Sans Other Ifta 4 is a very bold, narrow, monoline, upright, tall x-height font visually similar to 'Baldo' by Ahmet Altun; 'Chortler' by FansyType; 'Behover' by Martype co; 'Core Mellow' by S-Core; 'Alma Mater', 'Oscar Bravo', and 'Red Top' by Studio K; and 'Aeroscope' by Umka Type (names referenced only for comparison).
Keywords: headlines, posters, logos, packaging, sports branding, gothic, industrial, assertive, retro, impact, poster display, branding, gothic influence, angular, faceted, compact, blocky, chiseled.
A compact, heavy display sans built from straight strokes and sharp, faceted joins. Corners are frequently clipped into small diagonals, giving counters and terminals a beveled, polygonal look rather than smooth curves. The rhythm is tight with short apertures and squared-off bowls, and the lowercase echoes the uppercase’s geometry, keeping forms rigid and consistent. Numerals and capitals share a sturdy, block-like construction, while small internal cut-ins and notches add texture without introducing contrast or ornament.
Best suited to short, high-impact settings such as headlines, posters, wordmarks, packaging callouts, and team or event branding where its angular silhouettes can dominate. It can also work for labels or signage-style applications, especially when set large enough to preserve legibility in the tight counters.
The overall tone feels bold and utilitarian, with a blackletter-adjacent stiffness translated into a sans framework. Its angular cuts and compressed stance read as forceful and mechanical, suggesting vintage poster lettering, sports/club identity, and industrial signage energy.
The font appears designed to deliver a condensed, high-impact voice using rigid, geometric construction and recurring beveled cuts. It aims for maximum presence with minimal stroke modulation, translating gothic/blackletter cues into a clean, graphic, sans display style.
The design relies on deliberate bevels and tight counters to create character; those same features make it most effective when given enough size and spacing for the interior shapes to stay clear. Diagonal clipping is used repeatedly at tops, corners, and terminals, producing a cohesive “machined” silhouette across letters and figures.