Slab Contrasted Onny 2 is a very bold, very narrow, medium contrast, upright, normal x-height font visually similar to 'AZ Varsity' by Artist of Design, 'Westward JNL' by Jeff Levine, and 'Buffalo Circus' and 'Buffalo Western' by Kustomtype (names referenced only for comparison).
Keywords: posters, headlines, signage, logos, packaging, western, vintage, rugged, bold, display, attention, nostalgia, character, impact, stencil-like, blocky, bracketed, rounded, ink-trap-like.
A condensed, heavy display face built from thick vertical stems and squared slabs with subtle bracketing. The silhouettes are emphatically blocky yet softened by rounded corners and small interior notches that read as stencil-like cut-ins, especially on joins and terminals. Counters are compact and often vertically oriented, and the overall rhythm is punchy and high-contrast in massing even where stroke transitions are relatively restrained. The lowercase follows the same sturdy construction with single-storey forms and simplified bowls, creating a cohesive, poster-first texture.
Best suited for high-impact headlines, posters, and storefront or event signage where its compact width and heavy color can carry from a distance. It can also work well for retro branding, label and packaging systems, and logo wordmarks that want a Western or show-poster flavor. For text-heavy settings, it’s more effective as a short-display accent than as a continuous reading face.
The font projects a classic, frontier-inspired loudness with a showbill sensibility—confident, a bit rugged, and intentionally attention-seeking. Its heavy, carved-like details add a hint of old print and signage, giving it a nostalgic, workwear tone rather than a sleek contemporary feel.
The design appears intended to evoke traditional slab-serif display typography—condensed, loud, and built for print-era emphasis—while adding distinctive cut-in details that increase character and memorability. It prioritizes bold presence and thematic tone over neutrality, aiming for immediate recognition in branding and headline contexts.
The narrow set and dense counters make it read best with generous tracking and ample line spacing. Distinctive internal cut-ins and slab terminals create strong lettershape differentiation at larger sizes, but those same details can visually fill in at small sizes or in long passages.