Semarang is a stylish, all caps Art Deco font. It is not a recreation of a particular typeface; merely my salute to a bygone era and to the birthplace of my father in law, who recently passed away. Semarang comes with all diacritics.

Introducing a vintage label font named Asgaard. This strong typeface is perfect for lettering on vintage style posters, t-shirts, greeting cards, logos, and more. All capital letters (including multilingual) have alternates. You can see all available characters and styles in the previews.

GASTONE - Handwritten Brush Script Font will look gorgeous on all your designs, invitation, poster design, book design, branding materials, logo's, t-shirt and all project design other. GASTONE - Handwritten Font contains standard characters, Lowercase, alternates, Uppercase, numbers, punctuation, ligatures and international glyphs.

With four glyphs per letter, Benthic will bring uniqueness to any application. Crack open your glyphs palette and choose between them all as well as a number of ligatures for more fun. This all-cap font is suitable for headline and displays.

Dolmen font from Max Salzmann revives the look of the 1920s and suggests all the glamour and culture of the jazz age. Dolmen can be used in all capital or upper and lower case settings and gives any work an Art Deco look.

Inspired by mid-century greeting card hand-lettering, Sheree is a unique serif font with some really fun qualities. While some characters are distinctly calligraphic and conformist in nature, Sheree bounces all over the baseline, displaying an unconventional attitude all her own.

Legendary lettering artist Alf Becker called his original offering “Aristocrat”; this version is a little less pretentious, but still suitably snooty. Graceful and elegant, but with a few amusing turns. Both versions of this font contain the complete Latin 1252 and Central European 1250 character sets.

Meet our newest product, we call this product Aghellay font. Aghellay font are cute typeface font Whit a uniqe touch and assertive. Aghellay font is very nice to use on: fashion magazine, logos, ,and photography, landing page, fliyer. What’s includes - multilingual support - alternate - ligature Ali Sifak Muftari

Meet our newest product, we call this product Bougenville font. Bougenville font are typeface font Whit a uniqe touch and assertive. Bougenville font is very nice to use on: fashion magazine,logos ,and photography, landing page, fliyer, What’s includes - Multilingual support - alternate - ligature Ali Sifak Muftari

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

A font for all the surfers and beachboys out there!

Massi is a fun, funky and retro all-caps font.