Sans Superellipse Imnep 1 is a very bold, very wide, low contrast, italic, tall x-height font visually similar to 'Brose' by Linecreative (names referenced only for comparison).
Keywords: sports branding, racing graphics, game ui, poster headlines, logotypes, futuristic, racing, techy, aggressive, energetic, speed cue, tech aesthetic, impact display, aerodynamic forms, oblique, geometric, superelliptic, squarish, rounded corners.
A heavy, oblique sans with wide, superelliptic letterforms built from rounded-rectangle geometry. Strokes are monolinear and dense, with squared counters softened by radiused corners and frequent diagonal cuts that sharpen terminals. The design favors broad proportions and a tall lowercase, producing a continuous, forward-leaning rhythm; many joins and apertures are tightened for a compact, aerodynamic silhouette. Numerals and capitals follow the same angular, chamfered logic, maintaining a consistent blocky presence across the set.
Well suited to headline and branding work where impact and speed cues are desirable—sports identities, racing/event graphics, game titles, tech marketing, and bold UI labels. It performs best at medium to large sizes, where the superelliptic counters and diagonal cuts remain clear and contribute to the intended high-energy look.
The overall tone is fast, assertive, and modern, evoking motorsport graphics, sci‑fi interfaces, and performance branding. Its slanted stance and clipped terminals add urgency and motion, while the rounded-rect foundation keeps it clean and engineered rather than rough or expressive.
The design appears intended to deliver a high-impact, aerodynamic sans that suggests motion and engineering precision. By combining rounded-rectangle construction with aggressive oblique slant and chamfered terminals, it aims to feel both technological and performance-driven in display settings.
In the sample text, the heavy weight and wide stance create strong word shapes, but the closed-in counters and stylized diagonals make the texture more display-oriented than text-oriented. The design reads best when allowed generous tracking and line spacing, helping the angular cuts and compact apertures stay distinct.