Sans Superellipse Idbez 2 is a very bold, normal width, low contrast, upright, tall x-height font visually similar to 'Bumper' by HVD Fonts; 'Taz' by LucasFonts; 'Amfibia', 'Karibu', and 'Movida' by ROHH; 'Bajazzo' and 'Bajazzo Rounded' by Schriftlabor; and 'Eastman Condensed' by Zetafonts (names referenced only for comparison).
Keywords: headlines, posters, branding, packaging, sportswear, playful, punchy, friendly, retro, headline, impact, approachability, retro display, branding strength, chunky, rounded, blocky, compact, soft corners.
A heavy, rounded-rectangle sans with compact counters and broadly squared curves. Strokes stay consistently thick, with softened corners and subtly flared joins that give verticals and diagonals a sturdy, carved-in feel. Round letters lean toward superelliptical bowls (notably in O, C, and G), while straight-sided forms like E, F, H, and N feel broad-shouldered and stable. The lowercase is robust and simplified, with short apertures and dense interior space, producing a dark, even texture in continuous text.
This font performs best in high-impact applications such as headlines, poster typography, and logo or wordmark explorations that want a sturdy, friendly voice. It also suits packaging, badges, and promotional graphics where thick strokes and rounded geometry hold up well at distance and on busy backgrounds.
The overall tone is bold and approachable, combining a retro poster energy with a friendly, toy-like softness. Its chunky rhythm reads confident and attention-seeking, with a slightly humorous, informal character that feels designed for impact rather than subtlety.
The design appears intended to deliver maximum visual weight with softened geometry, pairing a solid, block-built structure with rounded superellipse curves for a modern-retro display feel. It prioritizes bold presence, quick recognition, and a warm, approachable personality over delicate detail or extended text readability.
The numerals match the same rounded, blocky construction and maintain strong presence at large sizes. In paragraphs the tight counters and heavy color can reduce openness, so it visually favors shorter lines and display settings where its shapes can breathe.