Wacky Afvu 2 is a very bold, normal width, medium contrast, upright, tall x-height font.
Keywords: posters, headlines, logos, game ui, packaging, playful, quirky, techy, retro, edgy, stand-out display, geometric novelty, industrial cue, retro-tech feel, angular, stencil-like, faceted, cut-out, blocky.
A chunky, angular display face built from squared-off strokes with frequent chamfered corners and faceted silhouettes. Many counters and terminals are carved as geometric cut-ins, giving a stencil-like, die-cut feel and producing lively, irregular interior shapes. Curves are largely replaced by straight segments and notches, creating a mechanical rhythm with slightly unpredictable negative space from letter to letter. The lowercase echoes the uppercase structure with compact bowls and sharp joints, while figures follow the same clipped, polygonal construction for a cohesive set.
Best suited for short, high-impact settings such as posters, titles, brand marks, game/UI headings, and packaging callouts where its angular cut-out forms can be appreciated. It can also work for themed signage or event graphics, especially when a retro-tech or playful industrial mood is desired.
The overall tone is wacky and game-like, mixing a rugged industrial edge with a playful, puzzle-cut aesthetic. Its jagged geometry reads as retro-futuristic and a bit mischievous, more like signage or arcade lettering than traditional typography. The repeated notches and facets add energy and a sense of engineered weirdness.
The design appears intended to deliver a distinctive, one-off display voice using faceted geometry and carved counters to stand apart from standard grotesques or blackletter-inspired blocks. Its consistent use of notches and chamfers suggests an aim to feel manufactured—like stamped metal or laser-cut lettering—while staying intentionally quirky and decorative.
Because the design relies on internal cut-outs and narrow connections in places, spacing and size will strongly affect legibility; it tends to read best when the shapes have room to breathe. The visual weight is distributed through large solid masses, with interest coming primarily from the distinctive negative-space carving rather than stroke modulation.