Fig. 1 — H. Berthold AG: Accidenz-Grotesk-Schriften : Royal- und Accidenz-Grotesk, halbfette und ... , 1921
We tried reviving Akzidenz, but got distracted and made this instead.
3 Aug 2025
The story begins in metal. In the early 20th century, Akzidenz-Grotesk emerged as a utilitarian response to the ornate excesses of 19th-century typography. Released by Berthold, it was designed not to stand out—but to stand up to repetition, function, and mechanical reproduction. This pragmatic neutrality would later shape the visual language of modernist Europe.
Fig. 2 — Akzidenz-Grotesk (Fett Plakadur, 12 Cicero), H. Berthold AG, 1921
Fig. 3 — Antra Medium (Spacing: –75), Studio Muhittin Güneş, 2025
Akzidenz-Grotesk wasn’t loud. It didn’t try to be iconic. Yet, it quietly defined a century of modernist typography. We began by looking closely at these early specimens—not to replicate them, but to understand how something so restrained could become so influential.
The early grotesks were designed within tight mechanical limits. And it shows—in spacing, in rhythm, in form. With Antra, we tried to hold onto that structural clarity, while making space—literally—for a more breathable reading experience. Some shapes stayed close. Others asked for room.
Fig. 4 — Offset lithograph poster for Der Film by Josef Müller-Brockmann, 1960
Fig. 5 — Poster for Juni-Festwochen Zürich (1957) designed by Josef Müller-Brockmann
Akzidenz-Grotesk found its stride not in books, but in posters. Especially in the hands of designers like Josef Müller-Brockmann, who embraced its rigidity for grid-based layouts that felt almost musical. It became the voice of Swiss modernism, not expressive, but absolute.
Akzidenz-Grotesk Halbfett, 1921
Halbfette Helvetica, 1958
Antra, 2025
The lowercase "a" often reveals the tone of a typeface. Akzidenz compresses it, Helvetica rounds it into a system. Antra hopefully reopens it subtly. Not to be quirky, but to allow more air. Antra’s goal isn't neutrality. It's balance. It softens the historical stiffness without becoming decorative.
1961 Edition
Typeset in Akzidenz Grotesk
2023 re-edition
Typeset in Helvetica
Typeset in Antra
Fig. 9 — Gestaltungsprobleme des Grafikers / The Graphic Artist and his Design Problems / Les problèmes d'un artiste graphique” by Josef Müller-Brockmann 1961.
The first edition uses the typeface Akzidenz-Grotesk on the cover. In later editions the cover is set in Helvetica. We set it with Antra Medium.
On the cover of “The Graphic Artist and His Design Problems” (1961), Akzidenz-Grotesk defined the tone. Later and current editions used Helvetica, signaling a move toward corporate modernism. For the imaginary reissue, we used Antra. It preserves the functional rhythm of Akzidenz while stepping away from Helvetica’s excessive smoothing.
A comparison of numeral forms. Left Akzidenz-Grotesk (Berthold, 1921). Right: Antra (2025).
Akzidenz’s numerals were shaped by metal and machinery—efficient, condensed, uncompromising. In Antra, we allowed for softer curves, gentler terminals. They’re still grotesk numerals, only now, with more room to stretch their legs
Halbfette Accidenz-Grotesk
Antra Medium
The word “Donau” offers a case study in rhythm. In Akzidenz, the spacing feels tight, mechanical. In Antra, we widened the counters and recalibrated the sidebearings.
A comparison of numeral forms. Left Akzidenz-Grotesk (Berthold, 1921). Right: Antra (2025).
Compare the “5” and “6” and the divergence becomes clearer. Akzidenz locks its terminals into a tight loop. Antra opens the joints, introduces slight optical correction.
Fig. 20 — St. 097-1 Halbfette Helvetica
Helvetica arrived with the promise of order. It standardized grotesk design, removed eccentricities, and promoted neutrality as beauty. Antra respects Helvetica’s rhythm, but lets the voice shift slightly. A little more human, a little less formula.
Akzidenz-Grotesk Halbfett, 1921
Halbfette Helvetica, 1958
Antra, 2025
Every grotesk has its own take on the “e.” Akzidenz pinches it. Helvetica rounds it robotically. Antra’s version opens just enough to be human again.
Akzidenz-Grotesk Halbfett, 1921
Antra, 2025
Words like “Heideland” challenge spacing logic. Akzidenz prioritizes fit; it compresses, hardens. Antra responds by easing the density, letting each character sit naturally.
We started with Akzidenz and circled back, not to finish where we began, but to leave a thread visible. Antra isn’t a revival. It’s a response. A quiet one.
Fig. 26,27 — Schriftproben und Bestellungen des Schrifttyps "Akzidenz-Grotesk"
H. Berthold AG: Accidenz-Grotesk-Schriften : Royal- und Accidenz-Grotesk, halbfette und ... , 1921
https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN1780672136&PHYSID=PHYS_0001&DMDID=
Akzidenz-Grotesk (Fett Plakadur, 12 Cicero), H. Berthold AG, 1921
https://global.museum-digital.org/object/2104072
Offset lithograph poster for Der Film by Josef Müller-Brockmann, 1960
https://commons.wikimedia.org/wiki/File:Josef_Müller-Brockmann_der_Film.jpg
Poster for Juni-Festwochen Zürich (1957) designed by Josef Müller-Brockmann
https://commons.wikimedia.org/wiki/File:Josef_Müller-Brockmann_1957.jpg#mw-jump-to-license
Gestaltungsprobleme des Grafikers / The Graphic Artist and his Design Problems / Les problèmes d'un artiste graphique” by Josef Müller-Brockmann 1961.
https://commons.wikimedia.org/wiki/File:Gestaltungsprobleme_cover_comparison.jpg
St. 097-1 Halbfette Helvetica
https://www.flickr.com/photos/letterformarchive/53152150184/in/dateposted/
Schriftproben und Bestellungen des Schrifttyps "Akzidenz-Grotesk" - 1898
https://global.museum-digital.org/singleimage?imagenr=2664536&noiiif=1
Schriftproben und Bestellungen des Schrifttyps "Akzidenz-Grotesk" - 1898
https://global.museum-digital.org/singleimage?imagenr=2664536&noiiif=1
Available in 18 styles