Sans Other Ipmy 12 is a bold, wide, medium contrast, upright, normal x-height font visually similar to 'Croih' by 38-lineart, 'Hando' by Eko Bimantara, 'Neurial Arabic' and 'Neurial Grotesk' by Indian Type Foundry, 'Claspo ND' by Nicolas Deslé, and 'Bassen' by SRS Type (names referenced only for comparison).
Keywords: headlines, posters, branding, signage, sportswear, industrial, techy, futuristic, modular, assertive, distinctive identity, industrial feel, tech signaling, display impact, stencil cuts, ink traps, notched, geometric, monolinear.
A heavy, geometric sans with broad proportions and clean, mostly monolinear strokes. Many letters feature a distinctive horizontal break/cut through the middle, creating a stencil-like spine that reads as a deliberate notch rather than a gap from low contrast. Counters are generally round and open, terminals are crisp, and diagonals (A, K, V, W, X, Y) are straight and sturdy, giving the design a solid, engineered rhythm. The figures are similarly built, with the same midline cut carried into rounded forms like 0, 6, 8, and 9, reinforcing a consistent system across the set.
Best suited to display contexts such as bold headlines, posters, logos, packaging, and signage where its cut-through midline can read as a signature detail. It can also work for short UI labels or wayfinding-style typography when a strong, technical voice is desired, but the central breaks may feel busy in long passages at small sizes.
The repeated midline slicing lends a technical, industrial attitude—part sci‑fi, part signage—while the overall mass and generous widths keep it loud and confident. It feels purposeful and constructed, with a slightly experimental edge that suggests machinery, interfaces, and modern fabrication.
The design appears intended to be a recognizable, system-driven sans that distinguishes itself through a consistent midline incision across glyphs. That device creates a branded, stencil/industrial flavor while retaining straightforward sans structure and clear, geometric silhouettes.
The midline cut is most visually prominent in rounded letters (C, G, O, Q, S) and helps differentiate forms at large sizes, but it also introduces a strong horizontal motif that becomes a dominant texture in text. Rounded bowls and squared joins coexist, producing a hybrid of geometric softness and hard-edged pragmatism.