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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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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This sticky blackletter font owes its street credibility to the texture of torn adhesive tape. Designed to support rehabilitation of the historically tainted Fraktur, its pragmatically shaped majuscules guarantee legibility to a 21st-century readership. they even forgive all-caps usage - a thing you better not try with most blackletter types around.

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Blackball is an attractive blackletter font with ball terminals. Yes, it did take a while to think up the name!

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Blackletter typefaces follow certain fixed rules, both in respect to their forms and to the orthography. Possibly, they were a reaction to the half-developed Carolingian minuscule which was soon to end in the Latin script. Narrow, ordered script was to replace the round, hesitant and shattered shapes of letters in order to simplify writing, to unify the meaning of individual letters, and to save some parchment, too. Opposed to the practice common in monasterial scriptoriums where Uncial, Irish and Carolingian inspiration flew freely and as a result, the styles of writing differed in each monastery, the blackletter type was to define one, common standard. It was to express spiritual verticality, in perfect tune with the architecture of the Gothic era. Typography became an integral part of the overall style of the period. The pointed arch and the blackletter type were the vanguard of the spectacular transformation from the Middle Ages towards the modern era, they were a celebration of a time when works of art were not signed by their makers yet.

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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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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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A condensed American blackletter designed for ATF in 1932 by Morris Fuller Benton; the face grows out of nineteenth century roots.

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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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You gotta love this extreme take on the “gothic” blackletter traditions!

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A “softened” blackletter with built-in “Christmas Ornaments”.

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

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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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Blackletter engraved display typeface.

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While browsing through a sourcebook on historic calligraphy and antique type I came on an interesting sample of a gothic style attributed to the legendary artist Albrecht Durer.

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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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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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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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The origin of Grimm was to create a typeface in the spirit of Elliott Peter Earls' Subluxation, but somewhere in the process things shifted to a blackletter influenced uppercase while the lowercase became more roman.

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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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P22 Canterbury is a late Medieval Gothic font with a rough edge.

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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 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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Equal parts Sabbath and Blackletter.

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This family was inspired by the two fonts used by the famous William Caxton in Westminster (UK) in the late 1400s. There is only one (Normal) style. We have added the accented characters and others not in use in the early time of printing, but the ligatures and the few abbreviations for the Old English language and Latin were present in the original fonts.

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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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Emil Rudolf Weiss’s eponymous Rundgotisch of 1937 provided the pattern for this streamlined version of classic German blackletters.

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LD Count Fountula takes you back to Transylvania and this classic-themed font lets you celebrate this spooky season in style.

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

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Extrabold and exuberant caps from a blackletter face rendered by Ross George in his perennial Speedball Text Book have been combined with a more restrained and traditional lowercase to create a unique and striking typeface that will definitely get noticed.

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An ultra black blackletter, Avebury Black and Avebury Open were inspired by an early blackletter from the Caslon Foundry. Early blackletters from the Bruce Type Foundry are also reflected in this slightly modernized and more readable typeface. Caution. For display only.

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Tritura is my personal take on textura fonts.

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As a result of our our pig-headed pre-Guttenbergian experiments, Moyenage offers a unique combination of blackletter with a sans-serif cuts. Some reviewers refer to it as “the world’s first blackletter superfamily with Cyrillics”.

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Kwaktur began as an attempt to make a whole typeface from the letters in the logo for an obscure beer called Kwak. Through my naive approach, it quickly took on a life of its own and started to look more like a modern graffiti font.

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Designed by Gottfried Pott in 1990 for Linotype’s Type Before Gutenberg series, Duc de Berry is a revival of one style of the blackletter hand known as “bastarda.” Bastarda letters are formed by combining the stiff, vertical, formal shapes of the textura blackletter style with the more fluid curves and strokes of humanistic handwriting.

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Plagwitz is the name of the part of Leipzig where the Werkstätten and Museum für Buchkunst are to be found, which, in September 2000, hosted the ATypI Congress. During the lecture on Black Letter type faces, a lovely quotation from Bismarck could be heard: “I never read German books set in Roman type.” These circumstances gave me the idea that it would be nice to create some distinctive Black Letter type face. The best Black Letter type faces we know date from the Gothic period, when books were copied by hand, with the use of a bevelled quill. Our alphabet still takes into account Neo-Classical influences when decorative ascenders of upper case letters were added. In 19th-century typography, such Black Letter type faces were frequently complemented with Didot-type Roman faces and steel-engraver’s scripts. I, too, would recommend to combine Plagwitz-Gotisch with type faces like, for example, Hercules, Genre, Excelsor Script and Splendid Quartett.

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Albo is part of a new set of typefaces inspired in ancient documents from Portuguese 15th and 16th century books.

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Cabazon is a slightly informal blackletter inspired by handlettering samples from many sources, and various time periods. Works by Rudolf Koch and Friedrich Heinrichsen are clearly reflected. Samples by showcard lettering artists Ross Gerorge and Samuel Welo as well as early manuscript samples also contributed to this design.

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Bastard was an attempt to draw blackletter forms in a modern context I thought it should be acknowledged that they were drawn on a computer, not just a copy of characters drawn with a broad-nibbed pen. A set of modular parts was devised to construct what are actually very simple letterforms.

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Wolfsburg is a classic blackletter stencil typeface.

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

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The idea of creating this font is based on Koch’s Schmale Deutsche Anzeigenschrift which was released in 1923 by Klingspor in Offenbach, Germany.

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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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These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a fanciful geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Berlinette is the medieval Gutenbergian version of the four. It’s like a weird black letter font from the 1930s. It would work well advertising an obscure brand of German beer on the side of a Zeppelin as it circles the soccer stadium during the last match. In a William Burroughs novel.

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Frakturbo is a rounded modern blackletter for those who don't like the oldscool style of ancient blackletter-types.

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Alf Becker called this offering “Rounded Modern Bold.” The geometric forms, strong contrasts and unexpected turns of this serious Art Deco typeface command attention.

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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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This bold, bodacious blackletter typeface is based on an offering from the 1832 Boston Type Foundry catalog.

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Roncesvalles is based on samples of medieval calligraphy.

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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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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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Tucked inside the November 5, 1927 issue of a German signpainters' trade paper was a single sheet headed Der Schilder und Schriftenmaler, which featured an alphabet called Neue Fraktur.

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Wittenbach is based on lettering by Rudolf Koch which really embodies the essence of classic gothic-style poster lettering of the 1920s.

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The distinguishing characteristics of this typeface were suggested by cover artwork for the May 1930 issue of Inland Printer: a combination of caps based on Breda Gotisch, released by H. Berthold AG in 1928, and a lowercase based on Goudy Text.

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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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The original Jessen typeface, named in reminiscence of the great supporter of the printing art at the end of the 19th century, Peter Jessen, was designed in the years of 1924 until 1930. This “Bible Gothic” was created by the famous German designer Rudolf Koch.

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The American Type Founders 1923 Specimen Book and Catalogue called the inspiration for this typeface “Engravers Text”; it could easily be called elegant, enchanting and erudite, as well.

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CS are the initials of Carsten Strinkau, a young German graphic and type designer who studied in Hamburg.

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For Monumental Gothic, we delved into the archives and found some old rubbings and photos of monumental brasses from British tombs of the 12th and 13th centuries.

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The Abby family are simple blackletter faces and can be used in any application calling for a gothic style type. The more complex weights: HiLite, Lowlite, Open, Split, Etched and Etched5 are best used sparingly. By using a regular face and a cut face in most drawing packages it is easy to create 2 coloured or even three colured text quite easily.

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Yzerfontein is an angular variation on the classic German blackletter that started with a sketch of a lowercase ‘g’.

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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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Fakir is a Hindu ascetic or religious mendicant, especially one who performs feats of magic or endurance. The well known feats performed by them include sitting steadily on a bed of nails and walking on burning coals.

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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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New Bayreuth is a new and improved version of the original Bayreuth font (Friedrich Hermann Ernst Schneidler, 1932).

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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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These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a fanciful geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Marseillette is the nasty one, with sharp hook terminations that require careful use. Don’t slip and accidentally stick one in your hand — it will hurt pretty bad and make you blubber like a baby. It’s good for surreal warning signs on dark, forbidding docks where gooey monsters live.

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A blackletter font of decorative style and of obscure origin which was rescued for all devotees of these old hot-metal letters.

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