5 fantastic Stencil fonts at once for only .
Stencil fonts look as if they came from an old commercial artist’s toolbox. They provide the perfect touch to documents that require a tactile headline or display element. Linotype has collected its five favorite examples into one value pack; let these designs inspire your next project!
These typefaces are included in the Stencil Value Pack:
Linotype Authentic™ Stencil
, from Karin Huschka, is reminiscent of the dawning of the industrial age and mass production. The forms are based on those of a heavy, slab serif font and have a cool, technical look to them. The vertical interruptions in the strokes which make it look stencilled also strengthen the impression of being created by the regular motions of a machine. Linotype Authentic Stencil should be used exclusively for short to middle length texts and headlines.
, designed by Milton Glaser, is a perfect summation of both Modernist proportion and New York-style solidity and self-assurance. An all capitals font, the shapes of the letters are reminiscent of popular sans serif faces of the time, such as Futura®
and ITC Avant Garde Gothic®
. Like everything New York-related, Glaser Stencil should be used big, in headlines and display applications, where it can play a bold, proud, and confident role.
is the work of Luis Siquot who admits to a tendency toward unusual typefaces that can be read in text yet also work well in display settings. ITC Portago is a robust alphabet of caps and slightly smaller caps. It is a stencil face, based on the lettering on crates and luggage. Siquot says that his "intention drawing Portago was to obtain a neutral, classical, very condensed grotesque stencil shape that is readable in text sizes, showing at the same time the ’movement’ produced by the nicked edges. And of course the more obvious rough effect in headline sizes." At small sizes, Portago is best set with slightly looser letterspacing, as capital combinations usually do. Portago includes numerals in both full and small caps proportions.
, from Alan Birch, conveys all the immediacy, impact, and effect of a stencil or rubber-stamp on paper. With a corroded, rough-around-the-edges feeling, Rubber Stamp gives an impression similar to the old, beat-up looking typewriter fonts that were popular among designers during the 1990s. Rubber Stamp is an all caps font, and is primarily suited for many headline and display applications that use larger point sizes. Try out Rubber Stamp in magazines, newsletters, and any other work that would be enhanced by a stencil, branding, or rubber stamp effect.
was designed by Mark van Wageningen. The typeface with its interrupted strokes has the characteristics of the stencils seen on crates and barrels. The difference lies in the raw contours of this font, which make the characters look as though they were slowly eroded away by water and wind. Linotype Sjablony is composed exclusively of heavy capital letters and is particular suitable for initials and headlines with point sizes of 18 and larger.
Order the Stencil Value Pack as Value Pack for instant download.