Sans Contrasted Illy 1 is a bold, wide, very high contrast, upright, tall x-height font.
Keywords: headlines, posters, logotypes, magazine, packaging, art deco, editorial, fashion, dramatic, modernist, deco revival, graphic impact, geometric construction, branding, geometric, stencil-like, cutout, display, high-waisted.
A geometric, display-oriented sans with extreme contrast expressed as heavy, solid strokes paired with hairline-like internal cuts and connecting lines. Many glyphs read as constructed from bold blocks and near-perfect circles, with frequent vertical stress and crisp, sharp terminals. Counters are often partially open or segmented, producing a cutout/stencil effect that creates strong figure–ground interplay. Proportions skew wide with a tall x-height, and several forms use simplified, modular geometry (notably in rounds and diagonals) that gives the set a deliberately engineered rhythm.
Best suited for large-size typography where the cutout details and contrast can remain clear: headlines, poster titles, magazine mastheads, brand marks, and premium packaging. In longer text it behaves as a strong stylistic voice, working well for short editorial bursts, pull quotes, and display lines where graphic impact is the priority.
The overall tone is glamorous and theatrical, with a distinctly Art Deco and modern editorial feel. Its stark black–white contrast and sliced counters project sophistication and boldness, evoking fashion, nightlife, and classic poster typography while still feeling contemporary and designed.
The design appears intended to reinterpret geometric sans forms through a high-contrast, cut-paper/stencil construction, emphasizing bold silhouette first and decorative internal slicing second. It prioritizes visual identity and rhythm over neutrality, aiming to create memorable letterforms that double as graphic shapes.
Round letters frequently appear as bisected or notched circles, and several capitals incorporate hairline crossbars or diagonal hairline joins that function as graphic accents rather than conventional strokes. The texture in text is punchy and pattern-like, with consistent use of negative-space cuts that become part of the ornamentation.