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.

Blackletter typefaces, also known as Gothic, Fraktur, or Old English, have been used in the headings and initial chapters of books. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs. Blackletter typefaces are based on early manuscript lettering and evolved in Western Europe from the mid twelfth century. They are best used for headings, logos, posters, and signs, as they are not easy to read in body texts. Blackletter was type that emulated the most common handwritten scripts of the era and was used for books of hours and initial chapters of books Brazilian type designer Paulo W created this font ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries as well as poster and billboards. An elegant and clean typeface, with two harmonic blackletters styles, the bold lowercases with beaufitul ornamented initials. A classic decorative design around an antique theme: The headings of gothic texts, this font works great in display purposes. ENJOY

The 52 characters assembled by this Gothic font, Prince of Darkness, were once interred in coffins onboard the Russian cargo ship Demeter, when it set sail for the sleepy shores of Whitby, Northern England ages ago. Hunted down by Vampire Hunters for century after century, this noble Transylvanian set has hidden for years in England and Eastern Europe. Now, Prince of Darkness is available as a font with more Layers than Dracula has Lairs.

The first Tuscan lettering was penned in the mid-fourth century by the calligrapher Furius Dionysius Filocalus. The style was still in common usage as calligraphy when Vincent Figgins designed the first Antique Tuscan for print in 1817. Antique and Gothic Tuscan woodtype fonts appeared in the 1830’s. By the 1850’s, Tuscan fonts had become popular in America. These styles continued in print use into the twentieth century. Tuscan Antique and Gothic styles, borrowed from print and calligraphy, were perfect for signs, posters, handbills and other large format advertising. Sign painter, Frank Atkinson demonstrated several Tuscan forms in his book Sign Painting, A Complete Manual. Modified & Spurred Tuscan Romans were inspired by this and other works of the same period.

Inspired by the elegance of Herman Zapf’s designs crossed with the readability of early 20th century Gothic fonts by Morris Fuller Benton, 19-PRA is a sans-serif with a visible stroke contrast and a humanist tone of voice. The large x-height seen in fonts like News Gothic and Palatino increases legibility and condensed proportions give excellent readability making it perfect for newspaper and magazine publishing. A typeface that can serve for both body text and titling the uppercase excels for headlines and renders beautiful brand names when tracked out. It sets well with both a serif or sans serif and has various open type features including: 12 standard ligatures, 3 discretionary ligatures, tabular figures, old stye figures as well as European accents.

Vicentina has been created starting from gothic cursive calligraphy, widely used in Italy during XIV century. The ductus of Vicentina has been derived from the documents redacted by Master Domenico Dominici from Vicenza, while most of the inspiration comes from books preserved in the archives of Orvieto Cathedral (Archivi dell'Opera del Duomo di Orvieto). As a result, Vicentina takes form with an elegant, but fast and simplified ductus respect to gothic graphs, rich in ligatures and with over 400 OpenType glyphs, in perfect harmony with the rules of readability of a modern typeface.

P22 Kelly is a Celtic-styled uncial font with a medieval gothic flavor and an overall contemporary feel. The font is an addition to Ted Staunton’s collection of historical and period-based fonts. It is ideal for uses that need to evoke the Celtic spirit or the medieval period. Based on half-uncial Irish monastic handwriting of the 8th to 10th centuries, but instead of having a traditional upright stress, has an italic slant. Some Gothic influence is evident—like the thorn-like tick-marks decorating the capitals—but the rounded forms of h, m, n, u emphasize a wide, open, horizontal visual texture. The font is named in honor of the Book of Kells, the 8th-century masterpiece of Celtic calligraphic art, which is kept in Trinity College, Dublin.

Tuscan X Condensed (whose actual name is Gothic Concave Tuscan Extra Condensed) was first produced in wood type by William H. Page & Company around 1872. The design is derived from a Gothic Condensed typeface, but with vertical stokes bowing inwards at the center. We modified the weight of the uppercase characters (since the original wood type has a lowercase much thinner than the caps) to harmonize with the lowercase when used digitally.

A Roman typeface with emphasized triangular serifs. A font like this one could have been designed in 18th century France. To some extent, Auxerre is a precursor of “Etienne,” which later became popular as an advertising typeface of the 19th century. Auxerre is available in five font weights: light, regular, semibold, bold and black. Auxerre supports Western and Central European languages including Scandinavian languages. Plus, the font includes lots of ligatures, tabular figures as well as a “Capital German Double S.” Auxerre fits perfectly with any topic related to the past two centuries. It also works amazingly well on technical issues. And of course it fits very well with topics of fine art and art history.

Trump Soft Pro is the softer, round-cornered version of Trump Gothic Pro, the popular condensed gothic seen on films, magazines, book covers and frashion brands all over the globe. Trump Soft offers a friendlier grade of the same economic functionality, clear modular aesthetic and extended character sets as Trump Gothic. The sharper Trump Grothic series is a reconception of ideas from Georg Trump’s seminal 1955 Signum typeface and its later reworking (Kamene) by Czech designer Stanislav Marso. Originally cobbled together for a variety of film projects in the late 1990s and early 2000s, the Trump Gothic family was made available for the general public in 2005. Shortly thereafter, it became extremely popular. It continues to be used extensively today. In 2013, the typeface was redrawn, refitted, optimized and greatly expanded into a multiscript family of six fonts, each containing over 1020 glyphs and a wealth of OpenType features, including small caps, caps-to-small-caps, stylistic alternates, unicase/monocase alternates, fractions, ordinals, class-based kerning, and support for Latin, Cyrillic and Greek locales.

Schoonheid is based on the thick and thin Gothic typeface that was popular in the US during the first half of the 20th century. Schoonheid Contextual Capitals has more than 100 ligatures, alternatives, and special characters consisting of uppercase letters. Implementing alternative Contextual features makes it easier for all people to use. Hope you enjoy. Intuisi Creative

Based on a revival of one of the popular Textura fonts of the early 20th century; suitable for display, or text.

Tuscan wood types cover a fairly wide range of styles, and there is sometimes confusion over what is classified as a Gothic Tuscan and what is considered an Antique Tuscan. HWT American Chromatic and P22 Tuscan Expanded are more precisely faces of the Antique Tuscan variety. Gothic Tuscans are generally absent of the heavy serifs typically associated with their Antique Tuscan brethren (although decorative bifurcation of terminals can imply serifs). Additional internal decoration with spikes along the stems gives some Tuscans their distinctive look, these faces are often described as “Circus Types.” Tuscan Extended is an extremely wide design, with a distinctive slab crossbar running through the center of most characters. Each letter is a complex system in its own right. This typeface is best used very large in short headline work. The style defies falling clearly into either the Antique Tuscan or Gothic Tuscan category. The new HWT version of Tuscan Extended has been meticulously redrawn by Frank Grießhammer. During production, he also incorporated a number of new letterforms, bringing the font to over 300 characters (including a full ASCII character set and Central European accented characters).

The Centurion is a gothic blackletter. It feels classic and artistic. Add this beautiful font to each of your creative ideas and notice how it makes them stand out! The Centurion is perfect for Band logos & branding, product designs, label, product, movie, book tittle, product packaging, t’shirt design

Prescissa is inspired by Textualis, also known as textura or Gothic bookhand, which was the most calligraphic form of blackletter, and today is the form most associated with “Gothic”. Written manually by hands, and reform into clean Typeface. Natural stroke from original handwriting. It can be used for just Title or even writing. In this font, you will get : Over 449 Glyphs 12 OpenType features Multilingual languages. Get Prescissa now! It will best use for any design requirement, many fonts will coming with a unique concept. Thank you! Best Regards, FM-STCO.

This font is an orphanage where all the beautiful details of classical grotesque typefaces from the early twentieth century are gathered, and thus living together, are forming a ‘new’, happy family. The aim was to collect my favorite characters in one font. The start was an eclectic collection orientated on British types from the Caslon Doric No. 4, the Monotype Grotesque, the Gill, the Franklin Gothic up to the Transport. In this amalgamation I avoided the narrow apertures in the ‘e’, ‘c’ and in the numerals ‘5’, ‘6’ and ‘9’ and enlarged the x-height dramatically. To the classical slanted form of the italics I added real italic forms for ‘a’, ‘e’ and ‘g’ in order to obtain a more distinguished italic style. DF-Dejavu Pro supports all Latin-based languages (Western, Central-European, Eastern-European, Baltic and Turkish) and includes small capitals, ligatures, inferior & superior numerals and letters, fractions, various numeral styles: proportional lining, tabular lining, proportional old-style, tabular old-style and last but not least a slashed zero.

Vafthrudnir is an original font design which draws on the tradition of Germanic uncial and early gothic calligraphy. It is designed to be extra bold and somewhat rough-hewn, for use in title design, and features variant versions of many of the characters.

One of the classic display types of the 19th century, an Egyptian with slab serifs. Quite bold.

One of the classic display types of the 19th century, an Egyptian with bracketed serifs. Quite bold.

The capitals of Register share a similar construction to Morris Fuller Benton’s 1930 Bank Gothic for American Type Founders, but iron out the broader curves and add ‘ink traps’ to emphasise the machine aesthetic. Register also provides the lower case missing from Bank Gothic. Available in two main widths, each in five weights plus reweighted italics with cursively-derived letterforms, plus a bold condensed, Register has been used for the Sochi Winter Olympics, Source magazine and releases from Transient Records.