Inline Igba 2 is a regular weight, narrow, low contrast, upright, normal x-height font.
Keywords: headlines, posters, signage, packaging, logos, retro, marquee, playful, display, decorative display, signage feel, vintage styling, graphic impact, double-line, monolinear, rounded, condensed, outlined.
A condensed, monolinear sans with an outlined construction and a consistent inline channel running through each stroke. Corners are gently rounded and curves are smooth, giving the shapes a clean, sign-like finish rather than a sharp geometric feel. Terminals are mostly straight and open, counters are generous for the width, and the inline detail remains evenly spaced across curves and joins, creating a steady rhythm in both uppercase and lowercase. Numerals follow the same double-line/inline logic, with simple, legible forms that read clearly at display sizes.
Well suited to headlines, posters, signage, and packaging where the inline outline can function as a distinctive graphic element. It also works for short branding lines, labels, and logo wordmarks, especially when a vintage display flavor is desired. For longer passages, it’s best reserved for larger sizes or emphasized callouts so the internal detailing doesn’t visually busy the texture.
The inline outline treatment evokes vintage signage and marquee lettering, combining clarity with a decorative, slightly theatrical flair. It feels upbeat and graphic—more showcard and storefront than corporate—while staying tidy enough to avoid looking overly ornate.
The design appears intended as a decorative display sans that leverages an inline outline structure to add depth and a crafted, sign-painter vibe without relying on heavy contrast or complex ornament. Its condensed build and consistent inner channel suggest a focus on eye-catching titles and brand moments rather than neutral text setting.
The letterforms maintain a uniform stroke logic that keeps the inline effect coherent across the set, and the condensed proportions emphasize verticality in words. In continuous text, the inner line becomes the main stylistic driver, so the face reads best when given enough size and spacing for the detailing to stay crisp.