Sans Superellipse Temak 8 is a bold, very narrow, low contrast, upright, tall x-height font visually similar to 'Tungsten' by Hoefler & Co., 'Evanston Tavern' by Kimmy Design, 'Kuunari' and 'Kuunari Rounded' by Melvastype, 'Grand' by North Type, and 'Gemsbuck Pro' by Studio Fat Cat (names referenced only for comparison).
Keywords: posters, headlines, packaging, signage, logotypes, industrial, stenciled, rugged, condensed, poster, space saving, high impact, utility feel, print distress, squared, rounded corners, soft terminals, inky texture, monoline.
A condensed sans with rounded-rectangle construction and compact counters, giving letters a squared-off, superelliptical feel. Strokes are largely monoline and heavy, with softened corners and blunt terminals; curves stay tight and rectangular rather than fully circular. The outlines show a deliberately rough, slightly irregular edge that reads like ink spread or distressed printing, while spacing is kept economical for dense, vertical setting. Numerals and capitals follow the same boxy rhythm, producing a cohesive, utilitarian texture across lines of text.
Best suited to display settings where space is tight but impact is needed—posters, bold editorial heads, labels, and product packaging. It can also work for short UI labels or wayfinding-style signage when a condensed, high-density voice is desired; for longer passages, the heavy texture and narrow proportions are more effective in brief bursts than extended reading.
The overall tone is industrial and workmanlike, with a gritty, printed-on-paper character. Its narrow, forceful silhouettes and slightly distressed edges evoke packaging stamps, workshop signage, and vintage utility lettering—assertive without feeling polished or delicate.
The design appears intended to deliver a compact, high-impact sans built from rounded-rectangular forms, combining efficient width with a rugged print texture. It aims to feel practical and industrial, like condensed lettering reproduced through imperfect printing or stamping.
Round forms (like O/Q and bowls in B/P) appear as rounded rectangles with tight internal space, helping maintain a consistent, compressed rhythm. The distressed perimeter is subtle enough to keep word shapes intact, but it becomes more noticeable at larger sizes where the texture reads as intentional wear.