Sans Superellipse Ibrar 9 is a very bold, normal width, low contrast, upright, tall x-height font visually similar to 'Ramsey' by Associated Typographics, 'Magnitudes' by DuoType, 'Masheen' by Ingrimayne Type, 'LHF Advertisers Square' by Letterhead Fonts, 'Navine' by OneSevenPointFive, 'PT Filter' by Paavola Type Studio, and 'Winner Sans' by sportsfonts (names referenced only for comparison).
Keywords: headlines, posters, packaging, sports branding, signage, industrial, sporty, assertive, retro, compact, maximum impact, geometric unity, rugged branding, signage clarity, blocky, rounded, stencil-like, squared, heavy.
A heavy, block-forward sans with rounded-rectangle construction and softened corners throughout. Curves read as squarish superellipses rather than true circles, giving counters and bowls a compact, engineered feel. Strokes are uniform and dense with short apertures, and several joins are cut with small rectangular notches that create a subtly segmented, almost stencil-like rhythm. The overall silhouette is stable and upright, with broad caps, a tall lowercase that stays close to the cap height, and firm horizontal terminals that emphasize a strong baseline.
Best suited for display use where impact and solidity are priorities: headlines, posters, apparel graphics, packaging, and sports or team-style branding. It can also work for short UI labels or wayfinding at larger sizes, where its compact apertures and dense texture remain clear.
The font conveys strength and immediacy—more workmanlike than refined—while the rounded corners keep it approachable. Its compressed, squared curves and clipped details suggest utilitarian signage, sports identity, and retro display typography with a modern, geometric finish.
The design appears intended to deliver maximum visual weight with a geometric, rounded-rectangle skeleton, pairing industrial sturdiness with softened corners for friendliness. The small cut-in details and tight counters reinforce a rugged, engineered personality aimed at branding and attention-grabbing typography.
Uppercase forms feel especially monumental and tightly enclosed, while the lowercase retains similar mass and geometry for consistent color in mixed-case settings. Numerals follow the same rounded-rect logic, keeping a uniform, chunky texture suited to large sizes.