Sans Other Seni 1 is a regular weight, narrow, monoline, upright, normal x-height font.
Keywords: headlines, posters, branding, ui labels, packaging, techno, industrial, retro, utilitarian, futuristic, modular design, tech aesthetic, high impact, signage clarity, retro-futurism, rectilinear, angular, square counters, modular, high contrast corners.
A rectilinear, modular sans built from mostly uniform strokes with sharp right-angle turns and chamfered/diagonal corner cuts. Curves are minimized into squared counters and angular bowls, giving letters like O, C, and G a boxy geometry. Proportions are compact with a tall, lean stance, and the rhythm is strongly vertical, reinforced by straight stems and simplified diagonals. Terminals are blunt and mechanical, with occasional notch-like joins and cut-ins that add a constructed, stencil-adjacent feel without fully breaking strokes.
Best suited for short-to-medium display settings where its angular geometry can read clearly: headlines, poster titles, tech or gaming branding, packaging callouts, signage, and interface labels. It can work for brief text blocks when set with generous tracking and line spacing, but it’s most effective as an accent face rather than long-form reading.
The overall tone is technical and machine-made, evoking digital interfaces, industrial labeling, and late-20th-century sci‑fi or arcade aesthetics. Its angular construction reads deliberate and utilitarian rather than friendly, projecting a controlled, engineered personality with a retro-futurist edge.
The design appears intended to translate a constructed, grid-based sensibility into a clean sans framework, prioritizing crisp edges and modular consistency. Its letterforms aim to feel engineered and contemporary while nodding to retro digital and industrial typographic cues.
Distinctive details—such as squared bowls, clipped corners, and occasional asymmetric cut-ins—create strong letterform character and help differentiate similar shapes (e.g., O/Q, I/l/1) at display sizes. The texture is crisp and graphic, but the pronounced geometry can become visually busy in dense paragraphs, especially where narrow apertures and tight interior spaces accumulate.