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.

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.

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.

Common use(s) of Comicraft's All-new, All-different SENTINEL font include FACTOR-X, X-MAN, GENERATION NEXT and X-CALIBRE. Possible Side Effects: This font should not be used if you are trapped in a world you never made or a world full of people that hate and fear you. Prolonged exposure to this font during an Age of Apocalypse may cause fatigue, muscle soreness, first degree burns and immobility. Contraindications in Homo Superior may manifest as an outbreak of large purple automatons. Interactions: Before using this font in either regular or bold doses, notify your doctor of any recent exposure to mechanoids, synthezoids or paranoid androids. Reprogrammed Sentinel has improved spacing and kerning, Western & Central European accents, alternate lettershapes, and a new Interlocking Mode with over 100 connecting letter combinations!

Strima is a geometric sans serif typeface that stands for minimalism and legibility. With over 1000 glyphs and extensive language support Strima offers full professional typographic features. The Strima family consists of 4 weights: light, book, medium and bold.

Genoock is a bold handwritten typeface. It is suitable for any design needs, branding, cover title, t-shirts, posters and more. The Genoock typeface includes multi-lingual and currency support, numerals, and punctuations. It comes comes with stylistic alternates.

LUIZANE is a psychedelic inspired typeface. It's retro, bold, and playful. Perfect for your designs that want to have fun, and carefully crafted for all graphic design needs. LATIN EXTENDED ( Western European, Central European, South Eastern European ) Thank You

Blacklite is a bold script that will stands out from the crowd! Perfect to be used as logotype, badge and label! This has many OpenType features like ligatures, stylistic alternates, contextual alternates, swash, and more, and support multiple languages.

A bold spur serif design found within the pages of the 1934 French lettering instruction book “L'Art du Tracé Rationnel de la Lettre” provided the inspiration for Railway Depot JNL, which is available in both regular and oblique versions.

Being Strong is a layered script and is inspired by bold, hand-lettered, vintage scripts. It includes OpenType features and additional accented characters, and is great for logotype, posters, badges, book covers, t-shirt designs, packaging and any more.

Promo is charming rounded sans family. This typeface is defined by multiple features, which give it a friendly feeling. Promo is perfect for branding and display purposes. Entire family consist of 9 styles with italics from Thin to Bold.

Introducing a new layered bold script font called Hardsign .Hardsign inspired by classic signage and vintage font. Hardsign came with open type features and multilingual accent good for logotype, poster, badge, book cover, tshirt design, packaging and any more.

While this bold, chamfered typeface may look like a sports font, it actually came from the opening credits for the 1955 Western film “The Man from Bitter Ridge”. Game Rules JNL is available in both regular and oblique versions.

There is almost no other font that conveys a sense of speed better than the bold but dynamic letters of Titanium Motors™ by Steve Matteson. Use this headline font to create exciting software titles, logos and user interfaces.

The December, 1935 movie poster for James Cagney in “Public Enemy” has its title hand lettered in a bold, squared, slab serif type style. Now digitally recreated as Lawbreaker JNL, it is available in both regular and oblique versions.

Presswood JNL was modeled from the title font used on the cover of a specimen book issued by the Delittle Wood Type Company of York, England. This bold, friendly sans serif is available in both regular and oblique versions.

Periódico (newspaper in Spanish), was originally commissioned by the Spanish daily newspaper ABC. Inspired by old Spanish typographic engravings, mostly from the second half of the 18th Century, we picked out the most relevant details of Spanish typography as the source of that inspiration, and instead of making a revival or an interpretation of these models, we started from scratch to create a truly original font family. The goal was to achieve a very distinctive family, functional and versatile at the same time, and reminiscent of old Spanish typography. Although we have borrowed many details from the old Spanish typography, like the nail, which is present in the letters U, G, or J, which we worked and evolved in order to be applied on other letters, we have also left behind several others. One example is the tilde of the ñ engraved by Gerónimo Gil, a very distinctive element of Spanish typography that was intentionally omitted for being too atypical to be used in a contemporary font.  The letters a and g are probably the most distinctive of the Periódico family. The shape of the bowl in the letter a, with the top arch in diagonal position, is very characteristic of old Spanish types. In Periódico, we emphasized this detail by applying it to many other letters (such as g, j, and t) up to a point that it became the leitmotiv of this family. The formal finish of serifs and terminals is something that gives great personality to any typeface, so we came up with plenty of alternatives in order to find the exact shape we wanted: sober, elegant, and contemporary. Even though the serifs are geometric, the upper terminals have a curve with a dynamic very similar to the arch in the a or the notch in the j. The terminals in the capitals follow the same style, but, in this case, the inspiration comes from Pradell’s Missal, which on the other hand has been influenced by the types engraved by Johann Michael Fleischman in the Netherlands. Eighteenth-Century types were mostly used for printing books. Therefore, they had very generous proportions (large ascendents and descendants) and high contrast, but today, these characteristics do not work well in newspapers because of the worldwide demand for more space-saving fonts. The adaptation of the type’s proportions to be used for a newspaper was one of the most interesting parts of the project, specially the time taken to find the perfect balance between the x height\ and legibility. Periódico is presented in 30 different styles, for a total of 30 fonts—10 for text (from Light to Bold) and 20 for display sizes (from Thin to Ultra Black); this family results in an extensive system capable of solving all the needs of a large publication.

Mario De Libero designed Swanstone while investigating XIX Century Old Style typefaces. Designs like Theophile Beaudoire’s Romana (1860) or Miller & Richard’s Modernized Old Style, that re-imagined the classical “Venetian” letterforms adding flared serifs and early Art Nouveau influences. In Italy, one of these fonts was Raffaello Bertieri’s Raffaello, which De Libero used as the starting point of his research in a contemporary retelling of these exuberant and sexily unsettling letterforms.

Mintely is a sophisticated and versatile serif font family designed to elevate your typography to new heights of elegance and legibility. With its 6 style variations and 8 weight options, this font offers an extensive array of choices to suit a wide range of design projects. This family combines classic and modern elements, resulting in a timeless design that can adapt to various design contexts. The 6 style variations in this serif provide you with a variety of typographic options, allowing you to experiment with different looks and moods. Whether you need a sleek and minimalistic appearance or a more decorative and ornate style, Mintely has you covered. Additionally, the 8 weight options in Mintely offer a wide range of possibilities in terms of contrast and emphasis. From thin and elegant weights to bold and impactful variations, this font family ensures that you can effortlessly find the perfect weight for your specific design needs. Because of its legibility you can use this font in a variation of text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Mintely fits in headlines, logos, posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Mourich comes in 2 styles and is recommended for use with stylish and minimalist design. It is carefully designed with medium contrast of the strokes. This font is an all-caps font or has small capitals that very useful for the headline or logo, and is suitable in large or small sizes. Mourich has 500+ glyphs with many OpenType features. There are beautiful ligatures, stylistic alternates, and swashes which you can use it to get your design more softly. Mourich Bold is has 20pt thick from the regular style. The rounded serif gives a strong and assertive look. Beautiful to use as standalone type or combine with regular style. Very much recommended for headlines. Mourich Regular has a minimalist adjustment with more relieved of negative space that awesome to apply in many media. Also useful in the body text or editorial purposes.

Sepian is a wickedly fresh update on the centuries-old textura blackletter form. Use its razor-sharp “gothic” face and darkly cool character to create tattoos, horror-movie posters, or scary video game text. See what’s included! http://bit.ly/2c5MnNN

Here's a wide, very light version of the widely known font P. T. Barnum (or French Clarendon, if you prefer). We have used this to good effect as secondary lines on old fashioned stationery. Reads well in very small sizes.

AZ Dude font was inspired from many miscellaneous hand written slogans on a school text book covers. This font utilizes an "old look" to the line work which is designed to have a "worn feel" to it. Ideal for use as headline or sub-head text in you design.

Alton JNL is an ultra-bold sanserif design that's perfect for any headline application.

Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well. The serif version has been designed to work best at small point sizes (around 8, 9 points). You will not achieve calm, boring or invisible look of your text with Preto Serif. Its long, spiky and sharp serifs contribute to give the typeface a distinct and energetic character. It is very suitable for magazines, corporate identity, brochures or other print materials where a typeface for continuous reading is required. The ligatures in Preto Serif are very special. You can set them in different tracking values and spacing will increase/decrease consistently in the ligatures as well. Alternative characters in the font files allow you to change the feeling of the text from typical to more special (J, Q, g , &). Each font contains a full set of small caps and many alternative characters for complex typesetting.