Slab Square Afmiz 3 is a bold, very narrow, low contrast, upright, tall x-height font visually similar to 'Dharma Slab', 'Rama Gothic', 'Rama Gothic Rounded', and 'Rama Slab' by Dharma Type and 'Automotive Service JNL' by Jeff Levine (names referenced only for comparison).
Keywords: posters, headlines, packaging, signage, branding, industrial, vintage, authoritative, editorial, rugged, space saving, high impact, poster style, sturdy voice, condensed, blocky, squared, bracketless, vertical stress.
A tightly condensed slab serif with a tall, compact build and dense vertical rhythm. Strokes are heavy and largely monolinear, with square, unbracketed slabs that read as firm rectangular terminals rather than delicate finishing details. Counters are narrow and tall, apertures are restrained, and joins stay crisp, giving the whole design a blocky, poster-ready texture. The lowercase is compact with short extenders relative to the prominent x-height, and the numerals follow the same sturdy, straight-sided construction.
Best suited to display roles such as headlines, posters, and bold callouts where its condensed width and slabbed structure can create strong emphasis. It also fits packaging and signage that need a sturdy, industrial voice, and can work in branding marks when a compact, forceful silhouette is desired.
The font conveys a strong, no-nonsense tone—part industrial and part vintage display. Its compressed proportions and hard-edged slabs evoke early 20th‑century poster and wood-type energy while still feeling controlled and deliberate. The overall impression is assertive and practical, with a slightly rugged, workmanlike presence.
The design appears intended to deliver maximum impact in limited horizontal space, pairing condensed proportions with robust slabs for a sturdy, poster-like voice. Its consistent, square-ended detailing suggests an aim for clear, repeatable shapes that hold together in bold display typography.
In text settings the tight set width creates pronounced vertical striping, especially in runs of capitals, which can be used for impactful typographic color. The squared terminals and consistent stroke weight keep shapes stable at larger sizes, while the condensed counters may benefit from generous tracking in longer lines.