My font was Akzidenz-Grotesk. A BQ font with a geometric design. Originating during the late nineteenth century, Akzidenz-Grotesk belongs to a tradition of general-purpose, unadorned sans-serif types that had become dominant in German printing during the nineteenth century. The x-height has been readjusted as well as the weights to obtain a more consistent design throughout the family from extralight to black. [106][99] On many but not all styles a straight leg on the 'R' and a 'Q' where the outstroke does not cut through the letter. "[65] Berthold suggested in the 1980s that the originator of this use of Akzidenz-Grotesk in Zürich was German-born designer Anton Stankowski[69], Akzidenz-Grotesk was popular in this period although other typefaces such as Monotype Grotesque were used also: a problem with use of Akzidenz-Grotesk up to the late 1950s was that it was only available in individual units of metal type for manual composition. Enge Accidenz-Grotesk, Enge Steinschrift, Accidenz-Grotesk specimen, Bauer & Co. and Berthold (ca. Its unadorned monoline design stands in stark contrast... Read more » Akzidenz-Grotesk and Helvetica are often compared with each other, but Univers represents a far more interesting counterpoint for Akzidenz-Grotesk. Valentin Haüy, the founder of the school, developed a tactile book system along with a typeface called the Haüy System, which was essentially an early sans serif. Further extended and homogenized by G.G. Akzidenz Grotesk (aka Gustavo Hjindervsson) official page. The original punches for the types were cut at the typefoundry of James Conner’s Sons in New York. [65], Although the digital data of Berthold releases of Akzidenz-Grotesk is copyrighted, and the name is trademarked,[130][131] the design of a typeface is in many countries not copyrightable, notably in the United States, allowing alternative interpretations under different names if they do not reuse digital data. Please, talk with the author for commercial use or for any support. [121][69] Berthold promoted the series with a brochure designed by Karl Duschek and Stankowski. H. Berthold AG???? Berthold first published Akzidenz-Grotesk in 1898. Opinion by Richard Baird. The American Red Cross uses Akzidenz-Grotesk in its logo and as one of its corporate fonts. Swiss graphics were the most objective form of advertising, perhaps because most of it came from the pharmaceutical and chemical industry. Originally named “Accidenz-Grotesk” the design originates from Royal Grotesk light by royal type-cutter Ferdinand Theinhardt. Miedinger sought to refine the typeface making it more even and unified, with a higher x-height, tighter spacing and generally horizontal terminals. [90][91] Berthold released Akzidenz-Grotesk in OpenType format in 2006, under the name Akzidenz-Grotesk Pro, and added matching Cyrillic and Greek characters the next year. Black 09003. [120], Akzidenz-Grotesk Old Face, designed by Lange and released in 1984, was intended to be more true to the metal type than previous phototypesetting versions and incorporate more of the original type's inconsistencies of dimensions such as x-height. Download Akzidenz Grotesk Roman font at FontsMarket.com, the largest collection of amazing freely available fonts for Windows and Mac. Download Berthold Akzidenz Grotesk BE Light font by Berthold Download. The Berthold Akzidenz Grotesk font family was the forerunner of the rather mechanical faces cut in the late 1950s, which were to become so widely used in the 19 It incorporates some features found in Helvetica, such as strike-through tail in Q, horizontal and vertical cut stroke terminators.As in some Helvetica versions, the cedilla is replaced with a comma.. I used it on my first Berthold business card and my letterhead. Akzidenz indicates its intended use as a typeface for commercial, or "occasional" or "jobbing", 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. The word akzidenz means a ‘trade’ kind for business use. Menu. [73] Two other releases from 1957, Adrian Frutiger's Univers and Bauer's Folio, take inspiration from Akzidenz-Grotesk; Frutiger's goal was to eliminate what he saw as unnecessary details, removing the dropped spur at bottom right of the G and converting the '1' and the '7' into two straight lines. All trademarks are the property of their respective owners. Grotesques are not the first sans serifs, but the first to be popularized and to use lowercase letters with a Latin alphabet. That foundry's founder F.W. Standard, Berthold type specimen No. Grotesques are not the first sans serifs, but the first to be popularized and to use lowercase letters with a Latin alphabet. IMDb Profile Page for Akzidenz_Grotesk. Their catalogues sold the design as Gothic Condensed No. [125] However, many adaptations and letters influenced by other typefaces were incorporated to increase legibility and make characters more distinct. [22] 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" 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. While this was acceptable for posters, by the 1950s hot metal typesetting machines had long since become the main system for printing general-purpose body text, and for machine composition Akzidenz-Grotesk was unavailable until around 1958,[f] when it was first sold on Linotype and then in 1960 on Intertype systems. Akzidenz Grotesk OTF font download for free. Check if Akzidenz Grotesk is … [73] Shaw suggests that Helvetica "began to muscle out" Akzidenz-Grotesk in New York from around summer 1965, when Amsterdam Continental's marketing stopped pushing Standard strongly and began to focus on Helvetica instead.[80]. Vielleicht ist hier eine Verbesserung noch angängig. Relatively little-known for a half-century after its introduction, it achieved iconic status in the post-war period as the preferred typeface of many Swiss graphic designers in what became called the 'International' or 'Swiss' design style which became popular across the Western world in the 1950s and 1960s. This old typeface, which these days one would 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. Like other neo-grotesque typeface families’ italics, Akzidenz-Grotesk’s were oblique designs (sloped romans). [13][16] This is common with nineteenth-century sans-serifs, which were not designed with the intention of forming an extended family that would match together. A 'folded-up' structure with narrow apertures and strokes curled up towards the vertical, most obvious on letters such as c, e, s and a. I decided to create a small history book about the font because Akzidenz-Grotesk is a very important font but not many people know a lot about it. Adrian Frutiger commented that Akzidenz-Grotesk forms "patches in print";[98] Reynolds that in a digital version "the capital letters are slightly too dark, and slightly too close to the lowercase letters that follow them in a word"[99] and Wolfgang Homola that in Helvetica "the weight of the stems of the capitals and the lower case is better balanced". [107], number: It … This sans-serif type families was created in 1954 by Adrian Frutiger specifically for photography. Okay, this one was 11 minutes less than 3 hours, but if you include the trailers etc. [72][73] Much printing around this time of body text accordingly used Monotype Grotesque as a lookalike. Eine neue recht verwendbare Schrift hat die Firma H. Berthold Akt.-Ges in Berlin geschaffen, eine in acht Graden geschnittene Royal-Grotesk, die sich zu allen besseren Accidenzen verwenden lassen und infolge ihres scharfen und sauberen Schnitts zur besten Wirkung gelangen wird. the schmalhalbfett, which was initially named Enge Steinschrift and is an adaptation of Longina; and the schmalfett which initially was named Halbfette Bücher-Grotesk. Berthold first published Akzidenz-Grotesk in 1898. in Berlin zeigt in einem hübsch angeordneten handlichen Heftchen zwei Garnituren Royal- und Akzidenz-Grotesk, beide sich ergänzende Schriften von vornehmer Wirkung, die um so mehr als zeitgemäß bezeichnet werden können, weil anscheinend nun endlich auch in der Druckausstattung der Akzidenzen Wege eingeschlagen werden, die zu einer wesentlichen Vereinfachung des Satzbildes führen dürften. ... Too long and without much purpose, least of all entertainment. Berthold's Akzidenz-Grotesk family by the late metal type period included the following styles. [132][133][134], The Swiss digital type foundry Optimo has released an alternative digitisation of Akzidenz-Grotesk named "Theinhardt", which Spiekermann has praised as "the best" Akzidenz-Grotesk digitisation. Akzidenz-Grotesk is a realist sans-serif typeface originally released by the H. Berthold AG type foundry in 1896 under the title Accidenz-Grotesk. According to Paul Shaw, "exactly when Amsterdam Continental began importing Standard is unclear but it appears on several record album covers as early as 1957. Enter you text or numbers into a panel below. Univers (1954) because it was more logical . Berthold-Grotesk is somewhat less well-known than other German geometrics of the period. Its transition from foundry type to cold type was… [42] 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. [118] A particularly striking feature is a blackletter-style default upper-case 'i' with a curl at the bottom: this is rarely encountered in the English-speaking world (it would more commonly be recognized as a J), but much more common in Germany. Around the beginning of the twentieth century, these increasingly began to be branded as larger families of multiple matched styles. "[99] Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas-Grotesk, released in 1957 and renamed Helvetica in 1961. Akzidenz Grotesk is actually a sans-serif typeface liked ones initially developed because of Berlin’s Berthold kind Foundry. It was christened Accidenz-Grotesk. Download Berthold Akzidenz Grotesk BE Light & OldStyle Figures font by Berthold . The purpose of the book was to showcase the font by showing the weights and variations of the typeface in a creative mannor. The condensed members of the Akzidenz-Grotesk series, incl. [40][41][42] Kupferschmid and Reynolds speculate that he was misled by Akzidenz-Grotesk appearing in a Theinhardt foundry specimen after Berthold had taken the company over. [23][10], H. Berthold was founded in Berlin in 1858 initially to make machined brass printer's rule, moving into casting metal type particularly after 1893. [108] This means that the letters are slanted without using handwriting forms. In 1785, another sans serif was developed for a school for blind children. [18]) 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, discussed below. [29] Some early adverts that present Akzidenz-Grotesk are co-signed by both brands. Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. Lange from the late 1950s on. [24][25] Berthold publications from the 1920s onwards dated the design to 1898,[26][10][27] when the firm registered two design patents on the family. Trivia. 18—Arial addendum no. Amsterdam Continental had an exclusive license to sell the typeface in the USA, but they did not market the fonts as “Akzidenz-Grotesk” because it is difficult for English speakers to pronounce. Akzidenz-Grotesk led to other sans serif typefaces being created during the early 20th century such as Futura, Gill Sans, and DIN. Download Akzidenz-Grotesk Light font. The condensed and expanded styles have different skeletons as Akzidenz-Grotesk’s regular weight. Akzidenz-Grotesk's design descends from a school of general-purpose sans-serifs cut in the nineteenth century. A distinctly modern sans-serif or grotesque typeface, Akzidenz Grotesk is often seen as the modern typeface, influencing all sans-serif typefaces to follow, including Helvetica. The influences, sources and engravers of Akzidenz-Grotesk are not fully known, although it descends from a school of general-purpose … Akzidenz-Grotesk® BQ - Desktop font « MyFonts. Its simple, neutral design has also influenced many later typefaces. For its first half century, the Akzidenz-Grotesk family did not include any italic styles.²² Berthold only developed those during the 1950s and ’60s neo-grotesque wave. Akzidenz-Grotesk. beforehand it's 3 hours plus. [146][147] A digitisation of Stefan George-Schrift by Colin Kahn has been published by P22. Event in the sense of "something that happens", not in the sense of a high-class. [7] If it had an intended meaning, it may have reflected the "primitive" feel of sans-serifs, or their roots in archaic Greek and Roman inscriptions, and was commonly used to mean "sans-serif" without negative implication. [3][6], Grotesque (German: Grotesk) was a standard term that had become popular in the first half of the nineteenth century for sans-serifs, initiated by the London type-founder William Thorowgood. One of the contemporaries of AG was Royal Grotesk from Theinhardt. [145][125] Spiekermann has also released with Ralph du Carrois a very loose digitisation of Akzidenz Grotesk, FF Real, in two optical sizes, with variant features like a two-storey 'g', ligatures, and a true italic. It was in some cases offered as Basic or Fundamental Commercial in the U.S.A. Other resolutions: 320 × 148 pixels | 640 × 296 pixels | 800 × 370 pixels | 1,024 × 473 pixels | 1,280 × 592 pixels. It has sometimes been sold as Standard or Basic Commercial in English-speaking countries, and a variety of digital versions have been released by Berthold and other companies. "[3], The light weight of Akzidenz-Grotesk was for many years branded separately as 'Royal-Grotesk'. [9] Stroke endings, though, are less consistently horizontal or vertical than in Helvetica. [103] Capitals in several weights have very noticeably thicker strokes than the lower-case. Halbfette Bücher-Grotesk, Accidenz-Grotesk specimen, Bauer & Co. and Berthold (ca. Die Firma H. Berthold, Akt-Ges. "The 1869–1978 headquarters of Berthold today", "New details about the origins of Akzidenz-Grotesk", "Comments on Typophile thread – "Unborn: sans serif lower case in the 19th century, "A new basis for the old Akzidenz-Grotesk (English translation)", "Distribution of sans serif typefaces across German-speaking foundries in the 19th century", "Some notes on the history of Akzidenz-Grotesk Part 2", "Note on the original design patent for Akzidenz-Grotesk", "Notes on the history of Akzidenz-Grotesk Part 2a – Timeline", "Also, the name Accidenz-Grotesk likely came from Bauer & Co., too. 539A, (ca. Akzidenz-Grotesk is a monstrous which is previously called as sans-serif font initially launched by the Berthold Type Foundry in 1896 under the name Accidenz-Grotesk. Try it now! [2] Both words were everyday, descriptive terms for typefaces of the time in the German language: Akzidenz meaning trade printing or printing for some occasion or event;[a] a modern German-language dictionary describes it as work such as advertisements and forms,[4] from Latin accidentia, defined by Lewis and Short as "that which happens, a casual event, a chance". 12 Akzidenz Grotesk. Download Akzidenz-Grotesk CE Italic font. [84][83] Berthold ceased to cast type in 1978. Compositors used stylistically different faces instead, like a Schwabacher to emphasise Fraktur, or added letter spacing/tracking. But can copies be equally as important? Its design impact many later designs, particularly many neo-gruesome typefaces released after 1950. The Berthold Akzidenz Grotesk font family was the forerunner of the rather mechanical faces cut in the late 1950s, which were to become so widely used in the 19 In 1957, typeface designer Max Miedinger and Eduard Hoffman created the typeface Neue Hass Grotesk. Welcome to MyFonts, the #1 place to download great @font-face webfonts and desktop fonts: classics (Baskerville, Futura, Garamond) alongside hot new fonts (Bouba Round, BR Sonoma,Apparel). The lowercase a was always double-storey, and not single-storey. However, during this period there was increasing interest in using sans-serifs as capturing the spirit of the time, most famously, Jan Tschichold's influential book The New Typography (German: Die Neue Typographie), which praised the aesthetic qualities of the "anonymous" sans-serifs of the nineteenth century[62] and was printed in a sans-serif similar to Berthold's Akzidenz-Grotesk. Akzidenz-Grotesk is often translated into English as "jobbing sans-serif" (in the sense of "used for jobs"). 107 likes. [39] 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. [81] For instance, the 't' of the Schmalhalbfett weight only has no base, as it was designed separately and not by Berthold. Berthold provides exclusive high quality desktop fonts like Akzidenz-Grotesk, AG Book, Barmeno, Block, City, Delta, Formata, and Imago. [100], lower case: Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. [36][37][38], 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. 15—Helvetica and Standard", "Erik Spiekermann's Statements re Berthold", Berthold Announces the Release of Akzidenz-Grotesk in OpenType Format, "Differences - Akzidenz-Grotesk and Futura", "Differences - Akzidenz-Grotesk and Franklin Gothic", "Differences - Akzidenz-Grotesk and Helvetica", "German, Swiss, and Austrian typefaces named Royal or Akzidenz", "Differences - AG Schoolbook Medium and AG Book", "Neuwelt: an optimistic transatlantic sans serif type family", "BERTHOLD AKZIDENZ-GROTESK - Trademark Details", "AKZIDENZ-GROTESK NEXT – Trademark Details", "Compendium of U.S. HK Grotesk™ Pro is a sans serif typeface inspired by the classic grotesques. Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. [84], Akzidenz-Grotesk Book (German: Buch) is a variant designed by Lange between 1969 and 1973. It is a multi-purpose typeface that can be used on a wide range of topics without being obtrusive to the reader’s eye. [148], Besides use in Swiss-style poster design and in New York City transportation, Akzidenz-Grotesk is the corporate font of Arizona State University[149] and the American Red Cross (with Georgia). [110] As in some Helvetica versions, the cedilla is replaced with a comma. Akzidenz-Grotesk. [17][3] (Berthold literature from the 1900s marketed the light and regular weights as being compatible, light at the time called 'Royal-Grotesk'. Akzidenz-Grotesk and Helvetica are often compared with each other, but Univers represents a far more interesting counterpoint for Akzidenz-Grotesk. Akzidenz-Grotesk is one of the the most influential of the early sans-serif typefaces. Berthold’s 1911 catalogue declares that Halbfette Bücher-Grotesk was produced in-house, but neither it nor the ca. Ulrich Stiehl suggests that this may have been one of the last additions to the metal type family: it does not appear in a 1959 advert. [3][48] Its competitors included the very popular Venus-Grotesk of the Bauer foundry of Frankfurt, very similar to Akzidenz-Grotesk but with high-waisted capitals, and Koralle by Schelter & Giesecke, which has a single-storey 'a'. The Theinhardt foundry later merged with Berthold and also supplied the regular, medium and bold weights. This was also the first sans serif typeface to be widely accepted and renowned among letterpress people. For example, the Flinsch, Krebs, and Ludwig & Mayer foundries in Frankfurt each sold the design under the name Schmale Steinschrift, while Genzsch foundries,¹⁹ sold the design under the name Longina.²⁰ Like Berthold, who themselves probably acquired the matrices for Enge Steinschrift as part of their acquisition/merger with the combined Emil Berger/Gustav Reinhard foundries in 1893, none of those foundries claimed the Enge Steinschrift design as an in-house product. [95] Kris Sowersby has written that he found the semi-bold and bold weights most satisfying. The design originates from the type used in Germany by job-setters and trade printers of earlier centuries. Akzidenz-Grotesk in use. By the 1960s, Berthold could claim in its type specimens that Akzidenz-Grotesk was: a type series which has proved itself in practice for more than 70 years and has held its ground to the present day against all comers...wherever one sees graphics and advertising of an international standard...starting a revival in Switzerland in recent years, Akzidenz-Grotesk has progressed all over the world and impressed its image in the typography of our time. Akzidenz Grotesk. Even then, Berthold released the italic styles gradually, rather than all at once. In German, the word Akzidenz refers to any type of printing other than book and magazine work. [119][120], Each weight is available in two fonts featuring alternative designs. [65][73] Kupferschmid describes it as a "reworking of "Neue Moderne Grotesk", originally ca. FontFont's FF Schulbuch family is in a similar style. Originating during the late nineteenth century, Akzidenz-Grotesk belongs to a tradition of general-purpose, unadorned sans-serif types that had become dominant in German printing during the nineteenth century. This is limited character demo version.if you would like to consider using it for commercial projects. [3] Its slanted form is an oblique rather than a true italic. This is a file from the Wikimedia Commons.Information from its description page there is shown below. Click on a date/time to view the file as it appeared at that time. It has features that can be identified with Akzidenz Grotesk, Univers, Trade Gothic, and Gill Sans typefaces. Once Tetterode produced italic fonts for their Mercator typeface, Amsterdam Continental began selling them as “Standard Italic”.⤴, Martin Majoor, “My type design philosophy”, (2005). Here… Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Akzidenz Grotesk be Super font below [ ]. 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