Sans Faceted Sysa 2 is a very bold, normal width, monoline, upright, normal x-height font visually similar to 'Area51' by Comicraft, 'Midfield' by Kreuk Type Foundry, 'Stallman Round' by Par Défaut, 'Amboy' by Parkinson, and 'Machinista' by T-26 (names referenced only for comparison).
Keywords: headlines, posters, logos, sports branding, game ui, industrial, sporty, arcade, techno, posterish, impact, geometric rigidity, machined aesthetic, signage feel, display clarity, octagonal, chamfered, angular, blocky, geometric.
A heavy, faceted display sans built from straight strokes and crisp chamfered corners, replacing curves with planar cuts. Counters are compact and often squared or notched, and the joins create an octagonal, machined silhouette throughout. Stroke endings are blunt and consistent, with tight internal apertures and a generally condensed, punchy rhythm that keeps forms compact and sturdy. The lowercase follows the same constructed, angular logic as the caps, producing a unified texture in mixed-case setting, while figures match the same cut-corner geometry for a cohesive alphanumeric set.
Best suited for headlines, posters, packaging callouts, and logo/wordmark work where a strong, angular presence is desired. It also fits sports branding, scoreboard-style graphics, and game or tech-themed interfaces, especially when set in short phrases or punchy labels.
The overall tone is bold and assertive, with a rugged, mechanical feel that reads as utilitarian and game-like. Its sharp facets and compact counters evoke arcade hardware, sports numbering, and industrial signage, projecting energy and toughness rather than softness or elegance.
The design appears intended to translate a geometric sans into a hard-edged, faceted display voice, emphasizing impact, durability, and a constructed, machine-cut aesthetic. The consistent chamfer system across letters and numerals suggests a focus on visual unity for branding and titling contexts.
Diagonal cuts are used as a recurring motif to articulate shoulders, terminals, and corners, giving the type a consistent “stenciled-by-facets” look without actually breaking strokes apart. The dense interiors and short apertures suggest best performance at larger sizes where the angular details and notches remain distinct.