it must be Vertigo FLF (Bold) by Casady & Greene
(Software Complement, 1992)

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I found it using Find my Font - http://www.findmyfont.com

Which part of that is blackletter?

hhp

The title glyphs have calligraphic elements -- long strokes, and sharp angles -- that refer, albeit in a postmodern way, to fraktur hand styles.

(P.S. I know you're trolling.)

Trolling? Addressing typographic misconceptions is less suited to Typophile than mindless type IDs? Or is it that people who actually make type are not supposed to intrude on Find My Pirated Font parties?

Calligraphy does not equate to blackletter.
A modicum of intellectual rigor never hurt anybody.

hhp

Excellent trolling. Would read again.

I'd take troll over your profile's Occupation any day.

hhp

Hrant: this is the very definition of trolling -- your points are not points. They are only baits. In the future, I will ignore your antisocial posts, and I encourage everyone else to do so (or to continue doing so, which is even likelier). I will respond to you when you are helping to identify typefaces, which is the purpose of this board.

Everyone else: there's no need to be intimidated by him, or to fight just because someone else wants to. If you want to discuss anything -- or take me to task on anything I've said -- feel free to email me through typophile. I will listen, and I will respond sincerely and with thoughtfulness.

He looks like a successful artist however.

You're very kind, Dick, but even I know that whether I am a "successful" artist or not has no bearing on whether this is a blackletter. ;)

I'm glad this is causing some controversy, but I still go with my blackletter. This type looks like it originated in a gothic cathedral, and ain't nobody gonna tell me otherwise. Thanks, fvilanakis.

Im sorry fvilanakis, it's not Vertigo. This one has corners like United. BTW, I'm glad this is causing some controversy, but I still go with my blackletter. This type looks like it originated in a gothic cathedral. Look at that R!

Skylar, like most artists you seem to be good at hallucinating. You have no idea what drives me. This isn't about intimidation or baiting - it's about dedication and persistence (which BTW are requirements for designing the type you clearly appreciate using).

Even though I don't like type-IDs* (especially these days when it's mostly a matter of siccing some dumb software on a heaping junkyard of pirated fonts**) my only motivation here was not sabotage, but correcting what I see as a misconception. I might be overzealous -or hopelessly romantic- in trying to educate people who might only be interested in a quickie ID of a font they'll never pay for but the idealist in me believes that public (see below) attempts at education (which goes both ways - I learn things here all the time) benefit society, or at least this society of type.

* The "point of this board"? If you mean Typophile, you're being ridiculous. If you mean the ID board, all I would say is it's a sad excuse for real typographic discussion (not to mention a piracy tool). The ID board should not and cannot exist in a vacuum outside of the Typophile umbrella. Why not? Because people like me -who are not here for mindless type IDs- will see you and possibly react.

** Contrast with the ones here:
http://typophile.com/node/96464#comment-522639

Look at your over-reaction to my simple question at the beginning, and realize that you messed up by insulted me for no good reason. I suspect you're anger with me had been building up for a while. Is that because I confront ID parasites who don't really value type?

And yes, whether as an artist you're successful or not is a moot point way beyond the fact that this is not remotely a blackletter.

I will ignore your antisocial posts

That's your call. Just know that this is not a cocktail party. That would be even stupider than thinking type IDs are the point of type. And I'll be waiting for contributions by you beyond mindless* type-IDs (but I'm not holding my breath because you haven't managed that once in over six years now).

* And often laughably desperate:
http://typophile.com/node/96641

If you want to discuss anything -- or take me to task on anything I've said -- feel free to email me through typophile.

Why does the thoughtful discussion you propose have to be done in private?

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Tal, I think you're making too easy a connection; narrow + rigid does not equal blackletter, and one letter by itself (which isn't even conclusive) does not a font make. I would recommend reading "Blackletter: Type and National Identity" by Bain and Shaw for a good introduction to that most luscious of typestyles.

hhp

I finally got a larger picture. I say this is blackletter and maybe now you'll agree, but I'd still love to know what it is. Hrant, this reminds me of the "modernized" blackletter font American Text, but even further deconstructed:
http://www.fontspace.com/dieter-steffmann/american-text

you are right Tal, it's not Vertigo.
it must be Brunnhilde One by Mark van Bronkhorst

PS: There is also Brunnhilde Two, containing alternates for /E/a/d/ + some other letters

The lowercase (which I assume is the same font as the all-caps text) does indeed have a certain textura vibe (although it's still more Roman than anything else).

hhp

I've ruffled more than a few feathers here on Typophile. (I'm not proud of that.) I used to be afraid of Hrant, but never once has he attacked me. If you feel like a victim at his hand, you probably are, and deserve it.

bs

So let me get this straight, you're angry because I'm an artist and you disagree with my font I.D.s?
trolololo...

I can see why the all caps looks blackletter in origin. Mostly because of the angles, it's reminiscent of the angle of the broad nib. Also the tight counters. If the tracking was tighter, it might actually create a texture of vertical lines. Also the diagonal of the R looks double jointed. But this is also very san serif looking.

The first image posted was just so small, it was hard to decipher anything.

thanks, fvilanakis! That's exactly it. Much appreciate.

Yep. That's my first typeface, Brünnhilde, and it's indeed inspired by Blackletter (who would think otherwise?). Not sure if the Type 1 version is available presently, though I may publish OT eventually, or by request... MVB

The UC at least isn't very blackletter at all.

hhp

You certainly know best.

My friends at FontHaus do vend the Type 1 fonts, FYI: http://www.fonthaus.com/fonts/mvbfonts/Brunnhilde/MB20100

No, but what I do know (and I think most people agree, including possibly yourself) is that it's not rare for a designer to intend something in his work that simply doesn't come through to the people who really matter: viewers. And I think this is such a case, because it really does look more roman and blackletter to me (and being an long-time admirer of blackletter I've looked at it a good deal). Now, as often happens, I could be wrong. Could you?

hhp

I was pleasantly surprised, when gifted with a book by a friend, that Judith Schalansky included Brünnhilde in her Fraktur mon Amour (http://www.fraktur-mon-amour.de/de/). That Brünnhilde is blackletter doesn't come through? Whatever you say.

As I said, I think the lc (which I admit is more significant in running text, especially for a style that -for good reason- is rarely used all-caps*) does qualify. I'll note though that the original query only showed the UC.

* And this is a clue that your UC isn't deeply blackletter.

As for "Fraktur mon Amour": wonderful book; but highly inclusive, wouldn't you say?

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Anyway, I don't mean to pester you. I just like [talking about] type.

hhp