföreningens Meddelanden 1648: 1646: 1644: 1642: 1640: 1638: 1636: 1634: 1632: 1630: 1020:Extrafett (Compact, or literally, also extra-bold) 623:design principles after visiting the first Weimar 4941: 4939: 4657: 4541:"John Williams – The John Towner Touch album art" 4285: 4019: 3771:"From the Archives no. 15—Helvetica and Standard" 3110:. Princeton Architectural Press. pp. 115–8. 2684: 2385: 2383: 2381: 1717:Drucksache von geringem Umfang, Anzeige, Formular 1457:The display face appears to be Berthold's Herold. 5861:(2009). Osterer, Heiden; Stamm, Philipp (eds.). 4772:"Differences - AG Schoolbook Medium and AG Book" 3413:"Campaign posters for the Swiss Automobile Club" 2660:Hardwig, Florian; Reynolds, Dan (14 June 2019). 1363:The cover of Josef Müller-Brockmann's 1961 book 1339:: Designed by Jock Kinneir and Magaret Calvert. 760:, with a large range of weights and widths, and 151:in English-speaking countries, and a variety of 5079:"BERTHOLD AKZIDENZ-GROTESK - Trademark Details" 3354: 3352: 3350: 3348: 3261:. Princeton Architectural Press. pp. 7–8. 2775:"Some notes on the history of Akzidenz-Grotesk" 1754:Lewis, Charlton Thomas; Short, Charles (1922). 1731:""Herzlichen Glückwunsch" wedding cards (1919)" 1318:, with variant features like a two-storey 'g', 1003:Schmalfett (Bold Condensed, originally called " 411:(not to be confused with the much better-known 5136:. 22 December 2014. p. 13. Archived from 4460:"Differences - Akzidenz-Grotesk and Helvetica" 3883:"Phototypesetting with the Berthold 'diatype'" 1599:"The 1869–1978 headquarters of Berthold today" 1129:'s FF Schulbuch family is in a similar style. 978:Mager (Light, sometimes sold as Royal-Grotesk) 821:. Berthold Types released Akzidenz-Grotesk in 3470:Berthold exklusiv Probe 013: Akzidenz-Grotesk 3362:Graphic Design: A New History, Second Edition 2662:"Mallet Magic – Harry Breuer And His Quintet" 1345:New Transport: Published by A2/SW/HK Limited. 1141:Sample image of Akzidenz-Grotesk Old Face, a 8: 4638: 3718:"Amsterdam Continental: A Handbook of Types" 3573: 3168: 3036:"Type Specimen book H. Berthold AG, ca 1913" 2593: 2483: 2123: 2087: 1009: 794:Akzidenz-Grotesk (top) and Helvetica (below) 592:Art exhibition poster by Armin Hofmann, 1959 453: 345: 175: 139:graphic designers in what became called the 117: 32: 5885:"Die alte Akzidenz-Grotesk auf neuer Basis" 5103:"AKZIDENZ-GROTESK NEXT – Trademark Details" 4385:"Differences - Akzidenz-Grotesk and Futura" 4080:"Erik Spiekermann's Statements re Berthold" 3948:. London: Thames & Hudson. p. 23. 3058:: CS1 maint: numeric names: authors list ( 2932:. Yale University Press. pp. 190–205. 1329:, it is based on the design of German poet 3637:Iconic Designs: 50 Stories about 50 Things 3191:. De Graaf. pp. 29–31. Archived from 3134:Stefan George und sein Kreis: Ein Handbuch 2250:. Leipzig: Seemann. 1926. pp. 181–218 1365:The Graphic Artist and His Design Problems 572:alternate characters to print his poetry. 38: 3746:"Vintage Fonts: 35 Adverts From the Past" 3365:. Yale University Press. pp. 290–1. 3291:Kupferschmid, Indra (21 September 2014). 2984:"Blue Pencil no. 18—Arial addendum no. 3" 2392:"Notes on the Origin of Akzidenz-Grotesk" 1350:Atkins: A version published by Softmaker. 964:) No. 473 except where stated otherwise: 443:any specific products from other firms." 6095:Letters of Credit: A View of Type Design 4930: 4443: 4431: 4366: 4354: 4297: 3980: 3968: 3640:. Bloomsbury Publishing. pp. 81–3. 3566:. Berthold/Linotype (advert): 56. 1959. 2913: 2447:Kupferschmid, Indra (25 December 2017). 2301: 2206: 2010: 1973: 5865:(English ed.). Basel: Birkhäuser. 2342:Boktryckareföreningen, Svenska (1905). 2277:Kupferschmid, Indra (11 October 2017). 1589: 1450: 141:"International" or "Swiss" design style 5964:Helvetica Forever: Story of a Typeface 5834:"New Global Brand Typeface for Nissan" 5023:Kupferschmid, Indra (30 August 2007). 4999:British Railways: The Nation's Railway 4342: 3621: 3359:Eskilson, Stephen (28 February 2012). 3051: 1801: 1758:. Oxford: Clarendon Press. p. 16. 1621: 1294:magazine under the name "Standard CT". 898:Characteristics of this typeface are: 31: 5758:"Creative Commons Style Guide (2019)" 4973:"From Akzidenz to Transport Solution" 4317:"Review: Graphic Design and the Soul" 3496:Müller, Malsy & Kupferschmid 2009 3388:"Reputations: Josef Müller-Brockmann" 3242:The Typography of Press Advertisement 3021: 3009: 2773:Kupferschmid, Indra (12 April 2012). 1908: 1399:" in the display of the USAF symbol. 981:Fett (Bold, available as poster type) 802:technology, including Berthold's own 7: 5164:Justus, Dana; Estoesa, Ivy Clarice. 4229:Lippa, Domenic (14 September 2013). 3661:Lucienne Roberts (1 November 2005). 3634:Grace Lees-Maffei (8 January 2015). 3258:Jan Tschichold: A Life in Typography 2833:Jan-Pool, Albert (23 January 2014). 1281:Gothic 725: A two-weight version by 6008:Reynolds, Dan (2020). "Chapter 1". 3744:Budrick, Callie (19 October 2015). 1264:of a typeface is in many countries 4996:Jackson, Tanya (31 January 2013). 4971:Sudjic, Deyan (11 November 2011). 4567:Font Technology: Methods and Tools 4514:Reynolds, Dan (12 February 2019). 4127:"News: AG goes Greek and Cyrillic" 3667:. AVA Publishing. pp. 27–29. 3438:"Posters for the Zurich Town Hall" 3331:. University of California Press. 3107:Paul Renner: The Art of Typography 2803:Spiekermann, Erik; Reynolds, Dan. 2748:Reynolds, Dan (25 February 2019). 2720:Reynolds, Dan (22 February 2019). 2390:Reynolds, Daniel (28 April 2023). 1729:Hardwig, Florian (2 August 2018). 1659:Reynolds, Dan (11 November 2019). 716:Classical music concert poster by 619:. In 1923 Tschichold converted to 530:, which has a single-storey 'a'. ( 135:as the preferred typeface of many 102:family originally released by the 25: 5660:"Displaying the Air Force Symbol" 4795:Coles, Stephen (26 August 2012). 4315:Reynolds, Dan (2 November 2010). 3863:. Stuttgart: H. Berthold. c. 1960 3473:. Berlin: Berthold Fototype. 1984 3293:"Live Type Research in Barcelona" 2982:Shaw, Paul; Kupferschmid, Indra. 806:, and then digital technologies. 6192:Berthold advertisement from 1937 5353:Stinson, Liz (21 January 2020). 4823:Coles, Stephen (20 March 2016). 4086:. Berthold Types. Archived from 3171:Melchior Lechtor 1938 gestorben. 2317:Reynolds, Dan (23 August 2019). 476: 465: 332: 321: 143:which became popular across the 6158:Berthold specimens from c. 1913 5836:. Kontrapunkt. 10 November 2015 4882:Microsoft Typography (archived) 4564:Peter Karow (6 December 2012). 4131:Microsoft Typography (archived) 3893:from the original on 2021-11-15 3436:Coles, Stephen (3 April 2012). 2785:from the original on 2013-03-30 2635:Reynolds, Dan (29 April 2019). 2610:Reynolds, Dan (13 April 2019). 1684:Marahrens, August, ed. (1870). 1597:Reynolds, Dan (12 April 2018). 1440:Berthold Akzidenz Dialog System 1174:Similarities to other typefaces 6238:Typefaces with infant variants 6218:Grotesque sans-serif typefaces 5989:Reynolds, Dan (16 July 2019). 5429:"NYC SANS – Trademark Details" 5134:United States Copyright Office 5002:. History Press. p. 130. 3775:Paul Shaw Letter Design (blog) 3411:Raposo, Tânia (15 July 2013). 3219:. 010 Publishers. p. 45. 2988:Paul Shaw Letter Design (blog) 2179:Reynolds, Dan (12 June 2018). 2126:guten Akzidenzien erhoben hat. 950:Akzidenz-Grotesk's bold weight 568:. He commissioned some custom 362:offering different versions. 1: 6152:Akzidenz Grotesk sample books 5863:Typefaces: The Complete Works 4156:"Harvey Hunt Obituary (2022)" 3188:Dutch Typefounders' Specimens 1297:Söhne: A version released by 1104:Akzidenz-Grotesk Schoolbook ( 1033:Skelett (Extralight Extended) 984:Schmalmager (Light Condensed) 27:Grotesque sans-serif typeface 5919:. Laurence King Publishing. 5633:"Brand identity at a glance" 5452:Miller, Meg (10 June 2016). 4206:"The designer as programmer" 508:Prussian Academy of Sciences 379:printer's rule, moving into 246:style. Modern type designer 6243:Products introduced in 1898 6082:Typografische Monatsblätter 5789:Staatliche Museen zu Berlin 5050:"Wagner & Schmidt, etc" 4884:. Microsoft. Archived from 4133:. Microsoft. Archived from 3386:Schwemer-Scheddin, Yvonne. 2489:für die 'Accidenz-Grotesk'. 1826:"My Type Design Philosophy" 1541:Or Halbfette Bücher-Grotesk 1036:Breitmager (Light Extended) 870:Distinctive characteristics 6259: 6228:Photocomposition typefaces 6154:digitised by Ulrich Stiehl 4743:Information Design Journal 4698:. Berthold. Archived from 4673:. Berthold. Archived from 4539:Hudson, Rob (4 May 2023). 4263:"Söhne design information" 2222:. The Happy Dragon's Press 1855:Handover, Phyllis Margaret 1778:"A Neo-Grotesque Heritage" 1705:. Schöningh. p. 254. 1426:Japanese car manufacturer 1236: 1092:Akzidenz-Grotesk Schulbuch 401:Eckehart Schumacher-Gebler 372:in 1858 initially to make 293:of Akzidenz-Grotesk shows 5934:Homola, Wolfgang (2004). 4878:"News: The Next Akzidenz" 4639: 3944:de Jong, Cees W. (2006). 3574: 3169: 3034:N1KE (21 February 2012). 2594: 2484: 2472:Wanetzky, Harald (1995). 2247:Handbuch der Schriftarten 2124: 2088: 1701:Muthmann, Gustav (2000). 1248:Alternative digitisations 1233:"Akzidenz-Grotesk" (Haas) 1133:Akzidenz-Grotesk Old Face 1010: 693:was German-born designer 576:Mid-twentieth-century use 546:Handbuch der Schriftarten 454: 346: 118: 37: 5913:Hollis, Richard (2006). 5613:Arizona State University 5479:"NYC Go rebrand details" 5258:ist ja auch die beste AG 4055:"Berthold Goes Bankrupt" 3213:Middendorp, Jan (2004). 2926:Paul Shaw (April 2017). 2344:"Berthold advertisement" 2145:"The Face of Uniformity" 1385:Arizona State University 5664:United States Air Force 5609:"Elements of the brand" 5171:The National Law Review 3725:Type Design Information 2835:"Stefan George Schrift" 2421:. Inmerc. p. 331. 2362:"Reklameschrift Herold" 1066:Akzidenz-Grotesk Book ( 1011:Bücher-Grotesk halbfett 708:for Japanese exhibition 598:"geometric" sans-serifs 528:Schelter & Giesecke 295:variation between sizes 4755:10.1075/idj.11.2.04wal 4658:Schwemer-Scheddin 2003 4286:Schwemer-Scheddin 2003 4020:Schwemer-Scheddin 2003 3599:"The Birth of a Giant" 3255:McLean, Ruari (1997). 3244:. pp. 86–88, etc. 2859:"Ferdinand Theinhardt" 2685:Schwemer-Scheddin 2003 2573:Archiv für Buchgewerbe 2067:Archiv für Buchgewerbe 1380: 1368: 1257: 1205: 1194: 1146: 1111: 1101: 1073: 1063: 1029: 999: 961: 951: 895: 847: 810:to cast type in 1978. 795: 775: 721: 718:Josef Müller-Brockmann 709: 687:Selbstverständlichkeit 686: 673:Josef Müller-Brockmann 659: 593: 585: 560: 545: 532:Monotype Grotesque 215 518: 430: 396: 231: 222:Design characteristics 206: 176: 6223:Letterpress typefaces 6142:AG Book Stencil et al 6126:Akzidenz-Grotesk Next 6122:Akzidenz-Grotesk Pro+ 5271:"Basic Commercial LT" 5048:Kupferschmid, Indra. 5025:"Haas Normal-Grotesk" 4797:"Knowledge Redefined" 4696:"AG Book Rounded Pro" 4591:Schwartz, Christian. 4488:"Inclined to be dull" 4078:Hunt, Harvey (2004). 3597:Kupferschmid, Indra. 3240:Day, Kenneth (1956). 1374: 1362: 1255: 1200: 1181: 1165:Akzidenz-Grotesk Next 1140: 1116:schoolbook characters 1099: 1061: 1054:Akzidenz-Grotesk Buch 1027: 997: 949: 877: 842:Karl Gerstner's book 841: 785: 770: 758:Deberny & Peignot 731:hot metal typesetting 715: 703: 654: 591: 583: 554: 536:Handbook of Typefaces 516: 393: 229: 104:Berthold Type Foundry 4721:"AG Schoolbook® Pro" 4084:Typophile (archived) 3838:Schriftprobe Nr. 473 3161:. 1943. p. 45. 2902:as Accidenz-Grotesk. 2809:Typophile (archived) 2544:Typophile (archived) 2110:"Schriftprobenschau" 1824:(29 November 2004). 1532:Or Enge Steinschrift 1322:, and a true italic. 1303:a monospaced version 888:Justus-Erich Walbaum 864:Designing Programmes 844:Designing Programmes 788:New York City Subway 646:Die neue Typographie 491:Günter Gerhard Lange 299:design and engraving 6182:(for American uses) 5523:Ulrich, Ferdinand. 4593:"Neue Haas Grotesk" 4231:"The 10 best fonts" 4034:"Gerstner-Programm" 3994:"Gerstner-Programm" 3921:Berthold Types blog 3889:. Typography.Guru. 3076:(14 January 2006). 2637:"Longina-Schriften" 2028:Frere-Jones, Tobias 1987:Frere-Jones, Tobias 1859:"Grotesque Letters" 1291:San Francisco Focus 1217:Much more loosely, 942:Metal type versions 778:Post-metal releases 431:Schattierte Grotesk 399:Recent research by 347:Schattierte Grotesk 215:Fann Street Foundry 34: 6213:Linotype typefaces 6208:Berthold typefaces 5640:American Red Cross 5359:AIGA Eye On Design 4113:2006-05-18 at the 4036:. Forgotten Shapes 3917:"Akzidenz-Grotesk" 3517:Sanskritweb (blog) 3102:Burke, Christopher 3074:Cartwright, Justin 2116:: 404, 407. 1896. 1993:. Frere-Jones Type 1756:A Latin Dictionary 1503:of variable height 1488:Date according to 1404:Target Corporation 1389:American Red Cross 1381: 1375:Political debate, 1369: 1258: 1206: 1195: 1147: 1102: 1064: 1030: 1000: 952: 896: 848: 796: 727:manual composition 722: 710: 633:László Moholy-Nagy 627:exhibition at the 594: 586: 561: 519: 413:Bauer Type Foundry 405:Indra Kupferschmid 397: 381:casting metal type 232: 211:William Thorowgood 6233:Digital typefaces 6105:978-1-56792-240-0 5926:978-1-85669-487-2 5739:. 28 October 2019 5238:Spiekermann, Erik 5009:978-0-7524-9742-6 4947:Calvert, Margaret 4852:"AG Old Face Pro" 4613:Spiekermann, Eric 4577:978-3-642-78505-4 4267:Klim Type Foundry 4204:Hollis, Richard. 3674:978-2-940373-08-6 3647:978-0-85785-353-0 3372:978-0-300-17260-7 3226:978-90-6450-460-0 3144:978-3-11-045688-2 3117:978-1-56898-158-1 3104:(December 1998). 3078:"Prophet of doom" 3024:, p. 58, 92. 2954:"Venus – MyFonts" 2939:978-0-300-21929-6 2536:Spiekermann, Erik 2428:978-90-6611-250-6 2024:Hoefler, Jonathan 1665:Klim Type Foundry 1490:Helvetica Forever 1309:NYC & Company 1299:Klim Type Foundry 1266:not copyrightable 830:later that year. 90: 89: 16:(Redirected from 6250: 6168:Akzidenz-Grotesk 6120:Berthold pages: 6109: 6085: 6076: 6074: 6073: 6058: 6056: 6055: 6040: 6038: 6037: 6022: 6020: 6019: 6004: 6002: 6001: 5986: 5977: 5958: 5956: 5955: 5949: 5942: 5930: 5909: 5907: 5906: 5900: 5894:. Archived from 5892:Der Druckspiegel 5889: 5876: 5859:Frutiger, Adrian 5845: 5844: 5842: 5841: 5830: 5824: 5823: 5821: 5820: 5811:. 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Godine. 6088: 6079: 6071: 6069: 6061: 6053: 6051: 6043: 6035: 6033: 6025: 6017: 6015: 6007: 5999: 5997: 5988: 5980: 5974: 5966:. Lars Müller. 5961: 5953: 5951: 5947: 5940: 5933: 5927: 5912: 5904: 5902: 5898: 5887: 5879: 5873: 5857: 5853: 5848: 5839: 5837: 5832: 5831: 5827: 5818: 5816: 5809:"Nissan Global" 5807: 5806: 5802: 5793: 5791: 5783: 5782: 5778: 5769: 5767: 5760: 5756: 5755: 5751: 5742: 5740: 5731: 5730: 5726: 5717: 5715: 5714:. 25 March 2015 5706: 5705: 5701: 5692: 5690: 5682: 5681: 5677: 5668: 5666: 5658: 5657: 5653: 5644: 5642: 5635: 5631: 5630: 5626: 5617: 5615: 5607: 5606: 5602: 5595: 5591: 5582: 5580: 5571: 5570: 5566: 5557: 5555: 5547: 5546: 5542: 5533: 5531: 5522: 5521: 5517: 5508: 5506: 5498: 5497: 5493: 5484: 5482: 5481:. Emily Lessard 5476: 5475: 5471: 5462: 5460: 5451: 5450: 5446: 5437: 5435: 5427: 5426: 5422: 5413: 5411: 5406: 5405: 5401: 5392: 5390: 5382:Blažek, Filip. 5381: 5380: 5376: 5367: 5365: 5352: 5351: 5347: 5338: 5336: 5325:Castle, Jason. 5324: 5323: 5319: 5310: 5308: 5294: 5293: 5289: 5280: 5278: 5269: 5268: 5264: 5252: 5250: 5236: 5235: 5231: 5222: 5220: 5215: 5214: 5210: 5201: 5199: 5190: 5189: 5185: 5176: 5174: 5163: 5162: 5158: 5146: 5144: 5140: 5129: 5125: 5124: 5120: 5111: 5109: 5101: 5100: 5096: 5087: 5085: 5077: 5076: 5072: 5063: 5061: 5047: 5046: 5042: 5033: 5031: 5022: 5021: 5017: 5010: 4995: 4994: 4990: 4981: 4979: 4970: 4969: 4965: 4956: 4954: 4951:"New Transport" 4945: 4944: 4937: 4929: 4925: 4916: 4914: 4905: 4904: 4900: 4891: 4889: 4876: 4875: 4866: 4857: 4855: 4850: 4849: 4842: 4833: 4831: 4825:"Design Museum" 4822: 4821: 4814: 4805: 4803: 4794: 4793: 4789: 4780: 4778: 4770: 4769: 4762: 4740: 4739: 4735: 4726: 4724: 4719: 4718: 4714: 4705: 4703: 4694: 4693: 4689: 4680: 4678: 4669: 4668: 4664: 4656: 4652: 4633: 4627: 4625: 4611: 4610: 4606: 4597: 4595: 4590: 4589: 4585: 4578: 4563: 4562: 4558: 4549: 4547: 4538: 4537: 4533: 4524: 4522: 4513: 4512: 4505: 4496: 4494: 4482: 4481: 4477: 4468: 4466: 4458: 4457: 4450: 4442: 4438: 4430: 4426: 4417: 4415: 4407: 4406: 4402: 4393: 4391: 4383: 4382: 4373: 4365: 4361: 4353: 4349: 4341: 4337: 4325: 4323: 4314: 4313: 4304: 4296: 4292: 4284: 4280: 4271: 4269: 4260: 4259: 4250: 4241: 4239: 4228: 4227: 4223: 4214: 4212: 4203: 4202: 4198: 4189: 4187: 4178: 4177: 4173: 4164: 4162: 4154: 4153: 4149: 4140: 4138: 4125: 4124: 4120: 4115:Wayback Machine 4106: 4102: 4093: 4091: 4077: 4076: 4072: 4063: 4061: 4053: 4052: 4048: 4039: 4037: 4032:Raabe, Marcel. 4031: 4030: 4026: 4018: 4011: 4002: 4000: 3992: 3991: 3987: 3979: 3975: 3967: 3963: 3956: 3943: 3942: 3935: 3926: 3924: 3915: 3914: 3905: 3896: 3894: 3881:Hermann, Ralf. 3880: 3879: 3875: 3866: 3864: 3857: 3856: 3852: 3843: 3842: 3836: 3835: 3788: 3779: 3777: 3768: 3767: 3763: 3754: 3752: 3743: 3742: 3738: 3729: 3727: 3720: 3715: 3714: 3710: 3698: 3696: 3687: 3686: 3682: 3675: 3660: 3659: 3655: 3648: 3633: 3632: 3628: 3620: 3616: 3607: 3605: 3596: 3595: 3584: 3568: 3564:Gebrauchsgrafik 3558: 3557: 3530: 3521: 3519: 3512: 3507: 3506: 3502: 3494: 3485: 3476: 3474: 3467: 3466: 3455: 3446: 3444: 3435: 3434: 3430: 3421: 3419: 3410: 3409: 3405: 3396: 3394: 3385: 3384: 3380: 3373: 3358: 3357: 3346: 3339: 3317:Tschichold, Jan 3315: 3314: 3310: 3301: 3299: 3290: 3289: 3285: 3280: 3276: 3269: 3254: 3253: 3249: 3239: 3238: 3234: 3227: 3212: 3211: 3207: 3198: 3196: 3184: 3183: 3179: 3163: 3157: 3156: 3152: 3145: 3130: 3129: 3125: 3118: 3100: 3099: 3095: 3086: 3084: 3072: 3071: 3067: 3050: 3044: 3042: 3033: 3032: 3028: 3020: 3016: 3008: 3001: 2992: 2990: 2981: 2980: 2973: 2964: 2962: 2952: 2951: 2947: 2940: 2925: 2924: 2920: 2912: 2908: 2895: 2893: 2885:Reynolds, Dan. 2884: 2883: 2879: 2870: 2868: 2861: 2857: 2856: 2852: 2843: 2841: 2832: 2831: 2827: 2818: 2816: 2802: 2801: 2797: 2788: 2786: 2772: 2771: 2767: 2758: 2756: 2747: 2746: 2739: 2730: 2728: 2719: 2718: 2714: 2705: 2703: 2696: 2695: 2691: 2683: 2679: 2670: 2668: 2659: 2658: 2654: 2645: 2643: 2634: 2633: 2629: 2620: 2618: 2609: 2608: 2604: 2588: 2582: 2580: 2567: 2566: 2562: 2553: 2551: 2534: 2533: 2522: 2513: 2511: 2503:Reynolds, Dan. 2502: 2501: 2497: 2478: 2471: 2470: 2466: 2457: 2455: 2446: 2445: 2436: 2429: 2414: 2413: 2409: 2400: 2398: 2389: 2388: 2379: 2370: 2368: 2360: 2359: 2355: 2341: 2340: 2336: 2327: 2325: 2316: 2315: 2308: 2300: 2296: 2287: 2285: 2276: 2275: 2262: 2253: 2251: 2244: 2243: 2234: 2225: 2223: 2218: 2217: 2213: 2205: 2198: 2189: 2187: 2178: 2177: 2173: 2164: 2162: 2158: 2147: 2139: 2138: 2134: 2118: 2108: 2107: 2098: 2082: 2076: 2074: 2061: 2060: 2053: 2040: 2038: 2022: 2021: 2017: 2009: 2005: 1996: 1994: 1985: 1984: 1980: 1972: 1965: 1956: 1954: 1950: 1939: 1931: 1930: 1915: 1907: 1903: 1894: 1892: 1875: 1874: 1870: 1853: 1852: 1843: 1834: 1832: 1820: 1819: 1808: 1800: 1796: 1783: 1781: 1780:. Adobe Systems 1775: 1774: 1763: 1753: 1752: 1748: 1739: 1737: 1728: 1727: 1723: 1713: 1700: 1699: 1695: 1683: 1682: 1678: 1669: 1667: 1658: 1657: 1628: 1620: 1616: 1607: 1605: 1596: 1595: 1591: 1587: 1582: 1577: 1573: 1568: 1564: 1559: 1555: 1549: 1545: 1540: 1536: 1531: 1527: 1522: 1518: 1513: 1509: 1500: 1496: 1487: 1483: 1474: 1470: 1465: 1461: 1456: 1452: 1448: 1436: 1357: 1250: 1241: 1235: 1176: 1167: 1135: 1105: 1094: 1067: 1056: 1004: 987:Eng (Condensed) 955: 944: 939: 872: 836: 786:Signage on the 780: 704:1959 poster by 680: 664: 662:The Swiss style 641:Kurt Schwitters 578: 539: 488: 487: 486: 485: 484: 481: 472: 471: 470: 448: 440:brand extension 424: 387:on the family. 368:was founded in 355: 354: 353: 352: 351: 340: 337: 328: 327: 326: 315: 224: 200: 194:Lewis and Short 186:Akzidenzschrift 170: 165:German language 161: 133:post-war period 112: 28: 23: 22: 15: 12: 11: 5: 6256: 6254: 6246: 6245: 6240: 6235: 6230: 6225: 6220: 6215: 6210: 6200: 6199: 6196: 6195: 6189: 6183: 6161: 6155: 6149: 6116: 6115:External links 6113: 6111: 6110: 6104: 6086: 6077: 6059: 6041: 6023: 6005: 5978: 5973:978-3037781210 5972: 5959: 5931: 5925: 5910: 5881:Gerstner, Karl 5877: 5872:978-3764385811 5871: 5854: 5852: 5849: 5847: 5846: 5825: 5800: 5776: 5749: 5724: 5699: 5688:www.law360.com 5675: 5651: 5624: 5600: 5589: 5564: 5549:"St G Schrift" 5540: 5515: 5491: 5469: 5444: 5420: 5410:. Hex Projects 5399: 5374: 5345: 5317: 5306:Bitstream Inc. 5287: 5262: 5242:"Twitter post" 5229: 5208: 5183: 5156: 5118: 5094: 5070: 5040: 5015: 5008: 4988: 4963: 4935: 4923: 4898: 4864: 4840: 4812: 4787: 4760: 4749:(3): 106–122. 4733: 4712: 4687: 4662: 4650: 4617:"Twitter post" 4604: 4583: 4576: 4556: 4531: 4503: 4484:Majoor, Martin 4475: 4448: 4436: 4424: 4400: 4371: 4359: 4357:, p. 250. 4347: 4335: 4302: 4290: 4278: 4248: 4221: 4196: 4171: 4147: 4118: 4100: 4070: 4046: 4024: 4009: 3985: 3973: 3971:, p. 141. 3961: 3954: 3933: 3903: 3873: 3850: 3786: 3761: 3736: 3716:Devroye, Luc. 3708: 3680: 3673: 3653: 3646: 3626: 3624:, p. 201. 3614: 3582: 3528: 3500: 3483: 3453: 3428: 3403: 3378: 3371: 3344: 3337: 3325:Kinross, Robin 3308: 3283: 3274: 3267: 3247: 3232: 3225: 3205: 3177: 3150: 3143: 3123: 3116: 3093: 3065: 3026: 3014: 2999: 2971: 2945: 2938: 2918: 2916:, p. 138. 2906: 2877: 2850: 2825: 2795: 2765: 2737: 2712: 2689: 2677: 2652: 2627: 2602: 2569:"Schriftprobe" 2560: 2520: 2495: 2464: 2434: 2427: 2407: 2377: 2353: 2334: 2306: 2304:, p. 137. 2294: 2260: 2232: 2211: 2209:, p. 139. 2196: 2171: 2132: 2096: 2063:"Schriftprobe" 2051: 2015: 2003: 1978: 1963: 1933:Gerstner, Karl 1913: 1901: 1868: 1841: 1822:Majoor, Martin 1806: 1794: 1761: 1746: 1721: 1711: 1693: 1676: 1626: 1614: 1588: 1586: 1583: 1581: 1580: 1571: 1562: 1553: 1543: 1534: 1525: 1516: 1507: 1494: 1481: 1468: 1459: 1449: 1447: 1444: 1443: 1442: 1435: 1432: 1402:Berthold sued 1397:U.S. Air Force 1356: 1353: 1352: 1351: 1348: 1347: 1346: 1343: 1334: 1323: 1312: 1305: 1295: 1286: 1279: 1273: 1249: 1246: 1239:Normal-Grotesk 1237:Main article: 1234: 1231: 1175: 1172: 1166: 1163: 1134: 1131: 1093: 1090: 1055: 1052: 1047: 1046: 1043: 1040: 1037: 1034: 1022: 1021: 1018: 1015: 992: 991: 988: 985: 982: 979: 976: 973: 943: 940: 938: 935: 929:rather than a 871: 868: 835: 832: 792:screen-printed 779: 776: 663: 660: 617:Jan Tschichold 577: 574: 482: 475: 474: 473: 464: 463: 462: 461: 460: 455:Schmalhalbfett 435:design patents 385:design patents 360:type foundries 338: 331: 330: 329: 320: 319: 318: 317: 316: 314: 311: 223: 220: 160: 157: 131:status in the 88: 87: 84: 80: 79: 77:H. Berthold AG 74: 68: 67: 62: 60:Classification 56: 55: 50: 44: 43: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6255: 6244: 6241: 6239: 6236: 6234: 6231: 6229: 6226: 6224: 6221: 6219: 6216: 6214: 6211: 6209: 6206: 6205: 6203: 6193: 6190: 6187: 6184: 6181: 6177: 6173: 6169: 6165: 6162: 6159: 6156: 6153: 6150: 6147: 6146:AG Schoolbook 6143: 6139: 6135: 6131: 6127: 6123: 6119: 6118: 6114: 6107: 6101: 6097: 6096: 6091: 6090:Tracy, Walter 6087: 6083: 6078: 6067: 6066: 6060: 6049: 6048: 6042: 6031: 6030: 6024: 6013: 6012: 6006: 5996: 5992: 5987:Lay summary: 5984: 5979: 5975: 5969: 5965: 5960: 5950:on 2011-01-12 5946: 5939: 5938: 5932: 5928: 5922: 5918: 5917: 5911: 5901:on 2017-10-15 5897: 5893: 5886: 5882: 5878: 5874: 5868: 5864: 5860: 5856: 5855: 5850: 5835: 5829: 5826: 5815:on 2022-06-26 5814: 5810: 5804: 5801: 5790: 5786: 5780: 5777: 5766: 5759: 5753: 5750: 5738: 5734: 5728: 5725: 5713: 5709: 5703: 5700: 5689: 5685: 5679: 5676: 5665: 5661: 5655: 5652: 5641: 5634: 5628: 5625: 5614: 5610: 5604: 5601: 5598: 5593: 5590: 5578: 5574: 5568: 5565: 5554: 5550: 5544: 5541: 5530: 5526: 5519: 5516: 5505: 5501: 5495: 5492: 5480: 5473: 5470: 5459: 5455: 5448: 5445: 5434: 5430: 5424: 5421: 5409: 5403: 5400: 5389: 5385: 5378: 5375: 5364: 5360: 5356: 5349: 5346: 5334: 5333: 5328: 5327:"Standard CT" 5321: 5318: 5307: 5303: 5302: 5297: 5291: 5288: 5276: 5272: 5266: 5263: 5259: 5249: 5248: 5243: 5239: 5233: 5230: 5218: 5212: 5209: 5198: 5194: 5187: 5184: 5173: 5172: 5167: 5160: 5157: 5153: 5143:on 2014-12-23 5139: 5135: 5128: 5122: 5119: 5108: 5104: 5098: 5095: 5084: 5080: 5074: 5071: 5060:on 2017-01-19 5059: 5055: 5054:kupferschrift 5051: 5044: 5041: 5030: 5026: 5019: 5016: 5011: 5005: 5001: 5000: 4992: 4989: 4978: 4974: 4967: 4964: 4952: 4948: 4942: 4940: 4936: 4932: 4931:Frutiger 2009 4927: 4924: 4913: 4912:Jens Gehlhaar 4909: 4902: 4899: 4888:on 2017-06-19 4887: 4883: 4879: 4873: 4871: 4869: 4865: 4853: 4847: 4845: 4841: 4830: 4826: 4819: 4817: 4813: 4802: 4798: 4791: 4788: 4777: 4773: 4767: 4765: 4761: 4756: 4752: 4748: 4744: 4737: 4734: 4722: 4716: 4713: 4702:on 2017-10-02 4701: 4697: 4691: 4688: 4677:on 2017-10-02 4676: 4672: 4671:"AG Book Pro" 4666: 4663: 4660:, p. 23. 4659: 4654: 4651: 4647: 4643: 4636: 4624: 4623: 4618: 4614: 4608: 4605: 4594: 4587: 4584: 4579: 4573: 4569: 4568: 4560: 4557: 4546: 4542: 4535: 4532: 4521: 4517: 4510: 4508: 4504: 4493: 4489: 4485: 4479: 4476: 4465: 4461: 4455: 4453: 4449: 4446:, p. 61. 4445: 4444:Frutiger 2009 4440: 4437: 4434:, p. 18. 4433: 4432:Frutiger 2009 4428: 4425: 4414: 4410: 4404: 4401: 4390: 4386: 4380: 4378: 4376: 4372: 4368: 4367:Gerstner 1963 4363: 4360: 4356: 4355:Frutiger 2009 4351: 4348: 4345:, p. 33. 4344: 4339: 4336: 4332: 4322: 4318: 4311: 4309: 4307: 4303: 4300:, p. 96. 4299: 4298:Frutiger 2009 4294: 4291: 4287: 4282: 4279: 4268: 4264: 4257: 4255: 4253: 4249: 4238: 4237: 4232: 4225: 4222: 4211: 4207: 4200: 4197: 4185: 4181: 4175: 4172: 4161: 4157: 4151: 4148: 4137:on 2017-06-19 4136: 4132: 4128: 4122: 4119: 4116: 4112: 4109: 4104: 4101: 4090:on 2014-10-23 4089: 4085: 4081: 4074: 4071: 4060: 4056: 4050: 4047: 4035: 4028: 4025: 4022:, p. 26. 4021: 4016: 4014: 4010: 3999: 3995: 3989: 3986: 3982: 3981:Gerstner 1963 3977: 3974: 3970: 3969:Reynolds 2019 3965: 3962: 3957: 3955:9780500513118 3951: 3947: 3940: 3938: 3934: 3922: 3918: 3912: 3910: 3908: 3904: 3892: 3888: 3884: 3877: 3874: 3862: 3861: 3854: 3851: 3846: 3839: 3833: 3831: 3829: 3827: 3825: 3823: 3821: 3819: 3817: 3815: 3813: 3811: 3809: 3807: 3805: 3803: 3801: 3799: 3797: 3795: 3793: 3791: 3787: 3776: 3772: 3765: 3762: 3751: 3747: 3740: 3737: 3726: 3719: 3712: 3709: 3705: 3695: 3691: 3684: 3681: 3676: 3670: 3666: 3665: 3657: 3654: 3649: 3643: 3639: 3638: 3630: 3627: 3623: 3618: 3615: 3604: 3600: 3593: 3591: 3589: 3587: 3583: 3579: 3571: 3565: 3561: 3555: 3553: 3551: 3549: 3547: 3545: 3543: 3541: 3539: 3537: 3535: 3533: 3529: 3518: 3511: 3504: 3501: 3497: 3492: 3490: 3488: 3484: 3472: 3471: 3464: 3462: 3460: 3458: 3454: 3443: 3439: 3432: 3429: 3418: 3414: 3407: 3404: 3393: 3389: 3382: 3379: 3374: 3368: 3364: 3363: 3355: 3353: 3351: 3349: 3345: 3340: 3334: 3330: 3326: 3322: 3321:McLean, Ruari 3318: 3312: 3309: 3298: 3297:Kupferschrift 3294: 3287: 3284: 3278: 3275: 3270: 3268:9781568980843 3264: 3260: 3259: 3251: 3248: 3243: 3236: 3233: 3228: 3222: 3218: 3217: 3209: 3206: 3195:on 2016-02-08 3194: 3190: 3189: 3181: 3178: 3174: 3166: 3160: 3154: 3151: 3146: 3140: 3136: 3135: 3127: 3124: 3119: 3113: 3109: 3108: 3103: 3097: 3094: 3083: 3079: 3075: 3069: 3066: 3061: 3055: 3041: 3037: 3030: 3027: 3023: 3018: 3015: 3012:, p. 98. 3011: 3006: 3004: 3000: 2989: 2985: 2978: 2976: 2972: 2961: 2960: 2955: 2949: 2946: 2941: 2935: 2931: 2930: 2922: 2919: 2915: 2914:Reynolds 2019 2910: 2907: 2903: 2892: 2888: 2881: 2878: 2867: 2860: 2854: 2851: 2840: 2836: 2829: 2826: 2815:on 2015-03-21 2814: 2810: 2806: 2799: 2796: 2784: 2780: 2779:kupferschrift 2776: 2769: 2766: 2755: 2751: 2744: 2742: 2738: 2727: 2723: 2716: 2713: 2701: 2700: 2693: 2690: 2686: 2681: 2678: 2667: 2663: 2656: 2653: 2642: 2638: 2631: 2628: 2617: 2613: 2606: 2603: 2599: 2591: 2578: 2574: 2570: 2564: 2561: 2550:on 2014-06-28 2549: 2545: 2541: 2537: 2531: 2529: 2527: 2525: 2521: 2510: 2506: 2499: 2496: 2492: 2488: 2481: 2475: 2468: 2465: 2454: 2453:Kupferschrift 2450: 2443: 2441: 2439: 2435: 2430: 2424: 2420: 2419: 2411: 2408: 2397: 2393: 2386: 2384: 2382: 2378: 2367: 2363: 2357: 2354: 2349: 2345: 2338: 2335: 2324: 2320: 2313: 2311: 2307: 2303: 2302:Reynolds 2019 2298: 2295: 2284: 2283:kupferschrift 2280: 2273: 2271: 2269: 2267: 2265: 2261: 2249: 2248: 2241: 2239: 2237: 2233: 2221: 2220:"Brass Rules" 2215: 2212: 2208: 2207:Reynolds 2019 2203: 2201: 2197: 2186: 2182: 2175: 2172: 2161:on 2016-11-18 2157: 2153: 2146: 2142: 2136: 2133: 2129: 2121: 2115: 2111: 2105: 2103: 2101: 2097: 2093: 2085: 2072: 2068: 2064: 2058: 2056: 2052: 2048: 2037: 2033: 2029: 2025: 2019: 2016: 2012: 2011:Gerstner 1963 2007: 2004: 1992: 1988: 1982: 1979: 1975: 1974:Gerstner 1963 1970: 1968: 1964: 1953:on 2017-10-15 1949: 1945: 1938: 1934: 1928: 1926: 1924: 1922: 1920: 1918: 1914: 1911:, p. 58. 1910: 1905: 1902: 1891:on 2014-06-28 1890: 1886: 1882: 1878: 1877:Mosley, James 1872: 1869: 1864: 1860: 1856: 1850: 1848: 1846: 1842: 1831: 1827: 1823: 1817: 1815: 1813: 1811: 1807: 1804:, p. 29. 1803: 1798: 1795: 1791: 1779: 1776:Berry, John. 1772: 1770: 1768: 1766: 1762: 1757: 1750: 1747: 1736: 1732: 1725: 1722: 1718: 1714: 1712:9783506741097 1708: 1704: 1697: 1694: 1689: 1688: 1680: 1677: 1666: 1662: 1655: 1653: 1651: 1649: 1647: 1645: 1643: 1641: 1639: 1637: 1635: 1633: 1631: 1627: 1624:, p. 24. 1623: 1618: 1615: 1604: 1600: 1593: 1590: 1584: 1575: 1572: 1566: 1563: 1557: 1554: 1547: 1544: 1538: 1535: 1529: 1526: 1520: 1517: 1511: 1508: 1504: 1498: 1495: 1491: 1485: 1482: 1478: 1472: 1469: 1463: 1460: 1454: 1451: 1445: 1441: 1438: 1437: 1433: 1431: 1429: 1424: 1422: 1418: 1414: 1411: 1407: 1405: 1400: 1398: 1394: 1390: 1386: 1378: 1373: 1366: 1361: 1355:Notable users 1354: 1349: 1344: 1341: 1340: 1338: 1335: 1332: 1331:Stefan George 1328: 1324: 1321: 1317: 1316:optical sizes 1313: 1310: 1306: 1304: 1300: 1296: 1293: 1292: 1287: 1284: 1280: 1277: 1274: 1271: 1270: 1269: 1267: 1263: 1254: 1247: 1245: 1240: 1232: 1230: 1228: 1224: 1220: 1215: 1212: 1211:Max Miedinger 1204: 1199: 1193: 1189: 1185: 1180: 1173: 1171: 1164: 1162: 1159: 1157: 1153: 1144: 1139: 1132: 1130: 1128: 1123: 1119: 1117: 1113: 1108: 1098: 1091: 1089: 1086: 1083: 1079: 1075: 1070: 1060: 1053: 1051: 1044: 1041: 1038: 1035: 1032: 1031: 1026: 1019: 1016: 1007: 1002: 1001: 996: 989: 986: 983: 980: 977: 974: 971: 967: 966: 965: 963: 958: 948: 941: 936: 934: 932: 928: 923: 919: 917: 913: 910: 906: 903: 899: 893: 889: 885: 882:, similar to 881: 876: 869: 867: 865: 860: 857: 856:Kris Sowersby 853: 845: 840: 833: 831: 829: 824: 820: 815: 811: 807: 805: 801: 793: 789: 784: 777: 774: 769: 766: 763: 759: 755: 751: 747: 742: 740: 736: 732: 728: 719: 714: 707: 706:Armin Hofmann 702: 698: 696: 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