Monadic is a modern singular monospace display font. The typeface is made from groups of single basic triangular geometric units. Monadic is inspired by structured and organic geometry. The name is derived from the Ancient Greek μοναδικός (monadikós, “single”), from μονάς (monás, “a unit”); it is the adjective of monad, an elementary individual substance which reflects the order of the world and from which material properties are derived. Monadic is great for display work, logos, structures, architecture, technology, biology, sports, monograms, quotes, headings and posters.

TabloidDot M is a simple monospace font created for a small project. It had one task, to imitate the inscriptions on the electronic scoreboard in the form of dots arranged on a grid. As time went on I decided to make an extended version of the font with alternate letters and more styles, plus a variable font to control the size of the dots. The font has 6 stylistic sets, Proportional and Old-style figures, Ornaments, a set of Arrows, Currency Symbols, and supports Extended Cyrillic.

Populaire Typewriter font is a retro set of typewriter fonts sourced from a real 1970s typewriter. It includes Regular, Dirty and Misprints fonts. The Regular and Dirty versions of the font are monospaced fonts, with three alternatives for each character that show up randomly through contextual alternates. These features make these fonts extremely realistic and fun to use! Use this set in any design that needs a vintage touch. Use it in long or short texts, in digital collages, branding and packaging, social media posts, logotypes, etc.

Framework Mono is a modern monospaced typeface. A close relative of the original Mittelhorn font family, with whom it shares some letter and number design features, the two fonts are ideal companions. It comes in 3 weights, 3 uprights and matching italics. Designed with opentype features, each weight includes extended language support, fractions, arrows, ligatures and more. Perfectly suited for graphic design and for any display use. It could nicely work with code editors, web, editorial design, as well as corporate tabular data sheets and more. Enjoy!

Inklination is a new grotesque that goes against the 'genre rules' and has a low x-height. It breathes quite better than larger x-height typefaces, with the sensation of air and more whitespace. This, combined with long ascenders and descenders, makes it look luxurious, elegant and refined. The family has two sets of italics, a regular one with 10º of inclination, and a more brutalist one with 20º. A monospaced version of five weights complete this versatile family. For more info visit emtype website.

Rostin is a modern monospaced typeface with half-open forms of characters. Contains 8 fonts. 4 regular and 4 true italic. Weights from ultralight to bold. Including modern and futuristic stylistic alternates. The typeface was designed to read well in small sizes (from 15px) and be bright in large sizes. With these characteristics and a wide palette of weights Rostin has a huge potential area for usage. Ideally suited for musical covers, posters, logos, street wear, movie titles, packaging, editorial, web and applications - here he will always be gorgeous. With a wide variety of alternate characters you can make your design bright, memorable and modern. Opentype features: old-style figures, fractions, stylistic alternates, superscript and subscript.Multilingual support: Latin, latin extended, cyrillic and cyrillic extended (more than 75+ languages)

Louisa is a monospaced font-family designed and optimized specifically for small font sizes. But even as headline font it looks good. It has a very good distinguishability of letter forms and legibility even in longer text paragraphs. The character of Louisa is a combination of strong elements and warm, friendly forms. The font family is not only designed for coding and tabular layout, but can be used in different fields of communication design. Therefore it provides two stylistic sets with different letter forms: one with the look of serious modern typewriter font, the second with more soft letter forms and elements of a real italic. Additionally it consists oldstyle numbers (and of course tabular numbers) and a set arrows. The font is available in four styles: regular, italic, bold and bold italic.

Typewriter DirtY is related to the Typewriter BasiX and Typewriter Revo fonts. While Revo has a very clean and simple outline, BasiX is a bit washed out and looks worn. DirtY goes a step further and has a very dirty, worn, fuzzy, grungy vintage look – even more so than BasiX. Typewriter DirtY is especially suitable for headlines, logos, covers, slogans and much more. BasiX and Revo are recommended for longer texts. Although Typewriter DirtY looks good even in small font size, it is a bit more complex to render because of its detailed outlines. Typewriter Revo, BasiX and Dirty are monospaced typewriter fonts, which are matched to each other. They have the same dimensions and generally somewhat similar contours. Therefore, they can be perfectly mixed and matched with each other.

MAREGY is a modern sans-serif font with an elegant style. This font is perfect for branding projects, logos, social media posts, advertisements, product packaging, wedding invitations, product design, labels, photography, watermarks, stationery, and more.

Grammatik was made in the end of 2004. This typeface is clear and simple hybrid between sans and serif styles, which was so popular late 90s. Use Grammatik as a display face for best results.

The Flyer font family consists of two very heavy condensed sans serif faces, Black Condensed and Extra Black Condensed. Excellent for headlines or packaging, Flyer font is geometric and quite similar to Tempo Heavy Condensed.

Anchora is a contemporary sans serif font. Its characteristic feature is that it provides clear text at smaller sizes besides has a stulistic stance on screen sizes. The font contains Latin Characters support many languages.

Crisp contemporary Sans-serif family useful for clear, clean corporates, stylish branding letterforms or friendly, casual messaging too, with use of its capital and lower case ligatures, swash capitals, old style numerals and many ornaments.

Granola a completely hand-drawn font, when you need more than a regular sans serif to express random granularity. When used in smaller sizes from 14pt down, it works extremely well for book text too.

Stencil Set JNL takes the 2011 release of Stencil Mark JNL (a spur-serif letter based on a vintage set of brass stencils) and transitions it to the design of a clean, bold sans typeface.

A German travel poster from 1927 became the design inspiration for a type revival because of its pleasantly hand lettered sans serif type style. Euro Travel JNL is available in both regular and oblique versions.

Edith is the new elegant sans serif font that will bring in your projects a touch of luxury and style. It's perfect match for logotypes, branding, wedding monograms and invitations, blog headlines and much more.

Blout is the typeface for those who want to shout their message, but to do so with subtlety. It brings together elements of sans serif and late blackletter design, and is ideal for poster work.

Suisside is a sans-serif unicase font design inspired by international style and the new typography. Works great when set in simple, clean and minimal type layouts is recommended for short texts, logos and posters.

Loosely based on some hand-lettered title cards from various vintage Columbia Pictures two-reel comedies, Short Subject JNL is a pleasant sans serif typeface that is aptly suited for titling and other similar applications.

A practical font family with 3 weights for all your day by day design needs: headlines, web, signage etc. An extended sans serif typeface with rounded endings that provides unique softness appearance without losing legibility.

SK Akropol is a sans serif and condensed font. Designed by Salih Kizilkaya in 2020. There are six different options: Regular, Italic, Medium, Medium Italic, Bold and Bold Italic. Includes 6 fonts and 1122 glyphs.

Auster Slab, is a new slab version of our reversed contrast sans serif font Auster. This font family works very well on packagings, branding and editorial purposes. More About Opentype Features: https://bit.ly/opentype-rsz

Please welcome, Magle - Homebrew Fonts. Freshly baked double fonts, straight from human’s hand. Done with click by click for your satisfaction as our goal. Comes in Script and Sans Serif, perfect for your branding needs.

Grambly is a bold sans serif and unique display typeface with a combination of elegant and bold style that will make it stand out. Suitable for logos, stickers, posters, packaging, branding, invitations, notes, print, etc.

Introducing Volianchy is a modern sans serif font designed for the discerning user in mind. This typeface draws inspiration from contemporary design trends, while retaining a timeless essence that ensures its relevance in any era.

Acumin is a versatile sans serif intended for a balanced and rational quality. Solidly neo-grotesque, it not only performs beautifully at display sizes, but also maintains an exceptional degree of sensitivity for text sizes.

Designed at Polygraphmash in 1958 by Elena Tsaregorodtseva; Latin characters and italic were added in 1987 by Emma Zakharova. An early sans serif ('Grotesque'), it was developed for primers and the first level school textbooks.

Peperoncino is a sans serif font. Designed first with a marker, the irregular strokes create a fresh handmade feeling. After the big success of Peperoncino Family, we create its vintage version adding some "rusted" elements.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.