Cherish Mccormick

Perva is a suite of three eye-catching fonts inspired by display types from the 19th century. This unconventional family has three different font styles that can be used individually or combined to build a playfulness multi-typeface design system. It is suitable for titling, posters headlines, book covers, packaging, social media, and branding.
Perva brings together a Slab serif font, a.k.a Antique or Egyptian; a Reverse-contrast or Italian; and an Old English Blackletter.

The design is inspired by the display types listed as “Typographic monstrosities” in Thomas C. Hansard’s book Typographia (1825).
What he found absurd was understood here as interesting and enjoyable to introduce a contemporary approach of the types widely sold by foundries such as Bruce’s New York Type-Foundry and Caslon Foundry.

Each of the three fonts holds around 400 glyphs, covering the languages of Northern, Western, Central, and Southern Europe. Opentype features include case-sensitive forms and a couple of alternates for the Blackletter style.

Wild Star is a font duo not to be tamed – this pairing of modern blackletter font & unrestrained script font aren’t afraid to make your message heard loud & clear. It’s a bold choice for merchandise, album artwork, logo designs, quotes & more.

This family includes;

Wild Star • A modern blackletter font containing lowercase only characters, plus numerals and a full range of punctuation. There are alternate stylistic versions for letters g, l & y which contain an underline flourish. To access these, simply turn on ‘Stylistic Alternates’, or access them via a Glyphs panel.

Wild Star Outline • A second version of the Wild Star font with an outline effect added.

Wild Star Script • A rough, hand-scratched font containing 2 sets of uppercase characters, numerals and a full set of punctuation. Simply turn your caps lock on & off to switch between the 2 sets of characters.

Language Support • All Wild Star fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Introducing, Killviners - A modern blackletter typeface. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as Logo, Clothing, Fashion, Headline, or any type of advertising purpose.

Features :

- uppercase & lowercase
- numbers and punctuation
- stylistic alternate
- multilingual
- PUA encoded

We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Introducing, Killviners - A modern blackletter typeface. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as Logo, Clothing, Fashion, Headline, or any type of advertising purpose.

Features :

- uppercase & lowercase
- numbers and punctuation
- stylistic alternate
- multilingual
- PUA encoded

We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Bork is a display typeface that was inspired by an exercise in blackletter calligraphy. The style’s characteristic dark texture is seen mainly in the lowercase, with uniform spacing (where counterspace equals letterspace), shapes that recall the straight, interrupted strokes used in that style of writing, and the peculiar construction of certain letters. On the other hand, the uppercase aims for a more conventional roman construction, making it more legible for modern-day readers.

It features an extensive character set that includes contextual and stylistic alternates, superior/inferior figures, arbitrary fractions, as well as several unusual ornaments, symbols and punctuation. Bork is especially suited for use in book covers, headlines, packaging and logotypes.

Bork was designed by Luisa Leitenperger.

Blackletter Moderne JNL was inspired by the original 1935 pencil drafts for “Deutsche Schrift” (German script); designed for the country’s railway system – and is available in both regular and oblique versions.

Josef Wein Moderne Blackletter is inspired in the rare work of Josef Heinz, who publish, in 1900 (Wien, Leipzig), a small catalog with gothic and art nouveau inspiration : “Moderne Schriften / herausgegeben und verlegt von Josef Heim”, or, in the french title : Alphabetes Modernes.

Soon, other fonts in that collection… Enjoy it

This typeface is extrapolated from the ‘We the People’ calligraphy of the handwritten US Constitution Preamble which employed a style based on German Text and Square Text exemplars from George Bickham’s penmanship copy-books, the most celebrated being ‘The Universal Penman’ published in 1743.

The original Constitution document was transcribed onto parchment by Jacob Shallus, a Pennsylvania Assistant Clerk, over a weekend in 1787. Shallus’s biographer, Arthur Plotnik (‘The Man Behind the Quill’, 1987), notes that he was paid $30, a modest monthly wage at the time. He also suggests that the calligraphic headings, ‘We the People’ and ‘Article’, may have been inserted by Shallus’s 14 year old trainee son, Francis,

“The manner in which the ‘Article’ headings are squeezed into the space Shallus allowed for them suggests a second hand—and perhaps not a very experienced one.”

The unconventional backslant of the headings would seem to support this contention, and at the end of the document there is perhaps a novice’s inconsistency in the structure of the letter n between that used for ‘done’ and those used for ‘In Witness’. However, one has to admire the elegant swagger of the wavy t, h and l which the K-Type font extends to the b, f and k. Also, the simpler, Schwabacher-style W, an enlarged version of the lowercase w, is a little less flamboyant than the capital W from the German and Square texts in Bickham’s manuals.

For designers using OpenType-aware applications, the typeface includes some Alternates, including a Bickham-style W, the letters t, h and n with added flourishes, two simpler forms of the A, and a few roman numerals for numbering articles. Also some ornamental flourishes and a round middle dot/decimal point. Punctuation marks are drawn in square, calligraphic style, but an alternative round period/full stop, for use with currency and numerals, is available at the period centered position (though placed on the baseline), accessed by Shift Option 9 on a Mac, or Alt 0183 on Windows. The full phrase, ‘We the People’, has been placed at the trademark keystroke and can be accessed by Shift Option 2 on a Mac, or Alt 0153 on Windows.

For designers who find the backslant awkward or unpleasant, the licensed typeface also includes two additional fonts which have a vertical aspect that may be more conducive to graphic design layouts. ‘We The People Upright’ and ‘We The People Upright Bold’ both retain the distinctive style, and the heavier weight is only slightly emboldened, just enough to add some punch.

Introducing, Fountencil - A blackletter stencil typeface. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as Logo, Clothing, Fashion, Headline, or any type of advertising purpose.

Features :
- uppercase & lowercase
- numbers and punctuation
- stylistic alternate
- multilingual
- PUA encoded

We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Introducing, Grandice- A blackletter typeface. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as Logo, Clothing, Fashion, Headline, or any type of advertising purpose.

Features :

- uppercase & lowercase
- numbers and punctuation
- stylistic alternate
- multilingual
- PUA encoded

We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Autherical is old and stylish, was inspired by old fraktur calligraphy. This typeface comes with two version regular and slant. Also comes with extra ornament and multilingual characters support.
more than 400 glyph and lots of alternates, access the all alternates by PUA code, create you boldest old stylish on your designs with this typeface.

Cruz Quaste is a calligraphic medieval type, drawn by Måns Grebäck between 2018-2020.
While traditional in character it is yet original, and could be described as a reinvented gothic style.

Its blackletter style it works great in historical contexts, or to give projects a tough feeling.

Cruz Quaste contains OpenType features such as alternates and ligatures.

The font is multilingual and supports all Latin-based European languages.
It contains numbers, punctuation and all symbols you’ll ever need.