Sans Superellipse Berid 4 is a regular weight, very narrow, low contrast, italic, normal x-height font.
Keywords: headlines, posters, branding, sports, packaging, sleek, condensed, modern, dynamic, minimal, space saving, modern display, forward motion, clean emphasis, tall, clean, streamlined, upright italic, linear.
A tall, tightly set sans with a pronounced rightward slant and long, uninterrupted vertical strokes. Curves stay smooth and controlled, with oval counters that feel slightly squared-off rather than fully circular, giving round letters a refined, engineered character. Stroke thickness remains consistent across the alphabet, and joins are clean and uncluttered, producing a crisp rhythm in both capitals and lowercase. The proportions are elongated with compact widths and relatively modest extenders, keeping lines of text visually even and efficient.
Well suited to display settings where a compact, high-impact line is needed—headlines, posters, and brand marks that benefit from a fast, modern voice. The condensed, slanted construction can also work effectively for packaging and promotional graphics where space is limited but emphasis is desired.
The overall tone is sharp and contemporary, suggesting speed and precision rather than softness or nostalgia. Its oblique posture adds motion and emphasis, while the restrained detailing keeps it professional and straightforward. The condensed silhouette reads as purposeful and space-conscious, with a confident, editorial energy.
The design appears intended to deliver a modern condensed italic with a clean, linear build and subtly squared round shapes, maximizing efficiency and presence in limited horizontal space. It prioritizes a consistent, energetic texture for attention-grabbing typography without relying on ornamentation.
Capitals and numerals maintain a consistent narrow footprint, while round forms retain a slightly squared geometry that helps preserve clarity at tight widths. The sample text shows strong word-shape continuity and a steady texture, with the italic angle doing much of the expressive work instead of decorative terminals or contrast.