Sans Superellipse Esboz 2 is a regular weight, normal width, low contrast, italic, tall x-height font visually similar to 'Bronkoh' by Brink, 'Knight Sans' by Cadson Demak, 'FS Millbank' by Fontsmith, 'Roihu' by Melvastype, 'Akwe Pro' by ROHH, and 'Knight Sans' by T-26 (names referenced only for comparison).
Keywords: ui labels, product branding, dashboards, headlines, wayfinding, modern, clean, technical, dynamic, neutral, contemporary utility, geometric clarity, friendly precision, screen readability, slanted, rounded, geometric, open apertures, high legibility.
A slanted geometric sans with rounded-rectangle (superellipse) construction and a steady, low-contrast stroke. Counters are spacious and terminals are clean and largely unadorned, giving the letterforms a crisp, engineered feel. Proportions lean contemporary with a tall lowercase presence and compact, efficient shapes; curves stay taut rather than calligraphic, and the rhythm remains even across text. Numerals are straightforward and lining in feel, matching the same rounded geometry and simple, readable forms.
This style suits interfaces and product surfaces where a clean, contemporary voice is needed, especially in short-to-medium text such as UI labels, navigation, and data-heavy dashboards. It also works well for tech-oriented branding and headlines where a crisp slanted sans can add motion without sacrificing clarity.
The overall tone is modern and matter-of-fact, with a slightly energetic forward lean. Its rounded geometry softens the voice just enough to feel approachable while still reading as precise and contemporary.
The design appears intended to deliver a modern italic sans that stays neutral and highly legible while expressing a subtly geometric, rounded-rectangular construction. It aims for a consistent, efficient texture in text and a contemporary feel in display sizes without relying on decorative details.
The italic angle is consistent across capitals, lowercase, and figures, helping maintain a unified texture in running text. Round letters like O and Q read as smooth superellipses rather than perfect circles, reinforcing the geometric theme without feeling rigid.