Slab Contrasted Roha 7 is a very bold, wide, low contrast, upright, normal x-height font visually similar to 'Vigor DT' by DTP Types, 'Orgon Slab' by Hoftype, 'PF Centro Slab Press' by Parachute, 'Paul Slab' and 'Paul Slab Soft' by artill, 'Museo Slab' by exljbris, and 'Eigerdals Slab' by insigne (names referenced only for comparison).
Keywords: headlines, posters, packaging, signage, logos, western, poster, retro, assertive, playful, impact, nostalgia, brand presence, blocky, bracketed, rounded, chunky, soft corners.
A heavy, block-forward slab with broad proportions and compact internal counters. The serifs read as thick, squared slabs with subtle rounding and slight bracketing where they meet stems, giving the shapes a carved, stamp-like solidity. Curves are full and smooth rather than sharp, and joins feel sturdy and monolinear overall, with only modest modulation. The lowercase is robust and slightly bouncy, with single-storey a and g, a compact t, and a generally squat rhythm that emphasizes weight and footprint. Figures are similarly bold and rounded, designed to hold up at large sizes with strong silhouettes.
Best suited to display applications where weight and presence are assets: posters, big headlines, brand marks, packaging labels, and bold signage. It can work for short subheads or emphasis in text, but its dense counters and heavy color make it less comfortable for extended body copy.
The font projects a confident, old-style headline energy—evoking vintage posters and frontier or circus signage while staying clean and readable. Its softened corners and chunky slabs add friendliness and a touch of humor, keeping the tone approachable rather than severe.
This design appears intended to deliver maximum impact with a nostalgic slab-serif voice: a sturdy, attention-grabbing display face that echoes traditional wood-type and bold print ephemera while maintaining straightforward letterforms for quick recognition.
The design relies on strong outer contours more than interior detail, so it reads best when there is enough space around it. Tight apertures and small counters contribute to a dense color on the line, especially in longer words and at smaller sizes.