Sans Other Kebod 9 is a regular weight, narrow, low contrast, upright, short x-height font.
Keywords: posters, titles, branding, album art, packaging, occult, geometric, mystic, retro, quirky, thematic display, symbolic styling, geometric experimentation, retro flavor, monoline, angular, circular, symbolic, decorative.
A monolinear, decorative sans with a narrow overall stance and a mix of clean vertical stems and highly geometric constructions. Many forms lean on circles, triangles, and straight segments, with frequent open bowls and tapered joins that keep counters airy. Several glyphs incorporate emblem-like internal strokes (notably circular letters), and some capitals take on simplified, almost sign-like silhouettes; the result is a deliberately uneven rhythm where conventional sans structures alternate with more schematic, symbol-driven shapes. Spacing appears moderate and the texture stays crisp due to consistently thin strokes and minimal contrast.
Best suited to short display settings where its geometric quirks can be appreciated—posters, headlines, title cards, branding marks, and themed packaging. It can also work for atmospheric captions or pull quotes in fantasy, occult, or retro-futuristic visual systems, but the more idiosyncratic letterforms are likely to feel busy in long passages.
The font reads as esoteric and ceremonial, mixing modernist geometry with a playful, coded feel. Its distinctive emblematic letters suggest puzzles, runes, or sci‑fi/fantasy interfaces, giving text an intentionally strange, artifact-like personality rather than a neutral voice.
The design intent appears to be a decorative, symbol-inflected sans that turns familiar Latin forms into geometric icons while keeping enough structure for recognizable reading. It prioritizes mood, motif, and distinctive word shapes over typographic neutrality, aiming to function as a thematic display face.
Uppercase characters show the strongest stylization, with several letters rendered as pure geometric motifs, while lowercase retains more conventional readability but still includes unusual terminals and open curves. Numerals follow the same streamlined, monoline approach, with a few characters adopting more constructed, display-oriented shapes that reinforce the font’s symbolic tone.