Sans Other Ibfy 1 is a bold, normal width, monoline, upright, normal x-height font visually similar to 'Lucifer Sans' by Daniel Brokstad and 'Gulka' and 'Pollet Signature Script Sans Font' by Maulana Creative (names referenced only for comparison).
Keywords: posters, headlines, branding, signage, packaging, industrial, stencil, techno, architectural, utility, stencil system, tech aesthetic, display impact, industrial voice, geometric, cutout, high-contrast, modular, crisp.
A heavy, geometric sans with monoline strokes and frequent vertical cut-ins that create a stencil-like, segmented construction. Counters are generally round to oval, while joins and terminals are clean and straight, giving the face a machined, modular feel. The alphabet mixes broad, compact shapes with occasional narrow forms, and several glyphs feature deliberate gaps through the center or along the stem, producing a consistent “broken” rhythm across the set. Numerals follow the same cutout logic, with clear, bold silhouettes designed to read as solid blocks at display sizes.
Best suited to display applications where the cutout motif can be appreciated: posters, headlines, logos, product packaging, event graphics, and wayfinding or industrial-style signage. It can also work for short UI labels or title treatments when a technical, engineered voice is desired, but the strong internal gaps make it less ideal for long body text.
The segmented cutouts and blunt geometry evoke industrial labeling, engineered signage, and sci‑fi interface graphics. The overall tone is assertive and functional, with a slightly experimental edge that feels contemporary and mechanical rather than friendly or humanist.
The design appears intended to merge a bold geometric sans foundation with a stencil/cutout system, creating a distinctive, repeatable disruption that reads as both utilitarian and futuristic. It prioritizes a striking silhouette and a consistent mechanical texture over conventional neutrality.
The repeating vertical interruptions act as a strong identifying motif, but they also introduce a pronounced visual texture that can dominate in longer passages. Round letters (such as O/Q and 0/6/8/9) emphasize the stencil effect most strongly, while diagonals (V/W/X/Y/Z) keep the voice sharp and dynamic.