Stencil Imfo 1 is a bold, very wide, low contrast, italic, normal x-height font visually similar to 'Helonik Extended' by Ckhans Fonts, 'Neue Helvetica' and 'Neue Helvetica Paneuropean' by Linotype, 'Favela' by Machalski, 'PG Gothique' by Paulo Goode, and 'NeoGram' by The Northern Block (names referenced only for comparison).
Keywords: posters, headlines, branding, sportswear, packaging, industrial, sporty, tactical, retro-tech, assertive, stencil marking, speed emphasis, impact display, technical tone, oblique, geometric, blocky, high-impact, angular.
A heavy, obliqued sans with broad proportions and compact counters, built from chunky geometric forms. The letterforms are cut with consistent stencil breaks—most notably through bowls and curves—creating clear bridges that read as intentional engineering rather than distress. Terminals are blunt and squared-off, with a forward-leaning rhythm and simplified joins that keep the silhouette clean and forceful. Numerals follow the same system, with repeated mid-stroke interruptions that maintain a cohesive, modular texture across the set.
Best suited to display settings where impact and attitude matter: posters, bold headlines, product packaging, and brand marks that want an industrial or performance feel. It also works well for apparel graphics and event or team-style typography, especially at larger sizes where the stencil bridges read crisply.
The overall tone feels industrial and action-oriented, combining a utilitarian stencil voice with a fast, energetic slant. It suggests equipment markings, motorsport graphics, and militaristic or tactical labeling while still reading as a designed display face rather than purely functional lettering.
The design appears intended to merge a robust, slanted display sans with a disciplined stencil system, delivering a marked, technical look that stays consistent across uppercase, lowercase, and figures. The goal is legibility with character—using repeatable breaks and simplified geometry to create a strong, branded texture.
The regularity and placement of the breaks create a distinctive horizontal “scanline” effect in running text, adding pattern and motion. Because the bridges frequently intersect key recognition areas in rounded letters, the style is most convincing when set large enough for the stencil cuts to remain clearly intentional.