Beckinslade is a lovely elaborate blackletter face, released just in time for Christmas, but useable at any time of the year. It is in the best traditions of Victorian Gothic revival, drawing inspiration from a range of sources and marrying them into one homogenous whole. The emphasis is on aesthetics rather than historical accuracy. Great fun though for anywhere ye olde look is desired.
The first in a series of typefaces based on the work of legendary lettering artist Alf Becker, whose works appeared in Signs of the Times magazine for almost thirty years.
Originally titled “Extreme Thin Gothic”, this was Beckers 185th design for the magazine.
Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).
The first in a series of typefaces based on the work of legendary lettering artist Alf Becker, whose works appeared in Signs of the Times magazine for almost thirty years.
Originally titled “Extreme Thin Gothic”, this was Beckers 185th design for the magazine.
Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).
font family from Dunwich Type Founders, added today
The Becker Gothics pay homage to the nineteenth century American lettering master George Becker. Designer James Puckett has given new life to the ingenious gothic alphabets found in Becker’s 1854 lettering manual Ornamental Penmanship. Use this quintet of typographic voices to evoke vintage engraving, lithography, signs, and wood type.
font family from Dunwich Type Founders, added today
The Becker Gothics pay homage to the nineteenth century American lettering master George Becker. Designer James Puckett has given new life to the ingenious gothic alphabets found in Becker’s 1854 lettering manual Ornamental Penmanship. Use this quintet of typographic voices to evoke vintage engraving, lithography, signs, and wood type.
Digitally engineered by Steve Jackaman. The x-heights are radically different; the x-height on the light version is small, and gets larger as the weights progress.
Digitally engineered by Steve Jackaman. The x-heights are radically different; the x-height on the light version is small, and gets larger as the weights progress.
