Sans Other Nohe 11 is a very bold, normal width, low contrast, upright, normal x-height font visually similar to 'Luckiest Guy Pro' and 'Luckiest Softie Pro' by Stiggy & Sands (names referenced only for comparison).
Keywords: posters, headlines, packaging, kids, stickers, playful, chunky, cartoon, bouncy, friendly, expressiveness, impact, approachability, informality, whimsy, rounded, bulky, wonky, soft-edged, compact.
A heavy, rounded sans with broad strokes and softly squared curves, giving each glyph a chunky silhouette. Letterforms show deliberate irregularity: subtle tilts, uneven verticals, and slightly shifting proportions create a lively, hand-cut rhythm while maintaining clear, simple construction. Counters are generally open and generous for the weight, and terminals tend toward blunt, softened ends rather than crisp geometric finishes. The overall texture is dense and dark, with a buoyant baseline feel created by the varied stance of characters across a line.
Best suited for short, high-impact text such as posters, playful branding, packaging callouts, and attention-grabbing headings. It can work well in children’s or entertainment contexts where a friendly, cartoon-forward tone is desired, but the dense weight and animated rhythm are less suited to long-form reading at small sizes.
The font reads as upbeat and informal, with a comic, kid-friendly energy. Its wobbly geometry and bulky shapes suggest craft, play, and spontaneity rather than precision or neutrality, making it feel expressive and approachable.
The design appears intended to deliver maximum visual impact with an intentionally imperfect, bouncy construction that feels hand-shaped. It prioritizes personality and approachability over strict geometric consistency, aiming for a bold display voice that reads quickly and feels fun.
The sample text shows strong headline presence and a distinctive, irregular cadence that becomes part of the voice of the typography. Round forms (like O and 0) appear especially bold and stable, while diagonals and joins introduce much of the font’s character through slight angular quirks.