In addition, there is variation between weights: notes that even comparing one size (20pt), the medium and bold weights have different, cap height and descender length to the light and regular weights. As is normal in typefaces cut during the metal type period, Akzidenz-Grotesk shows variation between sizes of metal type, with adaptation of letter-spacing and proportions to different sizes. Blackletter was for printing extended body text in Germany in the nineteenth century. 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.ĭescribes this style of 'g' as a common feature in German sans-serifs of the period and apparently influenced by the tradition of, which uses a single-storey 'g' in upright composition. The capitals of Akzidenz-Grotesk are wide and relatively uniform in width. This is most visible in the quite folded-up of letters such as ‘a’ and ‘c’. Modern type designer has described the general design of Akzidenz-Grotesk and its ancestors as similar in letterforms to the serif fonts that were standard printing types in the nineteenth century, such as, and their followers. This gives a sense of simplicity and an absence of the adornment and seen in many more decorative sans-serifs of the late nineteenth century influenced by the style. Like most sans-serifs, Akzidenz-Grotesk is 'monoline' in structure, with all strokes of the letter of similar width. Digital variants of Akzidenz-Grotesk, showing the slight inconsistencies and idiosyncrasies between different weights and widths.
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