Sans Superellipse Orbuh 1 is a bold, wide, medium contrast, upright, normal x-height font visually similar to 'Isotope' by Hoefler & Co.; 'Clio XS' by LeType; and 'Francker', 'Francker Paneuropean', and 'Quitador Sans' by Linotype (names referenced only for comparison).
Keywords: headlines, logotypes, posters, app ui, signage, techy, industrial, sporty, futuristic, confident, impact, modernity, clarity, branding, geometric styling, squared, rounded, geometric, blocky, compact.
A heavy, geometric sans with squared, superellipse-like curves and consistently rounded corners. Strokes are sturdy and fairly uniform, with flat terminals and broad, rectangular counters that keep shapes open at display sizes. The proportions favor wide uppercase forms and a strong horizontal rhythm; round letters like O and Q read as rounded rectangles rather than circles. Lowercase forms stay simplified and sturdy, with a single-storey a and a compact, mechanical feel across bowls, shoulders, and joints.
This design is well suited to headlines, branding, and logo work where a sturdy, geometric presence is desired. It can also work in UI labels, wayfinding, and packaging where clear, high-impact letterforms help maintain readability and recognition. The squared-round shapes make it especially fitting for tech, automotive, sports, and industrial-themed projects.
The overall tone feels engineered and contemporary, with a rugged, no-nonsense attitude. Its rounded-square construction suggests technology, hardware, and performance branding rather than softness or calligraphic warmth. The weight and geometry convey confidence and impact, leaning toward a sporty, modern-industrial voice.
The font appears intended to translate rounded-rectangle geometry into a coherent, modern sans that prioritizes strength, clarity, and a distinctive silhouette. Its simplified constructions and consistent corner rounding aim to deliver a bold, engineered look that stays recognizable across large-scale applications.
Distinctive superellipse curves are most noticeable in rounded glyphs (O, Q, C, G) and in the squared-off arches and shoulders. The numerals are similarly block-like and legible, matching the family’s strong rectangular logic. Spacing appears geared for headline settings, where the wide forms and heavy color can read clearly without relying on fine detail.