Sans Superellipse Utmom 2 is a bold, wide, low contrast, upright, normal x-height font visually similar to 'Kabyta' by Agny Hasya Studio and 'Logik' by Monotype (names referenced only for comparison).
Keywords: headlines, branding, logos, packaging, posters, techy, confident, clean, futuristic, friendly, modernize, clarity, impact, geometric system, brand signature, rounded, geometric, squared, softened, compact apertures.
A heavy, geometric sans built from rounded-rectangle and superellipse-like shapes, with consistently softened corners and smooth, even curves. Strokes are uniform and monolinear, producing solid, blocky letterforms with generous internal rounding rather than sharp terminals. Counters tend to be squarish and compact, and many joins are simplified into clean, engineered shapes; diagonals (A, V, W, X) stay crisp while still matching the overall rounded-corner system. The lowercase is sturdy and straightforward, with single-storey forms like a and g and a short, flat-topped t that reinforces the font’s horizontal emphasis. Numerals follow the same rounded-rect logic, reading clearly at display sizes with a strong, consistent rhythm.
Best suited to headlines, brand marks, and short to medium display copy where its strong weight and rounded-rect geometry can read as intentional and distinctive. It also works well for UI-style titles, product branding, packaging, and signage that benefits from a clean, modern, high-impact voice.
The overall tone feels modern and engineered, with a friendly edge created by the rounded corners and softened geometry. It communicates confidence and clarity, leaning toward a contemporary, tech-oriented aesthetic rather than humanist warmth.
The design appears intended to deliver a contemporary, geometric sans with a distinctive superellipse construction—balancing high-impact presence with approachable softness. Its consistent rounded-corner system and simplified shapes suggest a focus on clarity, repeatable geometry, and a recognizable “tech-forward” signature.
Capitals are particularly compact and architectural, with rounded terminals on many strokes and a consistent “soft-square” motif across O/Q/C/G and the bowls of B/P/R. The Q’s tail is minimal and integrated, and the punctuation-like shaping in letters such as E/F/T emphasizes straight, stable horizontals.