Sans Faceted Elty 3 is a very bold, normal width, low contrast, italic, normal x-height font visually similar to 'Racon' by Ahmet Altun, 'Lobby Card JNL' by Jeff Levine, 'Navine' by OneSevenPointFive, 'Hype Vol 1' by Positype, and 'Beachwood' by Swell Type (names referenced only for comparison).
Keywords: sports branding, team identity, posters, headlines, packaging, sporty, industrial, aggressive, retro, high impact, speed cue, rugged branding, logo display, chamfered, angular, blocky, slanted, stencil-like.
A heavy, slanted sans with squared, faceted construction that replaces curves with clipped corners and straight segments. Strokes are monolinear and dense, with compact counters and crisp chamfers throughout, giving letters a machined, cut-from-plate feel. Proportions lean wide and sturdy in the caps, while the lowercase stays robust and slightly condensed in places, maintaining a consistent forward-leaning rhythm across text. Numerals follow the same faceted geometry, with strong horizontal terminals and notch-like cut-ins that reinforce the angular theme.
Best suited to high-impact display settings such as sports branding, team or event identity, poster headlines, and bold promotional graphics. It also fits packaging and merchandise where a rugged, energetic look is desired, and works well for short emphatic text where the angular forms can be appreciated at size.
The overall tone is forceful and kinetic, combining a sporty urgency with an industrial, utilitarian edge. Its sharp facets and forward slant read as fast, tough, and performance-oriented, with a subtle retro athletic flavor reminiscent of team marks and equipment labeling.
The design appears intended to deliver maximum impact with a distinctive faceted silhouette, merging a straightforward sans structure with chamfered cuts to suggest speed and durability. The consistent slant and planar detailing aim to create a cohesive, logo-friendly texture that reads as modern, tough, and action-oriented.
The repeated corner clipping creates a cohesive texture in both display lines and short phrases, but the tight apertures and compact counters push it toward larger sizes. The oblique angle is strong enough to add motion without becoming calligraphic, keeping the voice firmly mechanical rather than handwritten.