Sans Other Apme 3 is a very bold, normal width, low contrast, upright, normal x-height font visually similar to 'Lyu Lin' by Stefan Stoychev, 'TT Hoves Pro' and 'TT Norms Pro' by TypeType, and 'Artico' by cretype (names referenced only for comparison).
Keywords: posters, headlines, packaging, kids media, stickers, playful, quirky, bouncy, friendly, cartoonish, attention-grabbing, playfulness, informality, display impact, chunky, tilted, irregular, rounded, high-impact.
A heavy, chunky sans with rounded corners and low-contrast strokes, set with an intentionally irregular, wobbly geometry. Letterforms lean and shift slightly from glyph to glyph, creating a lively rhythm rather than a rigid baseline-and-verticals feel. Counters are generally open and simple, with compact internal spaces in letters like B, P, and R, and broad, smooth curves in C, O, and S. The overall build favors bold silhouettes and simplified joins, producing strong presence and quick recognition at larger sizes.
Well-suited to display settings such as posters, headlines, product packaging, and playful branding where a bold, friendly voice is desired. It can work effectively for kids-oriented materials, comics-style callouts, social graphics, and short promotional phrases where impact and personality matter more than typographic restraint.
The tone is humorous and informal, with a handmade, animated energy that feels spontaneous and approachable. Its uneven angles and buoyant stance suggest a comic, kid-friendly sensibility rather than a corporate or technical voice. The font reads as expressive and attention-grabbing, designed to inject personality into short messages.
The design appears intended to deliver a bold display sans with a deliberately quirky, hand-cut or cartoon-inspired irregularity. It emphasizes strong silhouettes and a buoyant rhythm to stand out quickly and communicate an informal, fun tone.
In the sample text, the uneven tilt and shifting widths become a defining texture, especially across long lines where the lively rhythm is most apparent. The numerals match the same chunky, simplified construction for cohesive display use. Because the shapes prioritize character over neutrality, it works best when the font itself is part of the visual message.