Sans Superellipse Fyrer 2 is a very bold, narrow, medium contrast, italic, tall x-height font visually similar to 'Acumin' by Adobe, 'Akzidenz-Grotesk' and 'Akzidenz-Grotesk W1G' by Berthold, 'Newhouse DT' by DTP Types, 'Tabloid Edition JNL' by Jeff Levine, 'Helvetica' by Linotype, and 'Heading Now' by Zetafonts (names referenced only for comparison).
Keywords: headlines, posters, sports branding, packaging, display advertising, sporty, assertive, modern, industrial, energetic, impact, momentum, space saving, branding, display strength, condensed, oblique, blocky, rounded corners, high impact.
This typeface is a heavy, oblique sans with compact proportions and a tightly packed rhythm. Strokes are thick and confident, with softly rounded corners and superellipse-like curves that keep bowls and counters smooth rather than geometric-sharp. Forms are fairly uniform in stroke weight, with subtle contrast showing most in curved joins and terminals. Apertures are relatively closed and counters are small, producing a dense, high-impact texture; figures and capitals feel especially sturdy and built for punchy display use.
Best suited for short, prominent text where impact matters: headlines, posters, promotional graphics, and bold brand moments. The dense color and compact width make it effective in sports and performance contexts, on packaging, and in display advertising where space is limited but strong emphasis is needed.
The overall tone is forceful and kinetic, combining a sporty slant with a rugged, workmanlike solidity. It reads as contemporary and performance-minded—more “action and momentum” than elegant or delicate—while the rounded shaping keeps it from feeling harsh.
The design appears intended to deliver maximum visual impact in a condensed footprint, pairing a consistent oblique stance with rounded, superellipse-driven construction for a modern, engineered feel. It prioritizes bold presence and momentum over airy readability, aiming at attention-grabbing display typography.
The oblique angle is consistent across capitals, lowercase, and numerals, and the condensed widths help maintain a compact silhouette in all-caps settings. Round letters (like O/C/e) lean on rounded-rectangle geometry, and many terminals appear cut with slight angles, reinforcing a driven, forward-leaning stance.