Stencil Fide 3 is a bold, wide, monoline, upright, normal x-height font visually similar to 'BR Segma' and 'BR Sonoma' by Brink and 'Goga' by Narrow Type (names referenced only for comparison).
Keywords: headlines, posters, signage, packaging, logos, industrial, tactical, retro, mechanical, technical, stencil aesthetic, industrial voice, display impact, systematic breaks, high-contrast, geometric, blocky, modular, angular.
A heavy, geometric sans with stencil-like breaks that create clear bridges across bowls and counters. Letterforms are built from broad, mostly uniform strokes with sharp terminals and a slightly modular construction, mixing straight segments with rounded forms in characters like C, O, and Q. The stencil cuts are consistent and deliberate—often appearing as vertical gaps in round letters and horizontal breaks in forms like E, F, and T—producing a strong rhythm and punchy negative spaces. Numerals follow the same system, with bold shapes and matching interruptions that keep the set visually cohesive.
Best suited to headlines, posters, and brand marks where the stencil construction can be read as a defining feature. It works well for signage, packaging, and labels that want an industrial or technical voice, especially at medium-to-large sizes where the bridges remain crisp and intentional.
The overall tone feels utilitarian and equipment-like, evoking signage, labeling, and engineered objects. Its sharp geometry and repeated stencil breaks add a rugged, no-nonsense character with a retro-industrial edge, making it feel both functional and stylized.
The font appears intended to deliver a strong, industrial stencil aesthetic while maintaining clean geometric construction and consistent stroke weight. The systematic breaks suggest a focus on practical, markable forms reminiscent of sprayed or cut lettering, adapted for bold display use.
The design favors bold silhouettes and distinctive internal gaps, which increases recognizability at larger sizes and in short strings. The repeated breaks can become visually busy in dense paragraphs, where the interior cuts start to compete for attention.