Shadow Ubru 2 is a regular weight, normal width, medium contrast, upright, normal x-height font.
Keywords: headlines, posters, book covers, display type, branding, gothic, medieval, theatrical, dramatic, antique, historic evocation, display impact, dimensionality, ornamentation, blackletter, decorative, angular, faceted, chiseled.
A decorative, blackletter-influenced serif design with sharp, faceted terminals and wedge-like cuts that create an engraved, chiseled feel. Strokes show moderate contrast and a slightly calligraphic rhythm, but the overall construction reads more geometric than cursive, with many straight segments, pointed joins, and broken-pen style notches. Many glyphs incorporate internal cut-ins and an offset shadow-like facet that suggests depth rather than a flat silhouette, giving counters and bowls a carved, dimensional look. Numerals follow the same angular, cutaway logic, with distinctive, stylized forms that prioritize character over neutrality.
Best used as a display face for headlines, posters, titles, and packaging where its carved blackletter character and shadowed facets can be appreciated. It can work for branding in contexts that benefit from an antique or gothic voice (e.g., events, pubs, fantasy or historical themes), but it is less suited to long passages of small body text due to its dense detailing.
The font conveys a historic, old-world tone with a strong gothic/medieval flavor, amplified by its carved facets and shadowed detailing. Its presence feels ceremonial and dramatic, suited to evocative headings where a sense of tradition, mystique, or spectacle is desired.
The design appears intended to reinterpret blackletter and old-style display lettering through a carved, dimensional treatment, using consistent cut-ins and offset facets to imply shadow and depth while keeping an upright, structured stance.
Uppercase forms are especially sculptural and emblematic, while lowercase remains highly stylized and can appear busy at smaller sizes due to the internal cuts and shadow facets. The shadow treatment is integrated into the letterforms (as a consistent offset facet) rather than behaving like a separate effect, which helps maintain cohesion across the alphabet and figures.