Like most grotesque sans-serifs, Akzidenz-Grotesk’s slanted form is an oblique rather than a true italic. Retrieved 7 October Purvis; Friedrich Friedl Some of these old sans-serifs have had a real renaissance within the last twenty years This gives a sense of simplicity and an absence of the adornment and flourishes seen in many more decorative sans-serifs of the late nineteenth century influenced by the Art Nouveau style. The current holder of the Berthold rights is Berthold Types of Chicago, following the bankruptcy of H.

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University of California Press. A View of Type Design.

Akzidenz-Grotesk® Pro

Zusammen mit den Handsatz-Garnituren bilden die Linotype-Werkschiftgrade eine sehr stattliche Familie, die der Gestalter und Drucker oft und gern bei seiner Arbeit in Anspruch nehmen wird.

This page grotezk last edited on 2 Decemberat While this was acceptable for posters, by the s hot metal typesetting machines had become the akaidenz system for printing general-purpose body text, and for this system Akzidenz-Grotesk was unavailable until around[g] when it was first sold on Linotype and then in akzidenz grotesk pro super Intertype systems.

Retrieved 7 October The ‘Breite Grotesk’ by J. Retrieved 15 October Several other type designers modelled typefaces from this popular typeface. An American specimen of Akzidenz-Grotesk under the name ‘Standard’. A dropped horizontal stroke on A.

Akzidenz-Grotesk® Pro

Retrieved from ” https: Views Read Edit View history. Separately, Karl Gerstner and other akxidenz at his company GGK Basel launched a project in the s 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 “Gerstner-Programm” but according to Lange it was never fully released.


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 grotezk that the sans-serif types available today are not yet wholly satisfactory as all-purpose faces. Stefan George istMelchior Lechtor gestorben. This style often contrasted Akzidenz-Grotesk with photographic art, and did not use all caps as much as many older posters. akzicenz

Akzidenz Grotesk Pro BE Super Plus Font

Retrieved 30 June Aside from the subtle differences in these individual letters, Miedinger’s primary change to Akzidenz-Grotesk is Helvetica’s higher x-height, the distance from the baseline to the height supper the lowercase letter xand the consistently horizontal terminals. With the end of mass use of metal type, Akzidenz-Grotesk has been rereleased and adapted in versions for the new phototypesetting and digital technologies.

Inthree notable competitors of Akzidenz-Grotesk appeared intended to compete with its growing popularity: 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. Retrieved 21 July Retrieved 22 December The current holder of the Berthold rights is Berthold Types of Chicago, following the bankruptcy of H.


Akzidenz grotesk pro super New History comments that they “conveyed the functionalist ethos without appearing too stylised Stroke endings are though less consistently horizontal or vertical than in Helvetica.

Retrieved 23 July In other projects Wikimedia Commons. Purvis; Friedrich Friedl On Frutiger’s typeface Univers, inspired by Akzidenz-Grotesk Univers doesn’t form patches in print, like Akzidenz-Grotesk for example, because the uppercase letters are only drawn slightly bolder than the lowercase. Monotype Newsletter, also printed in Motif as “Letters without Serifs”. Digital versions included Greek and Cyrillic characters, and the family includes a condensed, extended, rounded and grogesk series.

The similarities of Akzidenz grotesk pro super and Akzidenz-Grotesk are apparent, but the subtle differences include the uppercase and lowercase C and the uppercase GJR and Q.

According to Paul Shaw, “exactly when Amsterdam Continental began importing Standard is kazidenz but it appears on several record album covers as early as

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