Akzidenz Grotesk Be Bold Font Install A TrueType
Under the terms of this License Agreement, you have the right to use the software on up to five 5 CPUs. "Akzidenz" indicates its intended use as a typeface for commercial print runs such as publicity, tickets and forms, as opposed to fine printing, and "grotesque" was a standard name for sans-serif typefaces at the time.Phils Fonts, Inc. When you install a TrueType font, whose name matches the PostScript font installed on this computer, Windows will not be able to distinguish between them, which can lead to a change in the font type.Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. Ttc (Akzidenz-Grotesk Std Bold It.ttc).
Grotesque (German: Grotesk) was a standard term that had become popular in the first half of the nineteenth century for sans-serifs. The origin of the word is Latin accidentia, defined by Lewis and Short as "that which happens, a casual event, a chance". A modern German-language dictionary describes it as work such as advertisements and forms. Both words were everyday, descriptive terms for typefaces of the time in the German language.Akzidenz means some occasion or event (in the sense of "something that happens", not in the sense of a high-class social event or occasion) and was therefore used as a term for trade printing Akzidenzschrift was by the 1870s a generic term meaning typefaces intended for these uses.
This gives a sense of simplicity and an absence of the adornment and flourishes seen in the more decorative sans-serifs of the late nineteenth century influenced by the Art Nouveau style. Design characteristics Digital variants of Akzidenz-Grotesk, showing the slight inconsistencies and idiosyncrasies between different weights and widthsLike most sans-serifs, Akzidenz-Grotesk is 'monoline' in structure, with all strokes of the letter of similar width. The name may have reflected the "primitive" feel of sans-serifs, or their roots in archaic Greek and Roman inscriptions, and by the late nineteenth century was commonly used to mean "sans-serif", without negative implication.
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. The capitals of Akzidenz-Grotesk are wide and relatively uniform in width. This is most visible in the quite folded-up apertures of letters such as ‘a’ and ‘c’.
(Berthold literature from the 1900s marketed the light and regular weights as being compatible, light at the time called 'Royal-Grotesk'. This is common with nineteenth-century sans-serifs, which were not designed with the intention of forming an extended family that would match together. In addition, there is variation between weights: Karl Gerstner notes that even comparing one size (20pt), the medium and bold weights have different x-height, cap height and descender length to the light and regular weights. The metal type of Akzidenz-Grotesk shows variation between sizes, with adaptation of letter-spacing and proportions such as looser spacing at smaller text sizes, something that was normal practice in the design and engraving of metal type.
Berthold publications from the 1920s onwards dated the design to 1898, when the firm registered two design patents on the family. Berthold was founded in Berlin in 1858 initially to make machined brass printer's rule, moving into casting metal type particularly after 1893. Sans-serifs had become very popular in Germany by the late nineteenth century, which had a large number of small local type foundries offering different versions. Akzidenz-Grotesk's design descends from a school of general-purpose sans-serifs cut in the nineteenth century. The sans-serif type is used in a secondary role underneath a more decorative heading face.
Early references to Akzidenz-Grotesk at Berthold often use the alternative spelling 'Accidenz-Grotesk' Reynolds suggests that the name may have been intended as a brand extension following on from an "Accidenz-Gothisch" blackletter face sold by the Bauer & Co. Some early adverts that present Akzidenz-Grotesk are co-signed by both brands. Two design patents on Akzidenz-Grotesk were filed in April 1898, first on the 14th in Stuttgart by Bauer and then on the 28th in Berlin by Berthold, leading Reynolds to conclude that the design was executed in Stuttgart. Cie Type Foundry of Stuttgart (not to be confused with the much better-known Bauer Type Foundry of Frankfurt) Kupferschmid concludes that the design appears to be related to a shadowed sans-serif (German: Schattierte Grotesk) sold by the Bauer Foundry and reviewed in a printing journal in 1896. The source of Akzidenz-Grotesk appears to be Berthold's 1897 purchase of the Bauer u.
This had been established by businessman and punchcutter Ferdinand Theinhardt, who was otherwise particularly famous for his scholarly endeavours in the field of hieroglyph and Syriac typefaces he had sold the business in 1885. Font designer Dan Reynolds (above) and graphic design professor Indra Kupferschmid (below) have documented many aspects of the early history of Akzidenz-Grotesk.Günter Gerhard Lange, Berthold's post-war artistic director, who was considered effectively the curator of the Akzidenz-Grotesk design, said in a 2003 interview Akzidenz-Grotesk came from the Ferdinand Theinhardt type foundry, and this claim has been widely copied elsewhere. Reynolds and Florian Hardwig have documented the Schmalhalbfett weight (semi-bold, or medium, condensed) to be a family sold by many German type-foundries, which probably originated from a New York type foundry. It apparently was cut by Berthold around 1902-3, when it was announced in a trade periodical as "a new, quite usable typeface" and advertised as having matching dimensions allowing it to be combined with the regular weight of Akzidenz-Grotesk.
As Lange commented, it was claimed in the post-war period that Royal-Grotesk's name referred to it being commissioned by the Prussian Academy of Sciences, but Kupferschmid was not able to find it used in its publications. Reynolds additionally points out that Theinhardt sold his foundry to Oskar Mammen and Robert and Emil Mosig in 1885, a decade before Akzidenz-Grotesk was released, and there is no evidence that he cut any further fonts for them after this year.
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