Sans Other Obda 10 is a very bold, normal width, monoline, upright, normal x-height font visually similar to 'Proto Sans' by ABSTRKT, 'Stallman' and 'Stallman Round' by Par Défaut, 'SbB Powertrain' by Sketchbook B, and 'Acorna' by Umka Type (names referenced only for comparison).
Keywords: headlines, logos, posters, game ui, packaging, industrial, techno, arcade, brutalist, military, impact, futurism, ruggedness, retro digital, signage, modular, angular, chamfered, square, blocky.
A heavy, modular sans built from squared geometry with consistent stroke thickness and hard right angles. Corners are frequently chamfered into 45° cuts, giving many glyphs a notched, faceted silhouette rather than smooth curves. Counters are tight and often rectangular, and joins feel engineered and compact, producing a dense texture in words. Proportions are mostly straightforward and upright, with simplified terminals and minimal optical correction that reinforces the constructed, grid-like rhythm.
This font is well suited to short, high-impact settings such as headlines, logos, posters, title cards, and product or packaging callouts. Its modular construction also fits UI elements for games and tech-themed interfaces where a pixel-adjacent, engineered feel is desired. For longer text, it works better at larger sizes where the tight counters remain clear.
The overall tone is mechanical and assertive, with a retro-digital edge reminiscent of arcade graphics, industrial labeling, and tactical stenciling—without actually being a stencil. Its sharp facets and compact spacing create a punchy, no-nonsense voice that reads as technical and energetic.
The design appears intended to deliver a rugged, geometric display sans that evokes digital/industrial aesthetics through chamfered corners, squared bowls, and a strictly constructed rhythm. It prioritizes bold presence and a distinctive angular signature over softness or traditional readability cues.
Round letters are intentionally squared off (e.g., O-like forms become boxy), and diagonals are used sparingly, typically as clipped corners or simple angular joins. The typeface holds up best when given room to breathe, as the bold mass and small interior openings can make long passages feel dense at smaller sizes.