Sans Superellipse Gubuy 1 is a bold, wide, medium contrast, upright, normal x-height font visually similar to 'Nebulica' by Azzam Ridhamalik, 'Nomos Sans' by Identity Letters, and 'Lazare Grotesk' by Nootype (names referenced only for comparison).
Keywords: headlines, posters, branding, packaging, signage, modern, confident, friendly, technical, utilitarian, impact, clarity, approachability, modernity, geometric cohesion, geometric, rounded, blocky, high-impact, sturdy.
A heavy, geometric sans with broad proportions and rounded-rectangle construction in its curves. Strokes are largely uniform with a subtle, even modulation, producing solid, dark letterforms and a steady horizontal rhythm. Counters are compact and clearly carved, with soft corners and smooth joins that keep the overall texture cohesive at large sizes. The lowercase has a straightforward, single-storey feel in key shapes and a sturdy, no-nonsense build, while figures are wide and weighty with strong baseline presence.
This font is well-suited to headlines, display typography, and bold brand statements where strong presence and clear shapes matter. Its wide stance and softened geometry make it effective for packaging and signage, especially when you want a contemporary, approachable voice with high visibility. It will also work for UI callouts and labels at larger sizes where weight and clarity are priorities.
The tone is contemporary and assertive, with a friendly softness coming from consistently rounded corners. It reads as practical and straightforward rather than delicate, projecting a dependable, industrial-clean character. The overall impression balances approachability with a sense of engineered precision.
The design appears intended to deliver a modern, high-impact sans that stays legible and friendly by combining sturdy widths with rounded-rectangle curvature. Its consistent stroke weight and simplified construction suggest a focus on clarity, scalability, and a cohesive geometric identity across letters and numbers.
Round forms (notably in O, C, and the bowls of b/p/d) feel superelliptical rather than purely circular, reinforcing a squared-off geometry. Terminals tend to end in clean, flat cuts, and the heavy weight creates a dense typographic color that favors short, punchy settings over long passages.