Sans Other Jiwo 5 is a bold, wide, low contrast, upright, short x-height font.
Keywords: headlines, logos, posters, gaming, ui, techno, futuristic, industrial, arcade, modular, sci-fi styling, digital display, industrial labeling, retro arcade, angular, geometric, octagonal, stencil-like, monolinear.
This is a geometric, modular sans built from heavy, uniform strokes with sharp, squared corners and frequent 45° chamfers. Counters are mostly rectangular, producing a crisp, engineered look, while curved forms are largely replaced by faceted, octagonal constructions (notably in O/Q/0 and rounded lowercase). The design uses straight terminals and right-angled joins, with occasional triangular notches and cut-ins that give several glyphs a stencil-like, segmented feel. Spacing and widths vary by character, but the overall rhythm stays consistent through strict straight-line geometry and compact interior apertures.
Best suited to display work where its angular geometry can be appreciated: headlines, branding marks, posters, game titles, and interface or HUD-style graphics. It can work for short UI labels or navigation elements when sizes are generous and contrast against the background is strong.
The font reads as futuristic and mechanical, with a strong sci‑fi/arcade energy. Its hard angles and segmented details evoke digital interfaces, industrial labeling, and retro game aesthetics rather than neutral contemporary text typography.
The design intention appears to be a stylized, geometric sans that prioritizes a constructed, digital-industrial voice over conventional readability. By using chamfers, squared counters, and segmented strokes, it aims to deliver a cohesive techno aesthetic across uppercase, lowercase, and numerals.
Distinctive forms include a boxed, faceted O/0 with diagonal detailing in the zero, a sharply notched, angular S, and a V/W family that leans into chevron-like construction. The lowercase keeps the same modular logic, with simplified bowls and squared counters that maintain the techno tone; small apertures and cut-ins can make dense settings feel busy at smaller sizes.