Blackletter Nuha 2 is a bold, narrow, low contrast, upright, normal x-height font visually similar to 'Gandul' by Yock Mercado (names referenced only for comparison).
Keywords: posters, headlines, logotypes, packaging, album covers, gothic, heraldic, medieval, dramatic, old-world, historical tone, display impact, gothic branding, legible blackletter, angular, blackletter, pointed, faceted, chiseled.
A dense, sharply faceted display face with pointed, blackletter-style construction and heavy vertical emphasis. Strokes are mostly monoline in feel, with crisp triangular terminals and wedge-like joins that create a carved, geometric rhythm rather than flowing calligraphy. Counters are compact and often polygonal, and curves are largely translated into angled segments, giving rounds a structured, shield-like silhouette. Uppercase forms are tall and forceful, while lowercase keeps a straightforward, readable texture with restrained ornament and a consistent, compact footprint.
Best suited to headlines, posters, labels, and identity work where a historical or gothic atmosphere is desired. It performs well at medium to large sizes for titles, short statements, and emblematic wordmarks, and can also add period character to packaging or editorial display callouts.
The overall tone feels traditional and ceremonial, evoking medieval manuscripts, heraldry, and old-world signage. Its sharp edges and weighty presence read as stern and dramatic, lending a sense of authority and historic gravitas.
The design appears intended to deliver a classic blackletter impression in a more structured, chunky, and highly legible display form. By emphasizing straightened curves, wedge terminals, and consistent stroke weight, it aims for an assertive gothic look that remains clear in modern reproduction.
The numerals and capitals share the same faceted terminal language, which helps the set feel cohesive in titles and short phrases. Spacing appears tuned for display use, where the strong verticals and compact counters create a dark, even color on the line.