Sans Contrasted Ilmo 2 is a very bold, wide, very high contrast, upright, normal x-height font.
Keywords: headlines, posters, logos, game ui, album art, techno, industrial, sci‑fi, retro, assertive, impact, futurism, modularity, display, geometric, stencil-like, notched, angular, squared.
A geometric, squared sans with chunky vertical masses paired with much thinner hairline joins and cross-strokes, creating a sharp light–dark rhythm. Many forms are built from rectangular blocks with cut-in counters and notches, and several letters use separated strokes that read as stencil-like interruptions rather than continuous curves. Terminals are blunt and mostly orthogonal, with occasional angled diagonals on letters like K, M, N, V, W, X, and Z. Counters tend to be boxy and tight, and the overall construction favors modular, grid-based geometry over smooth rounding.
Best used for large-format typography such as headlines, posters, logotypes, and branded wordmarks where the notched geometry and contrast can be appreciated. It also fits game interfaces, sci-fi/tech packaging, and editorial pull quotes that need a strong, synthetic voice. For extended small-size text, the thin connecting strokes and tight counters may require generous sizing and spacing to maintain clarity.
The font communicates a bold, machine-made attitude—equal parts arcade-tech and industrial signage. Its notched shapes and dramatic contrast give it a futuristic, engineered feel, while the blocky modularity adds a retro digital flavor. Overall it reads as attention-grabbing and slightly confrontational, suited to designs that want a hard-edged, synthetic tone.
The design appears intended to merge a modular, grid-built sans with a stencil-like, high-contrast construction—maximizing impact through heavy vertical blocks while keeping a technical edge via hairline joins and cut-in shapes. The result is a distinctive display face optimized for stylistic presence rather than neutrality.
The extreme contrast and frequent hairline connectors create a distinctive texture at display sizes, with some letters featuring intentionally sparse internal structure (e.g., thin mid-bars or split strokes). The figures follow the same squared logic, and punctuation/marks in the sample appear similarly minimal and rectilinear, supporting a consistent system.