Sans Faceted Anto 2 is a very bold, normal width, monoline, upright, tall x-height font visually similar to 'QB One' by BoxTube Labs, 'Bike Tag JNL' by Jeff Levine, 'Gemsbuck Pro' by Studio Fat Cat, 'Hyperspace Race' and 'Hyperspace Race Capsule' by Swell Type, 'FTY Galactic VanGuardian' by The Fontry, and 'Winner Sans' by sportsfonts (names referenced only for comparison).
Keywords: headlines, posters, logos, game ui, sportswear, techno, industrial, arcade, futuristic, tactical, impact, geometry, sci-fi, utility, branding, chamfered, angular, octagonal, blocky, geometric.
A heavy, geometric sans built from straight strokes and pronounced chamfered corners that turn curves into crisp planar facets. Counters are mostly rectangular or octagonal, with consistent stroke thickness and a sturdy, modular construction that keeps curves to a minimum. Proportions are compact and squared-off, with wide capitals and sturdy lowercase forms that maintain clear silhouettes through tight apertures and strong joins. Figures follow the same faceted logic, producing a cohesive, hard-edged texture in lines of text.
Best suited to display settings where impact and a distinctive angular voice are needed: headlines, posters, brand marks, packaging, and titles. It also fits interface-style work such as game UI, esports graphics, and tech or industrial themes where faceted geometry reads as intentional and systematic.
The overall tone is assertive and mechanical, evoking digital interfaces, industrial labeling, and retro arcade aesthetics. Its sharp cuts and armored shapes suggest precision and toughness, reading as modern, technical, and purpose-built rather than friendly or literary.
The design appears intended to translate a bold sans skeleton into a faceted, panel-cut aesthetic, replacing curves with chamfers for a consistent hard-edged system. Its uniform stroke weight and modular geometry aim for high-impact readability and a recognizable, engineered personality in short-form text.
Diagonal strokes (notably in A, K, V, W, X, Y) are handled as straight planes with clean, blunt terminals, reinforcing a fabricated, machined feel. Round letters like O and Q resolve into octagonal outlines, and the Q’s tail is a compact diagonal cut that keeps the form tight. The punctuation shown (period, colon, apostrophe) appears square and weighty, matching the font’s block-like rhythm.