Sans Superellipse Olmik 3 is a very bold, very narrow, monoline, upright, normal x-height font visually similar to 'Karepe FX' by Differentialtype, 'EFCO Growers' by Ilham Herry, 'Fresno' by Parkinson, 'Aptly' by Shinntype, 'Goodland' by Swell Type, 'FTY Strategycide' by The Fontry, and 'Competition' by sportsfonts (names referenced only for comparison).
Keywords: posters, headlines, branding, signage, packaging, industrial, techno, retro, mechanical, assertive, space-saving, impact, systematic, signage-ready, retro-tech, condensed, rounded corners, squarish, compact, stencil-like counters.
A compact, condensed sans built from rounded-rectangle geometry, with tight apertures and softened corners that keep the heavy strokes from feeling harsh. Curves resolve into squarish bowls and superellipse-like rounds, while terminals tend to be flat and clean, creating an engineered, modular rhythm. Counters are relatively small and often rectangular or slot-like, and the punctuation and figures follow the same squared-off, tightly fit construction for a consistent, blocky texture in text.
Best suited to short, high-impact settings such as headlines, posters, logos, and packaging where a compact footprint and strong color are desirable. It also fits wayfinding-style signage and tech-themed interfaces when used at larger sizes, where its squared counters and tight spacing remain legible and stylistically distinctive.
The overall tone is bold and utilitarian, with a retro-futurist, industrial flavor that reads as technical and no-nonsense. Its narrow proportions and compressed counters give it a punchy, poster-ready presence, suggesting speed, machinery, and signage.
The font appears intended to deliver maximum impact in minimal horizontal space, using rounded-rectangular construction to balance toughness with approachability. Its consistent, modular shapes suggest a design goal of creating a modern, industrial display voice with a nod to retro technical typography.
The design leans on verticality and uniform stroke presence, producing strong line integrity and high silhouette recognition at display sizes. Round characters such as O and Q appear more like rounded boxes than true circles, and several lowercase forms echo the uppercase’s straight-sided construction for a cohesive, system-like feel.