Sans Superellipse Olnal 4 is a bold, normal width, monoline, upright, normal x-height font visually similar to 'Charles Wright' and 'Enamela' by K-Type, 'Nulato' by Stefan Stoychev, and 'Gemsbuck Pro' by Studio Fat Cat (names referenced only for comparison).
Keywords: headlines, posters, signage, interfaces, branding, technical, industrial, modern, utilitarian, clean, systematic geometry, strong presence, screen-forward, rounded corners, square-oval, compact, sturdy, high contrast (shape).
A heavy, monoline sans with a superelliptical construction: curves resolve into rounded-rectangle bowls and counters rather than true circles. Strokes are uniformly thick with softly squared terminals, producing a compact, sturdy texture. Uppercase forms are broad and blocky with large, rectangular counters (notably in B, D, O, P), while diagonals (A, K, V, W, X, Y) stay crisp and geometric. Lowercase is similarly built from rounded rectangles, with single-story a and g, a tight, square-shouldered n/m, and a short, flat-topped t; round letters like o/e read as squarish ovals. Numerals follow the same logic, with a squared 0/8 and an angular 4/7 that reinforce the engineered feel.
Best suited to short-to-medium settings where bold, geometric clarity is desired—headlines, posters, packaging, and signage. It also fits UI or product contexts that benefit from a robust, technical voice, especially at larger sizes where the rounded-rectangle details read clearly.
The overall tone is modern and functional, with a mildly retro-tech flavor reminiscent of display systems and industrial labeling. Its softened corners keep it approachable, while the rigid geometry and dense weight project strength and precision.
The design appears aimed at delivering a strong, geometric sans built from superellipse-like forms, prioritizing consistency and a modern, engineered character while avoiding sharp, harsh corners.
The narrow apertures and squarish counters create a dark, even color at text sizes, and the rounded-rectangle shaping gives the face a distinctive rhythm in repeated verticals and bowls. The dot on i/j is a compact rounded square, matching the font’s systematic, modular language.