Sans Superellipse Ibluj 2 is a very bold, narrow, medium contrast, upright, normal x-height font visually similar to 'Acumin' by Adobe, 'Rhode' by Font Bureau, 'ITC Franklin' by ITC, 'Etrusco Now' by Italiantype, 'Sztos' by Machalski, and 'PG Gothique' and 'PG Grotesque' by Paulo Goode (names referenced only for comparison).
Keywords: headlines, posters, branding, packaging, signage, poster, industrial, assertive, compact, modern, space saving, impact, signage clarity, graphic uniformity, strong branding, condensed, blocky, rounded corners, flat terminals, high impact.
A condensed, heavy sans with a squared-off construction softened by rounded corners. Strokes are thick and steady, with mostly flat terminals and minimal modulation, producing a compact, tightly packed rhythm. Counters are relatively small and often rectangular or superellipse-like, giving round letters a boxy, engineered feel. The lowercase is sturdy and simple, with short ascenders/descenders and single-storey forms where expected, while numerals follow the same chunky, compact proportions for strong consistency in dense settings.
Best suited to headlines, posters, and bold branding where a compact, high-impact word shape is needed. It works well for signage, packaging, and sports/industrial-themed graphics, and can also serve as a strong supporting sans for labels, UI badges, or short calls-to-action when set with comfortable spacing.
The overall tone is forceful and utilitarian, designed to command attention at a glance. Its compact width and blocky curves evoke an industrial, signage-like confidence, while the rounded corners keep it from feeling sharp or aggressive. The voice reads as modern and practical rather than playful or delicate.
The design appears intended to maximize visual impact in limited horizontal space by combining condensed proportions with a squared, rounded-rectangle skeleton. Its consistent stroke weight and sturdy counters suggest a focus on reproducible, graphic forms that remain cohesive across caps, lowercase, and numerals in display-oriented typography.
Because the interior spaces are tight and the joins are heavy, spacing and size will strongly affect clarity; it benefits from generous tracking or larger sizes when long text is set. The uniform, squared-round geometry creates a distinctive texture that looks especially solid in all-caps lines and short headlines.