Solid Tehu 3 is a very bold, normal width, low contrast, upright, normal x-height font visually similar to 'Habana Deco ML' by HiH and 'Moonlit Walk JNL' by Jeff Levine (names referenced only for comparison).
Keywords: posters, headlines, logos, packaging, titles, playful, futuristic, stencil-like, modular, quirky, maximum impact, graphic display, retro-future, iconic shapes, novelty branding, geometric, chunky, angular, rounded, high-impact.
A heavy, geometric display face built from bold, simplified forms with frequent cut-ins and collapsed counters. Many glyphs read as solid silhouettes where interior space is reduced to small notches or wedge-shaped bites, creating a stencil-like, modular construction. Curves are broad and circular, while diagonals and terminals often resolve into sharp points or flat slabs, producing a distinctive mix of round and angular geometry. Spacing and letterfit feel intentionally irregular, reinforcing the constructed, object-like rhythm in both uppercase and lowercase.
Best suited to large-size applications such as posters, editorial headlines, title cards, and branding where strong silhouette and novelty are assets. It can also work for packaging, event graphics, and UI/game title treatments, especially when used in short words or spaced-out settings for clarity.
The overall tone is playful and unconventional, with a sci‑fi/retro arcade edge. Its solid, cut-out shapes suggest signage, icons, and stamped lettering, giving it a bold, attention-grabbing personality that feels experimental rather than neutral.
The font appears designed to maximize visual impact through solid, simplified silhouettes and intentional counter collapse, creating a distinctive stencil-cut aesthetic. Its mix of circular bowls and sharp wedges suggests an aim toward retro-futuristic, modular display typography that stands out immediately in a catalog of conventional sans or slab designs.
The design leans on recognizable archetypes while introducing pronounced notches and filled counters that can reduce legibility at small sizes. Numerals and capitals are especially graphic, reading well as standalone marks or in short bursts where shape recognition matters more than fine detail.