Sans Superellipse Olruj 3 is a very bold, very narrow, low contrast, upright, tall x-height font visually similar to 'Kaneda Gothic' by Dharma Type, 'CF Blast Gothic' by Fonts.GR, 'Helvetica' by Linotype, 'Brecksville' by OzType., 'Makeads' by Sryga, and 'Heading Now' by Zetafonts (names referenced only for comparison).
Keywords: headlines, posters, packaging, sports branding, wayfinding, industrial, assertive, compact, modern, sporty, space saving, high impact, display utility, systematic geometry, branding voice, condensed, blocky, monoline, rounded corners, tight spacing.
A compact, condensed sans with heavy, even strokes and rounded-rectangle construction. Curves are squarish and superelliptical, with softened corners and largely uniform stroke weight that keeps counters small and sturdy. Vertical emphasis is strong: stems are straight and tall, arches and bowls stay narrow, and joins are clean and minimally articulated. Terminals tend to be blunt with slight rounding, producing a dense, poster-ready texture and a steady, rhythmic column of forms.
Best suited for short, high-impact text such as headlines, posters, packaging labels, and prominent UI or wayfinding moments where space is limited. It can also work well for sports or industrial branding systems that benefit from a compact, uniform, high-density typographic color.
The overall tone is bold and no-nonsense, with a utilitarian, industrial feel. Its compressed proportions and blocky rounding suggest athletic or workwear graphics—confident, direct, and designed to take up minimal horizontal space while staying loud.
The design appears intended to maximize impact and legibility in narrow widths by combining heavy, monoline strokes with rounded-rectangular geometry. It prioritizes a consistent, engineered rhythm over calligraphic nuance, aiming for a strong display voice that stays clean and systematic.
In the samples, the tight interior spaces and condensed widths create a dark, continuous color, especially in long lines and at smaller sizes. Round letters like O and Q read as squared ovals, and punctuation adopts the same sturdy, softened-corner logic for consistency.