Sans Other Digev 2 is a very bold, wide, low contrast, upright, normal x-height font visually similar to 'Krupkrop' by Jipatype (names referenced only for comparison).
Keywords: posters, headlines, packaging, kids, games, playful, hand-cut, cartoony, rowdy, retro, attention-grabbing, diy look, comic tone, display impact, angular, irregular, blocky, wobbly, chunky.
A chunky, all-caps-forward sans with sharply faceted outlines and deliberately uneven geometry. Strokes are heavy and fairly consistent, but edges are cut at varied angles, producing a hand-cut, polygonal silhouette across the set. Counters tend to be small and squarish, and widths shift noticeably from glyph to glyph, creating a lively, off-kilter rhythm in words and lines. Numerals and lowercase follow the same carved, irregular construction, with simplified joins and occasional exaggerated terminals that read more as cut shapes than pen strokes.
Best for display use such as posters, headlines, event graphics, game/UI titles, and expressive packaging where a bold, playful voice is needed. It can also work for short branding phrases or stickers/merch, but is less suited to long passages or small captions due to its tight counters and irregular rhythm.
The overall tone is boisterous and informal, with a comic, cut-paper energy that feels mischievous and attention-seeking. Its uneven angles and bouncy spacing give it a DIY, poster-like character suited to playful or slightly chaotic messaging rather than refinement.
The design appears intended to emulate a cut-out or carved construction—angular, chunky, and slightly irregular—to create a loud, characterful display sans. It aims for immediate visual impact and a playful, DIY personality rather than strict consistency or text efficiency.
In text, the irregular widths and tight internal spaces make it most comfortable at medium-to-large sizes, where the angular detailing and quirky shapes stay legible. The look remains consistently geometric and sans-like, but with intentional roughness that prioritizes personality over typographic neutrality.