Sans Superellipse Hidom 2 is a very bold, narrow, low contrast, upright, tall x-height font visually similar to 'AT Move MMM' by André Toet Design, 'FF Golden Gate Gothic' by FontFont, 'Offroad' by Grype, 'Handmade Gothic JNL' by Jeff Levine, 'Marked' by Sensatype Studio, 'Hornsea FC' by Studio Fat Cat, 'Interrupt Display Pro' by T4 Foundry, and 'Bikemberg' by Umka Type (names referenced only for comparison).
Keywords: headlines, posters, branding, packaging, signage, industrial, authoritative, retro, compressed, utilitarian, maximum impact, space saving, signage style, geometric uniformity, blocky, rounded corners, squared, condensed, high impact.
A heavy, condensed sans with rounded-rectangle construction and softened corners throughout. Strokes are monolinear and dense, with compact counters and tight apertures that create a solid, poster-like silhouette. Curved letters resolve into squared curves (notably in C, G, O, Q, and S), while joins and terminals stay blunt and vertical, keeping a rigid, engineered rhythm. Lowercase forms mirror the uppercase’s geometry, with a tall x-height and simplified shapes; numerals are similarly stout and tightly enclosed.
Well-suited to headlines, posters, logotypes, and packaging where a compact footprint and strong presence are needed. It also fits wayfinding, labels, and industrial-inspired graphics, especially when set with generous tracking or used in larger sizes to keep counters from closing in.
The overall tone is bold and commanding, with an industrial, signage-forward presence. Its squared curves and compact spacing evoke vintage display typography used for headlines, labels, and utility markings, projecting strength and practicality more than delicacy or warmth.
The font appears designed to maximize impact in a narrow width while maintaining a consistent, rounded-rectangular skeleton. Its simplified, monolinear construction and carved counters suggest an intention toward bold display use—clear, forceful letterforms that hold together in dense blocks of text and graphic layouts.
The design relies on internal cutouts and narrow counters for differentiation in letters like A, B, P, R, and 8, which heightens contrast between filled mass and carved interior space. The condensed proportions and tight apertures suggest it will read most clearly at larger sizes or in short bursts where impact matters more than fine detail.