Sans Other Ibbi 4 is a bold, normal width, monoline, upright, normal x-height font visually similar to 'Halis Grotesque' and 'Halis Rounded' by Ahmet Altun, 'Metcon' by Comicraft, 'Giriton' by Hazztype, 'Hurme Geometric Sans 1 & 2' by Hurme, 'Lemon Milk Pro' by Marsnev, and 'Madera' by Monotype (names referenced only for comparison).
Keywords: posters, headlines, logotypes, packaging, signage, stencil, industrial, techno, retro, stencil effect, graphic impact, distinct texture, modular look, geometric, round counters, vertical cuts, high contrast gaps, display-oriented.
A heavy, geometric sans built from broad strokes and circular/rectilinear forms, distinguished by consistent vertical stencil-like cuts through many glyphs. Curves are close to circular in bowls and counters, while diagonals in A, V, W, X, Y, and Z are sharply planar and clean. Terminals are mostly flat, and the overall rhythm is compact and blocky, with the repeated interior gaps creating a strong patterning effect across words. Numerals and capitals share the same cut-and-fill logic, producing bold silhouettes with deliberate internal interruptions.
Best suited to display applications where the stencil segmentation can read clearly—posters, headlines, branding marks, labels, and wayfinding or environmental graphics. It can add a strong industrial or futuristic accent to short phrases, titles, and numeric callouts.
The repeated split-stencil construction gives the font a mechanical, engineered tone that reads as industrial and techno-leaning. It also carries a retro signage feel, evoking cut vinyl, stenciled marking, or modular display lettering. The visual voice is assertive and graphic, prioritizing impact and pattern over quiet neutrality.
The design appears intended to merge a clean geometric sans foundation with a consistent stencil/split system, creating a recognizable texture and strong visual motif. It aims for high impact and instant differentiation in display typography, while remaining structurally legible through simple, bold forms.
The internal cuts are generally vertical and centrally placed, creating a distinctive "segmented" texture in running text. Round letters like O/Q/0/8/9 emphasize the contrast between solid mass and the narrow breaks, while letters with diagonals retain strong triangular silhouettes. At smaller sizes the gaps may become a dominant feature, so the design naturally favors larger settings.