Broken letters[1] (German: gebrochene Schrift literally "broken writing"; English: blackletter) or Gothic letters, also known as German letters, are the typeface used in Europe West from the 12th century to the 17th century. Meanwhile, Danish spoke it until 1875 and German, Estonian and Latvian spoke it well into the 20th century. Fracture is one of the broken typefaces that is often considered to represent the entire broken typeface. Broken letters are sometimes also called Old English, but not in the Old English or Anglo-Saxon sense that was born centuries earlier. This group of letters is so named because it contains Latin letters that have breaks in the curvature of the letters, either in part or in whole designs. The fracture arises from a sudden dip when writing certain parts of the letter. In contrast, letters with perfect, unbroken curves, such as Antikua, are created from smooth, flowing writing movements. Grogoth is a font inspired by the Blackletter typeface, made with a modern impression but still looks strong and unique. In addition, Young Best font is also supported with multilingual characters that can be used in several international languages. Grogoth font is very suitable for use in making music album cover designs, tattoo logos, wishkey labels, packaging pomades and so on which are made with dark and strong concepts. Thank you, and don't forget to check out our other products.

Headline Bold is a sans serif face in the nineteenth century English Grotesque tradition. The Headline Bold font is based on types from the Stephenson Blake type foundry called Grotesque no. 9. A bold and compact font, its name gives a strong indication of its primary use.

After researching the type styles contemporary graphic designers have been using over the past few years, I noticed a consistent use of Copperplate Gothic, and its derivative designs, for various corporate advertising campaigns. That level of usage gave me the inspiration to design a display font possessing subtle characteristics of Copperplate Gothic, and various Latin Condensed designs. The font I ended up designing was semi-condensed, with more contrast between thicks and thins than in Copperplate. Baltra also has a subtle flair in its otherwise traditional lowercase, while possessing a larger than average lowercase x-height. Copperplate Gothic, on the other hand, has minimal contrast and uses small capitals for its lowercase. After examining extensive type specimens from wood type, metal type, phototype and digital type, I was not able to find a single design possessing a majority of Baltra's characteristics. Consequently, I consider Baltra to be a truly unique design, sharing with Copperplate Gothic only its flairs on stems, and having only subtle characteristics in common with traditional Latin designs.

Our first font of Grecian was so old that it had been cast in a hand mold. Extremely popular face in the nineteenth century, made by many foundries and wood type makers in various widths. Lowercase was added by some foundries in later years.

Want to go bold with a classic and elegant look? Introducing Wukang Blackletter font. Our latest gothic font evokes confident elegance with striking details on each side of the lettering. This font can be used in a variety of projects to create a vintage and elegant style. Use it to enhance visual projects, titles, or banners, packaging with a bold classic look that exudes style, elegance, and strong personality.

A classic late nineteenth-century face from the Dickinson Type Foundry of Boston. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, medium and bold weights.

A modified remake of one of the popular wooden type fonts of the 19th century. An extra bold sans serif suitable for display.

An original slab serif design inspired by the slab serif designs of the 19th century, with a modern geometric look, bold version, extended.

Dignus was inspired in two clever and famous typefaces: Bank Gothic and Microgramma. Bank Gothic designed by Morris Fuller Benton for ATF in 1930. Microgramma typeface designed by Alessandro Butti and Aldo Novarese for Nebiolo in 1952. Those typefaces were based on a stable rectangular shape with rounded corners, denoting the constructivist heritage and technological spirit of '50. We'd intended to review that typographic scenery with our contemporary point of view, aiming to obtain the formal synthesis of the signs and increase its legibility. Dignus fonts support Central, Eastern and Western European languages. Each font comes with full OpenType features like: standard and discretional ligatures, swashes, stylistic alternates, old style numerals, Tabular figures, numerators, denominators, scientific superior - inferiors, Case sensitive forms and vectors. The Dignus fonts include 7 weights, from Thin to ExtraBlack. The family is completed with condensed and expanded version all with their corresponding italics.

A revival of one of the popular wooden type fonts of the 19th century, condensed, bold, curved serifs, a very useful design for display.

TWO LAYERED FONT: Be sure to get both the FRONT and the BACK! Maintaining simultaneous shades of whimsy and versatility is no simple feat, but the meticulously constructed Stately Gothic accomplishes just that, elegantly. Stately Gothic is a redrawn version of Grit Gothic. The strong vertical character of this stacking/layered typeface make it an ideal solution for use where legibility matters most: posters, logos, book and album covers, and so on. It is part of Grit History Series B along with Heirloom Artcraft, Worn Gothic, Grit Sans, and Grit Gothic.

Born from the intersection of the geometric and grotesque typefaces. Aribau Grotesk combines low contrast and generous width proportions with typical traits of american gothics from the early 20th century, like the counters aperture and a double story ‘g’. Driven by the process, some details that come from the geometric style arose, like the clean-shaped figures and the circular dots that convey a more affable and contemporary look. Aribau Grotesk PDF.

This no-nonsense titling face is based on a Morris Fuller Benton 1934 offering for American Type Founders called, simply, Poster Gothic. Its crisp, clean lines and subtle Art Deco modeling make for attractive and attention-getting headlines. Available in plain and prismatic styles. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

A revival of one of the popular wooden type fonts of the 19th century, condensed, bold, flat thick serifs, a very useful design for display.

Introducing our newest gothic font called Kirha blackletter font, presenting a vintage and elegant style. With a classic typeface, this font evokes confident elegance with striking details on each side of the lettering. Use this font to enhance visual projects that require a bold classic look that exudes style, elegance, and strong personality.

Girder Poster, also named Spurred Gothic, was inspired by showcard lettering samples featured in the book, Commercial Art Of Show Card Lettering, published in 1945. Although similar to Cooper Bold, Girder Poster's serifs are spurred and the design's inception came out of theatrical poster studios of the mid 1900's in New York.

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 Bold versions differ not just in pen width, but also in pen angle. The Plain version has less contrast between the thin and thick strokes. The ShadowedInside style has the letter shapes of the plain style but the spacing of the shadowed style. It can be layered with the shadowed style to easily create two-color lettering.