Slab Contrasted Nozo 2 is a regular weight, normal width, very high contrast, upright, tall x-height font.
Keywords: headlines, posters, logotypes, editorial, packaging, art deco, avant-garde, dramatic, elegant, graphic, statement display, deco revival, graphic texture, brand emphasis, inline cuts, rounded corners, bracketless slabs, high-waist joins, display contrast.
A highly stylized slab-serif display face built from thick, rounded-rectangle strokes contrasted with extremely thin hairline elements. Many glyphs use split or “inline” cutouts through the heavy strokes, creating capsule-shaped counters and a segmented rhythm. Serifs read as bold, square slabs with little to no bracketing, while thin structural strokes appear as delicate verticals and diagonals that sometimes extend beyond the heavier forms. Proportions emphasize a tall x-height and compact bowls, with frequent use of softened corners and geometric terminals that keep the heavy parts smooth and blocky.
Best suited to large sizes where the hairlines and internal cutouts stay crisp—headlines, poster typography, magazine titling, branding marks, and packaging. It can also work for short pull quotes or section headers when you want a distinctive, high-impact texture rather than continuous readability.
The overall tone is theatrical and design-forward, with a strong Art Deco/retro-futurist flavor. The severe contrast and segmented fills feel editorial and fashion-oriented, projecting sophistication with a slightly experimental, poster-like edge.
The design appears intended to fuse slab-serif structure with extreme contrast and decorative inline breaks, producing a bold, modular texture that reads as both classic and experimental. It prioritizes visual identity and patterning in words over neutral text performance.
Color and texture are a defining feature: the heavy strokes create dense black bands, while the internal cutouts add bright horizontal breaks that can shimmer in lines of text. The design mixes geometric blocks and hairline scaffolding, so spacing and line length can noticeably change the perceived darkness as different glyphs alternate between solid and split forms.