Sans Superellipse Tibun 3 is a bold, narrow, medium contrast, upright, normal x-height font visually similar to 'Dexa Pro' by Artegra, 'Anantason Mon' and 'Anantason Reno' by Jipatype, 'Ordina' by Schriftlabor, 'Itaca' by Tipo Pèpel, 'Nu Sans' by Typecalism Foundryline, and 'Expressway' by Typodermic (names referenced only for comparison).
Keywords: posters, headlines, packaging, band flyers, streetwear, rugged, handmade, punchy, gritty, casual, impact, texture, informality, print vibe, handmade feel, distressed, roughened, inked, blocky, condensed.
A compact, heavy sans with blunt terminals and rounded-rectangle, superelliptical counters. Strokes are thick and generally uniform, but the outlines are intentionally irregular, with a rough, ink-worn edge that creates a subtly textured silhouette. Curves and rounds stay squarish rather than perfectly circular, and joins are sturdy and simplified, producing a strong, poster-like rhythm. The lowercase follows the same chunky construction, with straightforward bowls and short, firm extenders that keep the overall color dense and even.
Best suited for short to medium-length display settings where texture and impact are desirable—posters, event titles, packaging labels, apparel graphics, and bold editorial callouts. It can also work for brief subheads, but the rough edge and dense color are most effective at larger sizes.
The font reads bold in personality: gritty, handmade, and slightly vintage, like type stamped, screen-printed, or inked with imperfect pressure. Its rough perimeter adds energy and informality, giving headlines a tactile, human feel rather than a polished corporate tone.
Designed to deliver a compact, high-impact sans voice with a deliberately imperfect, tactile finish. The superelliptical construction keeps forms sturdy and readable while the distressed outline adds character and print-like grit.
Spacing appears intentionally tight and compact, reinforcing a solid typographic “block” on the page. The distressed edge treatment is consistent across letters and figures, so texture becomes part of the identity rather than occasional noise.