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

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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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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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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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Lowndes is designed as a Blackletter display face with a spirit of fun rather than historical accuracy, and with an emphasis on legibility and clarity.

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A beautiful and unique new Blackletter font with many alternate characters and Ligatures.

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

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Stefania is an elegant chancery script, designed with wedding invitations specifically in mind.

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

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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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Based on a turn of the century design.

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Stephanie is a rounded geometric display font and works best in display applications, such as posters, headline, magazine, product branding, corporate branding, signage, logos and titles.

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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 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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Based on the Medium weight of Ludlow Tempo.

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Fable is an elegant, hand-crafted typeface that evokes the magic of fantasy weddings, of castles and wizards, of dragons and dungeons. Among others it combines elements that are suggestive of Greek mythology, of runic scripts, of Scandinavian tales and of the stories of King Arthur. Difficult to categorise, Fable effectively combines features of uncial, calligraphic and script fonts.

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In the United Kingdom, Virgin Trains uses various weights of Generation Gothic extensively.

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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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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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Secca is a fine and simple typeface honoring the roots of early German grotesque type designs but mastered for the needs of today.

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Font designed after that used in Brehan-Loudeac (Britanny, France) by Robin Fouquet and jean Crès in years 1480s to print a lot of texts and books.

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

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Johann Michael Fleischmann was born June 15th, 1707 in Wöhrd near Nuremberg. After attending Latinschool he started an apprenticeship as punchcutter in the crafts enterprise of Konstantin Hartwig in Nuremberg, which ought to last six years. For his extraordinary talent Fleischmann completed his apprenticeship after four and a half years, which was very unusual. 1727 his years of travel (very common in these days) began, during which he perfected his handcraft by working in different enterprises as journeyman. First location was Frankfurt/Main where he worked for nearly a year at the renowned type foundery of Luther and Egenolff. Passing Mainz he continued to Holland, where he arrived in November 1728 and stayed till he died in 1768.

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This script font was inspired by the type called “Bastarde Flamande”, a very appreciated one in the Duke of Burgundy’s court in the end of 1400s for hand written books. A book titled Histoire Romaine (Roman history), from roman author Tite Live, translated in French by Pierre Bersuire, circa 1475, was our main source for drawning the lower case characters and a lot of upper case. Each character was written by hand with quill pen on rough paper to look like the originals as better as possible.

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profonts Sonata and profonts Concerto are closely related to each other. In fact, the only difference between the two related fonts is in the upper case characters. profonts Concerto’s upper cases are more complex, swashier than those in profonts Sonata. One is a perfect complement to the other, and that is why they are offered together at special rate.

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

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Designed by Douglas C. McMurtrie. Digitally engineered by Steve Jackaman. Based on the original Ludlow drawings, circa 1928.

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Designed by M. Fahrenwaldt for the Schriftguss foundry in 1929, Minister is a contemporary design based on Garalde types.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. A few weights were originally released by another foundry; but this complete version of the family is a better match to Les’ original drawings!

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This frilly script has been acid dipped, scratched and destroyed for use in grungy design jobs or any other use that calls for a ragged script.

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Based on a fifteenth century Textura Blackletter typeface, Octoberfest has an historically accurate companion with Lombardic style capitals, Octoberfest Alternate. Both feature a Germanic cross icon as the asterisk character.

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Genevieve combines the elegance of classical calligraphy with a feminine, yet contemporary, economy of line.

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Silver Dagger is a contemporary script-inspired font that combines the elegance of graceful handwriting with clean, modern, incisive calligraphy.

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The thinking behind Fairway was to create a relatively conventional soft sans with a certain amount of movement at the top of the x-height line.The face is casual and quirky but can still be used as a text face.

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

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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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LD Castle is an antique-themed storybook font with stylized letters and numbers.

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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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This picturesque, beautiful German Blackletter typeface was originally released by Benjamin Becker Succ, Frankfurt am Main, then named ‘Künstlergotisch’.

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

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Over the past few years, every designer has seen the surprising outbreak of blackletter types in marketing campaigns for major sports clothing manufacturers, a few phone companies, soft drink makers, and more recently on entertainment and music products. In such campaigns, blackletter type combined with photos of usual daily activity simply adds a level of strength and mystique to things we see and do on a regular basis.

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Almost a half of a millennium after being mistaken for the original 4th century Gothic alphabet and falsely labeled “barbaric” by the European Renaissance, the blackletter alphabet was still flourishing exclusively in early 20th century Germany, not only as an ode to Gutenberg and the country’s rich printing history, but also as a continuous evolution, taking on new shapes and textures influenced by almost every other form of alphabet available. Blackletter would continue to go strong in Germany until just before the second World War, when it died a political death at the height of its hybridization. For almost 50 years after the war, blackletter was very rarely used in a prominent manner, but it continued to be seen sparely in a variety of settings, almost as a subliminal reminder of western civilization’s first printed letters; on certificates and official documents of all kinds, religious publications, holiday cards and posters, to name a few. In the early 21st century, blackletter type has been appearing sporadically on visible media, but as of late 2005, it is not known how long the renewed interest will last, or even whether or not it will catch on at all.

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The first sans serif types were made in London in the early 19th century. They were severely modern, all caps and bold.

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

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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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From original samples of Rudolf Koch's Maximilian, Gothicus and Gothicus Alternate have Fraktur style captials, Gothicus Roman has Roman capitals. All three have the same lower case which includes three swash characters for g, s and t, available as discretionary ligatures in OpenType versions, and manually otherwise.

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Sibyl is a beautiful display letter rich in structure, sumptuous in finish, and exquisitely detailed throughout. What amounts to a rarity among rarities—an inline schwabacher—required many hours study of traditional schwabacher fonts. The resulting Sibyl type hews much closer to authentic schwabacher forms than its “scanned and fonted” progenitor, the Verzierte Schwabacher designed by Carl Kloberg, 1891.

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Based on Hispalis from the Spanish foundry, Nacional.

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Adagio Pro… sounds like music, elegance and classic quality. That’s exactly how Adagio Pro carries the message to the reader. Adagio Pro is a rather formal script with very beautiful, generous and swashy upper case that were redesigned, digitized, completed and expanded as OpenType in the profonts type studio.

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Ballerina Pro… sounds like music, ballet, elegance and classic quality. That’s exactly how Ballerina Pro carries the message to the reader. Ballerina Pro is more of a formal script, light-weighted and quite beautiful, redesigned, digitized, completed and expanded as OpenType in the profonts type studio.

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Franklin Gothic, one of the most popular sans serif types ever produced, was designed by Morris Fuller Benton in 1902 for American Type Founders. In 1979, under license with ATF, Vic Caruso began work on more weights of the design for ITC.

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