I can count the number of times I’ve used a blackletter (unironically, anyway) on one hand. But something about Elfreth caught my attention and held onto it like a Brockhaus-Heuer Schraubstock.| Typographica
Aside from being a delightful typeface family, Almost opens the door to the discovery of fifteenth-century printing types.| Typographica
This typeface is far from static. There are hardly any straight lines to be seen. Extreme flaring, waisting, and cupping can bestow a cartoonish quality on type. Cloisterfuch definitely walks that line, but doesn’t cross it.| Typographica
What is obvious from Birra Bruin is that Elena had fun drawing it. We don’t talk a lot about that in our work, I find. In a lot of cultures you’re supposed to live to work, and in reaction to that we’re often told that we should do what you love. What Elena accomplishes with Birra Bruin is an expression that shows me that the designer loved the work she was doing.| Typographica
Clavichord looks tarted up like a scrawny Christmas tree weighed down with a multitude of frills, swashes, flourishes, and ball terminals like so many garish and pendulous ornaments. Sounds godawful, doesn’t it? Yet the more I look, the more I like, despite all my efforts to resist.| Typographica
If you’re looking for a blackletter without the baggage, Bradley DJR may be the typeface for you. David Jonathan Ross’ first attempt at producing a blackletter, Bradley DJR is a revival of an 1895 ATF face based on lettering done by the prolific American graphic designer Will Bradley, whose style straddled the gap between arts and crafts and art nouveau.| Typographica