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. But we couldn't help noticing that the typography was very odd in such campaigns, where the type overpowers all the other design elements. This is because almost all blackletter fonts ever made express too much strength and time-stamp themselves in a definite manner, thereby eliminating themselves as possible type choices for a variety of common contemporary design approaches, such as minimal, geometric, modular, etc. So extending the idea of using blackletter in modern design was a bit of a wild goose chase for us. But we finally found the face that completes the equation no other blackletter could fit into: Leather is a digitization and major expansion of Imre Reiner's forgotten but excellent 1933 Gotika design, which was very much ahead of its time. In its own time this design saw very little use because it caused problems to printers, where the thin serifs and inner bars were too fragile and broke off too easily when used in metal. But now, more than seventy years later, it seems like it was made for current technologies, and it is nothing short of being the perfect candidate for using blackletter in grid-based settings. Leather has three features usually not found in other blackletter fonts: - Grid-based geometric strokes and curves: In the early 1930s, blackletter design had already begun interacting back with the modern sans serif it birthed at the turn of the century. This design is one of the very few manifestations of such interaction. - Fragile, Boboni-like serifs, sprout from mostly expected places in the minuscules, but are sprinkled very aesthetically on some of the majuscules. The overall result is magnificently modern. - The usual complexity of blackletter uppercase's inner bars is rendered simple, geometric and very visually appealing. The contrast between the inner bars and thick outer strokes creates a surprising circuitry-like effect on some of the letters (D, O, Q), wonderfully plays with the idea of fragile balances on some others (M, N and P), and boldly introduces new concepts on others (B, F, K, L, R). Our research seems to suggest that the original numerals used with this design in the 1930s were adopted from a previous Imre Reiner typeface. They didn't really fit with the idea of this font, so we created brand new numerals for Leather. We also expanded the character set to cover all Western Latin-based languages, and scattered plenty of alternates and ligatures throughout the map. The name, Leather, was derived from a humorous attempt at naming a font. Initially we wanted to call it Black Leather (blackletter...blackleather), but the closer we came to finishing it, the more respect we developed for its attempt to introduce a plausible convergence between two entirely different type categories. Sadly for the art, this idea of convergence didn't go much further back then, due to technological limitations and the eventual war a few years later. We're hoping this revival would encourage people to look at blackletter under a new light in these modern times of multiple design influences.

Dereza is a grotesque typeface designed specially for display use in children’s books and magazines. Books for little ones are usually set in grotesques, and a vigorous font would make a nice addition to the main face. Playful and lively, Dereza is great for any non-grown-up design such as games and toy boxes, cookie jars and cereal packs, clothing labels and other things meant for kids. It looks super in speech bubbles. The Dereza family includes four fonts, from light to bold, with ligatures, lowercase figures and accented characters.

Ornamented scripts are a Koziupa/Paul specialty, and Heraldica is one of their most expressive. It attains the very definition of deluxe by conjoining the classic thin-and-thick script treatment with thin-only counterpart strokes, then it goes the extra mile with a varied complement of overlaid flourishes. The usual assortment of multiple alternates and ending forms pushes it even further in class and versatility. Monograms, logos, jewelry packaging and book covers are only a few of the possibilities with such a high-end script. Crafted Koziupa and digitized by Ale Paul.

Congress from Adrian Williams was shown for the first time at the Association Typographique International Congress, which proved to be so popular in 1980 at Kiel; designed to present a style equally appealling in European languages. Many characters are more condensed than is usual, while others have had certain elements exagerated, bringing notice to new elements of certain letters. The concept being to bring an equality of importance to the whole, producing a collection of International characters working together in harmony on the page -- a common aim that Europeans wish of any Congress.

Linotext was designed by Morris Fuller Benton in 1901 and first appeared with the name Wedding Text with American Type Founders in Jersey City, where its metal forms were cut by hand. The font was so popular that its forms soon began appearing with other font foundries under different names, Elite Kanzlei with D. Stempel AG, Comtesse with C.F. Rühl, etc. Its ornamental forms are not considered very legible by today’s standards and Linotext should therefore be used for headlines and short texts in point sizes 12 or larger.

Usually fonts that are related to computers, space, future are not handmade, but rather digital made. Autoray is 100% handmade, and I am not sure which category it fits in. It has this futuristic and intergalactic look, but at the same time the handmade details are pointing in a more grafitti and comic way. I will let you decide where to go with Autoray! I have added 5 different versions of each letter, and they automatically changes as you type - and of course, there's multilingual support - and even intergalactic gravity! :)

An ad in the Oct. 27, 1919 issue of the trade magazine “The Moving Picture World” promoted “Princess Virtue” from Bluebird Pictures starring Mae Murray – The Adorable [as noted by the movie studio in the ad]. The Art Nouveau hand lettering emulated the style usually drawn with a round nib pen, but was given a specialized treatment for the ad. It was re-drawn in a more traditional ‘pen nib’ look for digital revival. The end result is Silent Movies JNL, which is available in both regular and oblique versions.

ITC Verkehr was designed by Mott Jordan, who based its forms on those of narrow sans serif typefaces but also chose a departure from the tradition to set the font apart from the rest. The upper half of each character is heavier than the lower half, although this is usually the other way around. Diagonal strokes, like the horizontal of the lower case e, relax the otherwise regular, bar-like look of the font. ITC Verkehr is suited exclusively for use in headlines and display in larger point sizes.

Introducing of our new product CHRATOS is a Black Metal Display Font is handmade Rough Brush Font with Alternates and Multilanguage support. Can make it easier to convey the message in your design. use for awesome display, labeling, movie sceen, poster, movie title,quotes, posters, DIY projects, branding, packaging, greeting cards, websites, photos, photography overlays, signs, window art, tags and so much more! Best for project that need horror vibes , horror poster, childrenbook, cartoon, comic etc This font CHRATOS is PUA encoded which means you can access all of alternate glyphs.

In the 1960s it was a popular trend to personalize one’s possessions with your initials. From wallets and handbags to eyeglasses; from luggage to even cars, initial personalization was the fad of the time. The British division of Gulf Oil offered for sale a set of gold metallic stick-on initials for 25 pence, complete with two Gulf logos so the company could get some extra advertising mileage out of the promotion. These extra-wide, bold initials served as the idea model for Personalization JNL, which is available in both regular and oblique versions.

Not your average monospaced typeface, Base Mono flourishes with several handsome OT features mostly found exclusively in text fonts. Despite the geometric and techno feel of the initial roman version, the cursive version is heavily influenced by traditional Finnish weaving and folk art! The contradiction is taken further by inclusion of such classical features as small capitals and lower case figures, usually found in slightly more traditional fonts. Base Mono family suits many editorial, corporate identity and logotype tasks. It can even be used for setting text such as captions and headlines.

Originally Mamontov has been inspired by poster (usually wooden) types of the end of 19th—the beginning of 20th centuries. The type family was named after Savva Ivanovich Mamontov (1841-1918), Russian industrialist and patron of the arts. Massive asymmetric serifs, stocky proportions, type weight... are traces of harsh imperial reality. And soft forms of ovals, exaggerated compensators, humanistic curves of serifs and horizontal strokes betray the sensitivity and artistry of Savva Ivanovich. Mamontov has 25 styles, ranging from Light to Black and from Condensed to Wide, with more than 1000 characters per font.

Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes.

Carefully messy, sweetly odd, this friendly family conveys a cool - but warm - organic feel. With mixed letterforms and somewhat unexpected choices here and there, each font brings a handful of alternates for a nice natural look: there are five alternates for letters, three for numbers plus alternates for punctuation marks. All cleverly programmed into Contextual Alternates feature to instantly cycle at your command. This is not an usual font. Is that one just strange enough to nicely fit a wide range of designs, carrying your idea with plenty of personality. Quite cool. Hand it!

Qweny Check is a font liquid shaped, with a classic modern feel mouthwatering delights. This liquid font, which was meticulously crafted, is the ideal option for your vintage products. The many ligature in this font add a unique style making this typeface stand out from the usual display fonts, perfect for headlines, logos, posters, packaging, T-shirts, coffee shops, restaurants, magazine headers, signs or gift/post cards, cafe and wedding or any kind of advertising purposes. If there is a problem, question, or anything about my fonts, don't hesitate to ask! Big Thanks ~ Ergibi Studio

Not the usual bold serif, this is a bold serif that is unique, attractive and worth trying to apply to various backgrounds of your work, whether in branding, posters, logos, quotes, films, packaging and others. This serif has a magical curved shape that can be seen when you look at it, guaranteed to attract attention. Mugi Uppercase Lowercase 75+ Language So what are you waiting for? immediately purchase this font, feel free to comment, or send me my PM or email at khoirtypework@gmail.com Thank you for seeing

ฟอนต์ยิ่งใหญ่ เป็นอักษรแบบแซนเซอริฟ ที่มีความหนาของเส้นมากว่าปกติ สังเกตุได้จากน้ำหนัก Black ให้ความรู้สึกหนักแน่น หนา ใหญ่ และ ทันสมัย มีทั้งหมด 9 น้ำหนักและตัวเอียงของแต่ละน้ำหนักรวมทั้งหมดมี 18 สไตล์ รองรับหลากหลายภาษา เหมาะสำหรับการใช้ผาดหัว ป้าย เนื้อความ ฟอนต์ยิ่งใหญ่สามารถช่วยส่งเสริมให้งานของคุณดูสะดุดตาอย่างยิ่ง เหมาะกับผู้ที่ต้องการให้โฆษณาสินค้าและบริการดูสะดุดตากว่าใคร ๆ Yingyai is a sans serif typeface with a large line stroke thickness more than usually, especially Black weight. It gives a heavy, big and modern feel. Comes with 9 weights and italics of each weight total 18 styles. Support multi-languages. Suitable for headline, sub-headline or text body. Yingyai can make your work more eye-catching, for those who want to advertise products and services more eye-catching than others.

Cavita typeface is a mix between both grotesque and calligraphic models: regulars have a rough grotesque spirit; while the italics where inspired in calligraphic gestures. All of these details are reinforced with an inverted modulation (horizontals strokes are thicker than usual). The italics seem to move away from the traditional concept of type system, but work very well along side. This typeface has very particular shapes and rhythm, it's different and identifiable from the rest, making it a very good option to use on every piece of design.

PT Petroglyph™ was designed by Ekaterina Kulagina and licensed by ParaType in 2002. The type was created on the basis of petroglyphs (rock-carvings) that are known in 77 countries. They remained in a form of geometrical drawings in the caves of North Spain and France. Scientists claim that the radial spread-out of circles or center-pointed circles that are usually depicted show the development of solar symbolism at that period of time. We know for sure that such mysterious signs as drawings carved on rocks already existed 40 centuries ago.

Trapstyle is a handwritten face made with a Ruling Pen. This tool is usually used in calligraphy for expressive lettering. This font will tear through your text with unmistakable energy, dynamic and spontaneous flow, to help you create the look of stunning custom hand-lettering. Trapstyle comes with alternate characters, ligatures, upper and lowercase characters, punctuation, numerals. Also included is a bonus extras swashes, handmade designed to perfectly for headlines and short texts. Use it for magazines, t-shirt, packaging, logos, advertising, quotes, branding, posters, editorials, cover artwork, movies, websites, etc.

AM Siola is designed as a pure display font. The starting point for this type design was a customized logotype. Logotypes usually just need the design of some characters to form a harmonious, individual lettering. Obviously, it is much more difficult to create a complete font on the basis of just a few characters. The semi-serifs partly running in the opposite direction form the basic idea for this font. AM Siola can well be used for packaging design, logo design and individual headlines for anything from advertising to posters.

Macho was designed in 2010 for MAN, Museo d'Arte Provincia di Nuoro, as a part of the corporate identity designed by Sabina Era. Macho is based on the idea of modular widths of the 20th-century typesetting systems, as the Olivetti Margherita and the hot-metal Linotype machine. The basic module is 7,5 percent of the body size (75 upm units) and every letter width is up to 20 modules. Every letter has the same width across different weights. Macho includes a large set of boxes and underlines that can be overlapped on the letters.

A cast iron plaque from Bristol Temple Meads Station serves as inspiration for this antique font. The plaque commemorates the design contribution of Isambard Kingdom Brunel, who in March 1833 at only 27 was appointed chief engineer of the Great Western Railway, the line that links London to Bristol. This helped establish Brunel as one of the world’s leading engineers. Impressive achievements along the route include viaducts at Hanwell and Chippenham, Maidenhead Bridge, Box Tunnel and Bristol Temple Meads Station. Ironbridge evokes industrial heritage, gothic spookiness or eroded heavy metal.

Ruffcut is an antique wood type style that evokes the look and feel of type used in the design of poster-sized advertisements for circus, fairground and like events in the late 19th century. It is inspired by the memories of printing letterpress posters on an old cast-iron flatbed press where the oversized posters were usually composed directly on the bed of the press using mostly wood type as large as two feet high. Ruffcut is optimal at large sizes for a wide array of decorative issues.

Usually, the condensed version of a face comes after the regular design. Not with gogo squat. After gogo big, I thought how strong a regular version would be. A nice clean gutsy face. A "today" Franklin Gothic Extra Bold. I find it ideal for contemporary headlines as well as for logo solutions. As with gogo big, in my terms and conditions, I permit the modification of up to ten of the letter forms for logos and monograms, but logos and monograms only, not the typeface in normal usage.

Bronzion is a blackletter typeface rooted in medieval aesthetics. With its dark ages inspiration, Bronzion is a captivating blend of calligraphy and heavy metal undertones. The typeface captures the ornamental beauty of middle ages manuscripts while catering to modern design needs. Its heavy, intricate design makes it perfect for projects that require a touch of medieval grandeur. Use characters 🌲🌳🎠🐂🐅🐆🐈🐉🐎🐕🐦🐯🐲🐺👑👸🗡🤴🦁🦅🦇🦌🦎🦓🦖 to create heraldry-like logos and symbols. Example: Magic🐉Empire

What exactly is a pretty song? To tell you the truth, I have no idea! My taste of music ranges from classical music to heavy metal, from hip hop to jazz - and even soundtracks like Flash Gordon, Merry X-mas Mr Lawrence and Tommy. But font-wise, I know what a Pretty Song is! It's this organic looking, handmade text font - suitable for many things, such as books for kids, organic products, posters ... whatever design that needs a fresh and jumpy boost! BTW, the names was inspired by another favourite artist, Nirvana!

The design of this display face is based on the hot metal typeface Acropolis, issued by the German type foundry Ludwig Wagner in Leipzig in 1940. To further increase its usefulness a Cyrillic was added to it: URW Akropolis, redrawn and digitally remastered by Coen Hofmann for the URW Font Forum, is a true display design that should not be set below 48 point if you want to preserve it's fine details like the open triangular sections, e.g. in L, G, S, T etc. and gain the full typographic splendidness of this beautiful typeface.

Boondock is another Imre Reiner design resurrected from the ashes of hot metal type for digital use. This wild paint font is a revival of the fascinating Bazaar brush type from 1956. Boondock has some very unique characters that combine to form a statement of casual but loud strength, seriousness and raw primal emotion. Great for short sudden-impact spurts, like book cover titles, single sentence headers, movie posters and music sleeves. Redrawn from original specimen by Patrick Griffin, and expanded with some built-in extras too add to the convenience of this digital version.

Usually I prefer desserts that aren't overly sweet, but a week ago I lost my sense of tasting - due to Corona, and when I wanted something sweet...I preferred it overly sweet...of course because I hardly could taste the overwhelming sweetness! But now, I have my sense of tasting (and smelling!) back, and everything is back to normal. And since I completed this easy-recipe-inspired handmade font while suffering from Corona, I thought I'd name it Overly Sweet. And...well. because, the font is somewhat overly sweet (without being over the top sweet!)

The vast resource of hand lettered vintage sheet music titles offers many interesting and unique variations on even the simplest styles of lettering. A simple thick-and-thin serif design circa the 1920s-1930s evokes a reminiscence of the Art Nouveau period combined with a touch of what was to come during the Art Deco era. Most charming is the fact this lettering is free of the formal rules and constraints of metal type, where designers are generally forced into conformity with uniform stroke widths, serif placements and character shapes.

Forest Shaded is the work of Martin Wait. It is reminiscent of the countless eccentric advertisement typefaces at the turn of 20th century. The industrial revolution in England saw the beginning of business advertisement and demanded ever more new and showy typefaces. Forest Shaded is an ornamental outline font and its thick figures have lively, even eccentric, forms, whose shading makes them look three dimensional. Forest Shaded is reminiscent of display window and metal sign typefaces of the late 19th and early 20th centures and is perfect for headlines in large point sizes.

A comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the French variety, adapted from Bergling, J.M. (1918), Art Alphabets and Lettering (Second Edition), Chicago: Blakely-Oswald Printing Company. The font contains over one hundred glyphs, including character outlines for two-color layering. Suitable to accompany most Gothic (especially Textura and Rotunda) and many Roman typefaces, or to be displayed as drop caps or in full titles and headings. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Initials “Bergling A” Font Page.

A Tompouce (also know as Tompoes) is a typical Dutch pastry. It consists of a thick layer of pastry cream, sandwiched between two layers of puff pastry. It usually comes with pink icing, except on the king’s birthday, when the icing is orange. Tompouce is also a very nice connected script, with a lot of curly letters, some double letter ligatures and all the diacritics you can throw a pastry at. If it is an elegant, yet fun connected script you’re looking for, well… Tompouce may just be what you need!

Metalet Modern JNL was based on the letters found within the Metalet Movie Titling Set manufactured by the Modern Display Advertising Company of Hollywood, California circa the 1940s. Each stamped metal letter would be affixed to the background surface via the use of miniature magnets. Once in place, titles for home movies or slides could be photographed, the letters then returned to their storage area in their box. The character shapes show unusual stroke movement, which means the original models used for these letters were most likely hand-drawn.

The font Kyiv is an attempt to unite old-style antiqua with the Ukrainian tradition and modern requirements. Besides having usual italics the Renaissance tradition of "semi-italics" renewed, compact weights are also provided. Special charm is added by decorative motives of chestnut leaves and flowers. The weights are included in a way to promote the solution of various tasks both text, and an accidental set in various combinations. The font Kyiv was awarded the 2nd prize in category of text fonts in the first Ukrainian typeface competition Ruthenia in 2010.

Shirens is a font inspired by Emo/metal/harcore music scene and the hype street wear/apparel. It includes uppercase and lowercase, ligatures and alternate styles ,and also multi-lingual support, Shirens is fit for Band album covers, video tittles, stickers, clothing brand names, tshirt designs, badges designs, banner, flyer and more. Just look how it performs on the preview that I have provided, you will see its capabilities. But it will also work well with other themes. I can’t wait to see what you guys will come up with with using this font!

Foundry Fabriek was inspired by the concepts behind industrial fabrication, where and how parts of materials or structures are united. The systematic grid, formed by stencil shapes, is indicative of the work of Wim Crouwel, consultant on the development of this typeface. The compact character widths of Foundry Fabriek are consistent over the five weight progression, giving flexibility for a variety of applications. The characteristic letterforms have an extra dynamic in large scale, perhaps in cast concrete or laser cut metal, to form integrated components in architectural or signage projects.

Caché is a stylish, condensed sans serif font family in 3 versatile weights (Light, Medium & Bold) with an extended Latin character set. The typeface features economical letterforms with distinctively sheared terminals and occasional stencil characteristics. Designed as a practical all-rounder, it really does live up to its name, providing legibility along with added panache to any heading or copy. In practice, its surprisingly adaptable to most projects; and as usual with ‘ArtyType’ fonts, there are several alternate characters available via the glyph palette, providing that extra dimension when personalising your design projects.