Slab Contrasted Abna 2 is a bold, wide, low contrast, upright, normal x-height font visually similar to 'Serifa' by Bitstream, 'Serifa EF' by Elsner+Flake, 'Gold' by FontMesa, 'Glypha' and 'Serifa' by Linotype, and 'Typewriter' by URW Type Foundry (names referenced only for comparison).
Keywords: headlines, posters, editorial, packaging, signage, robust, confident, traditional, industrial, impact, readability, authority, heritage, slab-serif, bracketed, sturdy, compact, ink-trapless.
A heavy, slab-serif design with sturdy, rectangular serifs and clearly bracketed joins that soften transitions into stems. Strokes are generally even and forceful, with subtle modulation that reads more as shaping than calligraphy. Counters are open and generous for the weight, and curves (notably in C, G, S, and the bowls) are broad and steady, giving a stable rhythm. The lowercase shows a two-storey a and g, short-to-moderate ascenders, and a compact, workmanlike texture that holds together well in dense settings. Numerals are bold and blocky, with straightforward construction and strong horizontal terminals.
Best suited for headlines, decks, and pull quotes where weight and presence are desirable, as well as posters and signage that benefit from bold, stable letterforms. It can also work for editorial subheads or short passages where a rugged slab texture adds character without sacrificing clarity.
The overall tone is confident and no-nonsense, mixing classic print sensibility with a rugged, utilitarian punch. It feels authoritative and familiar—more “headline” than “delicate”—with a warmth coming from the bracketing and rounded interior shaping.
Likely drawn to deliver strong impact and dependable readability through solid slabs, broad proportions, and controlled shaping. The design balances traditional slab-serif cues with a modern, assertive density aimed at display and editorial typography.
The wide stance and large serifs create a strong horizontal emphasis, making word shapes feel anchored and steady. At larger sizes the bracketing and bowl shaping become more noticeable, while at text sizes the face reads as a solid, even-colored slab with clear letter differentiation.