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.

First released in 2009, Aviano Didone has been completely remastered and expanded with new weights and optical sizes. Aviano Didone's high contrast forms lend elegant beauty, luxury and romance to your designs and it's extended letterforms provide strength and power. Aviano's foundational classical forms give the face a look that is unique for Didone faces. Aviano Didone is a bold interpretation of vertically contrasted type. Aviano Didone comes in eight different weights and is packed with OpenType features. Want ball terminals for that logotype or headline? Flat serifs? Swash forms? Aviano Didone includes 102 alternate characters. Five style sets are available, and Art Deco inspired alternates, small forms, swash, titling and stylistic alternates. Aviano Didone also includes 40 discretionary ligatures for artistic typographic compositions. The new optical sizes allow Aviano Didone to be used on the web or in print without losing detail. Be sure to check out the rest of the Aviano series which can be used as complementary faces, including Aviano, Aviano Serif, Aviano Sans and Aviano Flare.

Zin Display is a contemporary typeface designed for various situations of typographic usage. Characteristic feature is a large x-height and balance between neutral construction of letters (strictly vertical axis), dynamic open forms (opened terminals) and sharp instrokes, outstrokes and serifs. Another typical feature is a visually narrower connection between stems and strokes. The complete font family consist of three width proportions (Normal, Condensed and Extended). Every sub-family has 5 weights, ranging from Light to Black with matching Italics. Zin Display can be effectively used especially for display typesetting but works for longer text as well. It can be used especialy in magazine layouts and editorial design, as well in advertising typography, orientation systems, corporate identities and many other situations. Zin Display is a member of the Zin super family, which also includes Zin Sans, Zin Slab and Zin Serif fonts.

A lovingly handwritten, hand-traced and developed font family that you can use in all sort of design projects - branding, invitations, quotes design etc. The family contains 33 fonts in total. Script fonts all have initial and end swashes as well as ligatures and contextual alternates. Serif and Sans serif fonts are all capitals fonts and all of them have stylistic alternates and catchwords ligatures. The fonts are fully unicode mapped so you can use them basically in any software. If the software you are working in is not OpenType-aware one, you'll need an additional software to help you to find the glyphs you want - PopChar (MAC & Windows) or Ultra Character Map (MAC) will do the job. Take a look at the How-to PDF in the Gallery Section showing how to use OpenType features within the font.

Start from my love to vintage motorcycle culture, i am really glad living in this era when vintage motorcycle is now being such a lifestyle. People can express their self through the motorcycle, completed with the fashion and style itself to make their characters and personal branding appear stronger. It can open the new social circle, the community, to those who have the same passion to it. Based on that situation, i try to contribute to the scene with making a typeface that brings the personality of it. So please welcome, Sparkplugs. A vintage biker style font with the strong serif style and bold body. Comes up with the sans-serif too, just in case you need a pair. Handcrafted carefully for your vintage branding, rebel fashion stuff, clothing brand, as long as they're on it, get ready to rockin' all the way!

Valveto is a modern display serif. With light and consist serif stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Valveto font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Valveto font. Cheers, Maulana Creative

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.

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.

Milgran is a modern and elegant sans-serif font. Milgran is well-suited for advertising, branding, logotypes, packaging, titles, headlines and editorial design. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. Thanks for purchasing and have fun!

Novalion s a condensed variable sans serif font with with many weight you can choose. It has 8 weight styles which you can play around to match your project, whether for a standout headline, or for a tagline, you name it. Perfect to be applied to the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : variable font with 8 weight style uppercase & lowercase numbers and punctuation multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Urbane is a versatile all-purpose sans-serif family of six weights plus italics. It explores the same idea-space as early geometric modernist sans such as Futura, Erbar, Spartan and Elegant Sans, with a single-story a, a contemporary high x-height and very slightly condensed bowls. Perfect for headlines and running text, it is clear, classic and authoritative. Unusually for a geometric moderne sans, letter-widths are optically balanced, giving an even colour in setting. Includes a full international character set, lining, tabular and old-style numerals.

Clear Prairie Dawn is an original humanist sans serif family based on the designer's own printing. Designed for use as a text face, as a humanist sans it shares some of the characteristics you might notice in other such faces as Optima, Gill Sans or Stone Sans. The italic is a designed italic, rather than merely a slanted roman, and incorporates many of the ideas that the designer found too lively for the roman fonts. The complete CPD package consists of three weights with italics, and a set of original ornaments.

Nuno Sans is an elegant sans-serif typeface with a humanist touch. It offers 72 styles with 4 widths, ranging from Extended to Condensed, including 18 styles of both uprights and italics. This versatile font supports Western, Central, and Eastern European languages, as well as Vietnamese, ensuring widespread accessibility to readers. Nuno Sans excels in various applications and situations, from bold headlines to easy-to-read text, making it suitable for web, print, and corporate identity projects. Nuno Sans is a contemporary and diverse typeface, perfect for any design project.

The Irongate Font Family has a retro personality. The common denominators, in all the glyphs, is a blunt center serif. The main top & bottom of each Cap & lower case glyphs have 'fan serifs', yep serifs that fan out. This font's influence is based on a monogram I designed for my daughter's wedding where she described her image of the event being 'Classic with a Vintage Flair'. Irongate can be pictured on many things dated from 1918 - 2018. The font is available in 4 basic weights Light, Regular, Bold & Extra Bold. An additional pdf is included that gives the code for an additional 14 Dingbats, with each weight. Irongate works extremely well with Invites, Stationary, Signage, Embroidery, Letterpress, Ads, Logos and anything that feels Industrial or Hand-Crafted, eg. Coffee, Breweries, Antiques, Woodcuts, Western Styles, Sports Styles, etc.

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. The systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

Linotype Univers is a completely reworked version of the original Univers Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

Steelplate Gothic Pro is a sans serif font family with traditional and drop shadow weights. It shares letterform similarities to conventional Copperplate Gothic families, but has no spur serif endings. Most of the original designs came from the Western Type Foundry when BB&S acquired it in 1918; all were cut by Robert Wiebking. It was recast in 1954 by American Type Founders (ATF). Steve Jackaman (ITF) designed and produced a digital version of the original single weight in 1997. In 2017, Jackaman completely redrew and expanded the family, adding entirely new condensed variants and true small caps. Steelplate Gothic Pro has a masculine, industrial feel, and works effortlessly at display and subhead sizes. It shares letterforms with its sans serif sister family, Barnsley Gothic.

Linotype Gotharda is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This display font started as an experiment of the Croatian-German designer Milo Dominik Ivir. He wanted to design a font with characteristics of both sans serif and Gothic faces. From the Gothic he took the heavy strokes, the narrow letters, the exaggerated overmatter and the high x-height. The modern standard forms of the letters s, a, x and z, the clear capitals and the lack of serifs are the characteristics taken from sans serif faces. The result is a font with a constructed, old German feel. Linotype Gotharda is intended exclusivley for headlines in large point sizes.

Divan Arabic is a new creation of Naghi Naghashian. Divan Arabic is a modern Sans Serif Headline font. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Divan Arabic supports Arabic, Persian and Urdu. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Sans Serif aesthetic common in Latin typography. Divan Arabic design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. An attractive typographic image. Divan Arabic was developed for multiple languages and writing conventions. Divan Arabic supports Arabic, Persian and Urdu. D. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Sans Serif common in Latin typography.