Sans Other Ebju 3 is a very bold, very narrow, medium contrast, upright, tall x-height font visually similar to 'Jonah' by Canada Type, 'Dimensions' by Dharma Type, '10.12' by Fenotype, and 'Aorta' by Gaslight (names referenced only for comparison).
Keywords: posters, headlines, logotypes, packaging, editorial display, industrial, brutalist, condensed, aggressive, poster-like, space-saving impact, industrial voice, gritty texture, poster punch, blocky, rectilinear, compressed, ink-trap hints, cut-in terminals.
A tightly packed, rectilinear sans with heavy, near-monoline strokes and strongly compressed proportions. Letters are built from tall vertical slabs with minimal curvature, producing narrow counters and a pronounced vertical rhythm. Many glyphs show small notches, cut-ins, and occasional wedge-like openings that interrupt the solid forms, giving edges a slightly distressed, mechanical feel. The texture is dense and dark, with compact apertures and simplified joins that emphasize geometry over smoothness.
Best suited to short, high-impact display settings such as posters, album or event titles, logotypes, and bold packaging fronts where a dense, compressed voice is desirable. It can also work for editorial headlines and pull quotes, particularly when generous tracking and leading are used to keep the dark mass readable.
The overall tone is forceful and utilitarian, leaning industrial and brutalist. Its dense black presence and compressed rhythm feel urgent and confrontational, like stenciled signage or hard-edged poster typography. The small cuts and irregular openings add grit and attitude without turning into a fully rough or hand-made style.
The design appears aimed at maximizing visual impact in minimal horizontal space while maintaining a rigid, architectural silhouette. The notches and cut-in terminals suggest an intention to add mechanical character and breakup to otherwise monolithic forms, evoking stencil, machined, or distressed display lettering.
In running text, the narrow counters and frequent internal cut-ins can create a busy interior texture, especially where letters cluster. The ampersand and some diagonals introduce sharper angular breaks that stand out against the otherwise slab-vertical system, reinforcing a fabricated, hardware-like aesthetic.