Akzidenz-Grotesk was popular in this period although other typefaces such as Monotype Grotesque were used also: Much more loosely, Transport , the typeface used on British road signs, was designed by Jock Kinneir and Margaret Calvert influenced by Akzidenz-Grotesk. The ‘g’ of Akzidenz-Grotesk is a ‘single-storey’ design, like in many other German sans-serifs, but unlike the double-storey ‘g’ found in most serif faces and in many of the earliest sans-serifs that had a lower-case; sans-serif types first appeared in London, but became popular in Germany from the mid-nineteenth century onwards. Retrieved 17 January As typeface designs are generally not legally protected unlike their names, which can be trademarked ,  several alternative digitisations inspired by Akzidenz-Grotesk have been released under alternative names. Popplbaum was not bought by Berthold until Akademie der Wissenschaften G.
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According to Paul Shaw, “exactly when Amsterdam Continental began importing Standard is unclear but it appears on several record album covers as early as A top serif on the 1 and in some styles a downward-pointing serif on the top left of the 7.
License Please read the current Typodermic Fonts license agreement berthold akzidenz grotesk light condensed http: 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 era. To proclaim sans-serif as the typeface of our time bwrthold not a question of being fashionable, it really does express the same tendencies to be seen in our architecture…there is no doubt that the sans-serif types available today are not yet wholly satisfactory as all-purpose faces.
Akzidenz-Grotesk® Pro+ Condensed (WGL)
On the grotesque revival, written in Retrieved 28 November The general effect is that Helvetica appears more oblong while Akzidenz-Grotesk maintains circular counters and bowls. The Art of Typography.
The essential characteristics of this type have not been fully worked out: Akademie der Wissenschaften G. Generally based on Condensrd Book, it includes bedthold single-storey ‘a’, curled ‘l’, lower- and upper-case ‘k’ that are symmetrical, and ‘t’, ‘u’ and ‘y’ without curls on the base. The original series remained quite divers, individual weights showing not much resemblance but in name. Monotype Newsletter, also printed in Motif as “Letters without Serifs”.
Karl Gerstner notes that even comparing one size 20ptthe medium and bold weights have different x-heightcap height and descender length to the light and regular weights.
Identifont – Akzidenz-Grotesk Condensed
Hosting courtesy of mt Media Temple. They kept adding weights, some of them from other faces, acquired from other foundries. Retrieved 26 June The similarities of Helvetica and Akzidenz-Grotesk are apparent, but the subtle differences include the uppercase and lowercase C and the uppercase GCondensdeR and Q.
Retrieved from ” https: Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas-Grotesk, released in and renamed Helvetica in Story of a Typeface. Architektur und Typografie im Retrieved 27 June However, during this period there was increasing interest in using sans-serifs as capturing the spirit of the time, most famously, Jan Tschichold ‘s influential book Die Neue Typographiewhich praised the akzidejz qualities of the “anonymous” sans-serifs of the nineteenth century and was printed in a sans-serif similar to Berthold’s Akzidenz-Grotesk.
Akzidenz-Grotesk is sometimes at first glance mistaken for the Helvetica or Univers berthold akzidenz grotesk light condensed. Archived from the original on 28 June Regular, medium, bold, outline, bold outline and shaded styles were made for the family, but no obliques.