Sans Faceted Epwu 11 is a very bold, normal width, very high contrast, upright, normal x-height font visually similar to 'Izmir' by Ahmet Altun, 'Allrounder Grotesk Condensed' by Identity Letters, 'Gilroy' by Radomir Tinkov, 'Moneis' by RantauType, 'NeoGram' by The Northern Block, 'TT Commons™️ Pro' by TypeType, and 'Grold' by Typesketchbook (names referenced only for comparison).
Keywords: posters, headlines, branding, packaging, apparel, industrial, rugged, urban, tough, playful, impact, distress, edginess, signage, distressed, blocky, stencil-like, geometric, angular.
A heavy, block-driven sans with compact proportions and a largely geometric skeleton. Curves are frequently simplified into crisp, planar segments, giving many bowls and joins a faceted, cut-from-sheet look. Strokes terminate in flat, squared ends with minimal modulation, producing dense counters and strong, poster-like silhouettes. A consistent distressed texture—chips, scuffs, and voids within the black shapes—adds a worn print character while preserving clear letter recognition.
Best suited for display typography where impact and texture are desirable—posters, album or event graphics, bold brand marks, packaging callouts, and apparel or sticker-style designs. It also works well for short slogans and punchy headings that benefit from a rugged, distressed finish.
The overall tone feels gritty and streetwise, like paint rubbed off a stenciled sign or a screen print that has seen hard use. The faceted geometry keeps it contemporary and assertive, while the distressing introduces an energetic, imperfect edge that reads as handmade and raw rather than polished.
The design appears intended to deliver maximum visual punch through dense, geometric letterforms, while using deliberate distressing to suggest grit, wear, and analog production. The faceted construction gives a sharp, constructed personality that complements the roughened surface treatment.
At larger sizes the internal wear marks become a defining feature, creating lively texture across words; at smaller sizes those breaks can visually darken or clutter tight spacing. Round forms (like O/C/G and the lowercase bowls) keep a strong circular presence but are visibly "cut" into straighter planes, reinforcing the angular theme.