AG57 is a digitization of Lange’s 1957 reworking, by Alexander Roth and Erik Spiekermann, released in a single style by Neue Neue in March 2022. CastleType’s Standard CT and Bryce Wilner’s Standard (2017) are digital interpretations that use the export name. Like all sans serifs from that time, Akzidenz Grotesk was meant to be used as a display face (the German word Akzidenzschrift means display face or jobbing type). The 1963 essay The Old Akzidenz-Grotesk on a New Basis recounts his analysis of several grotesque typefaces and his decision to reassess Akzidenz-Grotesk: We prefer the original Grotesque.
Akzidenz Grotesk Pro (2007) adds Cyrillics (by Vladimir Yefimov, Condensed by Gayaneh Bagdasaryan) and Greek (by Panos Haratzopoulos). Gerstner Programm was designed by Karl Gerstner in an attempt to harmonize and extend Akzidenz-Grotesk. Berthold’s digitization was reworked as Akzidenz-Grotesk Next (2006). Linotype’s digital version was renamed to Basic Commercial for trademark reasons. Distributed in the US and UK as Standard and commonly used in the 1950s–60s.ĪG Old Face (1984) is a redrawing made for phototypesetting that returns to the original forms prior to the 1950s homogenization.Ĭopied by Scangraphic as Ad Grotesk and by Bitstream as Gothic 725. Lange regarded Royal-Groteskas the key source and credited it to Ferdinand Theinhardt, but that is refuted, see Eckehart Schumacher-Gebler’s article in Schriftgestalten (2008), Indra Kupferschmid’s blog post, and, most detailed, Dan Reynolds’s article and lecture (2019). Many loosely related styles from various sources were incorporated into the family, see also Akzidenz-Grotesk Condensed. Try a search!įirst issued by Berthold in 1898 as Accidenz-Grotesk. These are the most common typefaces in the database, but there are many more.
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