Sans Superellipse Fomud 5 is a bold, normal width, low contrast, italic, normal x-height font visually similar to 'Cybersport' by Anton Kokoshka, 'Mollen' by Eko Bimantara, 'Isotonic' by Emtype Foundry, 'UNicod Sans' by Mostardesign, and 'Core Sans M' by S-Core (names referenced only for comparison).
Keywords: sports branding, headlines, posters, product branding, ui labels, sporty, technical, futuristic, dynamic, confident, convey speed, modernize tone, maximize impact, create cohesion, technical feel, rounded corners, oblique slant, compact counters, tight apertures, angular joins.
A slanted sans with squared-off, superelliptical curves and strongly rounded corners that create a smooth, engineered silhouette. Strokes are heavy and even, with minimal modulation, and many forms use compact counters and tightened apertures for a dense, high-impact texture. Terminals are clean and mostly straight-cut, while joins and diagonals (notably in K, M, N, V, W, X) stay crisp and geometric. Numerals follow the same streamlined construction, with rounded-rectangle bowls and a forward-leaning, speed-oriented stance.
Best suited to display roles where a bold, kinetic feel is needed—sports identities, racing/fitness themes, tech-forward branding, and promotional headlines. It can also work for short UI labels or navigation where a compact, engineered look is desired, especially at medium-to-large sizes.
The overall tone feels fast and performance-driven, combining a modern, technical attitude with a slightly futuristic, industrial polish. Its forward slant and compact openings give it an assertive, motion-centric voice that reads as confident and energetic rather than casual.
The design appears intended to convey speed and modernity through an oblique stance and rounded-rectangle geometry, prioritizing impact and cohesion over open, text-centric readability. The consistent rounding and tight apertures suggest a controlled, industrial aesthetic aimed at contemporary branding and display typography.
Round letters like O/Q and bowls in B/P/R read as squarish and enclosed, reinforcing the superelliptical theme. The lowercase maintains the same rigid geometry, with a single-storey a and compact e that keep the rhythm consistent in text, especially at larger sizes.