No. 508 is a chunky, friendly, modulated gothic font. Strokes have a gentle inward curve at the median, with the tops and bottoms of the letters slightly wider. The face was introduced by William H. Page & Company in 1890.

No Parking JNL was inspired by a hand-cut stencil of those words painted in an area of a department store's parking lot.

Poldi No 2 is a display font in which each letter has been handwritten, giving it an authentic and original character. It exudes a varied and extravagant style, and with its daring and sophisticated letterforms, Poldi No 2 attracts attention and gives projects a touch of nonchalance. It is ideal for creative projects such as posters, invitations or branding materials, where a striking and distinctive text finish is sought that stands out. Remastered in 2023.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

Kulfonus No 1 is a display font in which each letter has been handwritten, giving it an authentic and original character. It exudes a varied and extravagant style, and with its daring and sophisticated letterforms, Kulfonus No 1 attracts attention and gives projects a touch of nonchalance. It is ideal for creative projects such as posters, invitations or branding materials, where a striking and distinctive text finish is sought that stands out. Remastered in 2022.

Headliner No. 45 is an ode to the 1940’s-era news headline. The Headliner No. 45 Family is simply two fonts: Regular & Italic. Headliner No. 45 has a very classic look to its features; worn out by a touch of grunge. This font will work with any of your design needs! For a customized look, switch between uppercase and lowercase for a change of erosion on the letters.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

No. 507 is an elegant headline font with added angled flourishes. Its unique features are angled terminals, small, pointed serifs, and no contrast in stroke weight. It is similar to No. 506, designed by William H. Page & Company around 1890.

Portmeirion No.6 started life as an experiment by our designer, who was exploring the possibilities of a completely 'over-the-top' display Roman face, bringing in elements of Tuscan and 'Circus' design, along with anything else he felt like. He's instilled a little more discipline in the finished result...but just ever so little. We have Fred Stevens, a regular reader of our website to thank for the name. He's comment on seeing a preview of the design was 'Over the top, Italianesque decorative and intriguing. add some 60's TV and voila Portmeirion.' Why No.6-well you'd need to know a bit about 1960s television to understand that, but we'll give you a hint..."Where am I?"..."In the village".

The first Clarendon was introduced in 1845 by R Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual. Clarendon is a trademark of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.

Carlos Winkow designed Reporter in 1938 for the Wagner foundry. The strokes of this interesting script have the texture of dry brushwritten letters. The alignment is slightly irregular, giving it a spontaneous feeling. Reporter No. 2 is a slightly simplified version of the original Reporter, without the numerous small white strokes inside its stems, which gave the original a scribbly effect. The font is bold and informal. It works well in signs, posters, and other display uses.

Kulfonus No 2 is a display font in which each letter has been handwritten, giving it an authentic and original character. It exudes a varied and extravagant style, and with its daring and sophisticated letterforms, Kulfonus No 2 attracts attention and gives projects a touch of nonchalance. It is ideal for creative projects such as posters, invitations or branding materials, where a striking and distinctive text finish is sought that stands out. Remastered in 2022.

Display Art One is a display font inspired by the art nouveau fonts popular at the turn of the 20th century. It is not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Art One has upper and lowercase alphabets, numbers, and punctuation.

We, GalaStudio (Lilia & Galina) represent the SlimOne Normal font from our MELTING FONTS collection. On typing in Google the words "to slim" you can see immediately that the most in demand on the subject is: "to slim in one month", "to slim tips", "to slim - what should I do". We are obsessed with the idea to lose weight. It means now to become more healthy, more fashionable, self-confident and successful. Font as an important element of environmental design reflects contemporary reality. We want to respond to this challenge in our font design. Thus, in our GalaStudio the MELTING FONTS series was born. The fonts of the SlimOne family have a concept of disappearing graphic elements. The letters of these fonts look like melting, dissolving into the space. INCLUDED: GS_SlimOne_Normal.otf GS_SlimOne_Normal.ttf Numbers, additional glyphs & basic punctuation are included. PERFECT FOR: using in books titles, textbooks, notebooks, different brochures and advertising, especially for kids, home-ware design, packaging design; magazines, posters and flyers titles; logos design, books design, fashion design, slogans etc. :) Multilingual support included for the languages based on Latin alphabet.

LiteOn Condensed is the perfect font family for designers who want to achieve a sleek and refined look. This sans serif font is both lightweight and elegant, with a smooth and contemporary feel that is sure to make any project stand out. With a variety of weights to choose from, LiteOn Condensed provides ample options to suit any design need. Choose LiteOn Condensed for your next project and take your design to the next level! 6 Weights 2 Styles (Regular and Italic) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures and Alternate glyps Multilingual Support for ä ö ü Ä Ö Ü … Thanks for looking, and I hope you enjoy it.

Originally written out in his own blood by Shrill Richard Starkings, this font is NOT FOR THE NERVOUS!

This style mimics the flare or upward fade that comes with the use of a spray paint can, as the tops of the letters flare, and become wider. An original font style, named after the border town of Mexicali, this font style falls under the larger umbrella of what is called Cholo-graffiti style. Originally from New Jersey, MENE has made his home in, New York City. He had a brief albeit satisfying career of street bombing in the late 90s that saw its end with a brief encounter with the Vandal Squad. Now a family man, Mene has dedicated himself to the preservation and education of style in its many forms.

Display Digits One is a display number font with eight sets of variations of the same digits. The digits 0 through 9, with period and comma in appropriate variations, are prepared as (1) solid, (2) outline, (3) solid with contour outline, (4) outline with 3-D shadow, (5) 3-D shadow only, (6) outline with drop shadow, (7) positive in circle, (8) negative in circle.

Blue On Blue is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Blue On Blue has an uppercase alphabet, numbers, and punctuation. For convenience, the uppercase alphabet is repeated under the lowercase keys. Only the portions of the characters that are outlined by the 3D-simulated depth are visible.