Sans Other Banug 3 is a bold, normal width, low contrast, upright, tall x-height font visually similar to 'Chamelton' by Alex Khoroshok, 'Kelson' by Armasen, 'Midnight Sans' and 'Transcript' by Colophon Foundry, 'Fruitos' by Fenotype, and 'Helvetica Now' by Monotype (names referenced only for comparison).
Keywords: posters, packaging, signage, labels, headlines, industrial, stenciled, utilitarian, mechanical, rugged, stencil effect, industrial voice, high impact, distinct texture, labeling style, split strokes, notched, monoline, condensed feel, hard-edged.
A heavy, monoline sans with squared counters, compact apertures, and rounded-rectangle curves. Many strokes are interrupted by consistent vertical splits and small cut-ins, creating a stencil-like construction that reads as engineered rather than calligraphic. Terminals are blunt and flat, curves are tightly controlled (notably in O/Q/0 and C/G), and the overall spacing and rhythm feel dense and workmanlike. Numerals match the letterforms with the same interrupted strokes and sturdy, blocky silhouettes.
Best suited to display use where its stencil cuts can be appreciated: posters, bold titles, packaging, labels, and large-format signage. It can also work for brand marks or UI moments that want an industrial or equipment-tag feel, especially at medium to large sizes where the internal breaks stay clear.
The repeated breaks and notches give the font an industrial, utilitarian tone—suggesting labeling, fabrication, and equipment markings. It feels assertive and functional, with a slightly retro mechanical flavor that can also read as techy or tactical depending on context.
The design appears intended to merge a straightforward sans skeleton with systematic stencil-like cuts, creating a distinctive texture while keeping letterforms sturdy and legible. The consistent interruptions suggest a deliberate, repeatable construction meant to evoke manufactured marking systems.
The deliberate stroke interruptions are prominent in both uppercase and lowercase, so the texture becomes part of the word shape rather than an occasional effect. The design maintains consistent stroke weight across straight and curved forms, producing an even, high-impact color in headlines and short lines.