Sans Other Ifdi 2 is a bold, normal width, low contrast, upright, normal x-height font visually similar to 'GHEA Granshan' by Edik Ghabuzyan and 'Infoma' by Stawix (names referenced only for comparison).
Keywords: posters, headlines, branding, signage, packaging, industrial, stenciled, futuristic, technical, retro, stencil styling, graphic impact, industrial labeling, tech aesthetic, distinctive texture, geometric, monoline, blocky, notched, high-impact.
A geometric, heavy-weight sans with a distinctive stencil logic: many characters are split by vertical or horizontal gaps, producing clear cutouts through bowls and stems. Forms are largely monoline and constructed from straight segments and broad curves, with squared terminals and simplified joins that emphasize a modular, engineered feel. Counters tend to be compact, curves are clean and circular, and several diagonals (notably in V/W/X/Y) are built with sharp, planar cuts that read as machined rather than calligraphic. Overall spacing and proportions feel display-oriented, prioritizing striking silhouettes over continuous stroke flow.
Best suited to large-format headlines, posters, and punchy brand marks where the stencil interruptions can be appreciated as a graphic feature. It also fits signage, packaging, and product labeling that benefits from an industrial or technical voice, and works well for short display copy rather than long passages.
The repeated cutouts and bold geometry create an industrial, technical tone reminiscent of labeling, machinery markings, and sci‑fi interface typography. It feels assertive and utilitarian, with a retro-futurist edge that reads as engineered and purposeful rather than friendly or casual.
The design appears intended to merge a straightforward geometric sans foundation with a systematic stencil/cutout motif, creating a distinctive display face that remains legible while adding strong visual character and a manufactured, utility-driven identity.
The stencil breaks are consistent enough to become a defining texture across words, especially in round letters and numerals. At smaller sizes the internal gaps may visually fill or fragment depending on output, so the design reads most clearly when given room and strong contrast.