Sans Faceted Idnag 2 is a very light, normal width, monoline, upright, normal x-height font.
Keywords: headlines, posters, logos, game ui, album art, techno, architectural, schematic, experimental, futuristic, geometric styling, futurist display, low‑poly motif, technical voice, distinctiveness, angular, polygonal, wireframe, geometric, spiky.
A faceted, polygonal sans built from thin monoline strokes and straight segments, with corners forming small chamfers and abrupt angle changes instead of curves. Letterforms are open and airy with generous internal space, and many glyphs use slightly irregular vertex angles that create a hand-drawn, wireframe feel while still reading as a cohesive geometric system. Caps are tall and narrow-leaning in impression, while lowercase echoes the same angular construction with simplified bowls and angled terminals; circular shapes (O, C, G, 0) resolve into multi-sided outlines. Numerals follow the same planar logic, with segmented strokes and crisp, pointed joins.
Best suited to display sizes where the thin strokes and faceted geometry can stay crisp—headlines, posters, brand marks, sci‑fi or tech themed graphics, and game/interface labeling. It can also work for short captions or section headers when ample size and contrast are available; extended body text may feel too light and busy due to the angular segmentation.
The font conveys a technical, futuristic tone—like plotted vector geometry, low‑poly modeling, or schematic labeling. Its sharp facets and delicate strokes feel precise and engineered, but the slightly uneven angles add an experimental, crafted edge rather than a sterile finish.
The design appears intended to replace traditional curves with planar facets, creating a geometric, wireframe voice that reads as modern and experimental. The consistent monoline construction and repeated polygonal bowls suggest a system-first approach aimed at distinctive display typography rather than neutral text setting.
Diagonal strokes are prominent and often meet at acute angles, producing lively rhythm in combinations like V/W/X and the zig-zag of Z. Counters tend to be large and open, and terminals frequently end in short angled cuts, reinforcing the “constructed from segments” aesthetic.