Sans Other Ibro 2 is a regular weight, wide, low contrast, upright, normal x-height font visually similar to '2 Mass J1808' by Kosinsky; 'Modica' and 'Morandi' by Monotype; 'Fact' by ParaType; and 'Core Sans N', 'Core Sans N SC', and 'Core Sans NR' by S-Core (names referenced only for comparison).
Keywords: headlines, branding, logos, posters, packaging, modernist, technical, experimental, architectural, retro-futurist, distinctive display, graphic clarity, brandable voice, signage impact, geometric rigor, angular terminals, sheared cuts, constructed forms, notched details, stencil-like breaks.
A sans-serif with broad proportions and a crisp, constructed drawing, it mixes round bowls with sharply sheared terminals and occasional stencil-like separations. Stroke weight stays even, while joins and endings often resolve into flat cuts, notches, and wedge-like diagonals that create a distinctive rhythm. Counters are generally open and circular, but several letters introduce deliberate interruptions and asymmetric details, giving the set a purposeful, engineered character.
Best suited for branding, posters, packaging, and editorial headlines where its constructed details can be appreciated. It should work well in logos and signage systems that want a contemporary, engineered tone. For long text, it is likely more effective in short passages, captions, or pull quotes where the distinctive terminals and interruptions won’t accumulate visual fatigue.
This typeface projects a confident, modern tone with a slightly experimental edge. The overall feel is clean and technical rather than friendly, with a hint of retro-futurist signage sensibility coming from its angular cuts and simplified, geometric logic.
The design appears intended to deliver a highly recognizable sans voice by combining geometric foundations with deliberate cut-ins, breaks, and sharpened terminals. Those controlled quirks add personality without turning the font into a purely decorative novelty, aiming for clarity at larger sizes and strong visual identity in headlines.
Several capitals show intentional segmentation and cutaway treatments (notably in forms like B, D, R, and Z), while the lowercase maintains a simpler, rounded structure with occasional sharp terminals (e.g., t, z). Numerals share the same cut-and-shear language, reinforcing a cohesive, designed system rather than a neutral grotesque.