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Ray Bradbury NOVEL

FAHRENHEIT 451 set in the Akzidenz Grotesk typeface By G端nter Gerhard Lange



Fahrenheit 451 By Ray Bradbury

set in the Akzidenz Grotesk typeface By G端nter Gerhard Lange


“You th water the wo withou


hink you can walk on with your books. Well, orld can get by just fine ut them.�


“ 6

Those who don’t build

have our minorities upset and stirred. Ask yourself, What do we want in this country, above all? People want to be happy, isn’t that right? Haven’t you heard it all your life? I want to be happy, people say. Well, aren’t they? Don’t we keep them moving, don’t we give them fun?

d must burn.

“You must understand that our civilization is so vast that we can’t

That’s all we live for, isn’t it? For pleasure, for titillation? And you must admit our culture provides plenty of these.”









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.


“If you hide your ignorance, no one will hit you and you’ll never learn.”

“The world was bankrupted of ten million fine actions the night he passed on.” 10

“When did it all start, you ask, this job of ours, how did it come about, where, when? Well, I’d say it really got started around about a thing called the Civil War. Even though our rule-book claims it was founded earlier. The fact is we didn’t get along well until photography came into its own. Then — motion pictures in the early twentieth century Radio. Television. Things began to have mass.” Montag sat in bed, not moving. “And because they had mass, they became

simpler,” said Beatty. “Once, books appealed to a few people, here, there, everywhere. They could afford to be different. The world was roomy. But then the world got full of eyes and elbows and mouths. Double, triple, quadruple population. Films and radios, magazines, books levelled down to a sort of paste pudding norm, do you follow me?” “I think so.”







Akzidenz Grotesk influenced Adrian Frutiger’s 1958 typeface Univers. Akzidenz Grotesk is the first sans serif typeface to be widely used.





ME. 13


“ It is the work of anonymou specialists, whose profess experience meant they we subtleties and principles, a Grotesque. They gave Akzi accolade a typeface can h rightness, transcending th




us typecutters: craftsmen, sional background and ere familiar with the finest and not just those of idenz-Grotesk the ultimate have: a functional, formal he whims of fashion. �



A book is a




loaded gun in added to the Akzidenz the house next Grotesk family under door. Burn it. the direction of G端nter Take the shot Gerhard Lange. from the weapon.

In total, 31 font styles were

CQ OG “Those who don’t build must burn. It’s as old as history

and juvenile delinquents.”



Compared to Helvetica Akzidenz is overall somewhat less wide, although paradoxically letters like C, G, O, and Q are wider and more geometric than in Helvetica. The fonts share the weird right angle bar at the base of the G, but Akzidenz does not have the distinctive rounded off square tail of Helvetica’s R. Akzidenz’s J is more truncated and points horizontically rather than vertically. Akzidenz has a smaller x-height, which is among the qualities that make it more appealing to me for most usages, especially continuous text. It comes in a range of weights and condensed and expanded forms.


“We have everyth need to be happ aren’t happy. So missing. I looked The only thing I knew was gone books I’d burne

twelve years. S books might he


hing we py, but we omething’s d around. positively was the

ed in ten or So I thought elp.�

Akzidenz was used as a text font in Europe, especially Switzerland. It was the forerunner of Helvetica, and it was one of the first

sans-serif typeface to be widely used which will go on to influence many later neogrostesque typefaces.




“Give the people contests they win by remembering the words to mo grew last year. Cram them full of non-combustible data, chock them information. Then they’ll feel they’re thinking, they’ll get a sense of m don’t change. Don’t give them any slippery stuff like philosophy or s


ore popular songs or the names of state capitals or how much corn Iowa m so damned full of ‘facts’ they feel stuffed, but absolutely brilliant’ with motion without moving. And they’ll be happy, because facts of that sort sociology to tie things up with. That way lies melancholy.“



GG Lange always claimed that Berthold had taken some AG weights

1 2

and sizes from Popplbaum in Vienna, and that is supposed to account for the release date of 1896 or 1898. Popplbaum was not bought by Berthold until 1926.


19 26 25

“Monday bu Wednesda

Friday Fau

burn ‘em to ashes, then burn the a


ince the 1950ies, Linotype sold its own design adaptions of some weights of Akzidenz Grotesk as matrices for Linotype typesetting machines. Over the years, Linotype created phototypesetting versions and digital fonts of these typefaces. In 1989, Adobe licensed Linotype’s version of Akzidenz Grotesk from Linotype as Type 1 fonts. In 1990, Adobe licensed,


together with more H. Berthold AG fonts, Berthold Akzidenz Grotesk, from H. Berthold AG. H. Berthold AG went bankrupt in 1993 and ceased to exist forever. In 2000, Berthold Types Ltd. obtained trademark registration for Akzidenz Grotesk. The same year, Linotype started to sell Basic Commercial. Berthold Akzidenz Grotesk is not identical to Basic

urn Millay

ay Whitman

ashes. That’s our official slogan. Commercial. But if one compares older Linotype outline data with newer Linotype outline data, there might be very close similarities. Morris Fuller Benton has nothing to do with Basic Commercial or Akzidenz Grotesk. AkzidenzGrotesk is a registered trademark of Berthold Types Limited. Linotype formerly offered typeface fonts under the name


“Akzidenz-Grotesk” under license from H. Berthold AG. Linotype discontinued sale of those typeface fonts in approximately 2000. “Akzidenz-Grotesk” is offered by Berthold Types Limited of Chicago, Illinois. “Basic Commercial” is in the style of H. Berthold A.G.’s “AkzidenzGrotesk” typeface fonts.


Any man’s who thinks fool the governme 28

s insane s he can Berthold did take different fonts from all the foundries they bought (and obviously also made deal without buying a foundry) and rename them until they got a family together which still showed the original influences, sometimes even from size to size.

ent and us. 29

as Linotype Standard in England and the

its release, Akzidenz Grotesk was sold

Produced in 4 weights, and a critical success on

Akzidenz Grotesk name translates as ‘odd-job

purer than its near-descendant, Helvetica. The

of typographic modernism and somehow

style of the 1950s, ‘A.G.’ is seen as a pillar

extended versions added.

, with many extra weights, condensed and

direction of Gunter Gerhard Lange

produced a new series of the type under the

1960s the German foundry Berthold

g a US. Later popularised by heavy use in

sans serif’ or ‘trade gothic’. During the

Akzidenz Grotesk

publications from both the Bauhaus and the

international (Swiss)



This sans serif immed

“We can’t do anything success soo I want toand lookwas at them once. Then if what typefounders. Like the al we’ll burn them toget time, Akzidenz Grote somewhere here, figu in such used as aa mess.We’re display fac cliff, Millie. God, I don Akzidenzschrift mean isn’t going to be easy to go on, but maybe jobbing type), howevw figure it and help each

a lowercase it was su


diately became a great

g. We can’t burn these. onatimitated byatseveral m, least look them Captain saysof is the true, lle sans serifs ther We’ve got to start esk meant to be uringwas out why we’re ece heading right for word the (the German n’t want to go over. This ns display face or y. We haven’t anything we can out and ver as itpiece alsoitincluded h other.”

uitable for text too.


“Now let’s take up the minorities in our civilization, shall we? Bigger the population, the more minorities. Don’t step on the toes of the dog-lovers, the cat-lovers, doctors, lawyers, merchants, chiefs, Mormons, Baptists, Unitarians, second-generation Chinese, Swedes, Italians, Germans, Texans, Brooklynites, Irishmen, people from Oregon or Mexico. The people in

this book, this play, this TV serial are not meant to represent any actual painters, cartographers, mechanics anywhere. The bigger your market, Montag, the less you handle controversy, remember that! All the minor minor minorities with their navels to be kept clean. Authors, full of evil thoughts, lock up your typewriters. They did. Magazines became

Akzidenz Grotesk is

logic of its systemat

tempting to equate t

with the san genre. H one used sans-serif


well-known for the

tic family, and it is

this modernist idea

However, almost no faces for text in 1900. a nice blend of vanilla tapioca. Books, so the damned snobbish critics said, were dishwater. No wonder books stopped selling, the critics said. But the public, knowing what it wanted, spinning happily, let the comic books survive. And the three-dimensional sex-magazines, of course. There you have it, Montag. It didn’t come

from the Government down. There was no dictum, no declaration, no censorship, to start with, no! Technology, mass exploitation, and minority pressure carried the trick, thank God. Today, thanks to them, you can stay happy all the time, you are allowed to read comics, the good old confessions, or trade journals.� 35


Fahrenheit 451 Type Specimen Booklet  

This book is based on the most memorable quotes from the Ray Bradbury novel, Fahrenheit 451 and illustrated in a visually interesting typogr...

Fahrenheit 451 Type Specimen Booklet  

This book is based on the most memorable quotes from the Ray Bradbury novel, Fahrenheit 451 and illustrated in a visually interesting typogr...