Sans Faceted Abkad 2 is a bold, normal width, low contrast, upright, normal x-height font visually similar to 'BF Konkret Grotesk Pro' by BrassFonts, 'FS Pimlico' by Fontsmith, 'Famiar' by Mans Greback, and 'Hubsch' and 'Syke' by The Northern Block (names referenced only for comparison).
Keywords: posters, packaging, headlines, logos, merch, playful, chunky, offbeat, hand-cut, posterish, handcrafted feel, display impact, texture building, quirky personality, angular, faceted, irregular, blocky, asymmetric.
A heavy, geometric sans with planar facets that replace smooth curves, creating chiseled corners and slightly uneven outlines. Strokes stay consistently thick with minimal modulation, while terminals are blunt and often cut at shallow angles. Proportions are compact and somewhat variable from glyph to glyph, producing a lively rhythm; counters are rounded-rectangular and slightly pinched in places, and spacing feels intentionally irregular for texture. The lowercase has a straightforward, sturdy construction with simple forms and a tall, narrow feel in letters like i, l, and t, while round letters like o and e read as squarish bowls with softened edges.
Best suited for short, high-impact settings such as posters, event titles, product packaging, and brand marks that want a playful edge. It can also work for merchandise graphics and social media headlines where the faceted texture reads clearly at display sizes.
The overall tone is energetic and mischievous, like hand-cut signage or playful display lettering. Its faceted shapes and uneven cadence give it a DIY, cartoon-adjacent personality that feels informal and attention-seeking rather than refined.
The design appears intended to mimic cut-from-paper or carved lettering through consistent thickness and intentional facet angles, delivering a bold, friendly display voice with a handcrafted wobble. The emphasis is on character and texture over neutral readability.
At larger sizes the facet cuts and quirky inconsistencies become a defining feature, adding visual grit and movement. In continuous text the dense color and bouncy widths can build a strong texture, but the irregularity is most effective when used deliberately as a stylistic voice.