Stencil Sore 3 is a bold, normal width, medium contrast, upright, normal x-height font visually similar to 'Midnight Sans' by Colophon Foundry, 'Helvetica Now' by Monotype, 'RF Dewi' by Russian Fonts, 'Brown Pro' by Shinntype, and 'Nuber Next' by The Northern Block (names referenced only for comparison).
Keywords: posters, headlines, packaging, sports branding, event graphics, industrial, rugged, tactical, grunge, assertive, distressed stencil, impact display, industrial marking, rugged branding, blocky, condensed caps, ink-trap cuts, high impact, all-caps friendly.
A heavy, block-forward sans with rounded corners and compact counters, built around stencil-like breaks that slice through stems, bowls, and joins. The cutouts read as irregular chips rather than perfectly uniform bridges, creating a distressed rhythm that varies slightly glyph to glyph. Uppercase forms feel relatively compact and sturdy, while lowercase keeps simple, utilitarian shapes with minimal modulation. Numerals are wide and weighty, with the same fractured interruptions running through key stress points for a consistent, rugged texture.
Best suited to display typography such as posters, punchy headlines, apparel graphics, and packaging where a rugged stencil texture is desirable. It can also work for branding in sports, music, or action-oriented themes, especially when used at medium to large sizes so the internal breaks remain clear.
The overall tone is tough and utilitarian, evoking industrial marking, field equipment labeling, and worn signage. Its distressed cuts add a gritty, lived-in character that feels energetic and a bit rebellious, while the underlying geometric construction keeps it direct and legible at display sizes.
The design appears intended to combine a solid, no-nonsense sans foundation with stencil functionality and a distressed finish, producing a ready-made “marked” look without additional effects. The irregular chipping suggests an aim toward realism and grit rather than precision-industrial cleanliness.
The stencil breaks are prominent enough to become the defining texture in text, creating strong horizontal interruptions across many letters (notably in rounded forms like O, C, G, and e). Spacing appears tuned for headline use, where the internal cut patterns remain readable and contribute to the visual identity rather than becoming noise.