Sans Other Ifja 2 is a regular weight, wide, monoline, upright, normal x-height font.
Keywords: headlines, posters, branding, logos, packaging, techno, retro, industrial, futuristic, mechanical, distinct identity, sci-fi tone, signage impact, modular construction, rounded corners, squared curves, stencil-like, modular, geometric.
A geometric, display-oriented sans with monoline strokes and a distinctly squared‑off rounding strategy: curves resolve into flat terminals and boxy arcs, giving bowls and shoulders a clipped, machined feel. Corners are consistently softened but not fully circular, producing a hybrid of right angles and rounded transitions. Counters are fairly open and clean, and many forms use intentional cut-ins and notches (notably in letters like S, G, and several lowercase shapes), adding a constructed, modular rhythm across the alphabet. The numerals echo the same squared curvature and heavy horizontal emphasis, reading bold in silhouette without relying on contrast.
Best suited to headlines, posters, titles, and brand marks where its constructed shapes can be appreciated at larger sizes. It also works well for packaging, album art, and UI/tech-themed graphics where a retro-industrial voice is desired; for long passages, its notch-heavy texture is most effective when set with comfortable spacing and generous size.
The overall tone feels technical and retro-futuristic, like signage from a sci‑fi interface or industrial equipment labeling. Its engineered notches and squared curves convey precision and grit, while the softened corners keep it approachable rather than harsh.
The design appears intended to deliver a distinctive, system-built sans voice by combining geometric skeletons with squared rounding and consistent notch details. The goal is a recognizable display face that suggests engineered precision and a futuristic/industrial context while retaining clear, bold silhouettes.
In text settings the distinctive internal cutouts become the primary identifying feature, creating a patterned texture across lines. The uppercase has a strong, sign-like presence; the lowercase is similarly stylized, with simplified, blocky constructions that prioritize visual identity over conventional book-text neutrality.