Sans Superellipse Idmaw 3 is a very bold, narrow, low contrast, upright, normal x-height font visually similar to 'Sicret' and 'Sicret Mono' by Mans Greback and 'Stallman Round' by Par Défaut (names referenced only for comparison).
Keywords: headlines, posters, logotypes, packaging, signage, retro, playful, punchy, funky, cartoonish, display impact, retro flavor, graphic cutouts, friendly geometry, branding, blocky, rounded, stencil-like, compact, geometric.
A heavy, compact sans with rounded-rectangle construction and broadly squared curves. Strokes are thick and uniform, with large, enclosed counters that often read as rectangular cut-ins or small punched apertures. Many joins and terminals are flattened and abrupt, giving the forms a blocky, poster-oriented rhythm, while the rounded corners keep the overall texture soft rather than harsh. Several letters show distinctive internal “slot” details (notably in B, R, a, e, g, and numerals), creating a semi-stencil, cutout feel without becoming truly segmented.
Best suited to large-scale typography such as posters, headlines, logotypes, packaging, and bold signage where its chunky rounded forms and distinctive counter cutouts remain clear. It also works well for playful branding systems and retro-themed graphics, especially when set with generous tracking or in short, high-contrast compositions.
The tone is bold and attention-seeking, with a distinctly retro display personality. Its rounded geometry and punched counters feel playful and slightly quirky, evoking mid-century signage, pop graphics, and cartoon title treatments. The overall impression is friendly but assertive—more showy headline than quiet text work.
The likely intention is a high-impact display face built from superelliptical, rounded-block forms, emphasizing memorable silhouettes and graphic cutout counters. It appears designed to deliver a compact, energetic texture that feels nostalgic and fun while still reading as a clean sans.
The design leans on strong silhouette recognition and repeated internal cut shapes, which adds character but can reduce clarity at smaller sizes. Spacing and proportions appear tuned for impact in short lines and large settings, where the chunky forms and cut-ins read as deliberate styling rather than noise.