Sans Other Ohlu 3 is a bold, normal width, low contrast, upright, normal x-height font visually similar to 'ATF Poster Gothic' by ATF Collection, 'Military Jr34' by Casloop Studio, 'Revx Neue' and 'Revx Neue Rounded' by OneSevenPointFive, and 'Beachwood' by Swell Type (names referenced only for comparison).
Keywords: headlines, logotypes, posters, game ui, packaging, industrial, techno, arcade, constructed, futuristic, display impact, tech aesthetic, modular system, retro futurism, square, blocky, angular, chamfered, stencil-like.
A constructed, square-shouldered sans with heavy rectangular strokes and a modular, grid-driven build. Corners are frequently chamfered and internal counters are boxy, creating a strong pixel/brick rhythm rather than smooth curves. Many joins and terminals resolve into right angles, with occasional diagonal cuts (notably in A, K, R, V, W, X, Y, Z) that keep the forms sharp and mechanical. The lowercase follows the same geometric logic with compact, angular bowls and short, straight terminals; spacing reads slightly varied across letters due to the bespoke, fitted shapes.
Best suited to short, high-impact settings such as headlines, logos, posters, game interfaces, and bold labeling where its angular construction can read as intentional and stylistic. It performs especially well in large display sizes, on dark/light high-contrast backgrounds, and in contexts that want a technical or arcade-inspired voice.
The overall tone is technical and utilitarian, evoking digital signage, arcade-era display lettering, and industrial labeling. Its squared geometry and cut corners give it a rugged, machine-made feel with a distinctly retro-futuristic edge.
The design appears intended to translate a modular, grid-based concept into a solid display sans, prioritizing strong silhouettes, squared counters, and chamfered corners for a distinctive techno/industrial identity.
The font’s boxy counters and tight apertures emphasize silhouette over interior detail, which boosts impact at larger sizes. The numerals are similarly constructed with squared forms and strong horizontals, aligning well with the uppercase’s rigid architecture.