Wacky Hidoz 3 is a bold, normal width, medium contrast, upright, normal x-height font.
Keywords: posters, headlines, logos, packaging, event promos, playful, quirky, mischievous, retro, stencil-like, distinctiveness, texture, playfulness, branding, attention, cut-in notches, rounded joins, chunky, ink-trap feel, high-contrast counters.
A chunky, geometric sans with rounded curves and a consistent system of cut-in notches that interrupt strokes at seams and terminals. The letterforms lean on simple, sturdy construction—broad verticals, compact bowls, and blunt endings—while the repeated “bite” shapes create a rhythmic, stencil-like segmentation across the alphabet and numerals. Counters stay fairly open for the weight, with distinctive internal breaks in characters like O, Q, C, and S that read as deliberate apertures rather than damage. Overall spacing and proportions feel display-oriented, with a steady baseline presence and energetic, irregular detailing that varies from glyph to glyph.
Best suited for display work where the cut-in texture can be appreciated: posters, headlines, product packaging, event graphics, and logo/wordmark concepts. It can also work for short UI labels or merch graphics when a playful, distinctive voice is desired, but the busy internal breaks may be distracting at small sizes or in long passages.
The repeated cutouts give the face a wacky, game-like personality—part playful stencil, part prankish signage. It feels spirited and attention-seeking, with a retro novelty vibe that adds motion and character even in short words.
The design appears intended to turn a solid, legible base into a recognizable novelty style by introducing a consistent system of internal cutouts. The goal seems to be instant visual identity—creating a memorable texture and a sense of motion—while keeping the underlying letter structures straightforward enough to remain readable in display settings.
The notch motif is applied broadly across uppercase, lowercase, and figures, helping the design stay cohesive despite its irregular details. In longer text the interior breaks become a strong texture, so the font’s character reads as much from its patterning as from its silhouettes.