Sans Other Ohmo 7 is a very bold, normal width, low contrast, upright, normal x-height font visually similar to 'ATF Poster Gothic' by ATF Collection, 'Factory' by Brainware Graphic, 'Military Jr34' by Casloop Studio, 'Beachwood' by Swell Type, and 'Redzone' by VarsityType (names referenced only for comparison).
Keywords: game ui, posters, headlines, logos, packaging, techno, industrial, arcade, utility, futuristic, impact, tech styling, display strength, systematic geometry, square-cut, angular, blocky, stencil-like, modular.
A heavy, square-built sans with a modular, rectilinear construction and aggressively chamfered corners. Strokes are uniformly thick and mostly orthogonal, with occasional diagonal joins in letters like A, K, V, W, X, and Y. Counters tend toward boxy apertures, often tightened into rectangular cut-ins that create a subtly stencil-like feel, especially in B, R, a, e, and s. Proportions are compact and sturdy, with a slightly condensed rhythm in places and a generally mechanical, pixel-adjacent geometry; numerals follow the same block logic with squared curves and hard terminals.
Well-suited for bold headlines, branding marks, and short callouts where a strong geometric voice is desired. It also fits game/UI theming, sci‑fi or tech packaging, and event posters that benefit from a blocky, modular display look. For longer text, it works best in larger sizes or with generous spacing to preserve clarity.
The overall tone is assertive and synthetic, evoking digital interfaces, arcade-era display type, and industrial labeling. Its sharp corners and engineered shapes feel technical and utilitarian, while the chunky mass gives it a loud, poster-ready presence.
The font appears designed to deliver maximum impact through a rigid, grid-like geometry—prioritizing a constructed, machine-made look over humanist softness. The chamfered corners and rectangular cutouts suggest an intent to nod to pixel/display traditions while remaining clean and typographically structured.
The design reads best at display sizes where the internal cut-ins and tight counters remain open; at smaller sizes the dense black areas can visually fill in. The punctuation and dots shown inherit the same square, monolinear language, reinforcing a consistent, constructed system.