Sans Other Judas 3 is a bold, normal width, monoline, upright, normal x-height font.
Keywords: headlines, posters, signage, labels, logos, industrial, military, mechanical, retro, technical, utilitarian, stenciled, impact, modular, stencil, octagonal, squared, angular, compact.
A blocky, angular sans with a stencil-like construction and frequent chamfered corners. Strokes are heavy and largely uniform, with crisp straight segments and small internal notches that create deliberate breaks in bowls and joints. Curves are minimized into octagonal forms (notably in C, G, O, and 0), producing a rigid, engineered silhouette. The lowercase follows the same geometric logic, with simplified shapes and tight apertures; overall spacing and rhythm feel compact and modular, emphasizing strong verticals and clean horizontal cuts.
Best suited to display settings such as headlines, posters, signage, and product or equipment labeling where its angular stencil detailing remains clear. It can also work for logos and wordmarks needing a mechanical or industrial voice. For extended reading, larger sizes and generous tracking will help maintain clarity.
The font projects an industrial, utilitarian tone, reminiscent of labeling, machinery markings, and uniform equipment. Its sharp geometry and stencil breaks add a tough, no-nonsense character that reads as technical and regimented rather than friendly or informal. The overall mood is assertive and functional with a retro-futuristic edge.
The design appears intended to merge a straightforward sans foundation with stencil-inspired breaks and faceted, octagonal geometry. The goal is likely a rugged, engineered look that stays highly graphic and consistent across letters and numerals, optimized for impactful display and marking-style applications.
Distinctive ink-trap-like cut-ins and segmented joins increase the sense of constructed parts and help separate counters at display sizes. Numerals and round letters share the same faceted geometry, supporting consistent texture in headings. The strong black shapes can feel dense in long passages, where the stencil interruptions and tight apertures become more visually active.