This is a picture font of various Christian symbols.

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Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted.

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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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Christmas Doodles Too is the follow up font to Christmas Doodles. More Christmas icons including a tree, fun new ornaments, a dove, gifts, pine trees, a church, drinks, sleigh, tree lights, drum, horn, Santa hat, holly, snowflakes, stockings, candy, and mistletoe.

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

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Bouwsma Text is what Roman type would look like if it had been designed by calligraphers instead of metalworkers. The formal harmony of the Roman capitals, with tapered stems, graduated curves and serifs which are natural entrances and exits for the broad pen. These serifs seamlessly work in relativity with the stroke weight, decreasing in size when the stroke increases.

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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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The Scrivano family was designed by Ricardo Esteves Gomes, inspired by some handwritings from the Middle Ages and Renaissance period.

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Simeon is well suited for setting an short and medium amount of text with an historic impression.

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

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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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Lionheart is the digitization and expansion of Saladin, a neo-gothic typeface designed by Friedrich Poppl, long after he established himself as one of the greatest German designers of all time with some of the most “ausgezeichnet” scripts and text faces to ever come out of Europe. This typeface, though lesser-known among Poppl’s other masterpieces, was one of the first in its genre to abandon blackletter influence and attempt letter variations based strictly on Roman alphabet shapes. Poppl’s idea spawned a whole generation of neo-gothics that can now be found on many a movie poster or book cover where the design must hint at secrets and dark sides.

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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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Insular Half Uncial was the script in use in England and Ireland from Post-Roman to the 8th century.

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Gothic Gothic is a fusion of old and new that is both Gothic and Gothic. In typography Gothic can refer to German Blackletter or Old English styles. Gothic can also mean block or sans serif style lettering. By combining and balancing the elements from both of these ideas we have created a contemporary extended block letter typeface.

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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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Philip Bouwsma makes use of his extensive calligraphy and type design experience by reaching into his vault and completing one of his unfinished projects from the mid-1990s. The result is Styx, a four-font connected-script family, with rough and smooth variations, each containing two sets of majuscules and plenty of alternates sprinkled throughout the character map.

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Cancelleresca corsiva is the script developed in Vatican in 16th century, Agedage Cancelleresca is corsiva with decorative capitals.

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Beneventan is the script that was in use in Southern Italy and Dalmatia from the 8th to 14th centuries,

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Luxeuil is the script in use in France especially associated with the monastery of Luxueil from th 7th to 8th centuries,

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Caryn’s curvy, casual penmanship brings an earthy, handmade, homemade quality to just about everything. This artisan brush cursive is perfectly comfortable being center-stage but it equally at home mixing with other fonts. The short brush strokes lack artifice and expansive flourishes giving Caryn a fun, warm and friendly, expression.

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For much of the world, the last half of December encompasses the beginning of winter and the a season of gift-giving, marked by Hanukkah and Christmas. It is generally accepted that the tradition of giving of gifts at this time was begun by The Three Wisemen. As described in The Gospel According to Matthew, the wisemen, led by a star from a distant land to the east, found the baby Jesus. First, they worshipped him and then, "they presented him with gifts: gold, frankincense and myrrh." (Matthew 2:11).

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This font contains 174 characters; a variety of straight and tilted crosses, crosses in circles, French crosses, German crosses, Spainish crosses, dagger cross, crossed swords, ank and glowing crosses.

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The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results.

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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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Joseph Kaspar Sattler, one of the great German art nouveau artists created these nice initials in 1897 for the famous royal monumental book project Die Nibelunge for the Reichsdruckerei Berlin. Only 200 exclusive signed masterpieces were printed in four years from 1900 till 1904. Joseph Sattler was the art director, typographer and designer in one person. The Reichsdruckerei showed samples of the unfinished work in 1900 at the world exhibition in Paris to advertise the high craftsmanship of the German presses.

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Missale Lunea is a new designed uncial typeface with more advanced facilities to look good even on smaller text sizes. Compared to previews attempts, its more matured and flexible with a female note.

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I enjoy and am inspired by many blackletter designs, but find that their uppercase characters are generally too complex to be very usable. I also found that very few, if any were designed with perfect 45 degree angles. I set out to design a textura blackletter with unique features and a usable uppercase. What resulted is an interesting, yet usable, geometric design with unusual features that make it stand out from existing texturas.

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Named after the famous French fairy tale, Bluebeard is a surprisingly legible, slightly worn-out mix of majestic blackletter majuscules and roman minuscules.

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Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface’s name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century.

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Missale Incana is a redesigned, new interpretation of a typeface from Herbert Thannhaeuser.

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

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Agedage SimpleVersal is a Opentype font supporting some opentype layout features.

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Is it Victorian or is it Art Nouveau? While this typeface may be found in Petzendorfer’s Treasury of Art Nouveau Alphabets, I believe the decorative spirals are more Victorian than “New Art.” To me, they looked tacked on, rather than organic -- with the industrial mechanics of a coiled spring, rather than the tendrils of a growing plant as the philosophical wellspring. Please do not make the mistake of thinking the font we offer here is no better than freeware fonts in cheap rip-off collections. This font has a set 218 characters and represents many hours manipulating the bezier curves to produce acceptable results.

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The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results.

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Thanksgiving uses the following OpenType features to set up to four different color layers.

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Philip Bouwsma is concerned about the survival of calligraphy in the computer age. The last time there was a technology shift of this magnitude, in Gutenberg’s day, the metal workers shouldered out the scribes and set their own stamp on type design, relegating calligraphy to a niche role where it still languishes. Now we are faced with another crisis, surely our last chance to integrate the classical broad pen technique into mainstream typography; but this time we have the tools to convey the subtlety of the finest calligraphy. The machine doesn't simply make a snapshot or a still-life of the calligrapher’s expression; it has now become the tool that can inspire and help the designer with the task on hand.

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The Cross has a rich and varied history and has been used in many cultures. It has been around since before Christianity, and has been used as a symbol of pride, honor, protection, and persecution. Of the many forms of the Cross, the Latin, Celtic, Greek, and the Maltese are the most common. The Egyptian cross, called the Ankh (cross with a circle on top) represents life and regeneration. The Maltese Cross began as a symbol for hospitallers during the crusades. The Maltese cross is also used as a symbol of protection by Firefighters. The cross also makes a great printer’s ornament.

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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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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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Edison Swirl, with its terminals majestically looping and twirling in a circular fashion, quickly takes us back to the Victorian era of type. This unusual fancy face, which dates back to the early 1900s, distinguishes itself by employing splayed M & N caps. Some letterforms also contain double cross-strokes for added interest.

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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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Caroline is the script developed in the late 8th century scriptorium of Charlemagne in Franks' Kingdoms.

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Archemy is a restricted and obscure branch of Alchemy that deals specifically with the life, generation and transmutation of Metals. The Archemy font is primarily a magical and alchemical alphabet. It was created on initiative of Senior Zadith, in order to properly quote older alchemical manuscripts, without the need to insert handwritten symbols.

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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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The font, Arnold Boecklin, appeared in 1904 with the font foundry Otto Weisert. Traces of the floral forms of the Jugendstil can still be seen in this typeface. Alphabets of this type were mainly meant for larger point sizes, as on posters. A decorative feel was much more important than legibility, and Arnold Boecklin was of particular importance to the book design of the Jugendstil movement.

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