Sans Normal Myriz 2 is a very bold, normal width, medium contrast, upright, normal x-height font visually similar to 'Franklin Gothic', 'ITC Franklin', and 'ITC Franklin Gothic LT' by ITC; 'Plymouth Serial' by SoftMaker; 'TS Franklin Gothic' and 'TS Plymouth' by TypeShop Collection; 'Franklin Gothic' by URW Type Foundry; and 'Franklin Gothic Raw' by Wiescher Design (names referenced only for comparison).
Keywords: headlines, posters, packaging, logos, display ui, confident, playful, friendly, punchy, retro, impact, approachability, branding, legibility at large sizes, rounded, compact, blocky, soft corners, high impact.
This typeface is a heavy, rounded sans with compact proportions and a strong, even color on the page. Curves are built from broad, smooth strokes with softly squared terminals, producing a sturdy, almost “soft-block” silhouette. Counters are relatively small and tight in letters like B, P, and a, while round letters (O, C, G) keep generous curvature and a consistent optical weight. The lowercase shows single-storey a and g with simplified, chunky forms; the numerals are similarly robust, with a rounded 0 and bold, geometric construction across the set.
Best suited for display use where bold impact is desired: headlines, poster typography, packaging, and branding marks. It can work for short UI labels or calls-to-action when sizes are large enough to preserve counter clarity, but it is less ideal for long-form reading due to its dense texture.
The overall tone is upbeat and assertive, combining friendliness from the rounded shaping with the unmistakable emphasis of a headline weight. It reads as approachable rather than technical, with a slightly retro, sign-painter/poster sensibility driven by its chunky forms and compact internal spaces.
The design appears intended to deliver maximum visibility with a friendly, rounded voice—prioritizing bold presence, simplified forms, and consistent rhythm for branding and attention-grabbing typography.
In text settings, the dense stroke weight and tight counters create strong presence but reduce fine differentiation at smaller sizes. Shapes like 8, 9, and S lean into smooth, continuous curves, while diagonals (V, W, X, Y) feel solid and anchored rather than sharp or delicate.