Sans Faceted Humev 7 is a light, narrow, monoline, upright, short x-height font.
Keywords: display, headlines, posters, logos, branding, futuristic, techno, enigmatic, architectural, game-like, worldbuilding, sci-fi tone, symbolic forms, graphic impact, logo utility, angular, geometric, polygonal, stencil-like, rune-like.
This typeface is built from straight strokes and sharp, faceted joins, replacing curves with planar angles and triangular cut-ins. Letterforms are narrow and largely open, with frequent breaks that create a stencil-like, segmented construction. The stroke weight stays consistent, while terminals end in crisp points or flat, clipped edges, producing a high-contrast silhouette against the white background despite the light color. Counters tend to be small or implied through gaps, and diagonals dominate many capitals; a few glyphs introduce simple curves (notably some lowercase such as the u) as a contrast to the otherwise polygonal system. Figures follow the same angular logic, with simplified, sign-like forms and occasional open corners.
Best suited to display settings where the angular, faceted construction can be appreciated at larger sizes—headlines, posters, album art, event graphics, and logotypes. It can also work for short UI labels, game menus, or packaging accents when a futuristic or coded aesthetic is desired. For long passages of body text, the segmented forms and stylized lowercase are likely to reduce reading speed.
The overall tone feels futuristic and coded, like interface lettering or a constructed alphabet intended to read as technical and mysterious. The faceting and deliberate discontinuities add a cryptic, emblematic character that can suggest sci‑fi, cyberpunk, or game UI worldbuilding. Its sharp geometry also evokes architectural drafting marks and synthetic logotypes rather than conventional text typography.
The font appears designed to translate a geometric, faceted motif into a coherent alphabet, prioritizing distinctive silhouettes and a techno-symbolic flavor over conventional readability. The repeated use of clipped corners, triangular notches, and open joins suggests an intention to feel constructed, modular, and deliberately artificial—more like a designed system of signs than a traditional grotesque.
The design relies on distinctive glyph identities—especially in the lowercase—where several shapes appear intentionally schematic and symbol-like. Spacing in the sample text reads fairly open for the narrow forms, which helps keep the many angular cuts from clumping, but the broken strokes and unconventional joins make it more attention-grabbing than neutral.