Hollow Other Onbu 3 is a bold, normal width, low contrast, upright, normal x-height font visually similar to 'Futura EF' by Elsner+Flake; 'Futura Now' by Monotype; 'Futura ND', 'Futura ND Alternate', and 'Futura Next' by Neufville Digital; 'Futura PT' by ParaType; and 'Architype Renner' by The Foundry (names referenced only for comparison).
Keywords: headlines, posters, packaging, signage, logos, playful, retro, industrial, circus, crafty, decorative texture, marquee effect, industrial motif, retro display, distinct branding, stencil-like, dotted, perforated, chunky, rounded.
A heavy, rounded sans with broad strokes and soft corners, featuring consistent internal perforations that run through stems, bowls, and diagonals. The cutouts read as small circular holes arranged in neat rows, creating a punched or marquee-like texture while keeping outer contours clean and highly legible. Proportions are sturdy and slightly condensed in places, with open counters and straightforward geometry; terminals are mostly blunt and uniform, and numerals follow the same solid silhouette with the dotted knockout pattern.
Best suited to display settings such as posters, headings, packaging callouts, and signage where the perforated detail can be appreciated. It can also work for logo marks or short brand phrases that want a distinctive, patterned fill while retaining clear letter shapes.
The repeated dot perforations give the face a playful, handcrafted feel reminiscent of punched cards, marquee signage, or riveted metal work. It balances friendliness from the rounded shapes with a utilitarian, fabricated character from the systematic holes, producing a lively display tone that feels both retro and maker-oriented.
The design appears intended to combine a straightforward, readable rounded sans skeleton with a decorative knockout texture that evokes punched or fabricated materials. The goal seems to be creating a bold display face that remains familiar in structure but instantly recognizable through its perforated interior pattern.
Because the interior holes are small and frequent, the texture becomes a dominant visual layer in longer text, reading more like pattern than shading. The style is most effective when the perforations remain clearly separated (e.g., at moderate to large sizes or with sufficient contrast) so the letterforms don’t visually fill in.