Berthold Akzidenz Grotesk Regular Font Free Download

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From left to right: a serif typeface with serifs in red, a serif typeface and a sans-serif typeface In and, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called ' at the end of strokes. Sans-serif fonts tend to have less line width variation than serif fonts. In most print, they are often used for headings rather than for body text. They are often used to convey simplicity and modernity or minimalism. Sans-serif fonts have become the most prevalent for display of text on computer screens. On lower-resolution digital displays, fine details like serifs may disappear or appear too large.

The term comes from the French word sans, meaning 'without' and 'serif' of uncertain origin, possibly from the Dutch word schreef meaning 'line' or pen-stroke. Before the term 'sans-serif' became common in English typography, a number of other terms had been used.

One of these outmoded terms for sans serif was, which is still used in East Asian typography and sometimes seen in font names like,. Sans-serif fonts are sometimes, especially in older documents, used as a device for, due to their typically blacker. Originally released by in the 1890s. A popular German grotesque with a single-storey 'g'. This group features most of the early (19th century to early 20th) sans-serif designs.

Influenced by serif fonts of the period and signpainting traditions, these were often quite solid, bold designs suitable for headlines and advertisements. The early sans-serif typefaces often did not feature a lower case or italics, since they were not needed for such uses. They were sometimes released by width, with a range of widths from extended to normal to condensed, with each style different, meaning to modern eyes they can look quite irregular and eccentric. Grotesque fonts have limited variation of stroke width (often none perceptible in capitals). The terminals of curves are usually horizontal, and many have a spurred 'G' and an 'R' with a curled leg. Capitals tend to be of relatively uniform width. Cap height and ascender height are generally the same to create a more regular effect in texts such as titles with many capital letters, and are often short for tighter linespacing.

Most avoid having a true italic in favour of a more restrained or sloped design, although at least sans-serif true italics were offered. Examples of grotesque fonts include, and. Akzidenz Grotesk Old Face, Knockout, and Monotype Grotesque are examples of digital fonts that retain more of eccentricities of some of the early sans-serif types.

The term has also been applied to these designs due to their practicality and simplicity. Neo-grotesque. Originally released by (as Neue Haas Grotesk) in 1957.

A typical neo-grotesque. As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text.

Berthold Akzidenz Grotesk Light Font Free Download

Similar to grotesque typefaces, neogrotesques often feature capitals of uniform width and a quite 'folded-up' design, in which strokes (for example on the 'c') are curved all the way round to end on a perfect horizontal or vertical. Is an example of this. Others such as are less regular. Neo-grotesque type began in the 1950s with the emergence of the, or Swiss style. Its members looked at the clear lines of (1896) as an inspiration to create rational, almost neutral typefaces. In 1957 the release of, and, the first typefaces categorized as neo-grotesque, had a strong impact internationally: Helvetica came to be the most used typeface for the following decades. Other, later neo-grotesques include, and, and in the digital period Acumin, and.

Geometric. Originally released by in 1927. A typical geometric sans serif. As their name suggests, Geometric sans-serif typefaces are based on geometric shapes, like near-perfect circles and squares.

Common features are a nearly-exactly circular capital 'o' and a 'single-story' lowercase letter ' a'. The 'M' is often splayed and the capitals of varying width, following the. Of these four categories, geometric fonts tend to be the least useful for body text and often used for headings and small passages of text. The geometric sans originated in Germany in the 1920s.

Two early efforts in designing geometric types were made by and, who worked respectively on Universal Typeface (unreleased at the time but revived digitally as ) and (circa 1925). In 1927, by, was released to great acclaim and popularity. Geometric sans-serif fonts were popular from the 1920's and 30's due to their clean, modern design, and many new geometric designs and revivals have been created since. Notable geometric types of the period include, and; more recent designs in the style include, and. Many geometric sans-serif alphabets of the period, such as those created by the art school (1919-1933) and modernist poster artists, were hand-lettered and not cut into metal type at the time.

A separate inspiration for many types considered 'geometric' in design has been the simplified shapes of letters engraved or stenciled on metal and plastic in industrial use, which often follow a simplified structure. Designs considered geometric in principles but which are less descended from the Futura/Erbar/Kabel tradition include, and, along with many of the fonts designed. Humanist. Originally released by in 1969. A humanist sans serif. Humanist sans-serifs take inspiration from traditional letterforms, such as, traditional serif fonts and calligraphy. Many have rather than an, and even in italic.

One of the earliest humanist designs was 's typeface of c. 1916, and, a decade later, (, 1928). Edward Johnston, a by profession, was inspired by classic letter forms, especially the capital letters on the.

Humanist designs vary more than gothic or geometric designs. Some humanist designs have stroke modulation (strokes that clearly vary in width along their line) or alternating thick and thin strokes. These include most popularly 's (1958), a typeface expressly designed to be suitable for both display and body text.

Some humanist designs may be more geometric, as in Gill Sans and Johnston (especially their capitals), which like Roman capitals are often based on perfect squares, half-squares and circles, with considerable variation in width. These somewhat architectural designs may feel too stiff for body text. Others such as, and more resemble handwriting, serif fonts or calligraphy., from 1976, has been particularly influential in the development of the modern humanist sans genre, especially designs intended to be particularly legible above all other design considerations. The category expanded greatly during the 1980s and 1990s, partly as a reaction against the overwhelming popularity of and and also due to the need for legible fonts on low-resolution computer displays. Designs from this period intended for print use include, and, while designs created for computer use include Microsoft's, and, as well as, and. Humanist sans-serif designs can (if appropriately proportioned and spaced) be particularly suitable for use on screen or at distance, since their designs can be given wide or separation between strokes, which is not a conventional feature on grotesque and neo-grotesque designs.

Other/mixed Due to the diversity of sans-serif typefaces, many do not fit neatly into the above categories. For example, has both neo-grotesque and geometric influences, as does 's. Other 'trans-sans' designs include and. Sans-serif fonts intended for signage, such as and used on road signs, may have unusual features to enhance legibility and differentiate characters, such as a lower-case 'L' with a curl or 'i' with serif under the dot.

Modulated sans-serifs. Rothbury, an early modulated sans-serif font from 1915.

The strokes vary in width considerably. A particular subgenre of sans-serifs is those such as Rothbury, and with obvious variation in stroke with. These have been called 'modulated' or 'stressed' sans-serifs.

They are nowadays often placed within the humanist genre, although they predate Johnston which started the modern humanist genre. These may take inspiration from sources outside printing such as brush lettering or calligraphy. Calligraphy in a fifteenth-century bible While simple sans-serif letters have always been common in 'uncultured' writing, such as basic handwriting, most artistically created letters in the Latin alphabet, both sculpted and printed, since the Middle Ages have been inspired by fine calligraphy, writing and. As a result, printing done in the Latin alphabet for the first three hundred and fifty years of printing was 'serif' in style, whether in, or occasionally.

The earliest printing typefaces which omitted serifs were not intended to render contemporary texts, but to represent inscriptions in Ancient Greek and. Thus, 's De Etruria regali libri VII (1723), used special types intended for the representation of, and in c. 1745, the Caslon foundry made Etruscan types for pamphlets written by Etruscan scholar. Another niche used of a printed sans-serif letterform from in 1786 onwards was a rounded sans-serif script font developed by for the use of the blind to read with their fingers. An early 'neoclassical' use of sans-serif capitals to represent antiquity, drawn by for his book on Ancient Greek antiquities.

Towards the end of the eighteenth century led to architects increasingly incorporating ancient Greek and Roman designs in contemporary structures. The architect commonly used sans-serif letters on his drawings and architectural designs. Soane's inspiration was apparently the inscriptions dedicating the in, with minimal serifs. These were then copied by other artists. The lettering style apparently became referred to as 'old Roman' or 'Egyptian' characters, referencing the classical past and a in Ancient Egypt and its blocky, geometric architecture. The inappropriateness of the name was not lost on the poet, in his satirical Letters from England written in the character of a Spanish aristocrat. It commented: 'Everything now must be Egyptian: the ladies wear crocodile ornaments, and you sit upon a sphinx in a room hung round with mummies, and with long black lean-armed long-nosed hieroglyphical men, who are enough to make the children afraid to go to bed.

The very shopboards must be metamorphosed into the mode, and painted in Egyptian letters, which, as the Egyptians had no letters, you will doubtless conceive must be curious. They are simply the common characters, deprived of all beauty and all proportion by having all the strokes of equal thickness, so that those which should be thin look as if they had the elephantiasis.'

In London, 'Egyptian' lettering became popular for advertising, apparently because of the 'astonishing' effect the unusual style had on the public. Historian, the leading expert on early revival of sans-serif letters, has written that 'in 1805 Egyptian letters were happening in the streets of London, being plastered over shops and on walls by signwriters, and they were astonishing the public, who had never seen letters like them and were not sure they wanted to.' A depiction of the style was shown in the of 1805.

However, the style did not become used in printing for some more years. (Early sans-serif signage was not printed from type but hand-painted or carved, since at the time it was not possible to print in large sizes. This makes tracing the descent of sans-serif styles hard, since a trend can arrive in the dated, printed record from a signpainting tradition which has left less of a record or at least no dates.) Around 1816, the began to use 'Egyptian' lettering, monoline sans-serif capitals, to mark ancient Roman sites. This lettering was printed from copper plate engraving. Sample image of condensed sans-serifs from the Figgins foundry of London in an 1845 specimen-book. Much less influenced by classical models than the earliest sans-serif lettering, these faces became extremely popular for commercial use. Around 1816, William Caslon IV produced the first sans-serif printing type in England for the Latin alphabet, a capitals-only face under the title, where 'Two Lines English' referred to the font's body size, which equals to about 28- points.

No uses of it from the period have been found; Mosley speculates that it may have been commissioned by a specific client. A second hiatus in interest in sans-serif appears to have lasted for about twelve years, when the foundry of London issued a new sans-serif in 1828. Thereafter sans-serifs rapidly began to be issued from London typefounders.

Much imitated was the 1830 Thorowgood 'grotesque' face, arrestingly bold and highly condensed, similar in aesthetic effect to the and of the period. Intended for advertising, these typefaces, often display capitals, became very successful. Sans-serif printing types began to appear thereafter in France and Germany. The January 13, 1898 edition of (the ' issue): An early example of sans-serif in the media.

Select headlines are in a sans-serif typeface. Sans-serif lettering and fonts were popular due to their clarity and legibility at distance in advertising and display use, when printed very large or small. Because sans-serif type was often used for headings and commercial printing, many early sans-serif designs did not feature lower-case letters. Simple sans-serif capitals, without use of lower-case, became very common in uses such as tombstones of the Victorian period in Britain. The term 'grotesque' became commonly used to describe sans-serifs. The term 'grotesque' comes from the Italian word for cave, and was often used to describe Roman decorative styles found by excavation, but had long become applied in the modern sense for objects that appeared 'malformed or monstrous.' On the nameplate of Mallard.

It was marketed as a sophisticated refinement of earlier sans-serifs, taking inspiration from Roman capitals and designer 's experience carving monuments and memorials. Through the early twentieth century, an increase in popularity of sans-serif fonts took place as more artistic and complex designs were created. As Updike's comments suggest, the more constructed humanist and geometric sans-serif designs were viewed as increasingly respectable, and were shrewdly marketed in Europe and America as embodying classic proportions (with influences of Roman capitals) while presenting a spare, modern image. While he disliked sans-serif fonts in general, the American printer J.L Frazier wrote of in 1925 that 'a certain dignity of effect accompanies.due to the absence of anything in the way of frills,' making it a popular choice for the stationery of professionals such as lawyers and doctors.

In the post-war period, an increase of interest took place in 'grotesque' sans-serifs. Writing in The Typography of Press Advertisement (1956), printer Kenneth Day commented that Stephenson Blake's eccentric had returned to popularity for having 'a personality sometimes lacking in the condensed forms of the contemporary sans cuttings of the last thirty years.' Leading type designer wrote in 1961 on designing a new face, on the nineteenth-century model: 'Some of these old sans serifs have had a real renaissance within the last twenty years, once the reaction of the 'New Objectivity' had been overcome. A purely geometrical form of type is unsustainable. ' Of this period in Britain, Mosley has commented that in 1960 'orders unexpectedly revived' for eccentric design: 'it represents, even more evocatively than Univers, the fresh revolutionary breeze that began to blow through typography in the early sixties' and 'its rather clumsy design seems to have been one of the chief attractions to iconoclastic designers tired of the.prettiness of Gill Sans'. Different sans-serif designs take different decisions on the proportions of the capitals. Capitals are inspired by Roman square capitals, with considerable variation in width.

’s are more uniform in width, following the grotesque model. Different designers have expressed different opinions on which style is preferable. By the 1960s, neo-grotesque fonts such as and had become popular through reviving the nineteenth-century grotesques while offering a more unified range of styles than on previous designs, allowing a wider range of text to be set artistically through setting headings and body text in a single font. Other names.

'sans serif' in. Chicago:, 15th edn., 1992, Vol. Childers; Griscti; Leben (January 2013).

The Parsons Journal for Information Mapping. The Parsons Institute for Information Mapping. Retrieved 23 May 2014. Baines, Phil; Haslam, Andrew (2005), Laurence King Publishing, p. 51, retrieved May 23, 2014 In British Standards Classification of Typefaces (BS 2961:1967), the following are defined: Grotesque: Lineale typefaces with 19th-century origins.

There is some contrast in thickness of strokes. They have squareness of curve, and curling close-set jaws. The R usually has a curled leg and the G is spurred. The ends of the curved strokes are usually oblique.

Examples include the, Condensed Sans No. 7, Monotype Headline Bold. Neo-grotesque: Lineale typefaces derived from the grotesque. They have less stroke contrast and are more regular in design. The jaws are more open than in the true grotesque and the g is often open-tailed. The ends of the curved strokes are usually horizontal. Examples include Edel/Wotan,.

Humanist: Lineale typefaces based on the proportions of inscriptional Roman capitals and Humanist or Garalde lower-case, rather than on early grotesques. They have some stroke contrast, with two-storey a and g. Examples include, Pascal. Geometric: Lineale typefaces constructed on simple geometric shapes, circle or rectangle. Usually monoline, and often with single-storey a. Examples include,.

^ Shinn, Nick. Graphic Exchange. Retrieved 1 July 2015. Coles, Stephen.

Retrieved 1 July 2015. ^ Berry, John. Adobe Systems. Retrieved 15 October 2015. American Type Founders Company. Retrieved 17 August 2015.

Fonts in Use. Retrieved 25 February 2017.

Hoefler & Frere-Jones. Hoefler & Frere-Jones. Retrieved 1 July 2015. Hoefler & Frere-Jones. Hoefler & Frere-Jones.

Hoefler & Frere-Jones. Retrieved 1 July 2015. Lippa, Domenic. The Guardian. Retrieved 1 July 2015., pp. 376-377. Adi Kusrianto.

Elex Media Komputindo. Lagerkvist, Love. Fonts In Use. Retrieved 18 June 2017. Imago is a relatively obscure neo-grotesk released by Berthold in the early ’80s. Slimbach, Robert. Acumin microsite.

Retrieved 6 January 2016. Twardoch, Slimbach, Sousa, Slye (2007). San Jose: Adobe Systems. Retrieved 14 August 2015. CS1 maint: Multiple names: authors list. Coles, Stephen. Retrieved 8 January 2016.

Retrieved 18 June 2017. Ulrich, Ferdinand. Retrieved 17 December 2016. Ulrich, Ferdinand. Retrieved 19 August 2015. Kupferschmid, Indra.

Retrieved 20 October 2016., pp. 339-340. ^ Day, Kenneth (1956). The Typography of Press Advertisement.

Kupferschmid, Indra. Fonts in Use.

Retrieved 15 October 2016. Tselentis, Jason (August 28, 2017). Retrieved October 29, 2017. Kupferschmid, Indra. Kupferschrift (blog). Retrieved 31 October 2017. ^, pp. 86-90.

Nash, John. Journal of the Edward Johnston Foundation. Retrieved 13 October 2016. Blackwell, written by Lewis (2004).

20th-century type (Rev. London: Laurence King., pp. 326-330. Millington, Roy (2002). Stephenson Blake: The Last of the Old English Typefounders. Oak Knoll Press. Retrieved 1 August 2014. Retrieved 7 January 2011.

« Previous Next » Commentary. Retrieved 7 January 2011. CS1 maint: Multiple names: authors list. Retrieved 2 May 2016. Coles, Stephen. Retrieved 17 August 2015. ^ Mosley, James (January 6, 2007), archived from on June 10, 2014, retrieved June 10, 2014.

Perkins School for the Blind. Retrieved 15 October 2016. Johnston, Alastair. Retrieved 15 October 2016. ^ Mosley, James. Typophile (archived).

Archived from the original on 28 June 2014. Retrieved 15 October 2016. CS1 maint: BOT: original-url status unknown. ^ Mosley, James (1999). The Nymph and the Grot: the Revival of the Sanserif Letter. London: Friends of the St Bride Printing Library. John L Walters (2 September 2013).

Barnes, Paul. Retrieved 23 September 2016. Alexander Nesbitt (1998). Courier Corporation. Parramore (13 October 2008). Jason Thompson (30 April 2015).

The American University in Cairo Press. Farington, Joseph; Greig, James (1924). London: Hutchinson & Co. Retrieved 15 October 2016. Typefoundry blog. Retrieved 12 December 2015.

^ James Mosley, The Nymph and the Grot: the revival of the sanserif letter, London: Friends of the St Bride Printing Library, 1999. 'L. European Magazine. Retrieved 15 October 2016.

Callingham, James (1871). Figgins Letterfounders. Retrieved 16 October 2016. Tracy, Walter (2003). Letters of credit: a view of type design.

Boston: David R. Tam, Keith (2002). Reading: University of Reading (MA thesis). Simon Loxley (12 June 2006).; Shinn, Nick. Retrieved 30 October 2017.

The Figgins ‘Sans-serif’ types (so called) are well worth looking. In fact it might be said to be that with these types the Figgins typefoundry brought the design into typography, since the original Caslon Egyptian appeared only briefly in a specimen and has never been seen in commercial use. One size of the Figgins Sans-serif appears in a specimen dated 1828 (the unique known copy is in the University Library, Amsterdam).It is a self-confident design, which in the larger sizes abandons the monoline structure of the Caslon letter for a thick-thin modulation which would remain a standard model through the 19th century, and can still be seen in the ATF. Note that there is no lower-case. That would come, after 1830, with the innovative condensed ‘Grotesque’ of the Thorowgood foundry, which provided a model for type that would get large sizes into the lines of posters. It gave an alternative name to the design, and both the new features – the condensed proportions and the addition of lower-case – broke the link with Roman inscriptional capitalsBut the antiquarian associations of the design were still there, at least in the smaller sizes, as the specimen of the Pearl size (four and three quarters points) of Figgins’s type shows.

It uses the text of the Latin inscription prepared for the rebuilt London Bridge, which was opened on 1 August 1831. Morlighem, Sebastien (September 30, 2016). (PDF) (Speech). The Song of the Sans-serif. Birmingham City University.

Handover, Phyllis Margaret (1958). Monotype Newsletter, also printed in Motif as 'Letters without Serifs'. Lawson, Alexander S., Anatomy of a Typeface, David R. Godine, Publisher, Boston, Massachusetts, 1990, p. Handbuch der Schriftarten.

Leipzig: Seeman. (1900), (in German), Eugen Diederichs., p. 242. Rogers, Updike, McCutcheon (1939). New York: Grolier Club, Oxford University Press. CS1 maint: Multiple names: authors list. Updike, Daniel Berkeley (1922).

Cambridge, MA: Harvard University Press. Retrieved 17 August 2015. Lawson, Alexander (1990).

Anatomy of a typeface (1st ed.). Boston: Godine.

Badaracco, Claire (1991). Business & Economic History. Business History Conference. 20 (second series): 226–233. Retrieved 19 December 2015. Monotype Recorder. 39 (2): 11, 21.

Retrieved 12 July 2015. Robinson, Edwin (1939). Monotype Recorder. Retrieved 12 July 2015. Horn, Frederick A. 'Type Tactics No. 2: Grotesques: The Sans Serif Vogue'.

Commercial Art. 20 (132-135):.

access-date= requires url=. Frazier, J.L. Retrieved 24 August 2015.

Brideau, K.; Berret, C. (16 December 2014). 'A Brief Introduction to Impact: 'The Meme Font '. Journal of Visual Culture. 13 (3): 307–313.

access-date= requires url=. Frutiger, Adrian (2014). Typefaces: The Complete Works.

P. 88. access-date= requires url=. Mosley, James (1999). The Nymph and the Grot.

P. 9. access-date= requires url=. Shaw, Paul.

Retrieved 1 July 2015. Schwartz, Christian. Retrieved 28 November 2014. The Font Bureau, Inc. The Font Bureau, Inc., p. 411., retrieved 2010-05-01. (PDF), retrieved 2010-05-01.

Berthold Akzidenz Grotesk Bold Italic Free Download

Microsoft Corporation (June 1992), (TXT), retrieved 2010-03-13. Letters of Credit.

Handover, Phyllis Margaret. 'Grotesque letters: a history of unseriffed type faces from 1816 to the present day'. In this period and since, some sources have distinguished the nineteenth-century 'grotesque/gothic' designs from the 'sans-serifs' (those now categorised as humanist and geometric both) of the twentieth, or used some form of classification that emphasises a different between the groups. Mosley's book on early sans-serifs The Nymph and the Grot is named for the sculpture. The name is a dual reference, also to 'grotesque' being coincidentally a term also applied to early sans-serif fonts, although Mosley suggests that the design does not seem to be a direct source of modern sans-serifs.

Unfortunately, the inscription was destroyed by mistake in 1967, and had to be replicated from Mosley's photographs. The of the of the United Kingdom, which manages Stourhead, was loosely designed by Paul Barnes based on the inscription. Similarly, the painter wrote in his diary in 1805 of a memorial in to in engraved 'in what is called Egyptian Characters which to my eye had a disagreeable effect.' . Apparently based on traditions in his industry, master sign-painter James Callingham writes in his textbook 'Sign Writing and Glass Embossing' (1871) that 'What one calls San-serif, another describes as grotesque; what is generally known as Egyptian, is some times called Antique, though it is difficult to say why, seeing that the letters so designated do not date farther back than the close of the last century.

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Egyptian is perhaps as good a term as could be given to the letters bearing that name, the blocks being characteristic of the Egyptian style of architecture. These letters were first used by sign-writers at the close of the last century, and were not introduced in printing till about twenty years later. Sign-writers were content to call them “block letters,” and they are sometimes so-called at the present day; but on their being taken in hand by the type founders, they were appropriately named Egyptian. The credit of having introduced the ordinary square or san-serif letters also belongs to the sign-writer, by whom they were employed half a century before the type founder gave them his attention, which was about the year 1810.' . A few theories about early sans-serifs now known to be incorrect may be mentioned here.

One is that sans-serifs are based on either ' or with the serifs removed. It is now known that the inspiration was more classical antiquity, and sans-serifs appeared before the first dated appearance of slab-serif letterforms in 1810.

A hint of the 'classical' inspiration of sans-serifs is the fact that they for a long time only appeared as capitals without a lower-case. The Schelter & Giesecke foundry also claimed during the 1920s to have been offering a sans-serif with lower-case by 1825. Mosley describes this as 'thoroughly discredited' and describes the claimed date as 'forty years too early'.