Diversa is a typeface that takes a very different path from the most fonts, both in terms of appearance and usability. Diversa is a single typeface with 9 fonts within, containing 2760 glyphs*, divide in 9 stylistic sets, but the main difference is that all the glyphs are kerned with each other, which means you can swap glyphs between stylistic sets and keep them properly kerned - unbracketed serifs, bracketed serifs, engraved, stencil, sans, slab, baroque, stencil sans, stencil slab and a stylistic set that mixes them all in a rotative feature. Diversa: Because uniformity sucks! *requires applications which have Open Type access/features.

Letterpress type, crafted by H. Th. Wijdeveld, founding editor and chief designer of the legendary Dutch art and architecture magazine Wendingen, provided the inspiration for this typeface. The original design graced a 1925 issue examining the work of Frank Lloyd Wright, and Wijdeveld created his typeface by assembling bits of standard brass rules. This version features several of the meanders typical of Wijdeveld’s graphic design in the dagger, double dagger, ASCII tilde and ASCII circumflex positions. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Stencil typefaces are popular because they are striking and decorative, and their associations - whether Utility, Travel, Vernacular, etc - are evocative. Anostencil is developed from, but not exactly like, our Ano typeface. Ano’s geometric skeleton, tweaked a bit, allows for a level of abstraction while retaining legibility. Some of Ano’s characters, such as the a, e, f and r, have been amended to make clearer, more graphic shapes when the stencil design has been applied. Different application of the stencil gaps in the letters make functional but decorative and expressive linear forms. This is particularly evident in Anostencil’s extended character set which features codified, semi abstract shapes. So the stencil design in Anostencil has been applied in not necessarily the most logical or immediate way, but in a way that makes each letter a striking and graphic shape.

Brutal is a not stencil calligraphic typeface designed in light, regular and bold. language: all latin glyphs

A stencil font you won't find anywhere else of limited glyph characters at the rock bottom price. Enjoy!

An all-caps font with blackout lettering perfect for stencils. Use alternating caps and lowercase for bouncy lettering.

Fractura ND is a stencil typeface designed by José María Cerezo. It includes, in addition to four fonts of different weights, an outline font, a pair of fonts to make bicolor sets and a dripped font. A geometric sans serif that, with the particularity of being a stencil, provides personality and wide compositional possibilities. Fractura is a Trademark of BauerTypes SL

Alphabet Agency proudly presents Unsanctioned; a distressed stencil font. The font has been designed in a bold stencil font style with an awesome distressed effect that gives the font a rugged look. Unsanctioned font is great for use in war, crime, urban and combat sports related themes. The font contains capital and alternative capital letters, numbers, punctuation and basic Latin international characters.

Introducing military label font named Militarist. This font has a cyrillic and multilungual characters support (check out all available characters on previews). The font family has eight styles: Regular, Stencil, Lines, Texture, Texture FX, Rough, Stencil Rough and Lines Rough. This font will look good on any military or serious styled designs like a poster, T-shirt, label, logo, etc.

Do It Again is a new stencil based rounded sans serif with great language support, designed by Thomas Averin.

Bohemian Modern slab stencil display font Black–Out is a result of three things: the need for a distinctive ultra-black display typeface, an admiration for slab-serifs and Clarendons, and the love of systematic stencil type. Fusing all the desires together resulted in Black–Out. What was the inspiration for designing the font? Slab serifs + Clarendons + systematic stencil type = Black-Out! What are its main characteristics and features? It is a massive chunk of type, contemporary in nature while also harking back to the sun-drenched Modernism of California of the 1970s. Usage recommendations: Display type for use in materials that are meant to evoke a range of emotions.

The Futura Black font, related to the Futura font family is boldly geometric and has detached strokes suggesting stencil lettering.

Matria brings the feminine energy from a strong and heavy perspective. These letterforms are inspired by the balancing nature of the yin and yang forces, resulting in a dynamic stencil that evokes the qualities of a thorny rose. This decorative stencil-display typeface is meant to be used in combination with simpler fonts that let it stand out and spur a lot of energy into your project.

Punch was born because we wanted to create a stencil font. At first glance, Punch gives out an audacious persona with its bold shape and form. It’s softer side is revealed in it’s carefully cut stencil lines. The balance of heavy and refined gives the font family its very own charm. Punch Pro comes in six different weights; Slab, Bracketed, Wedge, Deco, Hairline and Sans.

Linoma is a handmade font duo consisting of a sans and a stencil version. Its rough and textured appearance derives from the linocutting technique. Use Linoma Stencil as headline or display font and Linoma Sans when you need text settings in smaller sizes. Linoma is suitable for packaging, books, magazines, products and branding projects. It supports most of Central European and Easter European languages.

BlancoNeg was inspired by the lettering of Saul Bass with some thoughts of Op-Art. Each character relies on the positive and negative spaces of its neighboring letters to help define its own shape. This font is casual with the look of cut out paper forms.

A hearty utilitarian face inspired by stenciled type found on train cars and shipping crates. Ideal for posters, headlines, and titling.

Geometric stencil with a variety of weights. It is so orthodox and simple that you can use it in various creations.

Modsten-Bold is a modernistic stencil design with two sets of capital letters. Modsten-plain was added to complete the family.

Agatized Formal is a chunky stencil typeface with slightly condensed letterforms and tight spacing. Designed primarily for display use, it’s ideal for posters, logos, advertising, book cover designs or small chunks of text such as pull-out quotes. It exudes authority without taking itself seriously, like a plump jolly uncle in charge of a brass band. Agatized Formal is a big, bold typeface with a charismatic presence that commands attention – in a friendly way, of course. But what really makes this typeface come alive is its arsenal of alternative characters and ligatures. There is a saying: Use sparingly. Whoa! Not here, no, no, no. Make your Glyphs palette earn its money. Flex your OpenType muscles: get stylized, contextualized, indulge in some ligaddiction. This typeface is a peacock that likes to put on a show, spread its plumage and strut around in all its blazing glory. Agatized, according to Wiktionary, means: A living thing converted into the form of agate; fossilized. I felt the name suited the solid, almost rock-like letterforms, but most of all I just wanted a typeface name that began with the letter A. Although Agatized Formal is a single-weight typeface it has a sibling, Agatized Informal, an older, more casual brother, rougher round the edges with craggy good looks and an altogether more jaunty style.

Marphidy Script is a calligraphic script font that features a beautiful changing character, a classic decorative brass script type with a modern touch, designed with high detail to bring the elegance of style. Marphidy Script is attractive as its typography is soft, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many good letter connections. I also offer some vibrant style alternatives for many letters. The classic style is suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make-up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels.

Minado Rough is a display sans, stencil and dingbat font family. This typeface has sixteen styles and was published by Rodrigo Typo.

Etalage Script was drawn for the first time in the year 2000, based on a early 20th century lettering stencil with what farmer Boelema at Lalleweer stenciled his grainsacks. Eventually the script letter was developed as a typeface with a wink to the ‘lost’ display types for the ‘display window’ of graphic designer Ariënne Boelens, who in exchange made the website www.lalleweer.nl. What originated the Ariënne should be evident now.

Nadia is an original design by Alex Kaczun. It is a modern stencil interpretation of Granjon Oldstyle, highlighted by large elongated serifs, generous proportions and a large x-height. It is an elegant display for headlines as well as text. Named after his daughter, Nadia has a distinctively vibrant and baroque quality which some would even call sensuous. It’s a truly unique stencil treatment characterized by crisp, clean, rounded shapes.

The BOT font package includes two character sets, BOT-Regular and -Stencil. The futuristic looking characters are designed to work in both large scale and small sizes; it works very well as a comfortable, readable lettering on machines of any kind as much as in print and screen publications. In addition, the BOT-Stencil letters can easily be cut out and work as a template for painting type on any surface.

The Etalage-script has been drawn for the first time in the year 2000, based on a early 20th century lettering stencil with what farmer Boelema at Lalleweer stenciled his grainsacks. Eventually the script letter was developed as a typeface with a wink to the ‘lost’ displaytypes for the ‘display window’ of graphic designer Ariënne Boelens, who in exchange made the website www.lalleweer.nl. What originated the Ariënne should be evident now.

Manifesto was designed for an article written in response to opinions that philosophy and personal expression have been wiped clean from today's design profession. Contemporary design is sterile and sublime. Enter Ken Garland's revision of the original 1964 Manifesto. The publishing of the "First Things First" manifesto 2000 is exhibit A that a trend for social belief systems is growing. Or is it? Many comfortably accept that designers are indeed "engaged in nothing less than the manufacture of contemporary reality". The four 'voices' of the TX Manifesto Family (Regular, Slant, Stout and Stencil) is intended for your typographical response, and push for conscientious design.

Another boring sans?! No way! Rawer - simple, strong, raw, robust sans with stencil and inline weights. And again it’s inspired by soviet typography.

Lomidrevo is a grunge stencil family derived from Valibuk. In the free demo version, you can see numbers and lowercase letters without kerning.

Sirucanorm™ is the no-stencil version of the previous Siruca™ . Designed using golden ratio formulas, it’s inspired to DIN and Isonorm typeface.

Redgar is a weathered display family. It comes in four styles – regular, slab, stencil, clean and has a matching set of banners and shapes.