Sans Superellipse Yehu 9 is a very bold, very wide, medium contrast, italic, normal x-height font.
Keywords: sports branding, racing graphics, gaming ui, posters, logos, sporty, futuristic, aggressive, energetic, technical, speed cue, impact, tech voice, display clarity, branding, oblique, rounded corners, streamlined, compact counters, sharp terminals.
A heavy, oblique sans with wide, low-slung proportions and a distinctly streamlined construction. Letterforms are built from rounded-rectangle geometry with squared-off curves and softened corners, paired with sharp, angled terminals that reinforce a forward-leaning motion. Counters are tight and often rectangular, with stencil-like notches and cut-ins appearing in several shapes, adding mechanical detail without breaking the overall cohesion. The stroke rhythm is steady and graphic, favoring solid masses, flattened curves, and wedge-like joins for a fast, engineered look.
Well suited to punchy display settings such as sports identities, racing-themed graphics, gaming or esports branding, and high-impact posters. It can also work for short UI labels or packaging callouts where a fast, technical tone is desired, but it is best kept to larger sizes and shorter strings due to dense counters and strong slant.
The font reads as fast and performance-driven, with a motorsport and sci‑fi edge. Its slanted stance and aerodynamic forms suggest speed, impact, and competitive energy, while the rounded-square skeleton keeps it modern and tech-oriented rather than retro or calligraphic.
The design appears intended to deliver a high-velocity, engineered voice: a bold, slanted headline face that feels aerodynamic and modern. Its rounded-rectangle foundation and deliberate cut details aim to balance friendliness (soft corners) with aggression (sharp terminals) for contemporary performance-oriented branding.
Uppercase and lowercase share a consistent, squared-round motif, with numerals matching the same italicized, blocky language. The design emphasizes presence at display sizes, where the cut-ins and tight internal spaces become part of the character rather than a distraction.