Sans Other Rygoy 12 is a regular weight, normal width, high contrast, upright, normal x-height font.
Keywords: headlines, posters, branding, game ui, packaging, techno, futuristic, industrial, mechanical, architectural, sci-fi styling, digital signage, industrial labeling, display impact, angular, rectilinear, condensed feel, monolinear, modular.
A sharply rectilinear sans with squared bowls, hard corners, and a modular, constructed feel. Strokes are mostly uniform and verticals dominate, while diagonals (V, W, X) are drawn as thin, straight segments that heighten the engineered contrast between upright stems and slanted joins. Counters tend toward narrow rectangular forms; terminals are flat and abrupt with occasional stepped/notched joins, giving many glyphs a stenciled, cut-from-metal impression. Numerals follow the same boxy geometry, with segmented, display-like construction and tight internal apertures.
Best suited to display settings such as headlines, poster typography, logotypes, and tech-forward branding where its angular construction can be a focal point. It can also work for interface labels or themed UI in games and sci‑fi/industrial contexts, especially at medium-to-large sizes where the fine diagonal strokes and notches stay clear.
The overall tone is cold, precise, and technical—evoking digital readouts, sci‑fi interfaces, and industrial labeling. Its sharp geometry and deliberate quirks read as purposeful and constructed rather than neutral, lending an assertive, machine-made voice.
The design appears intended to merge a minimalist sans foundation with a modular, engineered construction—combining squared forms and segmented details to suggest technology, machinery, and digital signage. It prioritizes distinctive silhouette and thematic character over conventional neutrality.
In text, the rhythm is tall and vertical, with distinctive silhouettes created by the squared curves and occasional diagonal hairlines. The font maintains consistent cap-height and baseline discipline, and the idiosyncratic joins and segmented shapes are most noticeable at larger sizes where the cut-ins and thin diagonals remain clearly legible.