Sans Superellipse Pimum 5 is a very bold, very narrow, low contrast, upright, normal x-height font visually similar to 'Maildore' by Maulana Creative and 'Sharp Grotesk Latin' and 'Sharp Grotesk Paneuropean' by Monotype (names referenced only for comparison).
Keywords: headlines, posters, branding, packaging, signage, compressed, punchy, industrial, assertive, retro, impact, space saving, poster use, compact branding, strong legibility, blocky, condensed, monoline, rounded corners, high impact.
A heavily compressed, monoline sans with rounded-rectangle construction and subtly softened corners throughout. Strokes stay consistently thick with minimal modulation, creating dense black shapes and tight internal counters. Curves are built from superelliptic bowls and terminals rather than perfect circles, and many joins feel squared-off, giving the face a blocky, engineered rhythm. The overall texture is compact and emphatic, with narrow proportions and sturdy, simplified details.
This face is well suited to short, high-impact text such as headlines, posters, cover titles, labels, and bold brand marks where a condensed footprint is useful. It can also work for signage and promotional graphics that need strong distance legibility. For longer passages or small UI text, the dense strokes and tight counters may feel heavy, so it’s most effective in display roles.
The font projects an assertive, no-nonsense tone with a distinctly industrial and slightly retro poster sensibility. Its tight width and saturated weight make it feel urgent and attention-grabbing, while the rounded geometry keeps it from becoming sharp or aggressive. The result is bold, condensed energy suited to loud, straightforward messaging.
The design appears intended to maximize impact in a narrow width by combining very heavy strokes with simple, rounded-rectilinear forms. The consistent geometry and reduced contrast suggest a focus on clarity and punch in display settings, with an industrial compactness that stays cohesive across letters and numerals.
Round letters like O/C/G read as vertically stretched rounded rectangles, and the numerals share the same compact, chunky construction, helping headlines and numeric callouts feel unified. The heavy weight reduces fine detail in small sizes, so it reads best when given room and scale.