Stencil Figa 2 is a bold, normal width, low contrast, upright, normal x-height font visually similar to 'Izmir' by Ahmet Altun, 'Glence' by Nine Font, 'TT Commons™️ Pro' by TypeType, 'Segment' by Typekiln, and 'Caros' by cretype (names referenced only for comparison).
Keywords: headlines, posters, signage, logos, packaging, industrial, technical, retro, graphic, utilitarian, themed display, industrial feel, graphic texture, signage voice, geometric, modular, angular, segmented, high-impact.
A heavy geometric sans built from broad, even strokes and simplified, mostly circular/rectilinear forms. Stencil-like breaks appear as consistent horizontal (and occasional diagonal) bridges that cut through bowls and joins, creating a segmented, modular rhythm across the alphabet. Counters are generous and shapes stay open despite the cuts, while diagonals (V, W, X, Y, Z and some numerals) introduce sharp, mechanical angles. Terminals are clean and blunt, producing crisp silhouettes with strong figure/ground contrast.
This font performs best in display contexts such as headlines, posters, apparel graphics, and packaging where the segmented stencil effect can be appreciated. It also suits wayfinding or industrial-themed signage and bold logo wordmarks, especially at medium to large sizes where the internal breaks stay clear.
The repeated interruptions give the face a fabricated, machine-made character that reads as industrial and technical, with a distinct retro-futurist edge. Its bold, simplified construction feels utilitarian and signage-oriented, while the segmented detailing adds a graphic, themed flavor suited to branding moments that want to look engineered or coded.
The design appears intended to merge a straightforward geometric sans foundation with a consistent stencil interruption system, producing a strong, theme-forward voice. By keeping stroke weight even and cuts regular, it aims for high-impact readability while adding a distinctive engineered texture.
The stencil breaks are a dominant motif and remain visually consistent from capitals through lowercase and numerals, often crossing the midsection of rounded letters. In text, the cuts add texture and motion, though they also become a defining visual noise that can compete with fine details at smaller sizes.