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. Some unfortunate souls keep linking blackletter solely with Germany and the Third Reich, while the truth is that its direct predecessor, the Gothic minuscule, evolved mostly in France. Even Hitler himself indicated blackletter type obsolete in the age of steel, iron and concrete – thus making a significant contribution to the spreading of the Latin script in Germany. Once we leave our prejudice aside, we find that the shapes of blackletter type have exceptional potential, unheard of in sans-serif letterforms. The lower case letters fit into an imaginary rectangle which is easily extended both upwards and sideways. In its scope and in the name itself, the Moyenage type family project is to celebrate the diversity of the Middle Ages. I begun realizing the urge to design my own blackletter when visiting the beer gardens of Munich and while walking through the villages of rural Austria. The letters from the notice boards of inns are scented with spring air, with the flowers of cudweed, with white sausage and weissbier. The crooked calligraphic hooks and beaks seem to imitate the hearty yodeling of local drinkers and the rustle of the giant skirts of girls who distribute the giant wreaths of beer jugs. Moyenage is, however, a modern replica of blackletter, so it contains some otherwise unacceptable Latin script elements in upper case. I chose these keeping the modern reader in mind, striving for better legibility. The font is drawn as if written with a flat pen or brush, and with the ambition to, perhaps, serve as a calligraphic model. In medium width, the face is surprisingly well legible; it is perfect for menus as well as posters and CD covers for some of the heavier kinds of music. It has five types of numerals and also a set of Cyrillic script, symbolising the lovelorn union of Germans and Russians in the 20th century. Thus, it is well suited for the setting of bilingual texts of the German classic literature, which, according to the ancient rules, must not be set in Latin script.

Nicholas is a headline version of Goodchild , Shinntype’s version of Jenson . It has been specially modified with very fine details and an ultra-tight fit for headlines that really get noticed.

It is a new version of Clarence, with very noticeable changes, very funny and informal signs. It also contains different variants like Shine, Extrude and you can combine them enjoy it! :)

Charly Dreams is a sweet, colorful and friendly display font. Add it to your most creative ideas and notice how it makes them stand out! The only limit is your imagination!

Behrens Initialen is based on the type graphics of the German architect and type designer Peter Behrens (1868-1940). The drawing of the original typeface is in tune with the Art Nouveau (Jugendstil) style in which Behrens worked. This is a light, delicate, somewhat theatrical typeface, the forms of which bear at the same time a certain shade of Gothic and modernity, and can be used, in particular, when there is a need to make a reference to medieval graphics while maintaining the modern style of composition. In the proposed version, the original initial graphics are used not only for uppercase letters, but also for Arabic figures, while for lowercase letters and for the base of other characters are used the letters themselves - without decorative framing. This feature can be useful for obtaining various effects when using both lower and upper cases in parallel, including when they are overlaid. The font includes the Latin, Cyrillic and Armenian ranges. Created by Ruben Tarumian in 2020.

Introducing Royal Kingdom - Modern Blackletter Font Royal Kingdom is a modern blackletter font that elegantly blends contemporary design elements with the essence of Old English Gothic scriptures. Royal Kingdom is perfectly suited for branding projects, logos, social media posts, advertisements, product packaging, labels, photography, watermarks, stationery, and any creative project seeking a touch of modern blackletter elegance. FEATURES: - Stylistic Alternates - Ligatures - PUA Encoded - Uppercase and Lowercase letters - Numbering and Punctuations - Multilingual Support - Works on PC or Mac - Simple Installation - Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word Hope you Like it. Thanks.

The earlier release of Hasan Amal typeface was in 2008. It has introduced modern OpenType Arabic Typeface which combines the features of Kufi and Naskh Style with noticeable both curvy and sharp segments beside the refinements of its letters which made it more readable. Hasan Amal is used in both titles and text in modern graphic and publication projects.It supports Arabic, Persian and Urdu languages and contains three weights: light, regular and bold. HS Amal is an OpenType family with (7) weights, produced to support Arabic, Persian and urdu. It contains many various alternatives and good additions.

From Weimar to København/Copenhagen, picking up some decadent traits on its journey. The design of Copenhagen Grotesk is inspired by the great German grotesque type design history, although it will not fall into ranks in all aspects. Indeed, Copenhagen Grotesk will not be put into one single time pocket of style, so you'll notice that there's a hint of art deco style in its capital letters. The visual expression is first and foremost firmly rooted in the style of Scandinavian design, so feel free to use Copenhagen Grotesk for functional typographic design in relation to multiple media types.

Jack Pirate is a hand-drawn blackletter typeface, created by Måns Grebäck during 2019. It is a genuine medieval font with fraktur-inspired letter forms, Gothic decorations and a mysterious undertone. Use it for projects relating to the Middle Ages, or in modern contexts such as tattoo or storefront graphics. It contains an alternate alphabet, to be used as a stand-alone font or to give decoration and variation to the regular style. The font is multilingual and has an extensive range of glyphs; it supports all Latin-based European languages, contains numbers as well as all symbols and characters you'll ever need.

With the famous and much used Eurostile and Bank Gothic in my mind I wanted to design a mono-line font as simple and legible as possible. A square with rounded corners, i.e., the letter ‘o’ as its basis. From there on back to basics, so straights remained simple straights with 90° endings, whatever the angle. Numbers are monospaced. The result seems to be a pleasantly balanced and neutral font. Excellent for display purposes and surprisingly legible in even small sizes. This perhaps typical approach by an architect led to the name of the font: ArchiType.

Introducing Elderich is a modern gothic typeface. Strong and geometric with a fraktur style inspired by the blackletter concept. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with script, sans, or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

The engraver’s sans serif—strikingly similar to drafting alphabets of the early 1900s—has been one of the most widely used stationer’s lettering styles since about 1900. Its open, simple forms offer legibility at very small sizes. While there are digital fonts based on this style (such as Burin Sans™ and Sackers Gothic™, among others), few offer the range of styles and weights possible, with the versatility designers perhaps expect from digital type families. Sweet Sans fills that void. The family is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century—especially the engraver’s sans—are still quite familiar and appealing. Referencing various masterplates—which typically offer the alphabet, figures, an ampersand, and little else—Mark van Bronkhorst has drawn a comprehensive toolkit of nine weights, each offering upper- and lowercase forms, small caps, true italics, arbitrary fractions, and various figure sets designed to harmonize with text, small caps, and all-caps. The fonts are available as basic, Standard character sets, and as Pro character sets offering a variety of typographic features and full support for Western and Central European languages. Though rich in history, Sweet Sans is made for contemporary use. It is a handsome and functional tribute to the spirit of unsung craftsmanship. Burin Sans and Sackers Gothic are trademarks of Monotype Imaging.

The engraver’s sans serif—strikingly similar to drafting alphabets of the early 1900s—has been one of the most widely used stationer’s lettering styles since about 1900. Its open, simple forms offer legibility at very small sizes. While there are digital fonts based on this style (such as Burin Sans™ and Sackers Gothic™, among others), few offer the range of styles and weights possible, with the versatility designers perhaps expect from digital type families. Sweet Sans fills that void. The family is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century—especially the engraver’s sans—are still quite familiar and appealing. Referencing various masterplates—which typically offer the alphabet, figures, an ampersand, and little else—Mark van Bronkhorst has drawn a comprehensive toolkit of nine weights, each offering upper- and lowercase forms, small caps, true italics, arbitrary fractions, and various figure sets designed to harmonize with text, small caps, and all-caps. The fonts are available as basic, Standard character sets, and as Pro character sets offering a variety of typographic features and full support for Western and Central European languages. Though rich in history, Sweet Sans is made for contemporary use. It is a handsome and functional tribute to the spirit of unsung craftsmanship. Burin Sans and Sackers Gothic are trademarks of Monotype Imaging.

The word Text" in Goudy Text™ is short for Textura, and textura is the style of blackletter or gothic writing developed in Northern Europe in the middle ages. The use of space in blackletter is quite different from what we know about Roman letterforms. Lowercase forms in blackletter writing and typefaces must be evenly textured with black and white elements, like the texture of weaving or fabric. Capital letters can provide either an integration of the even texture (by the use of decoration in their construction) or, if they are wide and open and filled with white, they provide bright spots of visual emphasis. Goudy, despite being an American in the twentieth century, understood well the fundamental texture of medieval blackletter and the importance of both density and light. He designed Goudy Text in 1928 for Lanston Monotype after studying the type in Gutenberg's 42-line bible; still one of the best models for designers of blackletter typefaces. The lowercase of Goudy Text has impact and medieval authenticity. The standard caps have some Victorian eccentricities but are mostly well drawn. The alternate, or "Lombardic" caps are spectacular - they set beautifully with the lowercase letters, providing the proverbial shafts of light through the Gothic cathedral's stained glass windows. Use this potent font in sizes 14 point or larger, for Christmas greetings, certificates, wedding invitations, advertising, or music collateral pieces."

A wide and thin hand lettered Art Deco design from the vintage French lettering book "L'Art du Tracé Rationnel de la Lettre" was the inspiration for French Deco JNL; available in both regular and oblique versions.

From the pages of the 1939 French lettering book “Modèles de lettres modernes par Georges Léculier” (“Models of Modern Lettering”) comes an attractive and unusual set of initial drop caps made from square letters adorned with multiple vertical lines. Originally designed as white letters on black backgrounds, an additional set with black letters on white backgrounds comprise Deco Drop Caps JNL; available in both regular and oblique versions.

Lightmoon is an elegant and sleek script font, perfect for exquisite projects that need an authentic look! Add it to your most creative ideas, and notice how it makes them come alive!

Busero is a bold and powerful display font. It celebrates abstract shapes in all their eclectic beauty. Add this font to your creative ideas and notice how it makes them stand out!

Based on examples of common medieval Gothic typefaces, High German has lots of character, giving an immediate impression of the densely packed pages of the 'traditional' backward looking printers of the day.

Intense Horror is a cute and casual display font with a Halloween theme. Add this beautiful display font to each of your creative ideas and notice how it makes them stand out!

Akastar is a gorgeous handwritten font that impresses through its natural and elegant style. Add it to your most creative ideas, and notice how it transforms them into authentic pieces of art!

Olimate is a cool, summer inspired decorative font, featuring characters made entirely out of tiny splashes. Add this font to your most creative ideas, and notice how it makes them stand out!

Would you like a professional, yet friendly looking design? If so, Paradise Garden is the best option. Paradise Garden is a serif font in thick weights and round shapes. Due to the weight and shape, this font expresses cute, friendly impressions on your designs. Its main characters are first, the noticeable differences between the thick and the thin lines and second, vertical and horizontal hooks or little wipes on the edges of each letter. It is better applied for big texts for a legibility purpose. You can also enjoy fascinating features on this font. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Paradise Garden fits for various design projects, such as posters, banners, logos, book covers, album covers, quotes, invitations, greeting cards, printed products, social media, etc. Find out more ways to use this font by taking a look at the font preview. Feel free to contact us if you require more information when you are dealing with a problem. Thank you. Happy designing.

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.

Vingo is an understated, elegant, sans serif face. This font is among the first in a series of alphabets I am creating that are dignified and sophisticated. I wish these fonts had been available when I was designing wine labels. These fonts are rooted in "old world" tradition, but are more utilitarian. Some of the funky aspects are downplayed, some are enhanced and updated. Any job that requires understated sophistication is perfect for this face. The name comes from the French for wine, "Vin", and "Go" from gothic-wine gothic or Vingo.

Fonts can make or break a design, so why not use the best? The ideal Gothic font is QIUBA! You should use this professional-grade font to create labels, retro, stamps, badges, Oktoberfest posters, and other things. It’s ideal for any project that calls for a little gothic flair. Plus, it comes in a variety of beautiful, harmonious forms so you can use the perfect word for your project. This Blackletter font is the way to go whether you’re looking for a font for your logo, label, badge, or your newest music video or movie!

In 1899, Robert Wiebking (who worked for a number of foundries in his time) designed an all-caps typeface named Engravers Roman (see Engravers #2). American Type Founders, Inc. (ATF) released a heavier variant in 1902, Engravers Bold, designed by Morris Fuller Benton. Engravers Bold was also released by the Barnhart Brothes & Spinder foundry. Today, Linotype's Engravers brings turn-of-the-century elegance directly to your keyboard. Use the Engravers typeface on any formal piece -- from table cards, to menus, invitations, or advertising work. Engravers is similar to Copperplate Gothic, Sackers Gothic and Nicolas Cochin.

The Alitun incanor font is inspired by Gothic style typography and calligraphy. It has clean, sharp lines making it easier to read by combining old and new. If you are looking for a font with these features, Alitun incanor can meet your needs. This font is equipped with natural calligraphy - characteristic of gothic synthesis and multilingual support.Font; ideas for headlines, flayers, greeting cards, product packaging, book and magazine covers, logo types, clothing designs, tattoo designs, album covers. With this font you can create your own unique design. Have a good time.