Sans Other Ibry 10 is a bold, normal width, monoline, upright, normal x-height font visually similar to 'Altone' by Eko Bimantara, 'Mazzard' and 'Mazzard Soft' by Pepper Type, 'Mangrove' by Set Sail Studios, and 'Espial' by VP Creative Shop (names referenced only for comparison).
Keywords: headlines, posters, logotypes, branding, packaging, techno, futuristic, industrial, stenciled, geometric, distinctive display, tech aesthetic, stencil effect, brand impact, cutout, modular, high-contrast counters, rounded geometry, crisp terminals.
A heavy, geometric sans with monoline stroke logic and distinctive cutouts that read like stencil bridges or modular breaks. Bowls are broadly circular and smooth, while many glyphs feature strategic gaps—most noticeably as horizontal breaks in curved letters and small notches in joins—creating a segmented, engineered rhythm. Terminals are clean and typically squared, with occasional angled joins in diagonals; overall proportions are compact and steady, keeping the texture dense and graphic in display sizes.
Best suited to headlines, posters, product branding, and logo work where the cutout/stencil motif can read clearly and add personality. It can also work for tech-themed UI headings, event titles, or packaging display text where a bold, engineered voice is desired.
The repeated breaks and mechanical geometry give the face a futuristic, industrial tone—more machine-made than handwritten, with a slightly sci‑fi, tech-interface character. It feels assertive and modern, suggesting systems, machinery, and constructed signage rather than neutral everyday text.
The design appears intended to merge a straightforward geometric sans foundation with a consistent system of cutouts, producing a distinctive, modern display voice while retaining clear overall letter silhouettes. The goal is likely recognizability and a constructed, industrial feel rather than neutrality for body copy.
The segmented details are a defining motif across both uppercase and lowercase, creating strong identity but also introducing intentional interruptions in letterforms (e.g., in rounded characters and some numerals). The result is highly recognizable in headlines and logos, with a deliberate “assembled” look that can become visually busy at smaller sizes or in long paragraphs.