Sans Superellipse Abgos 4 is a regular weight, normal width, low contrast, upright, normal x-height font visually similar to 'Bluteau Arabic Sans', 'Bluteau Hebrew Sans', and 'Bluteau Sans' by DSType; 'Malva' by Harbor Type; 'Comenia Sans' by Suitcase Type Foundry; and 'Rehn' by moretype (names referenced only for comparison).
Keywords: ui text, product design, branding, wayfinding, headlines, modern, neutral, friendly, clean, tech, clarity, modernization, systematic design, approachability, geometric, rounded, superelliptical, monolinear, crisp.
A clean geometric sans with superelliptical construction: curves tend toward rounded-rectangle forms rather than pure circles, producing broad, even bowls and compact counters. Strokes are monolinear with minimal modulation, and terminals are crisp and largely horizontal/vertical, giving a stable, engineered rhythm. Uppercase proportions feel sturdy and slightly squared in the rounds (C, G, O, Q), while lowercase maintains straightforward, single-storey forms (a, g) and simple joins, supporting consistent texture in text. Numerals are similarly geometric and open, matching the letterforms in weight and curvature.
Well suited to UI and product typography where a neutral, geometric sans is needed for labels, navigation, and dashboards. Its steady shapes and rounded-rectangle curves also work well for contemporary branding, packaging, and signage, and it can hold up in bold display settings for headlines and short statements.
The overall tone is modern and matter-of-fact, with a subtle friendliness from the rounded geometry. It reads as contemporary and utilitarian rather than expressive, suggesting a clear, dependable voice suited to everyday interfaces and branded communication.
The design appears intended to deliver a contemporary geometric sans that balances engineered clarity with approachable rounded forms. By using superelliptical curves and consistent stroke behavior, it aims for a tidy, systematic look that remains readable and versatile across interface and brand contexts.
Round letters show a noticeably squarish curvature that keeps shapes from feeling overly soft, while flat-sided characters (E, F, L, T) maintain firm, right-angled structure. The design keeps counters open and shapes well-separated, helping words form a steady, even typographic color at larger sizes.