Sans Superellipse Osgug 6 is a very bold, narrow, low contrast, upright, normal x-height font visually similar to 'Newhouse DT' by DTP Types, 'Neusa Neu' by Inhouse Type, 'Murs Gothic' by Kobuzan, 'Moderna Sans' by Latinotype, 'Hype vol 3' by Positype, and 'Quarca' by insigne (names referenced only for comparison).
Keywords: headlines, posters, branding, signage, packaging, industrial, authoritative, sporty, poster-ready, utilitarian, space saving, high impact, modern utility, geometric consistency, compact, blocky, rounded corners, closed apertures.
A compact, heavy sans with rounded-rectangle construction and tightly controlled curves. Strokes are monolinear and dense, with wide verticals and abbreviated horizontals that emphasize a tall, condensed silhouette. Round letters (O, C, G) read as squarish superellipses with softened corners, while joins and terminals stay blunt and clean. Counters are relatively small and apertures are often closed, producing a solid, high-ink texture; spacing feels snug and consistent, supporting bold headline setting.
Best used at display sizes where its dense weight and compact width create impact—headlines, posters, storefront or wayfinding signage, packaging, and bold brand wordmarks. It can also work for short UI labels or badges when you want a sturdy, condensed look, but it will be less comfortable for extended reading due to its tight, dark texture.
The overall tone is forceful and practical, with a modern industrial edge. Its squared-round geometry feels engineered and no-nonsense, while the softened corners keep it from turning harsh. The result reads confident and attention-grabbing—well suited to messaging that needs to feel sturdy and direct.
The design appears aimed at delivering maximum presence in minimal horizontal space, using rounded-rectangle forms to keep curves controlled and consistent. It prioritizes clarity at large sizes and a cohesive, engineered aesthetic across letters and figures.
The uppercase has a strong billboard presence, and the numerals follow the same squared-round logic for a cohesive set. The lowercase is straightforward and compact, maintaining the same dense color, which can make long passages feel heavy but gives short lines a punchy, uniform rhythm.