Sans Other Jagud 5 is a regular weight, wide, low contrast, upright, normal x-height font.
Keywords: headlines, posters, logotypes, packaging, signage, art deco, geometric, retro, display, decorative sans, geometric branding, retro display, stylized clarity, monoline, modular, stencil-like, cut-in terminals, rounded.
A geometric, monoline sans built from round bowls and straight stems, punctuated by distinctive incised cuts and wedge-like notches at key joints and terminals. Curves are broadly circular and open, with rounded corners and a consistent stroke thickness that keeps counters clear even in compact forms. Several letters show deliberate interruptions where bars would normally meet stems (seen in forms like A, E, F, and similar constructions), creating a modular, almost stencil-like rhythm. Overall spacing and proportions feel expansive, with large bowls and generous internal counters that emphasize shape over texture.
This font is strongest in display contexts—headlines, posters, titles, and brand marks—where its notched construction and geometric bowls can read clearly. It can also work for packaging and signage that benefit from a retro, engineered tone, especially when set with ample tracking. For longer passages, larger point sizes will help preserve the character-defining cut-ins and maintain comfortable legibility.
The letterforms evoke a retro-futurist, Art Deco–adjacent mood—clean and mechanical, yet decorative through their engineered cut-ins. The repeated notches give the font a crafted, emblematic quality that reads as playful and designed rather than neutral. It feels well suited to stylized settings where the letter shapes are meant to be noticed.
The design appears intended to reinterpret a clean geometric sans through a consistent system of carved joins and terminal cuts, adding ornament without introducing contrast or traditional serifs. The goal seems to be a distinctive, emblematic texture that stays orderly and modern while signaling a decorative, period-inspired voice.
Round letters such as O and Q lean heavily on near-perfect circular geometry, while diagonals and joins are simplified into crisp, purposeful angles. The numerals match the same construction language, with rounded silhouettes and occasional notched detailing that keeps the set visually cohesive. The sample text suggests best results at medium-to-large sizes where the cut-in details remain distinct.