Sans Other Ifdi 5 is a very bold, normal width, low contrast, upright, normal x-height font visually similar to 'Phi' by Cas van de Goor, 'Hanley Pro' by District 62 Studio, 'Savior Sans' by Sudtipos, and 'TT Norms Pro' by TypeType (names referenced only for comparison).
Keywords: headlines, posters, logos, packaging, wayfinding, industrial, stencil-like, techno, geometric, signage, branding, distinctiveness, display impact, systematic motif, circular counters, vertical incisions, blocky, compact, high impact.
A heavy, geometric sans with monolinear strokes and largely circular bowls and counters. Many rounded forms feature a distinctive vertical split or incision through the center, creating a stencil-like construction that reads as a deliberate design motif rather than true breaks in the outline. Terminals are mostly flat and squared, with occasional angled cuts on diagonals; joins are sturdy and simplified, producing a compact, high-ink silhouette. Round letters (O/Q/0/8/9) emphasize near-perfect circles, while straight-sided letters keep rigid, poster-like proportions and tight internal space.
Best suited to display applications where its bold mass and signature split motif can be appreciated—headlines, posters, logo wordmarks, packaging, and environmental/wayfinding-style graphics. It can also work for short UI labels or section headers when a strong, tech-forward brand voice is desired, but it is less appropriate for extended reading.
The overall tone feels industrial and engineered, mixing retro signage energy with a contemporary techno sensibility. The repeated central incisions add a slightly mechanical, modular character that can read as utilitarian, futuristic, or branded-systematic depending on context.
The design appears intended to deliver maximum impact with a clear geometric foundation while differentiating itself through a repeated stencil/scanline incision that unifies the character set. It aims to be immediately recognizable in branding contexts by turning a simple sans structure into a distinctive visual system.
The central split detail is consistent across multiple glyphs and becomes the primary identifying feature at text sizes, especially in round characters and some lowercase forms. In dense settings it creates a rhythmic vertical “scanline” texture, which can be either a distinctive brand cue or a potential distraction if used for long passages.