Sans Superellipse Onbuv 3 is a regular weight, wide, monoline, upright, normal x-height, monospaced font visually similar to 'Alloca Mono' by Daniel Gamage and 'Monoplan' by Plantype (names referenced only for comparison).
Keywords: ui labels, code samples, data tables, packaging, wayfinding, technical, utilitarian, retro, institutional, neutral, legibility, system clarity, functional tone, compact rhythm, industrial feel, rounded corners, rectilinear, boxy, high contrast voids, crisp terminals.
This typeface is built from sturdy, squared-off outlines with generously rounded corners, producing superellipse-like bowls and counters. Strokes are consistent and evenly weighted, with a compact, engineered rhythm and clear, open interior spaces. Curves tend toward rounded-rectangle geometry rather than calligraphic modulation, and diagonals (as in A, K, V, W, X, Y) are straightforward and angular. The lowercase is simple and functional, with single-storey forms (notably a and g) and mostly straight-sided stems; the overall spacing reads uniform and disciplined in continuous text.
It suits interfaces and product surfaces where consistent spacing and quick character recognition matter—such as UI labels, terminal-like readouts, tables, and technical documentation. The sturdy shapes and softened corners also work well for packaging, equipment labeling, and wayfinding where clarity at varying distances is important.
The tone is pragmatic and machine-friendly, evoking terminals, labeling systems, and mid-century industrial graphics. Rounded corners soften the otherwise rectilinear construction, giving it a friendly, modern-tech feel rather than a harsh engineered voice. Overall it communicates clarity, restraint, and reliability.
The design appears intended as a highly legible, system-oriented face that balances strict geometry with rounded corners to reduce visual harshness. Its consistent construction and disciplined rhythm suggest it was drawn to perform reliably in structured layouts and information-dense settings.
Round letters like O and Q appear more like rounded rectangles than true circles, reinforcing a grid-based construction. Numerals are bold and easily distinguishable at a glance, with a slightly squared, sign-paint-like solidity that holds up well in dense blocks of text.