Serif Other Etsi 3 is a regular weight, normal width, low contrast, upright, normal x-height font.
Keywords: headlines, editorial design, branding, posters, packaging, editorial, fashion, dramatic, elegant, modernist, distinctive display, brand signature, modern classic, decorative texture, high-impact, sculptural, stencil-cut, wedge serif, sharp terminals.
A stylized serif with sculpted, wedge-like serifs and distinctive cut-in notches that create a near-stencil, engraved feel. Strokes are largely even in weight, with sharp, knife-edged terminals and crisp joins that emphasize pointed counters and triangular apertures. Capitals are tall and commanding, while the lowercase keeps a steady, readable rhythm but retains the same incised details—most noticeable in letters like a, e, s, and t. Numerals follow the same angular, carved construction, giving the set a cohesive, display-forward texture.
Best suited to headlines, pull quotes, and other large-size settings where its carved details and wedge serifs can read clearly. It works well for brand marks and packaging that want a refined but unconventional serif voice, and for posters or cultural/event graphics that benefit from a dramatic, high-contrast-in-form (rather than stroke) silhouette.
The overall tone is bold and editorial, projecting a fashion-forward sophistication with a slightly theatrical, poster-like edge. Its sharp cuts and dramatic silhouettes suggest luxury branding, magazine typography, and modern reinterpretations of classical serif formality.
The design appears intended to reinterpret a classic serif framework through deliberate incisions and wedge terminals, creating a signature, decorative texture without relying on extreme stroke contrast. The goal seems to be strong brand recognition and high impact in display typography while preserving enough structure to remain legible in short text blocks.
The repeated internal cut marks become a strong identifying motif, adding texture in headlines but also increasing visual activity in longer passages. Rounded forms (C, O, Q) read as segmented arcs rather than continuous bowls, which heightens the decorative character and makes spacing and tracking feel especially important at smaller sizes.