Sans Other Hudy 6 is a very bold, wide, medium contrast, upright, tall x-height font visually similar to 'Qubo' by Hoftype, 'Latina' by Latinotype, 'Aalto Sans' by Los Andes, and 'Acto' and 'Global' by Monotype (names referenced only for comparison).
Keywords: posters, headlines, branding, packaging, logos, industrial, playful, punchy, edgy, retro, display impact, distinct texture, stencil-like voice, brand recognition, stencil cuts, notched, chunky, geometric, high-impact.
A heavy, compact sans with large counters and broad, blocky strokes shaped by recurring diagonal incisions. Many glyphs feature cut-in notches and wedge-like openings that interrupt bowls and joins, creating a stencil-adjacent, segmented rhythm without becoming fully broken. Curves are simplified and slightly squarish, terminals tend to be flat, and diagonals (notably in K, M, N, V, W, X, Y, Z) are emphasized with sharp, graphic cuts. The overall construction reads as sturdy and poster-oriented, with consistent use of slanted cut details across capitals, lowercase, and numerals.
Best suited to headlines and short-form messaging where the carved details can register—posters, packaging, event promos, and bold identity work. It can also serve as a distinctive logotype style for brands aiming for a rugged, graphic, or retro-industrial feel.
The repeated diagonal “slice” motif gives the face an energetic, slightly rebellious tone—part industrial signage, part playful display experimentation. It feels bold and attention-seeking, with a gritty, mechanical edge tempered by rounded bowls that keep it approachable.
The design appears intended to reinterpret a straightforward sans structure with a consistent system of diagonal cutouts, prioritizing memorable silhouettes and high visual impact over neutrality. Its goal seems to be creating a recognizable display voice that remains broadly legible while adding a signature “notched” texture.
The cut-ins create strong internal shapes and distinctive silhouettes, especially in rounded letters like O/Q/C/G and in numerals. In dense text, the motif becomes a prominent texture, so the design reads best when given room to breathe and when the cuts can be perceived clearly.