Sans Superellipse Myly 1 is a very bold, narrow, medium contrast, upright, tall x-height font visually similar to 'Aurora' and 'Swiss 921' by Bitstream, 'Chortler' by FansyType, 'Tusker Grotesk' by Lewis McGuffie Type, 'Sztos' by Machalski, 'RBNo2.1' by René Bieder, and 'Aurora' by Tilde (names referenced only for comparison).
Keywords: posters, headlines, branding, packaging, signage, punchy, retro, industrial, playful, poster-like, impact, space-saving, approachability, condensed, blocky, rounded, chunky, soft corners.
A dense, compact sans with heavy, rounded-rectangle construction and softly squared corners throughout. Strokes are thick and confident with minimal modulation, producing strong, dark typographic color. Counters tend to be tight and rounded, and curves resolve into flattened terminals rather than sharp points, giving letters a superelliptical, molded feel. Proportions run condensed overall, with small apertures and sturdy joins that keep shapes stable at display sizes.
Best suited to posters, headlines, logos, packaging, and signage where high impact and strong silhouettes matter. It works well in short bursts of text—titles, labels, and callouts—especially when you want a condensed footprint with a friendly, rounded industrial feel.
The font reads bold and assertive while staying friendly due to its rounded geometry. Its compressed stance and chunky forms evoke retro signage and utilitarian labeling, with a slightly playful, cartoon-adjacent tone rather than a formal one. The overall impression is energetic and attention-grabbing.
The design appears intended to deliver maximum visual presence in a compact width, using superelliptical, rounded-rectangle forms to balance toughness with approachability. It prioritizes bold shapes, consistent rhythm, and clear display character over delicate detail, suggesting a focus on attention-driven applications.
In the sample text, the heavy weight and tight internal spaces emphasize headline impact over long-form comfort. Round letters like O/Q and curved bowls show consistent squaring-off, while straight letters (E/F/H) keep broad, softened terminals for a cohesive, molded rhythm. Numerals match the same compact, blocky logic, reinforcing a unified display voice.