As I recall the font was designed on Arial's metrics, which probably puts it in the "unusual" category. Probably not what you're looking for but Liberation Sans, Ascender Sans and Albany had the same constraint.

From one of the designers, Christian Schwartz's Amplitude, in its normal width, has a bit of the same flavor. Mostly from the shared characteristic of emphasized inktraps.

As I recall the font was designed on Arial's metrics, which probably puts it in the "unusual" category. Probably not what you're looking for but Liberation Sans, Ascender Sans and Albany had the same constraint.

Only the Office version of DB Sans used Arial's metrics, and this was added almost a year after the rest was completed. I really wanted them to get a Mono instead, which looked cool but was a bit too eccentric for intra-corporate correspondence...

DB Sans shares some DNA with FF Unit, which started as an earlier attempt by Erik Spiekermann and I at the DB corporate face. Fred Smeijers's wonderful Fresco Sans has a similar eccentricity in the terminals, (but not to quite the sale level of weirdness) and the underlying structure is much rounder.

>Only the Office version of DB Sans used Arial's metrics

Cool. Thanks for the info.

>Only the Office version of DB Sans used Arial's metrics

Which, if I recall correctly, are Helvetica’s metrics…

I'm also sort of tempted to add Klavika to this list, but I'm not sure if it is just a little bit too machined and cold...

(http://processtypefoundry.com/fonts/klavika/)

Solex

>Which, if I recall correctly, are Helvetica’s metrics…

Not really. It's more complicated than that.