Sans Superellipse Pymag 2 is a regular weight, narrow, low contrast, upright, normal x-height font visually similar to 'Apron', 'ApronNext', and 'Masifa Rounded' by Hurufatfont (names referenced only for comparison).
Keywords: ui labels, signage, packaging, editorial heads, posters, modern, functional, clean, technical, neutral, space saving, systematic, clarity, modern branding, interface use, condensed, monoline, rounded corners, flat terminals, compact.
A condensed, monoline sans with rounded-rectangle (superellipse-like) curves and mostly flat, squared terminals. Strokes stay even and consistent, with tight counters and compact apertures that create a dense, economical rhythm. Curved glyphs (like C, O, S) lean toward vertical sides with softened corners rather than fully circular bowls, while straight-stem letters maintain crisp alignment and a disciplined geometry. The lowercase is simple and utilitarian, with a single-storey a and g, short extenders, and generally compact proportions that keep texture uniform in text.
This style works well for UI labels, navigation, and compact typographic systems where space efficiency matters. Its disciplined geometry also suits signage, packaging, and editorial headlines that need a modern, organized feel. At larger sizes it can deliver bold, clean poster typography with a distinctive rounded-rectangle character.
The overall tone is contemporary and utilitarian—confident, efficient, and slightly industrial. Its compact shapes and rounded corners balance strict geometry with a mild friendliness, producing a matter-of-fact voice well suited to modern interface and information settings.
The design appears intended to provide a space-saving, highly regular sans with a geometric, superellipse-driven construction. By combining flat terminals with softened corners and steady stroke weight, it aims for clear, consistent typographic color and a pragmatic, contemporary voice.
In the sample text, the narrow set and tight internal spaces create strong verticality and an even gray, especially in long lines. The numerals follow the same compact, squared-curve logic, matching the lettering without calling attention to themselves.