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.
Lange was instrumental in developing the Akzidenz-Grotesk program at Berthold in the 1950s and 1960s.
Under the direction of Günter Gerhard Lange, Berthold added AG Medium Italic (1963), AG ExtraBold (1966), AG Italic (1967), AG ExtraBold Condensed & Italic (1968), AG Super (1968). In the 1950s Günter Gerhard Lange, then art director at Berthold, began a project to enlarge the typeface family, adding a larger character set, but retaining all of the idiosyncrasies of the 1898 face. A suite of 7 condensed fonts inspired by display wood type from A2-TYPEs archive of historical specimens. Originally named Accidenz-Grotesk the design originates from Royal Grotesk light. The Theinhardt foundry later merged with Berthold and also supplied the regular, medium and bold weights. Berthold first published Akzidenz-Grotesk in 1898. Originally named “Accidenz-Grotesk” the design originates from Royal Grotesk light by royal type-cutter Ferdinand Theinhardt. Revival of Akzidenz Grotesk came at the hands of Max Miedinger (96) in 1957. It did yeoman’s duty as what was then called a jobbing face until the late 1930s (21), when the geometric (62) sans serif designs took over. Berthold first published Akzidenz-Grotesk in 1898. Berthold AG (126) released Akzidenz Grotesk (170), the greatgrandparent of Helvetica (176).
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