Sans Contrasted Hawo 9 is a very bold, very wide, high contrast, italic, normal x-height font visually similar to 'Banigar' by Azzam Ridhamalik and 'Loft' by Monotype (names referenced only for comparison).
Keywords: sports branding, headlines, posters, logotypes, packaging, sporty, retro, punchy, assertive, dynamic, impact, speed, headline focus, brand presence, retro modernity, slanted, rounded, blocky, compressed counters, ink-trap hints.
A heavy, right-slanted sans with broad proportions and strongly modeled strokes. The letterforms lean on rounded outer corners and flattened terminals, with noticeable stroke modulation that creates a cut-in, sculpted feel in bowls and joins. Counters are relatively tight and often pinched, while horizontal cuts and notches appear in several glyphs, giving the shapes a machined, aerodynamic rhythm. The lowercase is sturdy and compact with a single-storey a and g, and the numerals follow the same wide, forward-leaning construction for cohesive color in display settings.
Best suited to large-scale uses where impact matters: sports identities, event posters, product packaging, and bold editorial headlines. It can also work for short wordmarks and titling systems that want a fast, muscular voice, but it is less appropriate for long passages due to tight counters and heavy texture.
The overall tone is energetic and forceful, with a fast, athletic stance and a distinctly retro-futuristic flavor. Its exaggerated weight and slant make it feel like motion and impact are baked into the design, reading as confident and attention-seeking rather than neutral.
This font appears designed to deliver maximum visual punch with a forward-leaning, speed-oriented silhouette and sculpted stroke contrast. The intent reads as display-first: to create memorable, high-energy typography that feels engineered and sporty while staying cleanly sans in structure.
The design shows consistent rightward momentum across caps, lowercase, and figures, helped by broad set widths and smooth, rounded silhouettes. Internal shapes stay small at text sizes, so the style reads best when given room and scale to show its sculpted cuts and stroke contrast.