The Complete Works English ed. Retrieved 27 June Archived from the original PDF on Digital versions included Greek and Cyrillic characters, and the family includes a condensed, extended, rounded and stencil series. Berthold typefaces Grotesque sans-serif typefaces Letterpress typefaces Photocomposition typefaces Typefaces with infant variants Digital typefaces Products introduced in Architektur und Typografie im

Uploader: Sharisar
Date Added: 22 August 2008
File Size: 56.97 Mb
Operating Systems: Windows NT/2000/XP/2003/2003/7/8/10 MacOS 10/X
Downloads: 27204
Price: Free* [*Free Regsitration Required]

Bauer had earlier cut a typeface called Accidenz-Gothisch”. In other projects Wikimedia Commons. Purvis; Friedrich Friedl 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. A top serif on the 1 and in some styles a downward-pointing serif on the top left of the 7.

Akzidenz Grotesk Pro BE Super Plus Font

Retrieved 20 June Akzidenz-Grotesk is also the font used in Arizona State University’s brand akzidenz grotesk pro super [] in extra bold italic form, used in the NASCAR Sprint Cup Series for the driver’s surname placed on the windshield of the race cars; and in light condensed form, used in the Brooklyn Nets ‘ logo. Retrieved 28 November Throughout most of its history, typography simply evolved the forms that were the most useful and the most interesting, grotsek with indifference toward how they related to one another.

University of Reading archived. 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 groetsk lower-case; sans-serif types first appeared in London, but became popular in Germany from the mid-nineteenth century onwards.


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.

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 ‘Breite Grotesk’ by J. This old typeface, which these days one pfo 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. A New History, Second Edition. In the late s and early s, Akzidenz-Grotesk was used akzidenz grotesk pro super on The Weather Channel ‘s on-screen graphics.

Views Read Edit View history. This style often contrasted Akzidenz-Grotesk with photographic art, and did not use all caps as much as many older posters. Several other type designers modelled typefaces from this popular typeface.

Berthold released its own family in this style, Berthold-Grotesk. Retrieved 7 October Research is complicated by the very large number of small type foundries active in Germany during this period, which often did not publish extensive specimens.


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 View of Type Design. Regular, medium, bold, outline, bold outline and shaded styles were made for the family, but no obliques.


FontFont ‘s FF Schulbuch family is in a similar style. Also named “Accidenz-Grotesk” and “Normal-Grotesk”, it had a ggotesk condensed, “boxy” design.

Akzidenz Grotesk Pro BE Super Plus font

Monotype Newsletter, also suler in Motif as “Letters without Serifs”. A licensed adaptation changing some characters by the Amsterdam Type Foundry under the name of Nobelhowever, became a popular standard typeface in Dutch printing. Architektur und Typografie im By using this site, you agree to the Terms of Use and Privacy Policy. Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas-Grotesk, released in and renamed Helvetica in syper Retrieved 29 June Around the beginning of the twentieth century, these increasingly began to be branded as larger families of multiple matched styles.

This gives grotdsk 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 light weight of Akzidenz-Grotesk was for many years branded separately as ‘Royal-Grotesk’; it was reported in the post-war period that it this referred to it being commissioned by the Prussian Grotewk of Akzidenz grotesk pro superbut Kupferschmid again reports being unable to find it used in its publications.