Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas Grotesk, released in 1957 and renamed Helvetica in 1960

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The design of Akzidenz Grotesk was theorized to be derived from Walbaum or Didot, as de-monstrated by the similar font metrics when the serifs are removed. However, the font family also included fonts made by other foundries, such as the c. 1880 typeface Royal Grotesk Light from the Berlin foundry Ferdinand Theinhardt Schrift-giesserei designed by Ferdinand Theinhardt for the scientific publications of the Royal Prussian Academy of Sciences in Berlin. FTS also supplied the regular, medium and bold weights of the typeface. While Hermann Berthold took over Theinhardt’s Berlin foundry in 1908, it wasn’t until the fall of the Prussian monarchy in 1918 that Royal Grotesk was published as part of the Akzidenz-Grotesk font family and renamed Akzidenz-Gro-tesk Condensed.

Contemporary versions of akzidenz-Grotesk desCend from a late-1950s projeCt, direCted by Günter Ger-hard lanGe at berthold, to enlarGe the typefaCe family, addinG a larGer CharaCter set, but retaininG all of the idiosynCrasies of the 1898 faCe. under the direCtion of Günter Gerhard lanGe, he had desiGned 33 font styles to the akzidenz-Grotesk family, inCludinG aG extra (1958), aG extra bold (1966) and aG super (1968), aG super italiC (2001) and extra bold italiC (2001).

In May 2006, Berthold announced the release of Akzidenz-Grotesk in OpenType format, under the name Akzidenz-Grotesk Pro. The Pro family offers extended language support for Central European, Baltic and Turkish as well as Welsh, archaic Danish and Esperanto and is available in CFF PostScript OpenType. Berthold also relea-sed Akzidenz-Grotesk Standard, which includes glyphs of Western European character set, in

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Akzi-denz Gro-tesk.

H. Berthold first published Akzidenz-Grotesk in 1896. The design originates from the type used in Germany by job-setters and trade printers of earlier centuries.This early sans serif preceded the first weight of Helvetica by over 40 years. Throughout the years, H. Berthold has expanded this extremely popular and versatile family. AG Super was de-veloped in 1968 by Günter Gerhard Lange and is an excellent choice for headlines requiring heavily-weighted strokes.

Condensed versions are especially useful where space is tight and is particularly suited for financial statements, tables, price lists, forms and spreadsheets; the extended versions are popular for titles and headlines.

More recently, Berthold added weights and design specific characters (including math symbols and the Euro symbol), as well as the Baltic, Central European and Turkish character sets.

Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope.

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”Revivals

Revivals of the Garamond type came as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as “Original Garamond”, whereafter many type foundries began to cast similar types, beginning a wave of revivals that continued throughout the 20th Century. These revivals followed the designs from Garamond and Jannon. The designs of italic fonts mainly came from a version produ-ced by Robert Granjon. In a 1926 article in The Fleuron, Beatrice Warde revealed that many of the revivals said to be based on Claude Garamond’s designs were actually designed by Jean Jannon; but the Garamond name had stuck.Various examples of GaramondDigital versions include Adobe

Garamond and Garamond Pre-mier (both designed by Robert Slimbach), Monotype Garamond, Simoncini Garamond, and Stempel Garamond. The typefaces Granjon and Sabon (designed by Jan Tschi-chold) are also classified as Gara-mond revivals.A version called ITC Garamond, designed by Tony Stan (1917–1988) was released in 1977. The design of ITC Garamond, more than any other digital versions, takes great liberty with Garamond’s original design by following a formulary associated with the International Typeface Corporation (ITC), inclu-ding an increase in the x-height; a wide range of weights, from light to ultra bold; and a condensed width, also in weights from light to ultra bold.

« Garamond is considered to be amonG the most leGible and readable serif typefaces for use in print (offline) applications. it has also been noted to be one of the most eco-friendly major fonts when it comes to ink usaGe»

Garamond

Garamond is the name given to a group of old-style serif typefaces named after the punch-cutter Claude Garamond (c. 1480–1561). Most of the Garamond faces are more closely related to the work of a later punch-cutter, Jean Jannon. A direct rela-tionship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Adobe Garamond, Granjon, Sabon, and Stempel Garamond.

Claude Garamond came to promi-nence in the 1540s, first for a Greek typeface he was commissioned to create for the French king Francis I, to be used in a series of books by Robert Estienne. The French court later adopted Garamond’s Roman types for their printing and the typeface influenced type across France and Western Europe. Garamond probably had seen Vene-tian old-style types from the print-ing shops of Aldus Manutius. Garamond based much of his lowercase on the handwriting of Angelo Vergecio, librarian to Fran-cis I. The italics of most contempo-rary versions are based on the italics of Garamond’s assistant Robert Granjon.

History

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