Sans Superellipse Fybuz 1 is a very bold, wide, low contrast, italic, tall x-height font visually similar to 'Digital Sans Now' by Elsner+Flake, 'Gemsbuck Pro' by Studio Fat Cat, and 'Celdum' by The Northern Block (names referenced only for comparison).
Keywords: headlines, posters, sports branding, gaming ui, logos, sporty, tech, futuristic, assertive, energetic, impact, speed, modernity, branding, display, rounded corners, squared rounds, oblique, compressed counters, blocky.
A heavy, oblique sans with a squared‑round construction: bowls and straight segments read like rounded rectangles rather than pure circles. Strokes are monolinear with softened corners, tight internal counters, and broad, stable horizontals that give letters a compact, engineered feel. The rhythm is punchy and uniform, with generous mass in curves and joints; apertures tend to be small and terminals are clean, often finishing with rounded or clipped ends. Figures follow the same superelliptic logic, producing sturdy, sign-like numerals.
Best suited to short, high-impact settings such as headlines, posters, event graphics, esports and sports identities, product marks, and bold UI labels where a dynamic, engineered look is desired. It can work for brief callouts or display lines in editorial layouts, but its dense counters and strong slant favor larger sizes over extended reading.
The overall tone feels fast and modern—confident, sporty, and slightly futuristic. Its dense black shapes and slanted stance suggest motion and power, making it feel more like performance branding than neutral text.
Likely designed to deliver maximum impact with a streamlined, superelliptic silhouette—combining the friendliness of rounded corners with the authority of blocky forms. The pronounced slant and compact internal spaces appear intended to communicate speed, performance, and contemporary tech-forward branding.
The design leans on consistent corner radii and squarish curves across uppercase, lowercase, and numerals, which creates a cohesive “industrial” texture in paragraphs. The oblique angle is prominent enough to read as a stylistic voice rather than simple emphasis, and the tight counters benefit from ample size and spacing in application.