Berthold first published Akzidenz-Grotesk in 1898. Originally named “Accidenz-Grotesk” the design originates from Royal Grotesk light by royal type-cutter Ferdinand Theinhardt. The Theinhardt foundry later merged with Berthold and also supplied the regular, medium and bold weights.
In the 1950s Günter Gerhard Lange, then art director at Berthold, began a project 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, Berthold added AG Medium Italic (1963), AG ExtraBold (1966) , AG Italic (1967), AG ExtraBold Condensed & Italic (1968), AG Super (1968).
Lange was instrumental in developing the Akzidenz-Grotesk program at Berthold in the 1950s and 1960s. In 2001 Lange helped Berthold complete the AG series with the additions of AG light italic, Super Italic, light condensed, condensed, medium condensed, extrabold italic, light extended italic, extended italic and medium extended italic.
In May 2006, Berthold released Akzidenz-Grotesk Pro family with extended language support for Central European, Baltic and Turkish as well as Welsh and archaic Danish. Akzidenz-Grotesk Pro is available in CFF PostScript and TrueType flavored OpenType.
In 2007 Akzidenz-Grotesk Pro+ with Cyrillic and Greek support was released. Akzidenz-Grotesk Pro+ is available in CFF PostScript and TrueType flavored OpenType.
Berthold exclusively offers Akzidenz-Grotesk. Akzidenz-Grotesk is copyright Berthold LLC. All rights reserved. Akzidenz-Grotesk is a trademark of Berthold registered in various jurisdictions throughout the world.
It is the work of anonymous typecutters: craftsmen, specialists, whose professional background and experience meant they were familiar with the finest subtleties and principles, and not just those of Grotesque. They gave Akzidenz-Grotesk the ultimate accolade a typeface can have: a functional, formal rightness, transcending the whims of fashion.
Akzidenz-Grotesk was the major typeface of Swiss typography. Swiss graphics were the most objective form of advertising, perhaps because most of it came from the pharmaceutical and chemical industry. Akzidenz-Grotesk was dominant in industrial advertising, in posters and in all matters technical and avant-garde.
Günter Gerhard Lange