Sans Superellipse Pebil 5 is a very bold, narrow, low contrast, upright, normal x-height font visually similar to 'ATF Alternate Gothic' by ATF Collection, 'Acumin' by Adobe, 'AT Move MMM' by André Toet Design, 'LFT Etica' by TypeTogether, and 'Ardoise Std' by Typofonderie (names referenced only for comparison).
Keywords: headlines, posters, branding, packaging, signage, industrial, poster, retro, assertive, playful, space-saving impact, geometric identity, strong display, rounded corners, compact, blocky, punchy, softened.
A compact, heavy sans with superellipse construction: bowls and counters read as rounded rectangles, and terminals finish with softened corners rather than sharp cuts. Strokes maintain an even, monoline feel, producing dense silhouettes and strong color on the page. Curves are slightly squared-off, giving round letters a boxy rhythm, while joints and apertures stay relatively tight for a condensed, space-efficient footprint. Numerals and capitals match the same sturdy geometry, with consistent interior rounding and a deliberate, built-from-blocks stance.
Best suited for headlines, short statements, and display settings where its dense weight and compact width can deliver impact. It can work well for branding and packaging that needs a sturdy, modern-industrial voice with rounded friendliness, and for signage or labels where strong silhouettes help quick recognition at larger sizes.
The overall tone is bold and confident with a friendly edge—industrial and utilitarian, yet softened by rounded corners. It feels suited to attention-grabbing typography that still aims to be approachable rather than severe, with a slightly retro, display-forward flavor.
This font appears designed to maximize visual impact in limited horizontal space while maintaining a cohesive, rounded-rectangular identity. The intention reads as a contemporary display sans that prioritizes strong shapes and consistent geometry for memorable branding and title typography.
The design’s strength comes from its consistent superelliptical logic across curves and counters, creating a distinctive “rounded-rectangle” texture in words. At larger sizes the squared curves become a defining feature; at smaller sizes the tight apertures and heavy mass can start to merge, so spacing and size choices matter.