Sans Superellipse Edrus 1 is a very bold, very narrow, medium contrast, italic, normal x-height font visually similar to 'Blue Creek' and 'Blue Creek Rounded' by ActiveSphere, 'Performer JNL' and 'Song Composer JNL' by Jeff Levine, 'Shtozer' by Pepper Type, 'Daimon' and 'Motte' by TypeClassHeroes, and 'Mahoowa' by Your type (names referenced only for comparison).
Keywords: sports branding, posters, headlines, logotypes, apparel graphics, sporty, aggressive, modern, retro tech, high energy, speed, impact, space saving, display branding, athletic tone, condensed, oblique, rounded corners, squared curves, tight apertures.
A tightly condensed, forward-slanted sans with tall proportions and compact counters. Strokes are heavy and fairly even, with subtly rounded, squared-off terminals that give curves a superelliptical, rounded-rectangle feel rather than a true geometric circle. The rhythm is vertical and urgent, with narrow apertures and streamlined joins; curves in letters like O, C, and G read as softened rectangles, while straight-sided forms dominate the overall texture. Figures and capitals maintain the same compressed stance, producing a dense, high-impact line in running text.
Best suited to short, bold statements such as sports identities, event posters, team wordmarks, product branding, and apparel graphics where a compressed, kinetic look is desirable. It can also work for UI hero text or packaging callouts when used at larger sizes and with careful spacing.
The overall tone is fast, assertive, and performance-driven, evoking motorsport, athletic branding, and action-oriented display typography. Its slant and compression create a sense of speed and pressure, while the rounded-square shaping adds a sleek, engineered character with a faint retro-futurist flavor.
The design appears aimed at maximizing impact in minimal horizontal space while communicating speed and modernity. The rounded-rectangle curvature and heavy, oblique construction suggest a display face built for energetic branding and attention-grabbing headlines rather than quiet body copy.
In longer samples the dense set and narrow openings can make internal shapes merge at smaller sizes, so the face reads best when given room to breathe through size, tracking, or short wordmarks. The uppercase and numerals feel especially poster-ready, with a consistent, streamlined silhouette across the set.