Sans Normal Efnil 11 is a light, wide, low contrast, italic, normal x-height font visually similar to 'Ordina' by Schriftlabor (names referenced only for comparison).
Keywords: ui design, editorial, branding, presentations, wayfinding, modern, clean, airy, technical, efficient, modern readability, space efficiency, neutral styling, interface clarity, monoline, oblique, open counters, generous spacing, streamlined.
A clean, monoline sans with an oblique axis and generous horizontal proportions. Strokes maintain an even weight with soft joins and smoothly drawn curves, creating round, open counters and a calm texture in text. Terminals are simple and unadorned, and the overall fit feels spacious, with forms that lean consistently and maintain clear separation between characters. Numerals follow the same streamlined construction, with rounded shapes and straightforward diagonals that keep the set visually cohesive.
It works well for UI and product typography, dashboards, and documentation where a tidy, modern sans is needed. The oblique posture also suits headings, captions, and brand systems that want a subtle sense of movement without becoming expressive or decorative. In editorial layouts, it can serve as a contemporary companion for sidebars, pull quotes, and concise body text at comfortable sizes.
The font conveys a modern, efficient tone—calm, unobtrusive, and slightly dynamic due to the forward slant. Its open shapes and even rhythm feel contemporary and pragmatic, suited to interfaces and informational typography where clarity and speed of reading matter.
The design appears intended as a contemporary oblique sans that balances neutrality with forward motion, using open, rounded construction and spacious proportions to maintain clarity in continuous reading and on-screen settings.
Across the alphabet, curves are prioritized over sharp geometry, producing a friendly but neutral character. The slant is steady rather than dramatic, which keeps paragraphs orderly while still adding motion. Overall contrast remains minimal, so emphasis comes more from spacing and proportion than from stroke modulation.