Sans Superellipse Ifru 2 is a very bold, wide, low contrast, upright, normal x-height font visually similar to 'Quitador Sans' by Linotype, 'RBNo3.1' by René Bieder, 'Sans Beam' by Stawix, and 'Obvia Wide' by Typefolio (names referenced only for comparison).
Keywords: headlines, posters, branding, packaging, logos, playful, chunky, friendly, punchy, retro, impact, friendliness, geometric feel, display emphasis, brand voice, rounded corners, soft geometry, compact counters, blunt terminals, heavy punctuation.
A heavy, blocky sans built from rounded-rectangle geometry, with squared curves and softened corners that give letters a superelliptical feel. Strokes are consistently thick with minimal modulation, and terminals tend to be blunt and flat, keeping the silhouette dense and graphic. Counters are relatively compact, especially in enclosed forms like O, P, B, and 8, producing a strong, poster-like color on the page. The lowercase is sturdy and straightforward with simple, single-storey forms and broad shoulders, while the numerals are equally robust and highly uniform in weight.
Best suited to large sizes where its chunky geometry and rounded-rectangle curves can read as a deliberate design feature—headlines, posters, packaging, and bold brand marks. It can also work for short UI labels, badges, or signage where a friendly but forceful tone is needed. For extended text, its dense counters and heavy color are likely most comfortable in brief bursts rather than long passages.
The overall tone is bold and approachable, with a friendly softness created by the rounded corners and inflated shapes. It reads as energetic and slightly retro, leaning toward comic and pop branding without becoming novelty. The dense letterforms communicate confidence and immediacy, making the voice feel loud, direct, and upbeat.
The design appears intended to deliver maximum impact with a soft-edged, geometric personality: a strong display sans that stays friendly through rounded corners and simplified construction. Its consistent stroke weight and compact interiors suggest a focus on bold legibility and a distinctive, contemporary-retro look for attention-grabbing typography.
Round letters (C, G, O, Q) lean toward squared-off curves rather than true circles, reinforcing a geometric, constructed personality. Diacritics/punctuation shown (dots on i/j, colon) are heavy and prominent, matching the font’s strong presence. Spacing appears intentionally generous for a display style, helping maintain clarity despite the tight internal counters.