Sans Faceted Bumo 5 is a very bold, normal width, monoline, upright, normal x-height font.
Keywords: posters, headlines, logos, packaging, titles, futuristic, angular, graphic, playful, arcade-like, impact, distinctiveness, geometric styling, signage feel, faceted, geometric, triangular, stencil-like, high-contrast counters.
A heavy, geometric display sans built from sharp planar facets and wedge-like cuts instead of smooth curves. Strokes are consistently thick, with many letters formed from triangular joins, chamfered corners, and pointed terminals that create a carved, almost emblematic silhouette. Counters are often small and angular (frequently diamond or triangular), and several glyphs use intentional notches and apertures that add a stencil-like rhythm. The uppercase reads as bold, blocky symbols, while the lowercase simplifies into compact, geometric forms with minimal curvature and strong diagonal emphasis. Numerals follow the same faceted logic, with hard angles and occasional internal cutouts to keep shapes open at large sizes.
Best suited to display settings where its faceted silhouettes can read clearly—titles, posters, branding marks, packaging callouts, and short headers. It works especially well when you want a bold, angular voice and can give it generous size and breathing room rather than dense body copy.
The overall tone is energetic and synthetic, evoking retro-futurist signage and game-like iconography. Its sharp geometry and cut-in details give it a slightly edgy, mechanical feel while remaining lively and approachable in short bursts.
The design appears aimed at delivering a strong, instantly recognizable geometric personality by replacing curves with crisp facets and strategic cutouts. It prioritizes graphic impact and a distinctive rhythm over neutrality, making it an expressive choice for attention-grabbing typographic moments.
Spacing and internal openings vary noticeably across glyphs, which contributes to a dynamic, irregular texture in lines of text. The design relies on distinctive negative-space cutouts for recognition, so letterforms feel more like constructed marks than conventional text shapes.