Sans Faceted Raki 5 is a bold, wide, low contrast, upright, normal x-height font visually similar to 'Krupkrop' by Jipatype (names referenced only for comparison).
Keywords: posters, headlines, logotypes, packaging, game ui, industrial, arcade, brutalist, sci-fi, diy, display impact, geometric construction, futuristic flavor, rugged texture, angular, faceted, chiseled, blocky, geometric.
A heavy, angular display face built from straight strokes and sharp planar facets, with curves consistently replaced by clipped corners and chamfered joins. Stroke thickness is broadly uniform, producing a sturdy, monoline feel, while counters are squarish and often asymmetrical due to the faceting. Proportions lean broad and compact, with a slightly irregular rhythm across letters as diagonals and corner cuts vary from glyph to glyph. The lowercase keeps the same constructed geometry as the caps, and figures follow the same polygonal logic, giving the set a cohesive, stencil-like solidity without actual breaks.
Best suited for short, high-impact settings such as posters, cover titles, event flyers, brand marks, packaging callouts, and game or tech-themed interface headings where its angular construction can read as a deliberate stylistic choice. It also works well for signage-style labeling and large typographic compositions where the faceting can be appreciated.
The overall tone is mechanical and game-like, combining a rugged, hand-cut energy with a futuristic, industrial edge. The sharp corners and flattened curves convey a tough, utilitarian attitude, while the quirky irregularities add personality and a slightly playful, arcade-sign feel.
The design appears intended to deliver a bold, constructed voice by translating a sans framework into polygonal, chiseled forms. Its consistent use of corner cuts suggests a focus on a distinctive display texture—evoking hand-cut lettering, retro digital aesthetics, or industrial branding—while keeping a straightforward, legible skeleton.
Diagonal-heavy forms (A, V, W, X, Y) emphasize the font’s faceted construction, and many terminals end in abrupt, angled cuts rather than horizontal or vertical finishes. The sample text shows clear word shapes at display sizes, though the dense, angular interior spaces can make long passages feel visually busy.