Sans Superellipse Ukrim 7 is a very bold, very narrow, monoline, upright, tall x-height font visually similar to 'Bradford' by ActiveSphere, 'Bilokos' by AukimVisuel, 'Brookside JNL' by Jeff Levine, 'Stallman Round' by Par Défaut, and 'Raviona' by Umka Type (names referenced only for comparison).
Keywords: posters, headlines, branding, packaging, signage, industrial, retro, techno, poster, compact, space saving, high impact, geometric consistency, signage feel, squared, rounded, condensed, blocky, geometric.
A compact, condensed sans with heavy, even-weight strokes and rounded-rectangle (superelliptical) geometry throughout. Curves resolve into squarish bowls and counters, with softened corners that keep the forms dense but not sharp. Terminals are mostly flat and horizontal, spacing is tight, and the overall rhythm is vertical and columnar, emphasizing stacked, architectural shapes. The lowercase maintains a tall x-height and simplified structures, while numerals and capitals share the same narrow, block-built construction for a uniform, forceful texture in lines of text.
Best suited to short, high-impact settings such as posters, headlines, covers, packaging, and bold branding marks where its narrow footprint can fit long words without losing weight. It also works well for signage, labels, and tech-themed graphics where a dense, industrial voice is desirable; extended small-size text will look heavy and compact due to tight counters and strong vertical rhythm.
The tone feels utilitarian and industrial, with a retro-futurist, signage-like confidence. Its compressed, blocky silhouettes suggest machinery, labeling, and techno-era display typography—assertive, controlled, and high-impact rather than delicate or conversational.
The design appears intended to deliver maximum presence in a compressed width while maintaining clean, geometric consistency. Rounded-rectangle construction and uniform stroke weight prioritize a strong silhouette and reproducible, signage-friendly shapes over conventional text comfort.
Distinctive features include squared bowls in letters like O/Q/D, compact apertures in C/S, and a generally stencil-adjacent feel created by tightly enclosed counters and minimal modulation. The punctuation and figures follow the same rigid, rounded-rectangle logic, which keeps display settings cohesive and graphic.