Sans Superellipse Otmav 3 is a bold, normal width, monoline, upright, normal x-height font visually similar to 'Air Corps JNL' by Jeff Levine, 'Evanston Tavern' by Kimmy Design, 'Qotho' by Scholtz Fonts, and 'Refuel' by Typodermic (names referenced only for comparison).
Keywords: headlines, posters, branding, signage, packaging, tech, industrial, confident, compact, friendly, geometric impact, modern utility, modular system, brand voice, rounded corners, squared bowls, low contrast, tight apertures, stencil-like gaps.
A heavy, geometric sans with rounded-rectangle construction and softened corners throughout. Strokes are uniform and robust, with compact counters and relatively closed apertures that make forms feel dense and efficient. Curved letters (C, G, O, S) resolve into superellipse-like shapes, while terminals are predominantly flat and squared, reinforcing a modular rhythm. The lowercase is sturdy and blocky, with a single-story a and g, short-armed r, and a t that reads as a simple, squared cross form; numerals follow the same rounded-rect geometry with consistent weight and tight internal space.
Best suited to display contexts where its dense, rounded-rect forms can deliver impact: headlines, posters, logos, product branding, packaging, and directional signage. It can also work for short UI labels or navigation text when a compact, tech-leaning voice is desired, while long paragraphs may feel heavy due to the tight counters and strong texture.
The overall tone is modern and utilitarian with a friendly edge from the rounded corners. It reads as tech-forward and engineered, projecting confidence and solidity rather than delicacy. The compact apertures and dense black shapes add a slightly futuristic, signage-like assertiveness.
The design appears intended to translate superellipse geometry into an approachable, high-impact sans for contemporary graphic systems. By pairing squared structure with rounded corners and uniform weight, it aims for consistent modularity, strong reproduction at large sizes, and a clear, modern identity.
Spacing in the samples feels on the tighter side, helping the face build strong word shapes and a compact texture. Diagonals (V, W, X, Y, Z) are bold and clean, and the punctuation shown (period, apostrophe) matches the squared, minimal treatment seen across the set.