Shadow Yaba 3 is a very bold, normal width, low contrast, upright, normal x-height font visually similar to 'Seitu' by FSD, 'Capitana' by Floodfonts, 'Averta PE' by Intelligent Design, 'Devinyl' by Nootype, and 'Glendale' by Sarid Ezra (names referenced only for comparison).
Keywords: posters, headlines, logos, packaging, stickers/merch, playful, punchy, retro, quirky, cartoonish, attention grabbing, dimensionality, retro flavor, playful branding, display impact, chunky, rounded, cut-out, layered, stencil-like.
A heavy, compact sans with broad, rounded forms and a soft-geometry construction. Many glyphs feature consistent internal cut-outs and small notches that create a layered, offset impression, giving the letterforms a dimensional, shadowed read without adding stroke contrast. Curves are smooth and generous, counters are large for the weight, and terminals are mostly blunt with occasional angled joins (notably in diagonals). Overall spacing and proportions feel display-oriented, prioritizing bold silhouettes and distinctive texture over minimalism.
Best suited for short-form display typography such as posters, event titles, brand marks, packaging callouts, and playful editorial headlines. It can also work for merchandise graphics (tees, stickers) where the dimensional cut-out effect contributes to a bold, characterful look.
The font communicates a lively, throwback energy—somewhere between comic signage and mid-century display lettering. The cut-out/shadow detailing adds a mischievous, handcrafted flavor, making the texture feel animated and attention-grabbing rather than formal or technical.
The design appears intended to deliver maximum impact with a friendly, rounded base and a built-in dimensional detail. By integrating cut-outs and offset-like shaping directly into the glyphs, it aims to provide a ready-made shadowed texture that stands out in branding and promotional settings.
Numerals are especially chunky and graphic, with the same internal cut-out treatment carrying through for consistency. The effect reads best at larger sizes where the notches and inner shapes remain clearly legible; at small sizes the detailing is likely to visually merge into the bold mass.