Sans Superellipse Jirek 5 is a very bold, narrow, monoline, upright, normal x-height font visually similar to 'Brocks' and 'Stallman Round' by Par Défaut, 'Alma Mater' and 'Oscar Bravo' by Studio K, and 'Heavy Boxing' by Vozzy (names referenced only for comparison).
Keywords: headlines, posters, logos, packaging, titles, industrial, retro, techno, signage, assertive, impact, compactness, branding, display, industrial tone, blocky, condensed, rounded corners, stencil-like, squared counters.
A compact, heavy display sans built from rounded-rectangle (superellipse-like) shapes with blunt terminals and minimal stroke modulation. Corners are consistently softened, while counters tend to be narrow, squared, and often appear as vertical slots, giving many letters a cut-in, almost stencil-like interior. Curves are handled as squarish bowls rather than true circles, producing a rigid, engineered rhythm. Spacing is tight and the overall texture reads as dense, with strong vertical emphasis and simplified joins across the alphabet and numerals.
Best suited for bold headlines, poster typography, brand marks, and packaging where a compact, high-impact voice is needed. It also works well for UI/game titles, labels, and short signage-style messaging where the geometric, cutout construction can become part of the visual identity. For longer reading or small text, the tight apertures and dense texture may feel heavy.
The font conveys an industrial, retro-futuristic tone—confident and utilitarian, with a machine-made feel. Its compact massing and slot-like apertures suggest labeling, equipment marks, and bold headlines rather than delicate editorial typography. The overall impression is sturdy, purposeful, and slightly playful in a techno/arcade way.
The design appears intended to deliver maximum impact in a compact footprint while maintaining a cohesive, rounded-rectilinear geometry. The recurring slot counters and softened corners suggest a deliberate blend of industrial sturdiness with retro-tech character, prioritizing recognizability and graphic presence over neutral readability.
Several glyphs rely on distinctive internal cutouts (notably in letters like A, D, O/Q and some numerals), which creates a strong signature but can reduce clarity at small sizes. The uppercase set feels especially architectural, while the lowercase maintains the same squared, condensed construction for consistent word-shapes. Numerals match the blocky logic and read well in display contexts.