Sans Superellipse Poruk 5 is a very bold, very narrow, low contrast, upright, tall x-height font visually similar to 'Dx Slight' by Dirtyline Studio, 'EFCO Fairley' by Ephemera Fonts, 'Redig' by Great Scott, 'Fokus' by Hipfonts, and 'MC Alterta' by Maulana Creative (names referenced only for comparison).
Keywords: posters, headlines, packaging, signage, logos, industrial, assertive, condensed, retro, poster-like, space-saving impact, high visibility, display emphasis, industrial styling, monoline, blocky, compact, vertical, angular terminals.
A compact, condensed sans with monoline strokes and a strongly vertical rhythm. Curves are built from rounded-rectangle geometry, giving bowls and counters a squarish softness rather than true circularity. Uppercase forms are tall and tightly fit, with clipped, angled terminals and frequent straight-sided construction; diagonals (as in V/W/Y) are sharp and narrow. The lowercase keeps a tall x-height with short ascenders/descenders, producing dense color in text, while figures are similarly narrow and upright with simplified, sturdy shapes.
Best suited for short, high-impact text such as headlines, posters, labels, and bold branding moments where vertical space is limited. It can work for signage and packaging that benefits from a dense, compressed voice, while extended reading in small sizes may feel heavy due to the tight counters and strong overall color.
The overall tone is forceful and utilitarian, with a slightly retro, industrial flavor reminiscent of compressed display lettering. Its tight proportions and heavy texture read as attention-getting and no-nonsense, leaning more toward impact than warmth.
The design appears intended to deliver maximum presence in a narrow footprint, combining sturdy monoline construction with rounded-rectangle curves to stay legible while retaining a distinctive, compressed display character.
Counters are relatively small and vertical, which increases perceived darkness and makes spacing feel tight at display sizes. The superelliptical rounding is most noticeable in O/Q and in the shoulders/bowls of letters like b/p/d, balancing the otherwise angular, cut-off terminals.