Sans Superellipse Ombey 11 is a bold, narrow, monoline, upright, normal x-height font visually similar to 'AG Bambook' by Alexandr Galuzin, 'FS Industrie' by Fontsmith, and 'Neusa Neu' by Inhouse Type (names referenced only for comparison).
Keywords: headlines, signage, posters, packaging, ui labels, industrial, compact, utilitarian, modern, assertive, space-saving, clarity, modern utility, high impact, condensed, tall, rounded corners, geometric, high contrast (presence).
A compact, condensed sans with tall proportions and tight internal counters, drawn with largely uniform stroke weight. Curves are based on squarish, superelliptical bowls with softened corners, giving round letters a subtly rectangular feel. Terminals are clean and mostly flat, with minimal modulation and crisp joins; diagonal shapes (like A, V, W, Y) are straight and sturdy. The lowercase maintains a straightforward, engineered rhythm with simple forms and firm vertical emphasis, while figures are similarly narrow and sturdy for dense settings.
This font works best where space is limited but impact is needed—condensed headlines, poster typography, signage, and packaging callouts. It also suits interface labels and dashboards that benefit from compact, high-presence letterforms, particularly at medium to large sizes.
The overall tone is functional and no-nonsense, with an industrial clarity that feels contemporary and efficient. Its compact width and firm geometry convey urgency and confidence, leaning more toward practical signage and system typography than decorative display.
The design appears intended to deliver a compact, high-impact sans that stays orderly and readable while projecting a modern, industrial character. Its superelliptical curves and uniform strokes suggest a focus on consistency and efficient layout rather than expressive detailing.
Spacing reads controlled and economical, helping the design stay legible at larger sizes while remaining space-saving. The superelliptical construction is especially apparent in rounded letters, which look more like rounded rectangles than perfect circles, reinforcing the font’s engineered personality.