Solid Poba 6 is a very bold, narrow, low contrast, upright, tall x-height font visually similar to 'Chamelton' by Alex Khoroshok, 'Mr Dum Dum' by Hipopotam Studio, 'Nd Harquied' by Notdef Type, and 'Galpon Pro' by RodrigoTypo (names referenced only for comparison).
Keywords: posters, headlines, packaging, stickers, merchandise, chunky, playful, retro, quirky, stencil-like, impact, novelty, retro flavor, graphic texture, handmade feel, blocky, rounded, notched, compact, cartoonish.
This typeface is built from compact, heavy silhouettes with collapsed counters, so letters read as solid shapes rather than open forms. Strokes are essentially monolinear in feel, but the outlines are irregularly carved with frequent angular notches and clipped corners that create a chiseled, cut-out look. Curves are broad and simplified, while joins and terminals often break into stepped facets, producing a lumpy rhythm and an intentionally imperfect geometry. Spacing appears tight and the overall color is dense, with many characters relying on distinctive exterior cuts to differentiate similar forms.
Best suited to display contexts where strong silhouette recognition is an asset: posters, big headlines, packaging fronts, labels, stickers, and merchandise graphics. It can also work for short, high-impact phrases in social graphics or event promos, where its solid, cut-out texture becomes a visual motif rather than a reading-first body face.
The overall tone is bold and mischievous, with a handmade, cut-paper personality that feels retro and cartoon-adjacent. Its notched, overfilled forms give it a novelty punch—more expressive than refined—suggesting humor, impact, and a slightly gritty, DIY energy.
The design intention appears to be maximum visual impact through solid, counterless shapes and distinctive edge cuts, creating a recognizable novelty voice that holds up in large-scale applications. It prioritizes graphic presence and characterful silhouettes over conventional readability, aiming for a memorable, playful stamp-like effect.
Because interior openings are largely closed, legibility depends heavily on the outer contour cues (especially for characters like B/E/P/R and a/e/o). In text settings the dense black mass can dominate the page, so it reads best when allowed generous size and breathing room around it.