30 of The Best Alternatives to Helvetica
Download 4 free fonts looks close or similar to popular Akzidenz Grotesk font. May 1, Hi, I have used a font uploader to add Brandon Grotesque to a site. I have a resource page of alternative google fonts to many premium fonts. Design Date: - PostScript OTF Font size: 74px. A. A Akzidenz- Grotesk Pro+ Medium Italic Berthold first published Akzidenz-Grotesk in
History[ edit ] The release of Akzidenz-Grotesk was not well-documented in contemporary printing literature. The sans-serif type is used in a secondary role underneath a more decorative heading face.
Research is complicated by the very large number of small type foundries active in Germany during this period, which often did not publish extensive specimens. Many other grotesques in a similar style to Akzidenz-Grotesk were sold in Germany during this period.
Around the beginning of the twentieth century, these increasingly began to be branded as larger families of multiple matched styles. 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.Akzidenz-Grotesk Type Specimen
All the many imitations of Accidenz-Grotesk have not matched its character. This design, by Robert Geisser, appears to use Helvetica. A poster by Armin Hofmann, typeset in Akzidenz Grotesk. The use of Akzidenz-Grotesk and similar "grotesque" typefaces dipped from the late s due to the arrival of fashionable new "geometric" sans-serifs such as ErbarFutura and Kabelbased on the proportions of the circle and square.
Berthold released its own family in this style, Berthold-Grotesk. To proclaim sans-serif as the typeface of our time is not a question of being fashionable, it really does express the same tendencies to be seen in our architecture…there is no doubt that the sans-serif types available today are not yet wholly satisfactory as all-purpose faces.
The essential characteristics of this type have not been fully worked out: As bread-and-butter faces they are less good than the old sans faces…I find the best face in use today is the so-called ordinary jobbing sanserif, which is quiet and easy to read. This style often contrasted Akzidenz-Grotesk with photographic art, and did not use all caps as much as many older posters.
10 inspired alternatives to Helvetica | Creative Bloq
A New History comments that they "conveyed the functionalist ethos without appearing too stylised While this was acceptable for posters, by the s hot metal typesetting machines had become the main system for printing general-purpose body text, and for this system Akzidenz-Grotesk was unavailable until around[g] when it was first sold on Linotype and then in on Intertype systems. According to Paul Shaw, "exactly when Amsterdam Continental began importing Standard is unclear but it appears on several record album covers as early as Berthold AG of Germany in Aktiv Grotesk Aktiv Grotesk is the 21st century equivalent of Akzidenz Grotesk Whereas Helvetica or rather its predecessor Neue Haas Grotesk was styled in response to Akzidenz Grotesk, Aktiv Grotesk is the 21st century equivalent — positioned by its designer Bruno Maag specifically as an alternative to the ubiquitous typeface that he openly denounces as the 'vanilla ice cream' of a designer's type library.
Accordingly, his self-dubbed 'Helvetica killer' is pitched somewhere in the middle of the two — with a fractionally taller x-height than Helvetica, and slightly squarer edges than Univers. FF Bau FF Bau was designed to suit modern typographical needs without ever sacrificing personality Designed by Christian Schwartz for FontShop International inthis modern alternative to Helvetica has more in common with the Swiss giant's quirkier, warmer 19th century ancestors — such as Akzidenz Grotesk — than with its modern-day incarnation.
Designed to suit modern typographical needs, without ever sacrificing personality at the altar of practicality a criticism all-too often levied at HelveticaFF Bau sports a distinctive double-storey 'g' and a lowercase 'a' that keeps hold of its tail in all available weights. It was described by its designer Angus R Shamal as "unpretentiously simple and universal in nature".
In response to feedback from users clamouring for more versatility from the typeface, Shamal expanded the basic five-weight family further inintroducing true italics and wider language support while retaining the open, readable quality of the sans serif. Proxima Nova Proxima Nova combines modern proportions with a geometric look and feel Mark Simonson's reimagining of his now-discontinued typeface Proxima Sans is intended to "straddle the gap between Futura and Akzidenz Grotesk", and combines modern proportions with a geometric look and feel.
Where Proxima Sans included just six fonts, its 21st century upgrade boasts a considerably more impressive and useful Within the character set it blends even, rational curves on letters such as the lowercase 'e' or uppercase 'G' with more playful, quirky stems on the 't' and 'f'.
Its upward-aimed bowl on the lowercase 'a' is also completely unique — all details that combine to give it the kind of personality that Helvetica can only dream of.
National National pays homage to classic sans serif typefaces It may be deceptively simple, humble and quietly effective, but National — only the second commercial release from New Zealand-based type foundry Klim — also has its fair share of subtle, character-building details that pay homage to classic sans-serif typefaces from the days before even Akzidenz Grotesk. It won designer Kris Sowesby the Certificate of Excellence from the Type Designers Club TDC inand boasts an extensive character set with a broad range of accents, numerals, alternate forms and small caps across all styles.
Akzidenz-Grotesk - Wikipedia
Brandon Grotesque Brandon Grotesque draws on the heritage of the geometric sans serifs of the s and '30s Sporting a perfectly balanced combination of sharp, pointed apexes and smooth, rounded stems, HVD Fonts' Brandon Grotesque is most often used at its thinner weights, although the bolder fonts in the family assert plenty of clout that make them more than a match for Helvetica in the display face stakes. Brandon draws on the heritage of the geometric sans serifs of the s and '30s, but never feels too overtly Art Deco in style, bringing its own style to the party.
With just 12 fonts, the family may seem limited in scope, but it didn't hold it back from winning a TDC Award in — and its weights are perfectly considered and balanced. Slate Slate is both beautiful and legible The work of award-winning type designer Rod McDonald, Slate is functional and legible, but also elegant and pleasing to the eye.
It draws on his experiences developing two commissioned typefaces — a large sans serif family for Toronto Life magazine, and another family intended primarily for on-screen use for Nova Scotia College of Art and Design. McDonald later set out to combine the "soft, quiet" magazine face with the more legibility-focused web font approach, and Slate is the end result: