Stencil Kiri 5 is a very bold, wide, low contrast, upright, normal x-height font visually similar to 'CF Mod Grotesk' by Fonts.GR, 'Jam Grotesque' by JAM Type Design, 'Neue Haas Grotesk Display' by Linotype, 'Helvetica Now' by Monotype, 'Pragmatica' by ParaType, 'Europa Grotesk No. 2 SB' and 'Europa Grotesk No. 2 SH' by Scangraphic Digital Type Collection, and 'Crique Grotesk' by Stawix (names referenced only for comparison).
Keywords: posters, headlines, packaging, signage, logos, industrial, authoritative, tactical, urban, mechanical, stencil marking, display impact, rugged branding, system labeling, blocky, geometric, monoline, squared, punchy.
A heavy, block-built stencil with broad proportions and largely geometric construction. Strokes are monoline in feel, with squared terminals and generous counters, while consistent stencil breaks create vertical and occasional internal bridges that read clearly at display sizes. The uppercase forms are compact and sturdy, the lowercase keeps a straightforward, workmanlike structure, and the figures are similarly robust with prominent cut-ins that reinforce the stencil logic. Overall spacing and rhythm favor bold, poster-like impact over delicate detail.
Best used for large-scale applications where the stencil breaks remain crisp: posters, headlines, wayfinding, product labels, and bold brand marks. It also suits thematic graphics that reference industrial marking, equipment labeling, or rugged editorial styling, while smaller text may lose clarity as the bridges begin to fill in.
The font projects an industrial, utilitarian tone—confident, tough, and functional. Its stencil breaks evoke marking systems and production contexts, giving it a tactical, no-nonsense character that feels suited to bold statements and labeling.
The design appears intended to deliver maximum impact with a clearly stencilized construction, combining simple geometric letterforms with consistent bridges for a marked, mechanical look. It prioritizes quick recognition and strong silhouettes for display-oriented typography.
Several rounded letters (such as C, G, O, Q) emphasize the central bridging, producing a distinctive segmented silhouette that becomes a key identifying motif. The design stays consistent across caps, lowercase, and numerals, maintaining a cohesive “cut” language throughout.