Stencil Imdu 11 is a very bold, wide, low contrast, italic, normal x-height font visually similar to 'Croih' by 38-lineart, 'Glamure' by Fauzistudio, 'Neue Haas Unica' and 'Neue Haas Unica Paneuropean' by Linotype, 'Monto Grotesk' and 'Monto Screen' by Lucas Tillian, 'Galano Grotesque' by René Bieder, and 'Inovasi' by XdCreative (names referenced only for comparison).
Keywords: posters, headlines, logos, packaging, apparel, industrial, sporty, action, tactical, tech, high impact, marking, speed, rugged branding, display utility, slanted, blocky, geometric, compressed counters, angular.
A heavy, right-leaning sans with blocky, geometric construction and clear stencil breaks. Strokes stay largely monolinear, with squared terminals, tight apertures, and compact counters that emphasize mass and momentum. Many rounded letters are cut by consistent vertical bridges, and several diagonals (notably in V/W/X/Y and the numerals) sharpen the silhouette into energetic, forward-tilting forms. Spacing reads slightly uneven in a display way, reinforcing a punchy, mechanical rhythm rather than a neutral text texture.
Best suited to large-scale display work such as posters, event graphics, athletic or motorsport branding, product packaging, apparel marks, and labels that benefit from a rugged stencil aesthetic. It can also work for short UI headings or badges when set with generous size and spacing to preserve the stencil breaks.
The overall tone is assertive and utilitarian, mixing industrial stencil cues with a sporty, action-oriented slant. The cut-in bridges and dense black shapes suggest equipment marking, tactical labeling, or high-impact branding where toughness and speed are part of the message.
The design appears intended to deliver maximum impact with a fast, forward-leaning stance while maintaining a recognizable stencil identity. Its consistent bridges and simplified geometry prioritize bold presence and reproducible marking over quiet readability.
Stencil interruptions are highly visible on bowls and rounds (C/G/O/Q and several numerals), creating distinctive inner shapes at larger sizes but reducing clarity in smaller settings. The italic angle is consistent across cases, and the figures follow the same chunky, cut-and-bridged logic for a cohesive headline system.