Sans Other Obme 11 is a very bold, normal width, low contrast, upright, tall x-height font visually similar to 'Heavy Duty' by Gerald Gallo, 'Manufaktur' by Great Scott, 'Informational Sign JNL' by Jeff Levine, 'POLIGRA' by Machalski, and 'Bulltoad' by Typodermic (names referenced only for comparison).
Keywords: headlines, posters, game ui, logos, packaging, industrial, arcade, brutalist, techno, retro, impact, retro tech, industrial edge, display branding, labeling, blocky, angular, condensed caps, stencil-like, square counters.
A heavy, block-constructed sans with squared geometry and abrupt, chiseled corners. Strokes are consistently thick with minimal modulation, and many joins are built from straight segments that create notched, stepped diagonals (notably in K, R, and Z). Counters tend to be rectangular or slit-like, and several letters use small square apertures that read as punched openings, giving the design a slightly stencil-cut feel. Spacing is tight and the overall texture is dense, with simplified forms and a high, sturdy baseline presence.
Best suited for short, high-impact settings such as headlines, posters, title cards, game/UI labels, and logo wordmarks where the chunky silhouette and squared counters can be appreciated. It can also work for packaging or signage that benefits from an industrial, cut-metal aesthetic, but its dense, notched details are more effective at display sizes than in long passages.
The font projects a rugged, mechanical tone reminiscent of arcade titles, industrial labeling, and hard-edged techno graphics. Its assertive massing and squared cut-ins feel utilitarian and forceful, with a retro-digital edge that reads as bold and confrontational rather than friendly or neutral.
The design appears intended to deliver maximum visual punch through blocky construction, squared counters, and engineered notches that evoke cut-out lettering. It emphasizes a strong, retro-tech personality and a consistent, geometric system over conventional text readability.
Uppercase forms are especially compact and poster-like, while the lowercase follows the same squared logic, preserving a unified, monoline block system. Diagonal characters (V, W, X, Y) are built from broad wedges rather than thin diagonals, which reinforces the chunky, engineered rhythm in running text.