Sans Superellipse Okgap 2 is a regular weight, normal width, low contrast, upright, tall x-height font visually similar to 'Qargotesk 4F' by 4th february, 'PODIUM Sharp' by Machalski, 'Navine' by OneSevenPointFive, 'Nulato' by Stefan Stoychev, 'Gemsbuck Pro' by Studio Fat Cat, and 'Manifest' by Yasin Yalcin (names referenced only for comparison).
Keywords: ui labels, signage, headlines, packaging, posters, modern, technical, utilitarian, clean, confident, clarity, system design, space economy, modern branding, rounded corners, condensed caps, compact, monoline, boxy.
A monoline sans with a compact, engineered feel and consistently softened corners. Curves and counters tend toward rounded-rectangle (superellipse) shapes, giving O/C/G-like forms a squarish roundness rather than geometric circles. Capitals read slightly condensed with flat terminals and crisp joins, while lowercase forms are simple and sturdy with minimal modulation. The overall rhythm is even and steady, with open apertures and plainly constructed diagonals, and numerals that follow the same rounded-rectilinear logic for a cohesive texture.
Works well for interface labeling, wayfinding, and system-style graphics where compact forms and even stroke color support quick scanning. It also suits modern headlines and product/packaging typography that benefits from a crisp, technical voice and a distinctive rounded-rectangular geometry.
The tone is contemporary and no-nonsense, suggesting efficiency and clarity rather than warmth or ornament. Its rounded-rectangular geometry adds a subtle industrial friendliness, landing between tech UI pragmatism and modern signage straightforwardness.
Likely designed to deliver a clean, contemporary sans optimized for clarity at a range of sizes, while differentiating itself through superelliptical rounding and condensed, space-efficient capitals. The consistent corner treatment and uniform strokes suggest an emphasis on systematic construction and dependable legibility.
The punctuation-like details visible in the lowercase (e.g., the i/j dots) are square, reinforcing the rectilinear theme. Several glyphs show intentional squaring of curves (notably in rounded letters and bowls), which produces a distinctive, slightly “sci‑fi” silhouette without becoming gimmicky.