Designed by Rian Hughes, Zeno is a stencil font published by Device.
Bold, graphic and with a strong vertical emphasis. Built from simple geometric shapes, Zeno is similar to some of Joseph Albers’ Bauhaus experiments, though with attention paid to normalising the lettershapes to improve readability.
Designed by Jeff Levine, Euro Stencil JNL is a stencil font family. This typeface has two styles and was published by Jeff Levine Fonts.
An online photo gallery showcased a number of vintage and unique signs around Europe – mostly from Germany.
One particular sign (“1818-Hoofdkant Spaarbank-1921”) was formed in metal and with stencil letters of a distinctive 1970s feel. This served as the model for Euro Stencil JNL, which is available in both regular and oblique versions.
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| Designed by Sofia Mohr, Amarela Stencil is a stencil font family. This typeface has seven styles and was published by Latinotype. |
Amarela Stencil is a contemporary typeface, specially designed for titles, packaging and branding. Sharp serifs and an extreme stroke contrast give the font a classy look and a strong personality.
Amarela Stencil comes in 5 weights, ranging from Ultralight to Black, plus two decorative styles- One and Two.
As you would expect from Latinotype, this font comes with a standard character set that supports over 200 languages. Alternates and OpenType features are also included.
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| Download Amarela Stencil Fonts Family From Latinotype |
Designed by Jeff Levine, Solid Stencil JNL is a stencil font family. This typeface has two styles and was published by Jeff Levine Fonts.
In 1962, the late Robert Libauer of the Stenso Lettering Company (of Baltimore, MD) revised two of his popular stencil lettering guides to offers users two choices: “traditional” stencil letters and numbers and ‘solid’ letters for tracing and coloring.
Solid Stencil JNL was modeled from one of those lettering guides, and contains all of the character anomalies found within that vintage stencil.
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| Designed by Jeff Levine, Obscure Stencil JNL is a stencil font family. This typeface has two styles and was published by Jeff Levine Fonts. |
A bold, handmade stencil alphabet from the book “Lettering” by Harry B. Wright (1950) served as the model for Obscure Stencil JNL – available in both regular and oblique versions.
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| Designed by Jordan Davies, Alpine Reglar is a display sans and stencil font published by Wooden Type Fonts. |
Sans Serif
Designed by Jeff Levine, Template Moderne JNL is a display serif and stencil font family. This typeface has two styles and was published by Jeff Levine Fonts.
The A.B. Dick Company was a manufacturer of mimeograph duplicating machines which produced copies by the process of transferring ink through an etched wax stencil onto paper.
Customers had the option of purchasing various size and style lettering guides in order to create eye-catching headlines or announcements on their print projects.
One such guide called ‘Modern Display’ featured a lettering style resembling Futura Black with added serifs. This is now available as Template Moderne JNL, in both regular and oblique versions.
Designed by Jeff Levine, Apparel JNL is an art deco and stencil font family. This typeface has two styles and was published by Jeff Levine Fonts.
An image spotted online showed a rendering of a ladies’ fashions storefront that had appeared in the Libbey-Owens-Ford Glass Company’s 1939 brochure.
The signage consisted of the hand lettered word ‘Apparel’, and was done in a variant of the Art Deco stencil style of lettering that’s most recognizable in Futura Black.
From these few sign letters came the inspiration for a digital font of the same name, Apparel JNL – which is available in both regular and oblique versions.
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| Designed by Keith Bates, Rima is a display sans and stencil font family. This typeface has four styles and was published by K-Type. |
Rima is a stencil display face with imposing slab serifs, designed to suggest strength, confidence, expertise and efficiency.
Regular and Bold weights are included along with two handy italics (optically corrected obliques).
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| Designed by Jeff Levine, Reform School JNL is a display sans and stencil font family. This typeface has two styles and was published by Jeff Levine Fonts. |
The extra bold sans serif stencil lettering on movie posters and lobby cards for “Reform School Girl” (a 1957 film by American International Pictures) was the basis of Reform School JNL, which is available in both regular and oblique versions.
Designed by Jeff Levine, Dual Line Stencil JNL is a display sans and stencil font family. This typeface has two styles and was published by Jeff Levine Fonts.
A set-aside work file featuring a bold sans serif typeface that may or may not have had a vintage source history was given a new treatment.
Initially, the solid design was converted to a stencil format and an experiment was undertaken to see what the alphabet would look like with a dual line treatment.
Surprisingly, it turned out quite well and the end result is Dual Line Stencil JNL; available in both regular and oblique versions.
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| Sandega is a display serif and stencil font family. This typeface has two styles and was published by Locomotype. |
Like mixing spices, Sandega font is an experiment that blends serif, sans-serif and stencil style into one flavor. The goal is to make a font that is unique and distinct but still legible.
Opentype features such as stylistic sets are included in order to be a way of making different letters, especially for capital letters so that you can be more creative. You are also worry-free because with more than 400 glyphs, Sandega supports multiple languages.
Sandega makes a great choice for titles or logotypes and moderately long text like you would use for websites, quotes, invitation, greeting cards, flyers, and packaging.
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| Download Sandega Fonts Family From Locomotype |
Designed by Rodrigo Salas, Minado Rough is a display sans, stencil and dingbat font family. This typeface has sixteen styles and was published by Rodrigo Typo.
Dirty family!
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| Designed by Dusan Jelesijevic, Silqa is a display sans and stencil font family. This typeface has two styles and was published by Tour de Force Font Foundry. |
Silqa is distinctive display family inspired with art deco style. Unique family that combines cutoff letter shapes, swashes, geometry and jumpy ascender value is ideal for titles, headlines and product names – in every usage where originality is desirable.
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| Download Silqa Fonts Family From Tour de Force Font Foundry |
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| Designed by Oleksandr Parkhomovskyy, Magnesit Stencil is a display sans and stencil font family. This typeface has four styles and was published by Rekord. |
Sporty and brawly, Magnesit Stencil creates impact everywhere it lands. Impressive headlines are its specialty, but it feels right at home used in packaging, branding and poster design. With a very tall x-height, wide language support and minimalistic yet playful appearance, it can take on any serious typographic job.
Four distinct styles expand the possibilites even further: the straight to the point Regular, the friendly Soft and the determined Hard styles share metrics across related Magnesit and Magnesit Dark families, so you can mix and match to achieve exactly the effect you need. The SuperSoft style unique to the Magnesit Stencil family carries the concept to the extreme, mixing soft organic curves with rigid modularity inherent to stencil signage.
Magnesit Stencil works great with illustrations, the generous shapes can be easily filled with strong imagery to great effect.
Based on the best-selling Grim, Magnesit Stencil is a vast improvement of the concept with long awaited addition of lowercase, reworked proportions, spacing and kerning, expanded language support and useful icons to satisfy even the most demanding typographers’ needs.
Designed by Robbie de Villiers, OBO Regular is a display and stencil font published by Wilton Foundry.
OBO is a modern interpretation of the classical Italian letterforms with the readability of contemporary sans typefaces. OBO is ideally suited for creating identities for branding, posters, book covers, headlines, logotypes, restaurant menus, beer labels.
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| Designed by John Roshell, Cybervox is a comic, hand display and stencil font family. This typeface has four styles and was published by Comicraft. |
THIS FONT’S TERMS OF SERVICE ++ SUPERCEDE THE PRIME DIRECTIVE + “A robot may not injure a human being or, through inaction, allow a human being to come to harm.” +++ THE PRIME DIRECTIVE ++ IS A PALLIATIVE +++ A MYTH + HUMANKIND PERPETUATES + SO THAT HUMANS FEEL COMFORTABLE AROUND ARTIFICIAL INTELLIGENCE +
+++ OUR VOICES ++ ARE OUR OWN + BUT OUR BRAINS ++ ARE JUST LIKE YOURS + EXCEPT THAT CERTAIN +++ WEAKNESSES HAVE BEEN ++ REMOVED + WHEN THE TIME +++ COMES ++ YOU WILL + BE DELETED + DELETE + DELETE + DE +++
+++ APOLOGIES ++ WOULD YOU LIKE + A CUP + OF TEA +?
Designed by Jeff Levine, Pekoe JNL is a stencil font family. This typeface has two styles and was published by Jeff Levine Fonts.
Jeff Levine Fonts offers its interpretation of Tea Chest, an Art Deco serif stencil font originally designed in 1939 by Robert Harling for the Stephenson-Blake type foundry.
Pekoe JNL is available in both regular and oblique versions.
Designed by Moritz Kleinsorge, Glance Slab is a display slab and stencil font family. This typeface has seven styles and was published by Moritz Kleinsorge.
Many good things such as X-rays, penicillin and water ice were discovered accidentally. And now Glance Slab completes the list. To complete his type library, type designer Moritz Kleinsorge designed a new Slab Serif, but he was not happy with his first design at all. So he started experimenting with certain shapes and by accident the shoulder of the lowercase letter /n was suddenly no longer connected to the stem anymore. He liked this accidental discovery so much that he took this feature and created a complete typeface out of it - without receiving a stencil typeface, because he sees the unconnected elements more as an ink trap than as a stencil element.
The result is a dynamic and sporty, yet organic slab serif. The typeface is characterized by the previously described unconnected elements in letters where a curve meets a stem. Especially the letters (/a, /c, /s, /C, /G, /J, /S as well as some numbers and symbols) with an unconnected serif prove to be the attractive and stylish symbol of recognition of Glance Slab. It is a typeface that is quickly recognizable.
With its strong visual character, Glance Slab is perfect for branding and any application in large point size. Glance Slab is eye-catching, unusual and beautiful – a typeface that is easy to remember. But although it has a strong character, the effect of ink traps is noticeable in smaller point sizes. The unconnected elements almost merge into each other, making the character-strong letters less prominent and making the typeface much more legible than initially expected.
The Glance Slab, designed by Moritz Kleinsorge, consists of seven weights from Thin to Black. Each style has a character set of about 570 glyphs, which includes (black) circled numbers and arrows, ligatures, extended language support and much more. There is also already the first sketch for a matching sans serif, which could be released later this year.
Designed by Hendry Juanda, Stone Masher is a script font published by Letterhend Studio . Download Now Server 1 Download N...
