Stencil Efra 11 is a very bold, wide, low contrast, upright, normal x-height font visually similar to 'Metcon' by Comicraft, 'Noah' by Fontfabric, 'Mundial Narrow' by TipoType, 'Megabyte' by Type Atelier, and 'TT Norms Pro' by TypeType (names referenced only for comparison).
Keywords: posters, headlines, signage, packaging, branding, industrial, utilitarian, rugged, tactical, modern, stencil signage, industrial marking, display impact, themed branding, rounded corners, blocky, geometric, cut-out, high impact.
A heavy, block-based stencil with broad proportions and softly rounded outer corners. Stencil breaks are consistent and intentional, often appearing as narrow vertical or diagonal bridges that create distinct internal cut-outs in bowls and counters. Curves are simplified into chunky arcs, joins are sturdy, and terminals are blunt, producing an even, graphic rhythm. The texture stays cohesive across caps, lowercase, and numerals, with occasional angular notches and asymmetric breaks adding a manufactured, cut-from-sheet feel.
Best suited to short, high-impact settings such as posters, headlines, apparel graphics, labels, and wayfinding where the stencil character can be a feature. It also works well for themed UI badges or section headers, but is less comfortable for long paragraphs due to the strong cut-out texture.
The overall tone feels industrial and equipment-like—more signage and hardware than literary. Its bold silhouettes and engineered gaps suggest utility, durability, and a tactical or workwear attitude, while the rounded shaping keeps it approachable rather than aggressive.
The design appears intended to deliver a clean, contemporary stencil voice with sturdy geometry and consistent bridges, evoking sprayed or cut lettering used on crates, equipment, and industrial signage while maintaining smooth, rounded forms for a polished display finish.
In text, the recurring internal gaps become a strong pattern, so spacing and line breaks benefit from generous tracking and leading. The distinctive stencil cuts are most prominent in round letters (C, O, Q) and in figures, where they read like functional bridges rather than decorative inlines.