The standard German Fraktur textface of the last century, principally used today for mathematical setting.

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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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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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UltraGotica is a heavy companion to the Gotica Lumina typeface.

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Fraktura and Fraktura Plus is a set of classical Fraktur (Blackletter) in a modern interpretation. The two fonts differ in the amount of embellishments and can and should be mixed. I only sell the pair, but for a fair price.

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NeuAltisch is a calligraphic version of Fraktur.

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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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And now something completely different. Keks has broken elements like a blackletter typeface, but the actual forms are roman. That keeps it very legible although there is no curve at all.

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Newercastle is the new incarnation of a popular Chank font formerly known as “Newcastle”. A consistent fan favorite since its initial release in 2005, the distressed blackletter font is new and improved. This sinister script is now bulked up with all-new capital letters, a bit of punctuation, and smattering of new crowns, griffins and other heraldic doodads.

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Fette Fraktur was issued by the C.E. Weber foundry in 1875. For hundreds of years, from the Renaissance until World War II, the principal German vernacular type was fraktur, a style of blackletter. Fraktur, or broken, letterforms are partly composed of rounded elements and partly of straight lines and angles. The capitals have striking flourishes.

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Flat10 Fraktur is a pixel font for flash and other graphic images for display.

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Dractura is based on a fifteenth century German fraktur typeface.

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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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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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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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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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Bella Rose is a combination of photographic images and fonts layered together to create a final image that’s sure to get the individual viewer’s attention. The vivid color roses, included with the font, adds more beauty, depth and impact to what ever project you decide to use it on.
Bella Rose may be used with or with out the rose photos, the basic font comes with an illustrated rose incorporated into the letters.

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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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In June of 2004, Canada Type released Crucifix, a condensed three-tiers typeface that tried to bridge the gap between traditional blackletter forms and the traditional European gothics. The main goal of Crucifix was to have as many as 4 different variations on each letter form, so the original release consisted of three fonts: a main font with a standard character set, a small caps set, and a unicase variation.

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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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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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Spanish Rose is a combination of photographic images and fonts layered together to create a final image that’s sure to get the individual viewer’s attention. The vivid color roses, included with the font, adds more beauty, depth and impact to what ever project you decide to use it on.

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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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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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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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A slightly regularized digital version of a late Baroque Fraktur type, probably from the beginning of the 18th century, issued by the Norstedts type foundry in Stockholm in 56 point size as “Sju petit fraktur nr 2”.

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

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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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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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PhrackSle is a version of Fraktur with a uniform stroke rather than a calligraphic-pen stroke.

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Zentenar Initialen is based on the initials designed by Prof. F. H. E. Schneidler, c. 1937, for his Zentenar-Fraktur types.

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

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Dracena is based on a sixteenth century German fraktur typeface.

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The “Monarchia” family, consisting of three designs, is a transcription of "Frühling" of the German type designer Rudolf Koch, enriched by a bold and text design. The lower-case letter “a” had in the original an italic-like, single-counter form, but in the end preference was given to a richer form, originally contained only in the diphthong “ae”. The type is intended for text setting, but its reading requires certain exercise.

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Phraxtured is a fairly accurate rendition of the letter forms used in an old German-language publication that I found in a trash heap. However, several characters in fraktur, such as the k, y, x, and S, look bizarre to English-language readers, and I have created more comfortable alternatives. The alternative version has the more traditional characters.

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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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One of the earliest Monotype faces, issued about 1906 in two weights, normal and semibold. Based on Schelter & Giesecke’s School Fraktur which was in turn based on type favored by early 16th century printers in Wittenberg. It was the door of the Schlosskirche in Wittenberg on which Luther nailed his 95 theses. For this reason, types similar to Wittenberger Fraktur are particularly associated with Lutheran theology.

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"I digitized and to revivalize NurnbergSchwabacher by the extinct Haas'sche Schriftgiesserei, a German/Swiss foundry established in 1790 and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. In the Luc Devroye site this foundry is on the Extinct Foundries of the 18th century page. This design is very simmilar to another Intellecta best seller: Hostetler Fette Ultfraktur Ornamental, both researcheds in the classical type specimen book from Hostetler. The ornamental frame who completes the font is a fantastic barocke ornament wich I found in another old book, unaffortunally, lost now. Luc Devroye tell us about Rudolf Hostettler (your book is the source from any of my fonts): He was a swiss type designer. Author of “The Printer’s Terms”, designed by Jan Tschichold. And of Technical Terms of the Printing Industry (5th edition was printed in 1995) and Type: eine Auswahl guter Drucktypen ; 80 Alphabete klassischer und moderner Schriften (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

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The Bentele-Unziale letters are transcribed from letters drawn by Prof. Ernst Bentele which are displayed in Hoffmanns Schriftatlas (1952).

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This 1538 Schwabacher was based on a font used by Georg Rhan in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus.

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PhederFract is an attempt to create a calligraphic Fraktur face. There are three weights and a shadowed version.

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A new true Fraktur typeface in traditional style, with an extended character set, which includes accented characters, plus a universal fraction generator.

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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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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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Harbour is a clash of Latin and Germanic typestyles - two conflicting letterforms, culturally, politically and aesthetically. Latin letterforms have a geometric base, blackletter types are calligraphic. Harbour takes calligraphic forms that derive from writing with quills, but is a typeface that is clearly drawn‚ rather than written‚ to produce graphic, dynamic letterforms.

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Fette Gotisch font is an interpretation of Gothic scripts in the style of the 19th century. During this time, the individualistics handwritings of the past were used to create and define new broken letter forms. This style has heavily influenced the designs of the majority of today’s broken letter fonts. The strong appearance of Fette Gotisch made it popular as a typeface for emphasizing text.

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This font is one of the most used broken letter fonts today. Fette Fraktur is used to invoke a nostalgic or rustic feeling and found often on restaurants with ‘hearty homemade food’ or breweries who use the ‘good old recipes’ of the founder. The font was designed in the 19th century and from the beginning intended as an advertisement typeface. The lower case letters have a gothic character with only the ornamental flourishes making them broken letters, while the capital letters are more characteristic of broken letter typefaces. One could say Fette Fraktur is a true mix of styles, not unusual for typefaces created at the turn of the 19th century.

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