Neutral Sans Workhorse
Fontuna Stencil + Memoir Slang
Lets Fontuna Stencil own the focal silhouette while handling secondary copy, sizing and subheads cleanly.
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Tall high-contrast capitals shown through broad horizontal breaks and distressed wood texture
Fontuna Stencil
Fontuna Stencil places pale narrow capitals over heavily weathered blue boards, where fine arms meet thick vertical strokes, dark horizontal bands cross the title at several heights and a narrower mixed-case contrast repeats beneath the main row.
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Get this fontProject & layout blueprintsAt-a-glance maker compatibility
Cutting, print & workflow scorecard.
Open counter bridges hold interior islands intact on laser-cut wood, acrylic, and mylar stencils.
Plotter & output verdictLaser & Stencil Bridge Ready
Recommended minimum scale0.85 in+ letter height
Character set & structureUppercase, Lowercase & Numerals
OpenType & PUA accessStandard Latin, Figures & Punctuation
Best surfaces & mediaWedding Suites · Foil Envelopes · Boutique Logos
Compatible design toolsIllustrator · Affinity · Canva Pro · Cricut & Silhouette
Visual anatomy & craft review
Letterform structure
of Fontuna Stencil.
The stems stay thick, the arms thin, the breaks run horizontally and the texture roughens every edge. That wide break is the character: the letters look cut through a board rather than drawn with a stencil brush, which is why the cover layers a shield and a second row. The board texture hides parts of the lettering, so inspect a clean specimen before assuming every gap is a bridge, and keep 40 pt before the breaks and the texture blur together.
Stencil breaks · High contrast · Weathered
Two-font hierarchy recipes
Suggested font
pairings.
Tested contrast partners — pairing Fontuna Stencil with grounded secondary typography.
Structured Secondary Voice
Fontuna Stencil + The Avenue Editorial
Grounds bold display lettering with classic typographic authority on posters, badges and apparel.
Inspect The Avenue Editorial specimenPractical applications
Project & layout
blueprints.
Concrete hierarchy, scale and production guidance tailored to Fontuna Stencil’s stroke geometry.
Sign for a workshop
The broken high-contrast caps suit an industrial sign, and the horizontal gaps stay open at 60 mm on a painted panel, where the breaks read as cut rather than worn.
Hierarchy & layout recipe
Paint a 600 by 300 mm panel: set the name at 60 mm on one row, keep every horizontal break at 6 mm minimum, and keep 26 mm of border so no fine arm is cut by the panel edge.
Pre-production check
A break painted under 3 mm closes with the brush; check the mask artwork and hold the name at 50 mm or above.
Label for a farm shop
The stencilled caps give a farm label age, and the narrow bodies hold a two-word name at 24 pt on a 60 mm panel, provided the breaks are proofed at full size.
Hierarchy & layout recipe
Print a 60 by 45 mm label: set the shop name at 24 pt, keep 8 mm of clear ground beneath before the produce line at 7 pt, and keep 5 mm of border so the fine arms stay whole.
Pre-production check
Textured edges printed at 16 pt turn into noise; check the label on a proof and keep the name at 22 pt or above.
Heading for an architecture feature
The high-contrast breaks set an architectural heading, and the thick stems hold a two-word title at 52 pt on a page, where the thin arms still register on smooth paper.
Hierarchy & layout recipe
Print a 210 mm page: set the heading at 52 pt on one row, keep 20 mm beneath before the standfirst at 10 pt, and keep the block on a plain field so the texture is not doubled by the paper.
Pre-production check
A distressed specimen printed on textured stock doubles the noise; check the proof and use smooth paper.
Technical & licence verification
File & listing specifications.
File & glyph specifications
- Style classification
- Decorative · Tall high-contrast capitals shown through broad horizontal breaks and distressed wood texture
- Foundry / creator
- NREY
Confirm included OTF/TTF/WOFF formats, full glyph tables and licence coverage on the live store page before batch production.
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