Sans Superellipse Jary 2 is a very bold, narrow, low contrast, upright, tall x-height font visually similar to 'Memesique' by Egor Stremousov, 'Bhelt' by Fateh.Lab, 'Mowray' by Graha Type, 'Maken' by Graphicxell, 'PODIUM Soft' by Machalski, 'Desta' by Stefano Giliberti, and 'Winner Sans' by sportsfonts (names referenced only for comparison).
Keywords: headlines, posters, logos, sports branding, packaging, industrial, assertive, retro, sporty, utilitarian, impact, compactness, ruggedness, signage, condensed, blocky, rounded, compact, stencil-like.
A compact, heavy sans with rounded-rectangle geometry and tightly controlled counters. Strokes are uniformly thick, with corners softened into superellipse-like curves, producing squarish bowls in letters like O/C/D and similarly squared digits. Apertures are generally small and terminals are mostly flat, with occasional stepped or notched joins (notably in S and some diagonals), giving the forms a slightly cut, segmented feel. The lowercase is sturdy and tall with short extenders and a simple, single-storey a and g; overall spacing reads tight and dense, emphasizing a strong vertical rhythm.
Best suited to large-scale applications where maximum punch is needed, such as headlines, posters, team or event branding, and bold packaging panels. It also works well for short UI labels, badges, and signage-style treatments when set with generous size and careful tracking.
The overall tone is forceful and no-nonsense, combining a retro display attitude with a modern, engineered bluntness. Its dense silhouettes and squared rounding suggest industrial labeling, athletic branding, and poster typography that prioritizes impact over delicacy.
The design appears intended to deliver high-impact display typography built from rounded-rectilinear primitives, optimizing for dense word shapes and strong presence. The consistent squared-round construction and occasional notches suggest a deliberate industrial/sport aesthetic meant to read quickly and feel rugged.
Round forms stay consistently squarish across the alphabet, which keeps words looking uniform and compact. The figures are bold and sign-like, with simple, easily scanned shapes that hold together in large blocks of text, though the tight counters can make smaller sizes feel dark.