Sans Other Ufriz 3 is a very light, normal width, monoline, upright, normal x-height font.
Keywords: display, logotype, branding, headlines, posters, airy, modernist, technical, refined, playful, distinctiveness, minimalism, geometric rigor, negative-space motif, modern branding, geometric, rounded, stenciled, open counters, high contrast gaps.
A delicate, geometric sans built from thin, even strokes and frequent intentional breaks in the contours. Curves are smooth and near-circular (notably in C, O, Q, and the bowls of b/p), while verticals remain straight and clean, giving a crisp, constructed feel. Many letters use open counters or interrupted joins—such as split bowls in B, broken rings in O/0, and a segmented construction in S—creating a subtle stencil-like rhythm. Terminals are generally blunt and minimal, with occasional short horizontal caps (E, F, T) and tidy, compact joins in diagonals (V, W, X, Y). Figures follow the same logic, using gaps and simplified geometry for a cohesive, minimal numeric set.
Best suited to display contexts where the segmented construction can be appreciated—logos, brand wordmarks, headlines, posters, and editorial pull quotes. It can also work for short UI headings or labels in modern, minimal interfaces, especially where a light, precise tone is desired. For long-form reading at small sizes, the frequent breaks may feel decorative and are likely most effective when given ample size and spacing.
The overall tone is light, contemporary, and slightly experimental—more design-forward than utilitarian. The broken strokes add a technical, schematic character, while the rounded geometry keeps it friendly and approachable rather than harsh. It reads as understated and refined at larger sizes, with a distinctive, modern identity.
The design intention appears to be a minimalist geometric sans with a signature broken-stroke system, balancing clarity with a distinctive, crafted identity. By introducing consistent interruptions in bowls and strokes, it creates a memorable voice without adding ornament or serifs, aiming for a contemporary, design-led aesthetic.
The repeated use of gaps becomes a primary motif, producing recognizable silhouettes even with reduced stroke continuity. In text, the open forms introduce sparkle and negative-space texture, which can reduce density and emphasize line breaks and spacing. The design feels carefully systematized, with consistent stroke endings and recurring circular/semicircular components across cases and numerals.