Distressed Urke 10 is a regular weight, normal width, low contrast, upright, normal x-height font visually similar to 'Izmir' by Ahmet Altun and 'Brown Pro' by Shinntype (names referenced only for comparison).
Keywords: posters, branding, packaging, album art, merchandise, rugged, handmade, analog, worn, playful, add texture, create grit, analog print, diy tone, retro signage, rough edge, inky, stenciled, imperfect, textured.
A bold, compact sans with rounded geometry and a deliberately imperfect, ink-printed finish. Strokes are generally monolinear, but edges show frequent nicks, dents, and slight swelling that make counters and terminals feel irregular and tactile. Many joins and bowls have subtly flattened curves, with occasional notch-like breaks that read as worn printing or a light stencil effect. Overall spacing is even and readable, with a steady baseline rhythm despite the distressed surface.
Works best for headlines, labels, and short bursts of copy where texture can be part of the message—posters, packaging panels, album covers, merch graphics, and event promos. It can also suit signage-style layouts or retro-inspired compositions when paired with clean supporting text.
The texture and broken edges give the face an analog, hands-on character—like type pulled from a worn rubber stamp, screen print, or weathered signage. It balances utilitarian simplicity with a slightly mischievous, DIY tone, keeping the voice approachable rather than aggressive.
Likely intended to deliver a sturdy, no-nonsense sans skeleton while adding a worn, printed patina for atmosphere. The design focuses on preserving straightforward letterforms and rhythm, letting surface distress and small breaks provide personality and a handmade edge.
Distinctive breaks appear in several rounded forms, creating small interior gaps that add visual noise without collapsing legibility. Numerals and capitals share the same battered treatment, producing a consistent texture across display lines and short text. The distressed detail becomes more prominent at larger sizes, where the irregularities read as intentional craft rather than blur.