Sans Superellipse Jiruk 3 is a very bold, normal width, low contrast, upright, tall x-height font visually similar to 'Device' by Hanken Design Co., 'Stallman Round' by Par Défaut, 'Goodland' by Swell Type, and 'DBXLNightfever' by VetteLetters (names referenced only for comparison).
Keywords: headlines, posters, branding, sportswear, packaging, industrial, techno, athletic, assertive, retro, high impact, geometric system, signage feel, modern display, rounded corners, squared curves, blocky, compact, monoline.
A heavy, block-structured sans built from rounded-rectangle geometry, with softened corners and broadly uniform stroke weight. Counters tend to be squarish and compact, producing dense, solid letterforms and strong color on the page. Curves are simplified into superelliptical bends, and terminals are predominantly flat, giving the design a cut, machined look. Lowercase forms are large and sturdy, with short joins and minimal curvature; overall spacing reads tight and efficient, suited to bold display settings.
Best suited for headlines, posters, logotypes, and bold brand marks where a strong, compact wordshape is desirable. It also fits athletic or industrial-themed graphics, packaging, and short UI labels that benefit from a sturdy, high-contrast presence against backgrounds. For longer reading, its dense counters suggest using generous size and spacing.
The font projects a confident, high-impact tone that feels industrial and contemporary, with a noticeable techno and sports-signage attitude. Its chunky, squared-round shapes add a retro-futuristic flavor while staying straightforward and functional. The overall impression is loud, stable, and energetic.
The design appears intended to deliver maximum impact through simplified, squared-round construction and heavy visual weight, creating a distinctive, modern display voice. Its consistent geometry suggests a goal of producing a cohesive system for attention-grabbing titles and branding with a technical edge.
The angular, squared treatment of traditionally rounded letters (like O/C/S) and the compact internal spaces increase legibility at large sizes while emphasizing a strong, stencil-like mass. Numerals follow the same squared-round logic and appear designed to match the alphabet’s dense rhythm and signage-oriented presence.