Sans Superellipse Jirik 11 is a very bold, narrow, monoline, upright, normal x-height font visually similar to 'Delgos' by Typebae and 'Reigner' by Umka Type (names referenced only for comparison).
Keywords: headlines, posters, logotypes, game ui, packaging, techno, industrial, retro, futuristic, arcade, impact, sci‑fi tone, digital display, compact titling, geometric clarity, squared, rounded, blocky, compact, geometric.
This typeface is built from compact, squared letterforms with consistently rounded corners, producing a rounded-rectangle (superellipse) silhouette across curves and counters. Strokes are uniform in thickness, with tight apertures and mostly closed, rectilinear bowls that emphasize solid, poster-like color. Terminals are typically flat and squared-off, while joins and inside corners are softened, creating a controlled, machined rhythm. Proportions are condensed and tall, with short crossbars and simplified construction that keeps shapes crisp at display sizes.
Best suited to headlines, posters, and branding where a bold, compact voice is needed. It works especially well for game/UI labels, sci‑fi or industrial themes, and punchy packaging or cover titling. For longer text, it is most effective at larger sizes with generous spacing to preserve clarity.
The overall tone is assertive and mechanical, reading as techno and industrial with a distinctly retro-digital flavor. Its compact geometry and enclosed forms evoke arcade-era UI, sci‑fi titling, and engineered signage where impact matters more than warmth or calligraphic nuance.
The design appears intended to deliver maximum visual impact through simplified, geometric construction and rounded-square forms, balancing hard edges with softened corners. It prioritizes a contemporary/retro-tech aesthetic and strong recognition in display contexts.
Distinctive features include boxy counters (notably in rounded letters) and a generally closed, stencil-like economy of detail without actually breaking strokes. The texture becomes dense in paragraph settings due to narrow widths and tight internal spaces, giving lines a strong, uniform “wall of type” presence.