Sans Other Tina 3 is a light, very narrow, monoline, upright, short x-height font.
Keywords: ui labels, headlines, posters, tech branding, signage, technical, futuristic, minimal, mechanical, architectural, grid construction, sci-fi styling, display clarity, systematic geometry, angular, condensed, geometric, linear, square-cornered.
A sharply geometric, line-based sans with consistent stroke thickness and predominantly straight segments. Curves are reduced to squared or chamfered corners, giving counters and bowls a rectangular feel (notably in O, D, P, and b). Proportions are tall and compact, with tight interior spaces and crisp terminals; diagonals appear sparingly and read as precise cuts rather than flowing forms. The lowercase maintains a restrained, schematic construction with compact bowls and a modest x-height relative to the long ascenders, while figures follow the same rectangular logic for a unified, gridlike texture.
Best suited to short-to-medium settings where a technical, futuristic voice is desired—interface labels, dashboards, product marks, and display typography. It can work for wayfinding or environmental graphics when set at generous sizes, and for posters or packaging that benefit from a rigid, geometric texture.
The overall tone is cool and engineered, evoking instrumentation, sci‑fi interfaces, and architectural lettering. Its disciplined geometry and thin, even strokes create a precise, modernist mood that feels more designed and technical than conversational.
The design appears intended to translate a strict grid-and-stroke construction into a usable sans, prioritizing geometric consistency and a distinctive, engineered silhouette. It aims to deliver a stylized display voice that feels precise and contemporary while remaining legible in controlled, larger-size applications.
Texture in text is clean and rhythmic, but the narrow forms and small counters can make longer passages feel airy yet exacting. The distinctive rectangular shaping gives strong stylistic presence, especially in capitals and numerals, and the punctuation/diacritic dots read as small, squared marks that reinforce the constructed aesthetic.