Distressed Pubuk 1 is a bold, normal width, very high contrast, upright, tall x-height font visually similar to 'Pantograph' by Colophon Foundry, 'Arial Nova' and 'Helvetica Now' by Monotype, 'Lyu Lin' by Stefan Stoychev, 'Aksioma' by Zafara Studios, and 'Kropotkin Std' by sugargliderz (names referenced only for comparison).
Keywords: posters, packaging, headlines, stickers, album art, handmade, grunge, playful, rustic, punchy, diy texture, analog print, handmade impact, informal display, brushy, blotchy, roughened, uneven, inked.
A heavy, hand-rendered display face with blunt terminals and visibly uneven stroke edges that mimic loaded ink or rough brush work. Letterforms are largely monoline in construction but show strong internal texture: counters and bowls are irregular, with occasional nicks, flats, and pinched joins. Proportions vary noticeably from glyph to glyph, creating a lively rhythm; round forms are slightly squarish and lumpy, and straight strokes wobble subtly rather than staying rigid. The lowercase maintains a large footprint with simple, sturdy shapes, and the numerals are thick and slightly condensed with the same mottled, printed texture.
Best suited to display settings such as posters, event flyers, merch graphics, packaging, and bold editorial headlines where the distressed texture can be a featured element. It can work for short paragraphs at larger sizes, but the rough interiors and irregular widths will be most effective when given room to breathe.
The overall tone is gritty and handmade, balancing a friendly, informal feel with a distressed, street-poster energy. It reads as approachable and playful, but with enough roughness to suggest DIY production, zines, or worn screen-printed graphics.
The design appears intended to emulate hand-painted or rough-printed lettering, preserving the imperfections of ink spread and worn edges to create an authentic, analog feel. Its simplified, chunky shapes prioritize impact and personality over typographic neutrality.
Texture appears consistently across the alphabet, suggesting a deliberate rough-print effect rather than random distortion. Spacing feels open and forgiving in text samples, supporting short lines and headings where the irregular edges can remain legible without turning noisy.