Wacky Meba 11 is a regular weight, wide, low contrast, upright, short x-height font.
Keywords: posters, logotypes, headlines, album art, packaging, retro, quirky, playful, eccentric, mechanical, graphic motif, attention grabbing, retro flavor, experimental display, systemic look, monoline, inline bar, rounded corners, stencil-like, geometric.
A monoline, geometric display face built from rounded corners, straight verticals, and broad curves, with a consistent stroke and a slightly expanded feel. The defining feature is a continuous horizontal inline bar that cuts through most glyphs at a common height, creating a pseudo-stencil or struck-through construction. Counters are simple and open (notably in O/Q and the bowls), terminals tend to flatten into squared ends, and several letters use simplified, almost modular joins that emphasize the font’s constructed rhythm over conventional proportions.
Best used for large-size headlines where the midline bar can function as a strong graphic motif, such as posters, logotypes, packaging, and short bursts of display copy. It also suits themed titles (retro tech, sci‑fi, arcade, novelty branding) where a distinctive, system-like look is desired more than uninterrupted readability in long passages.
The repeated midline bar and rounded, built-from-parts shapes give the font a playful, oddball personality with a retro-futurist and game/arcade-adjacent tone. It feels intentionally unconventional—more like signage lettering from an imagined system than a traditional text face—making the reading experience slightly mischievous and attention-seeking.
The design appears intended to create instant recognition through a single, repeated structural idea—the horizontal inline bar—paired with modular, rounded geometric forms. It prioritizes visual identity and rhythm over neutrality, aiming for a decorative, experimental voice that still maintains consistent construction and spacing.
In text, the shared crossbar creates strong horizontal banding, which can dominate texture at smaller sizes and makes the design feel highly graphic. Uppercase and lowercase share a similar constructed logic, while figures keep the same blunt, simplified geometry and heavy reliance on straight segments and arcs.