Its slits aren’t really slits, rather stroke omissions that are large and drastic, like a whiteboard eraser taken to the letters, leaving only the most critical strokes. Dala FlodaĪnother example of how stencil can subtly insert itself into familiar styles, Dala Floda, designed by Paul Barnes, is elegant and thoughtful. Most of its letter strokes are separated on the hairline, which allows the same kind of “invisible” readability, and is sort of a pattern among well-designed stencils. The true distinction with Typonine Stencil comes through its subtle, strategic cuts, less drastic than those of FF Container. The type’s thin serifs, pointed terminals, and high stroke contrast make it feel sharp, and more stylish and interesting than more traditional old-style serifs. Typonine is a great example of stencil’s versatility and capability any sort of conceptions of the limits of stencil or where stencil belongs are crushed.
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FF Container is part of the FontFont Backstage Pack, selling at $40. Regardless, it’s still a smart, modern take on industrial stencil. If I step very far away, to the point where the slits are barely visible, they will just come out as normal letters, yet at close reading, they’re readable and distinct!Ĭontainer is probably one of the older types on the list.
The cuts, especially on letters with diagonal branches, are made on the angle of the main stem, which makes them sort of invisible-you can take each piece of a letter and connect them to make a whole normal letter. Letters with spines or open counters will be cut vertically in the middle, and the rest with branching stems, like, “E”, “F” and “T” are cut at their joints. This makes FF Container sharper and arguably better for quick viewing in such an environment. It’s different because it lacks rounded strokes instead, they’re compositions a few bold, straight lines. What should I take away from all this? FF ContainerįF Container is the stencil style designed for its root form, as large labels to be put on all sorts of industrial materials.
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