Typefaces Helvetica And Akzidenz Grotesque Essay Examples

INTRODUCTION TO TYPEFACES

Typefaces primarily mean the appearance of a specific set of characters. Typefaces represent the physical features of fonts. It is how a certain character in a particular font appears of is written physically. These characteristics include the weight, size, italics and other aspects of a character.

Typefaces Helvetica and Akzidenz Grotesque

Helvetica was developed in 1957 by Eduard Hoffmann, chief of Haas Type Foundry in Mã¼nchenstein, Switzerland, with the assistance of Max Miedinger. The first typography was called Neue Haas Grotesk, and its primary aim was to exemplify a straightforward style. On the other hand, Akzidenz Grotesk was invented by Berthold in Berlin in the year 1898, according to his literature. It was specifically based on typefaces already offered by other foundries, some of which were later taken over by Berthold.
According to Puckett, Helvetica is classified in various categories ranging from Helvetica Inserat (1957), Helvetica Narrow, Helvetica Light, Helvetica Compressed, Helvetica Rounded (1978). These are different types of styles that Helvetica can be represented according to the variations. Akzidenz Grotesque also has various categories which range from Akzidenz-Grotesk Old Face, Akzidenz-Grotesk Book Rounded, Akzidenz-Grotesk Book, Akzidenz-Grotesk Schoolbook and Akzidenz-Grotesk Next. All these variation between the two typefaces are a bit similar but also have some stylish representation.
The similarities of Helvetica and Akzidenz-Grotesk are evident, yet the unobtrusive contrasts. It combines the lowercase and uppercase of letter C and the uppercase of letters J, R, G and Q. Beside the distinct difference in these individual letters. Miedinger's essential change to Akzidenz-Grotesk is Helvetica's higher x-stature, the separation from the benchmark to the tallness of the lowercase letter x. The general impact is that Helvetica seems more elongated while Akzidenz-Grotesk keeps up roundabout counters and dishes. Both Helvetica and Univers are more consistent and have a more prominent consistency of stroke weight.
Akzidenz-Grotesk is the better decision compared to Helvetica. Akzidenz-Grotesk is the first, and it isn't as immersed however to the layman it could almost to be Arial. It ought to be noticed that the all the more equally exact, geometric, and adjusted a typeface is. Therefore, while it may seem "more pleasant" or less demanding to peruse it really blocks data maintenance as you are skimming it so quick.
Akzidenz-Grotesk has the profit of being some more adaptable than Helvetica, in that AG can summon more and distinctive feelings than Helvetica. Helvetica is somewhat a one- or two-trap horse with its relative sterility and cleaned flawlessness. With AG, you can utilize it as a part of clean and cutting edge outline, or utilization it in something more retro-looking to conjure a far distinctive feeling.
The disadvantage of Akzidenz-Grotesk against Helvetica is wind in such a way that, when it comes to Akzidenz-Grotesk, Some variation for the sake of legibility is good. But capitals and lowercase letters with noticeably different color are disadvantageous. That said, Akzidenz-Grotesk Next sets well, and, in general is more user-friendly than the original. Akzidenz-Grotesk is also smoother and attracting compared to Helvetica. This is always considered by virtual of visibility or what meets the eye.
According to Robert, B (1992), Akzidenz-Grotesk and Helvetica are very much similar and many people don’t notice their differences. It occurs to those who are not very much attentive to the appearance of the letters and their physical features. These are the only characteristics that determine the similarities between these two typefaces. It should be well understood that when the serifs are removed from these features, the proportions resemble those of Akzidenz-Grotesk. The Akzidenz-Grotesk family is actually a selection of numerous grotesque typefaces from different developers, unified to create a complete set. Many individuals tend to classify fonts and typefaces as one thing but that not the case. These are two separate entities whereby one is an aspect of the other. Fonts characters are what makes up the typefaces.
Since the early days of typeface development, there have been very many typefaces. Each comes up with a particular feature regarding each and every font. It makes the typefaces seem special characters because their shape tends to be unique from the fonts. Organized by in order recorded sort families, these typefaces, and their variation structures are demonstrated in full letter sets - upper and lower case with numerals and accentuation. The examples themselves are neatly recreated from metal sorts for greatest clarity. The content is definite and enlightening, not just recognizing the fashioner, foundry, and date of issue additionally the scope of sizes and nearly comparable outlines by different originators. The history, points, and the reason behind a significant number of these typefaces are additionally depicted, alongside creation issues experienced and singular qualities. Extra data incorporates far-reaching supplements posting normal aliases, imports, and obsolescent countenances, in addition to American Typefounders, Monotype, and Ludlow arrangement numbers.

Conclusion

The introduction of typefaces has created a very broad environment into graphic design since these characters are used to come up with well a drawn or written letters. The typefaces are also developed each and every day due to the need by the users to improve on writing.

Bibliography

Carter, Day, and Meggs. Typographic Design: Form and Communication. Third Edition. Hoboken, NJ: John Wiley and Sons, 2002: 34.
McGrew, Mac. American Metal Typefaces of the Twentieth Century (second edition). New Castle, DE: Oak Knoll Books, 1993: 85–87
W P Jaspert, W Turner Berry, A F Johnson, The Encyclopedia of Typefaces, Blandford Press, London, 1993