Download akzidenz grotesk bq font family. Use akzidenz grotesk bq fonts in your design projects and presentation. Akzidenz Grotesk Bq fonts available for Windows and. Download Berthold Akzidenz Grotesk font family for free. Download font Berthold Akzidenz Grotesk BE from this family. Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. Akzidenz means a 'commercial' typeface for trade printing.

Akzidenz-Grotesk Date released 1898 (?) Akzidenz-Grotesk is a family originally released by the of. Akzidenz means a 'commercial' typeface for trade printing such as publicity, tickets and forms, as opposed to typefaces intended for decorative or book use. Originating during the late nineteenth century, Akzidenz-Grotesk belongs to a tradition of general-purpose, unadorned sans serif types known as that had become dominant in German printing during the nineteenth century, and became one of the most popular examples of this style. Its simple, neutral design has influenced many later faces and became commonly used and influential as an element of the popular of the 1950s and 1960s.

It has sometimes been sold as Standard or Basic Commercial in English-speaking countries. Digital variants of Akzidenz-Grotesk, showing the slight inconsistencies and idiosyncrasies between different weights and widths. Like most sans-serifs, 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 seen in many more decorative sans-serifs of the late nineteenth century influenced by the style. Modern type designer has described the general design of Akzidenz-Grotesk and its ancestors as similar in letterforms to the serif fonts that were standard printing types in the nineteenth century, such as, and their followers. This is most visible in the quite folded-up of letters such as ‘a’ and ‘c’. The capitals of Akzidenz-Grotesk are wide and relatively uniform in width.

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. Tc 2000 Crack. Describes this as a common feature in German sans-serifs of the period and influenced by the tradition of, which uses a single-story 'g' in upright composition. Blackletter was still for general-purpose use in Germany in the nineteenth century. As is normal in typefaces cut during the metal type period, Akzidenz-Grotesk shows variation between sizes of metal type, with adaptation of letter-spacing and proportions to different sizes.

In addition, there is variation between weights: notes that even comparing one size (20pt), the medium and bold weights have different, cap height and descender length to the light and regular weights. This is common with nineteenth-century sans-serifs, which were often not designed with the intention of forming an extended family that would match together.

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. A German banknote from 1918, showing Akzidenz-Grotesk or a similar design.

The influences, sources and of Akzidenz-Grotesk are not fully known, although it descends from a school of general-purpose sans-serifs cut in the nineteenth century. Research is complicated by the very large number of type foundries active in Germany during this period. Errorfix 4.7.1.2 Serial here.

Sans-serifs had become very popular in Germany by the late nineteenth century, with many type foundries offering different versions. Berthold literature from the 1920s dated the design to 1898. It was claimed by Berthold's post-war artistic director that a key source of Akzidenz-Grotesk was types from the Ferdinand Theinhardt type foundry. This was owned by businessman and Ferdinand Theinhardt, who was otherwise particularly famous for his scholarly endeavours in the field of and typefaces.

Professor Indra Kupferschmid, who has researched the early use of sans-serifs in Germany, however reports that this cannot be a full explanation of the family's history: 'there must have been an Accidenz-Grotesk at Berthold before the acquisition of Theinhardt’s foundry in 1908.' (Early references to Akzidenz-Grotesk at Berthold often use the alternative spelling 'Accidenz-Grotesk'. ) According to Eckehart Schumacher-Gebler and Kupferschmid, a likely source for some styles of Akzidenz-Grotesk is Berthold's 1897 purchase of the Bauer Foundry of Stuttgart (not to be confused with the much better-known of Frankfurt) and confusion may have occurred with fonts held by Berthold that the Theinhardt foundry licensed. Kupferschmid concludes that the design appears to be based on or related to an 1895 shadowed sans-serif ('Schattierte Grotesk') sold by the Bauer Foundry.