Inline Ehfo 3 is a regular weight, normal width, low contrast, upright, normal x-height font.
Keywords: headlines, posters, logotypes, packaging, signage, art deco, neon, retro, display, decorative detail, retro styling, signage impact, branding, geometric, monoline, outlined, rounded, crisp.
A geometric sans with double-line construction: each stroke is formed by a solid outer contour with a narrow inner inline that creates a channel through the letterforms. Curves are clean and near-circular (notably in C, O, and Q), while joins and terminals stay crisp and largely uniform, giving a monoline, engineered feel despite the layered stroke treatment. Proportions are straightforward and modern, with open counters and consistent spacing that reads clearly at display sizes; diagonals (V, W, X, Y) keep a sharp, symmetrical rhythm. Numerals follow the same structural logic, using the inline to emphasize shapes without adding contrast.
Best suited for headlines and short display settings where the inline detail can be appreciated—posters, event graphics, packaging fronts, storefront or wayfinding signage, and logo wordmarks. It can work in larger-size editorial pull quotes or section headers, but the internal line treatment is most effective when not reduced too small.
The inline cut and outlined massing evoke marquee lettering, neon tubing, and streamlined early-20th-century modernism. It feels confident, graphic, and a bit theatrical, leaning toward vintage glamour while remaining clean and contemporary in its geometry.
Designed to deliver a bold geometric presence with built-in ornamentation via an inline channel, giving simple sans forms a decorative, dimensional flair without resorting to serifs or high contrast. The consistent construction suggests an emphasis on repeatable geometry and strong visual branding impact.
The inline channel is consistently centered within strokes, producing a strong, high-contrast-in-structure look (shape contrast rather than thick–thin). Round letters maintain evenness, while straighter forms like E, F, and T appear especially architectural, reinforcing a signage-oriented personality.