Sans Other Fulo 5 is a very bold, narrow, high contrast, upright, normal x-height font visually similar to 'Kickbox' by Ahmad Jamaludin, 'Perfora' by In-House International, 'Porker' by Ingrimayne Type, 'Bezamin Harison' by Muksal Creatives, and 'Gokan' by Valentino Vergan (names referenced only for comparison).
Keywords: posters, headlines, logos, packaging, signage, industrial, retro, mechanical, assertive, stenciled, impact, distinctiveness, construction, density, condensed, blocky, geometric, angular, cutout.
A condensed, block-built sans with heavy vertical emphasis and hard, squared terminals. Many glyphs incorporate narrow internal slits and step-like cut-ins that read as deliberate “cutout” details, giving the shapes a segmented, constructed feel. Counters are minimal and often reduced to thin negative channels, while diagonals and curves (notably in S, Z, V, W) are rendered as chunky, angular forms that keep the overall rhythm rigid and architectural. The texture is dense and dark, with tight spacing and strong rectangular proportions across caps and lowercase.
Best suited for short, high-impact settings such as posters, cover titles, branding marks, packaging labels, and bold signage where the dense, constructed forms can be appreciated. It can also work for stylized UI headings or game/tech-themed graphics, but the tight counters make it less appropriate for small body text.
The overall tone is industrial and mechanical, evoking signage, stamped labeling, and retro-futurist display typography. Its sharp corners and notched interiors feel forceful and engineered rather than friendly, producing an assertive, utilitarian voice with a distinctive, stylized edge.
The design appears intended as a statement display face: compact, heavy, and visually engineered, with signature cut-ins that differentiate it from conventional condensed grotesques. The goal seems to be maximum punch and a strong industrial identity while maintaining a consistent, grid-like rhythm across the alphabet and numerals.
The distinctive interior cuts and occasional stepped joins create a stencil-adjacent impression without relying on traditional stencil bridges. In longer lines, the font forms a solid bar-like word image, so clarity is driven more by silhouette than by open counters.