Sans Superellipse Abbaj 20 is a regular weight, normal width, low contrast, upright, normal x-height font visually similar to 'Northpole' by 38-lineart, 'Neue Haas Grotesk Display' by Linotype, 'Neue Alter' by OzType., 'Franklin Gothic SG' by Scangraphic Digital Type Collection, and 'Biwa' by Wordshape (names referenced only for comparison).
Keywords: ui text, product design, signage, dashboards, presentations, neutral, modern, clean, approachable, technical, systematic, legibility, contemporary, versatility, ui-first, rounded, geometric, open apertures, high legibility, crisp.
A clean geometric sans with rounded-square (superellipse) construction in bowls and counters. Strokes are even and monolinear, with smooth curves, tidy joins, and a restrained, engineered rhythm. Uppercase forms are broad and stable, while lowercase shows simple, open shapes and straightforward terminals; round letters like C, O, and G read as softly squared rather than purely circular. Numerals are clear and utilitarian, with open, easily distinguished forms and consistent stroke endings.
Well suited to interface typography, product and brand systems, wayfinding, and general-purpose editorial or presentation use where a crisp, contemporary sans is needed. Its open forms and consistent rhythm make it comfortable for longer reading as well as clear at small sizes and on screens.
The overall tone is neutral and contemporary, combining a friendly softness from the rounded geometry with a precise, orderly demeanor. It feels at home in clean UI and product contexts where clarity and calm are more important than personality-driven flair.
The font appears designed to provide a dependable, modern sans with a subtly distinctive superellipse geometry—softening the feel without sacrificing precision. It aims for broad usability and strong legibility through open counters, consistent stroke weight, and orderly proportions.
The design leans on large, open counters and generous internal space, keeping text readable at a range of sizes. The rounded-square logic is especially apparent in circular letters and in the way curves transition into straights, creating a cohesive, systematic texture in paragraphs.