Sans Superellipse Otlaz 1 is a bold, normal width, monoline, upright, normal x-height font visually similar to 'Hudson NY Pro' by Arkitype, 'Evanston Tavern' by Kimmy Design, 'Gemsbuck Pro' by Studio Fat Cat, and 'Forgotten Futurist' and 'Octin College' by Typodermic (names referenced only for comparison).
Keywords: headlines, posters, logos, packaging, signage, industrial, technical, friendly, contemporary, sturdy, impact, modernity, tech tone, robustness, clarity, rounded corners, squared bowls, compact counters, high contrast edges, geometric.
A heavy, geometric sans with a rounded-rectangle (superellipse) construction that keeps curves tight and corners softly eased. Strokes are consistently thick with minimal modulation, and many joins terminate in blunt, squared ends rather than tapered cuts. Counters are compact and rectangular-leaning, giving the forms a dense, engineered feel; apertures on letters like C/S are relatively narrow compared to the overall weight. Uppercase shapes are broad and stable, while lowercase maintains a sturdy, utilitarian rhythm with short, firm terminals and simplified curves.
Best suited for short, high-impact text where its dense counters and heavy color can read as intentional: headlines, posters, branding marks, packaging, and wayfinding or product labeling. It can also work for UI labels or dashboards when a sturdy, technical voice is desired, especially at medium-to-large sizes.
The overall tone is modern and pragmatic—confident, mechanical, and slightly playful due to the softened corners. It reads as robust and straightforward, with a subtle tech/industrial flavor that still feels approachable rather than severe.
The design appears intended to deliver a bold, contemporary sans built from superelliptical geometry—combining industrial sturdiness with softened corners for a friendlier, more current tone. The consistent stroke weight and compact internal spaces prioritize visual impact and a cohesive, engineered texture across letters and numbers.
Round elements (O/Q/0 and bowls in b/d/p) tend to look squarish, emphasizing a modular, constructed aesthetic. The numerals are especially blocky and prominent, matching the heavy color of the letters and holding up well at large sizes.