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Free for Commercial Use

Stencil Esma 9 is a bold, normal width, monoline, upright, normal x-height font visually similar to 'Flintstock' by Hustle Supply Co, 'Air Corps JNL' and 'British Vehicle JNL' by Jeff Levine, 'Charles Wright' by K-Type, and 'Evanston Tavern' by Kimmy Design (names referenced only for comparison).

Keywords: posters, headlines, signage, packaging, branding, industrial, utilitarian, military, technical, urban, stencil effect, rugged clarity, labeling aesthetic, graphic impact, geometric, blocky, high-contrast, hard-edged, condensed caps.


Free for commercial use
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A heavy, block-based sans with consistent stroke weight and sharply cut terminals. The design uses pronounced stencil breaks—most often as vertical or horizontal interruptions through bowls and counters—creating clear bridges while keeping letterforms highly legible. Proportions are compact with squared-off curves, a tall cap presence, and a firm baseline rhythm; diagonals (A, V, W, X, Y) are clean and angular, while round letters (O, Q, C, G) read as squared ovals with interior cutouts. Numerals follow the same construction, with distinct segmented forms and strong, poster-like silhouettes.

Best suited to short, high-impact settings such as posters, headlines, warning-style signage, and bold packaging or label systems where the stencil construction adds immediate identity. It can also work for branding in industrial, tactical, or tech-adjacent contexts, especially when used with generous tracking and strong contrast against the background.

The overall tone is rugged and functional, evoking labeling, equipment marking, and engineered signage. Its crisp gaps and solid masses communicate a no-nonsense, authoritative feel with a contemporary industrial edge.

The letterforms appear designed to deliver a durable, paint-stencil aesthetic with modern geometric discipline. The systematic breaks and sturdy shapes suggest an intention to balance industrial character with straightforward readability in display typography.

The stencil joints are integrated consistently across the alphabet and numerals, producing a cohesive texture in text settings. At smaller sizes the breaks become a defining pattern, while at display sizes they read as purposeful construction details that add character without overly compromising clarity.

Letter — Basic Uppercase Latin
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
Letter — Basic Lowercase Latin
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
Number — Decimal Digit
0
1
2
3
4
5
6
7
8
9
Letter — Extended Uppercase Latin
À
Á
Â
Ã
Ä
Å
Æ
Ç
È
É
Ê
Ë
Ì
Í
Î
Ï
Ñ
Ò
Ó
Ô
Õ
Ö
Ø
Ù
Ú
Û
Ü
Ý
Ć
Č
Đ
Ė
Ę
Ě
Ğ
Į
İ
Ľ
Ł
Ń
Ő
Œ
Ś
Ş
Š
Ū
Ű
Ų
Ŵ
Ŷ
Ÿ
Ź
Ž
Letter — Extended Lowercase Latin
ß
à
á
â
ã
ä
å
æ
ç
è
é
ê
ë
ì
í
î
ï
ñ
ò
ó
ô
õ
ö
ø
ù
ú
û
ü
ý
ÿ
ć
č
đ
ė
ę
ě
ğ
į
ı
ľ
ł
ń
ő
œ
ś
ş
š
ū
ű
ų
ŵ
ŷ
ź
ž
Letter — Superscript Latin
ª
º
Number — Superscript
¹
²
³
Number — Fraction
½
¼
¾
Punctuation
!
#
*
,
.
/
:
;
?
\
¡
·
¿
Punctuation — Quote
"
'
«
»
Punctuation — Parenthesis
(
)
[
]
{
}
Punctuation — Dash
-
_
Symbol
&
@
|
¦
§
©
®
°
Symbol — Currency
$
¢
£
¤
¥
Symbol — Math
%
+
<
=
>
~
¬
±
^
µ
×
÷
Diacritics
`
´
¯
¨
¸