Sans Superellipse Olmez 3 is a very bold, very narrow, low contrast, upright, normal x-height font visually similar to 'Quiel' by Ardyanatypes, 'Fairweather' by Dharma Type, 'Final Edition JNL' by Jeff Levine, and 'Ruden' by Panatype Studio (names referenced only for comparison).
Keywords: posters, headlines, branding, packaging, signage, industrial, retro, assertive, utilitarian, headline, space saving, impact, sturdiness, modern utility, retro nod, condensed, blocky, rounded corners, vertical stress, tight spacing.
A condensed, heavy sans with squared-off curves and rounded corners that give most bowls and counters a superelliptical, rounded-rectangle feel. Strokes stay largely uniform, producing a firm, low-modulation texture and strong vertical emphasis. Terminals are mostly blunt, with occasional subtle softening that keeps the forms from feeling purely mechanical. Counters are compact and apertures tend to be tight, creating a dense, poster-like rhythm, while the lowercase remains relatively compact against the tall, narrow caps.
Best suited to headlines and short-form display settings where compact width and high impact are desired, such as posters, signage, packaging, and bold brand wordmarks. It can also work for subheads or callouts where a dense, emphatic typographic voice is needed, especially in layouts that benefit from fitting more characters per line.
The font communicates a direct, no-nonsense tone with a distinctly industrial and slightly retro flavor. Its compressed proportions and dark color make it feel assertive and attention-seeking, suited to messaging that needs to read as bold, practical, and confident rather than delicate or refined.
The design appears intended to deliver maximum visual weight in a compressed footprint, using rounded-rectangle geometry to keep the forms friendly enough while remaining sturdy and industrial. The consistent stroke treatment and tight counters prioritize bold presence and efficient space usage over airy readability.
The overall silhouette is consistently narrow across both cases, and the rounded-rectangle construction is especially apparent in letters with bowls and in the numerals. The heavy weight and tight internal space mean small sizes may feel crowded, while larger sizes capitalize on its solid, graphic impact.