A traditional calligraphy-style gothic font with a twist. The uppercase letters were designed for easier readability than typical gothic text.

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The name of this typeface, David Aubert, comes from the calligrapher of Philippe Le Bon and Charles Le téméraire, both Dukes of Burgundy who worked and lived in Brussels in the 1500s.

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An unnamed historical font, scanned and patched.

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Black Pearl is a revival of a middle 1800s ornate calligraphic font possibly created between 1850 and 1870, I spent two years looking for all the letters of this font, once I found them all I immediately went to work on recreating this old classic. I was not able to find any numbers for this font so new to this style are numbers, some punctuation and currency symbols. The Truetype and OpenType formats include an extended character set with Central and Eastern European accented letters.

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Beautiful and elegant, Black Swan BF lives equally in bliss as entrance signage for an exclusive housing subdivision, as it does on the cover of a hot new music CD.

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Twigglee was inspired by the hand lettering on the plates in a 19th century book on ornaments by Owen Jones. The upper-case letters are simply repeated on the lower-case keys.

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Giacinta is developed as a fresh alternate take on the traditional black-letter style. Rather than simply reproducing the standard uncial or Old English style, Luke William Turvey followed the tradition of Bastarda, making up his own scripted style with the Latin standards in mind. This style was conjured purely from imagination, so while it bares a resemblance to the standards, keeps its own original flavor.

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A revival of one of the popular wooden type fonts of the 19th century, suitable for display.

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This elegant monocase design is based on a nineteenth-century offering from Britain’s Stephenson Blake Foundry named Fry’s Ornamented No. 2.

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Gothic Tuscan One is a all-cap condensed gothic with round terminals and decorative “tuscan” center spurs. It was first shown by William H. Page of Norwich, Connecticut among his wood type specimen pages of 1859. Gothic Tuscan One exemplifies the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for simple, visually strong typeface.

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The 1927 Klingspor Foundry specimen book debuted one of Rudolf Koch’s greatest achievements, the original Wilhelm-Klingspor-Schrift, the source for the patinaed Wilhelmschrift.

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Black Rose is the plain version of an old Bruce Type Foundry font called “Black Ornamented” created in 1873.

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Circus Poster Shadow was created by Tom Rickner as a tribute to the classic Tuscan Egyptian forms used in many wood types of the 1890s.

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The bâtarde flamande is a style of writing used predominantly in France and present-day Belgium in the 15th century. The style shares an ancestry with other writing styles traditionally grouped as blackletter— fraktur, textura, rotunda, and schwabacher. It had evolved, however, into an æsthetic far removed from its relatives.

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A revival, based on a 1930’s design.

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Based on the William T. Sniffin design for ATF, circa 1928.

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Based on the typeface Vesta by Albert Augspurg, circa 1926.

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Originally designed by Morris F. Benton for ATF in 1920, it was not completed for production until 1926.

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Based on Iberica by Carlos Winkow for the Spanish foundry, Nacional, circa 1942.

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Philip Bouwsma returns with his yet another great manifestation of historical calligraphy.

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Tertius, with its high ascenders and clubbed serifs, is a modern interpretation of the classic Carolingian style (7th - 9th centuries AD). There was no capital form in the Carolinian hand and Roman square capitals were originally used with it. The Carolingian hand began, after a while, to develop more cursive tendencies as people looked for a way to speed up the writing process. I have “capitalized” on this trend and have devised an appropriate and dramatic set of flowing capitals for this family.

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Mahalia draws inspiration from vintage hand-lettering, but adds a modern, European twist.

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Klute references stylised forms of writing; historic Germanic, blackletter letterforms and graffiti and tagging. Its references are based on a personal idea of lettering - the action of writing is more personal and human than the craft of calligraphy or the mechanics of typing. These references suggest the idea of saying something particular and personal.

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Whereas blackletter types were hand written, Text letterforms are drawn using a series of graphic shapes that slot together in a series of permutations, one set for lower case and another for the upper case. As the link between the method of construction of the letterforms has been removed from the appearance (the quill pen with which they were written resulting in the angle and sharp stresses) there is no logic for these stylistic elements to work in any set way. As this fundamental rule of the blackletter style has been removed the typeface has become something other than a typical or derivative blackletter font.

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Youngblood is a non-connected formal script with tall, sweeping ascenders and two alternates. These alternate forms can be mixed and matched for a custom look, and Youngblood is stronger in weight and is better suited for display work than most script fonts.

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Spanish Main is a revival of an old MacKeller Smiths & Jordan font named Sloping Black. Like most foundries MacKeller Smiths & Jordan doesn't display all the letters of the fonts in their specimen books so it took a little more time to find the complete character set for this old beautiful classic font.

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Based on the Morris F. Benton for ATF in 1920, it was not completed for production until 1926. The serif version we released a few years ago was so popular, that we decided to design a complementary sans serif version in three weights, along with three corresponding Swash fonts.

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A skillful revival of the Uncial by S.H. de Roos for Lettergieterij Amsterdam in 1938.

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Based on the original typeface from Face, London, circa 1972.

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Nick went on holiday to Ireland and started this single weight display face when he came back. It has a Celtic calligraphic influence which must have subconsciously come from looking at ancient manuscripts and the Book of Kells in Trinity College, Dublin.

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LD Cottage resembles the antique writing you would find in an ancient fairytale or story.

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This script font was inspired by the “Ronde” French script. It was in use from 1700s to 1900s (until 1960s in special circumstances) for registers, legal documents and texts, certificates, labels and other documents that must be particularly legible.

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Insigne Fleurons offers a wide range of diverse text ornaments to enhance your designs. These 52 ornaments can be used as components of a logo, background patterns or elements, border patterns or to add flourishes and refinement to your designs.

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This typeface was created by writing with a brush pen, selecting the best characters, scanning and tracing exactly to maintain maximum character integrity. Extensive kerning ensures an even flow when set as text, so Gizmo appears as quickly-written handwriting.

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From nautical folklore the Flying Dutchman is a ship that can never go home and doomed to sail the seas forever as a ghost ship. The story of the Dutchman appeared in print in the 1820s. With different versions writen over the years, some versions date the legend to the 1640s or the early 1700s.

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Grant is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and other items.

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Sinkwitz Gotisch is a new release of the font of the same name originally designed by Paul Sinkwitz in 1942.

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Devil Kalligraphy was performed by Argentina Lián Types in 2007.

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Gothamburg is a blackletter or square gothic face. The shapes of many of the letters were inspired by sets of letters in Oscar Ogg’s The 26 Letters (Thomas Y. Crowell Company, 1963, 1948) illustrating the gothic style of the middle ages. The Plain and Thin versions differ not just in pen width, but also in pen angle. The Thin version has less contrast between the thin and thick strokes.

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Zimple is a very simple blackletter face with few if any curves.

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As seen on Typophile.com, DTD Hefeweizen is a contemporary take on the textura blackletter style. Comprised of straight lines and angles sloped at ratios of 1/2 or 2/1, Hefeweizen is a highly geometric design with extensive alternates and ligatures.

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Ardenwood is based on a wood-carved alphabet from the early 1500s. It features gothic characters with elaborate floral decorations.

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Stuttgart Gothic is based on early 20th century hand lettering samples developed by Ernst Schneidler at the Stuttgart School of Design.

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This font is based on a lettering style used as a logotype for the Larkin Company circa 1900.

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Wolfsburg is a classic blackletter stencil typeface.

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This script font was inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae [...], author Francesco Filfelo, circa 1509. The original font contains all lower case characters, except w, eth, thorn, lslash, oslash and so... and almost upper case. In addition, one set of small lombardic initials were also nearly complete. It take place instead of the Bold style (in only one package)offering a real and rare complete historical printing set...

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Authentic Ink is an old fraktur font, translated into the 21st Century, with the ease of urban street art. This OpenType font contains 3 styles: Ink Normal, Ink Drips, Ink Initial. Each style contains ligatures, 3 stylistic-sets with alternates and swashes, ornaments and icons.

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Temporal is one in a series of fonts designed for use in creating replica vintage newspapers.

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Journalistic is one in a series of fonts designed for use in creating replica vintage newspapers. It is inspired by the nameplate of a New England newspaper from the 1920s. Its rough character is apparent at headline sizes, and it remains nicely legible at smaller sizes for diplomas and other formal documents.

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Font designed from that used in France in 1492 to print the peace treaty between French and Enqlish Kings in Etaples, French town in Normandy.

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Display Gothic is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications.

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A script with Germanic touches.

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An unconventional Gothic typeface with decorative caps and a whiff of fire and brimstone!

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Theodore is a decorated font based on 18th century engraved alphabets. There are 7 faces covering all needs from the simples(ish) to highly decorated an expert set is also included.

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This typeface was inspired by the popular typeface Machine. It uses straight lines with circles converted to octogons, but uses them in different proportions.

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Sultan is a revival and expansion of a 1954 Matrin Kausche typeface called Mosaik. This design highlights the unmistakable Arabic/Moorish calligraphy influence on Celtic lettering, by way of the highly active Andalusian culture from the ninth century until the crusades in the early eleventh century.

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Flat-pen, suitable for quick notes and display work, relaxed yet dignified.

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El-Cid is based on a Spanish round gothic-script hand similar to the northern rotundra blackletter. It is however simpler in form amd more legible than its northern relative. A unique feature of this family is the Swashed face which includes extentions and swirls for letters that can be placed before, after, over or under words.

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Based on an early wood type design. An original creation.

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Digitally engineered by Steve Jackaman. Ludlow, circa early 1900.

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The Torquemada family marks the return of eminent American calligrapher Philip Bouwsma to the type scene after almost 7 years of hiatus, and he is certainly coming back with a lot of bells and whistles!

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I don't know what other typedesigners call those long swirling embellishment, but I call them “Monkeytails”. So when I decided on this version of my good old Royal Bavarian, I decided to call the new font “Monkeytails”. I just fell in love with this name.

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Developed by Comicraft’s Dutch Masters to give DC’s BATMAN & ROBIN ADVENTURES a crisp, clean, Art Deco look, all four pints of DUTCH COURAGE are available as one font family.

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Octin Prison is a tough headliner in 7 weights: light, book, regular, semi-bold, heavy & black. Octin Prison isn’t just for jail; it’s also great for sports, school, police, construction or military themes. Check out the rest of the Octin families: Octin Sports, Octin College, Octin Stencil, Octin Vintage & Octin Spraypaint

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During the reign of the Emperor Charlemagne in the eighth and ninth centuries, the use of classical roman letterforms was revived. These letterforms were the basis of the highly refined versal capitals of late tenth-century England, which were the inspiration for Carol Twombly’s 1989 Adobe Originals typeface. Charlemagne has spiky serifs, but retains clean lines and proportions.

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