Sans Contrasted Ulvy 11 is a regular weight, wide, very high contrast, upright, normal x-height font.
Keywords: headlines, posters, logotypes, branding, packaging, retro, playful, futuristic, editorial, stylized, display impact, distinctive texture, retro-future voice, brand signature, stencil-like, cutout, geometric, rounded, flared.
A stylized, geometric sans with rounded outer contours and dramatic, carved-in countershapes that create a cutout/stencil impression. Strokes alternate between heavy vertical masses and razor-thin connective joins, producing a rhythmic, high-contrast texture across words. Terminals are soft and often flared, with frequent teardrop-like ink traps and deep internal notches that shape the counters as much as the stems. The overall fit reads on the open side, while letter widths vary noticeably, giving lines a lively, uneven cadence rather than a strictly modular feel.
Best suited to headlines, posters, branding marks, and packaging where its sculpted interiors can be appreciated at larger sizes. It can also work for short bursts of editorial display type or event titling, but the fine connective strokes suggest avoiding very small sizes or dense paragraph settings.
The design evokes a retro-futurist, display-oriented mood—part Art Deco poster, part sci‑fi title treatment. Its bold silhouettes feel playful and theatrical, while the sliced counters add a crafted, engineered character that reads as modern and attention-seeking rather than neutral.
The font appears designed to deliver a memorable display voice by combining a friendly rounded skeleton with aggressively shaped counters and thin bridges. The intention seems to be maximum visual impact and a distinctive internal rhythm, creating a signature look for titles and identity work rather than everyday text.
In text settings the thin bridges and internal cutouts become prominent, creating a distinctive stripe-and-shadow effect within bowls and across joins. The font’s personality is driven more by counter geometry than by stroke modulation alone, so spacing and size strongly influence how clearly the interior forms read.