Sans Superellipse Pidal 10 is a bold, narrow, monoline, upright, normal x-height font visually similar to 'Bricked' by Cristian Mielu, 'Grida' by Max Glimm Type, 'Stallman Round' by Par Défaut, and 'Augment' and 'Blanco' by Umka Type (names referenced only for comparison).
Keywords: headlines, posters, logos, packaging, signage, industrial, retro, tech, futuristic, display impact, space saving, technical voice, brand character, rounded corners, compact, geometric, stencil-like, modular.
A compact display sans built from rounded-rectangle geometry and softened corners, with even stroke weight and high contrast between solid stems and open counters. Curves are squared-off into superelliptic forms, giving bowls and terminals a machined, modular feel. The overall rhythm is tight and vertical, with narrow proportions, short crossbars, and frequent internal cut-ins or notches that echo stencil construction while keeping the letterforms closed and sturdy. Numerals and capitals follow the same rounded-rect framework, producing consistent, blocky silhouettes and clear inline spacing.
Best suited to headlines, posters, and logo wordmarks where its compact, modular shapes can be appreciated. It also fits packaging, UI/label accents, and wayfinding-style signage that benefits from a sturdy, high-impact voice, especially in short phrases or titles.
The font reads as industrial and retro-futuristic, evoking hardware labeling, mid-century sci‑fi titling, and utilitarian signage. Its clipped details and squared curves give it a technical, engineered tone, while the rounded corners keep it approachable rather than harsh.
The design appears intended to deliver a bold, space-efficient display face with a consistent rounded-rect construction and purposeful cut-ins for a quasi-stencil, technical personality. It prioritizes strong silhouette recognition and a cohesive geometric system over neutral text readability.
Distinctive details include slit-like apertures, inset joins, and occasional asymmetric cutaways that add character without breaking the overall system. At larger sizes these features become a key part of the identity; at smaller sizes they may visually fill in due to the dense construction.