Sans Other Essa 9 is a bold, very wide, medium contrast, upright, tall x-height font.
Keywords: headlines, posters, logos, gaming, tech ui, techno, futuristic, industrial, arcade, mechanical, display impact, tech aesthetic, constructed forms, sci-fi tone, branding, angular, octagonal, monoline, modular, squared.
A heavy, modular sans built from squared and chamfered strokes with a predominantly octagonal geometry. Forms are largely monoline with flat terminals and consistent stroke thickness, relying on right angles and clipped corners rather than curves. Counters are rectangular and often inset, creating a “cut-out” look, and the overall rhythm is tight with compact apertures and emphatic horizontals. Lowercase maintains an engineered, small-cap-like presence with simplified structures (single-storey forms where applicable), while numerals and capitals follow the same rigid, panel-like construction.
Best suited to short, high-impact settings such as headlines, titling, poster typography, and brand marks where its angular construction can read crisply. It also fits on-screen uses like game graphics, UI headers, and techno-themed packaging or signage, especially where a constructed, mechanical voice is desired.
The font reads as machine-made and forward-leaning, evoking sci‑fi interfaces, arcade hardware, and industrial labeling. Its sharp corners and stencil-like internal gaps create a bold, synthetic tone that feels technical and game-adjacent rather than editorial or humanist.
The design intent appears to be a geometric, constructed sans that prioritizes a futuristic, systemized aesthetic. By using chamfered corners, boxy counters, and consistent stroke logic across cases and numerals, it aims for strong display presence and a distinctive techno-industrial identity.
Diagonal strokes appear selectively and geometrically (notably in V/W/X/Y), reinforcing the modular system. Several glyphs incorporate distinctive notches and chamfers that increase recognizability at display sizes, while the dense counters and squared joins can look visually busy in longer text blocks.