Distressed Romam 13 is a bold, normal width, high contrast, upright, normal x-height font visually similar to 'Akzidenz-Grotesk Next' by Berthold, 'Newspoint' by Elsner+Flake, 'Linotype Gothic' and 'News Gothic' by Linotype, 'RF Dewi' by Russian Fonts, 'News Gothic SH' by Scangraphic Digital Type Collection, and 'News Gothic' by Wooden Type Fonts (names referenced only for comparison).
Keywords: posters, headlines, signage, packaging, labels, industrial, tactical, gritty, retro, urgent, stencil marking, rugged display, aged print effect, industrial voice, stencil-cut, roughened, weathered, blocky, condensed caps.
A heavy, all-caps-forward sans with a stencil construction: many letters are split by consistent vertical breaks and occasional cross-stencil notches, creating clear cut-out bridges. Proportions are compact and sturdy with squared terminals, minimal curves, and a strong, poster-like silhouette; the lowercase follows the same blocky logic and reads more like small caps in rhythm. Distressing appears as chipped interiors and scuffed patches within the black shapes, producing uneven counters and speckled voids while keeping overall letterforms intact. Numerals match the system with the same stencil splits and worn texture, maintaining a cohesive, utilitarian texture across the set.
Best suited to large, high-impact settings such as posters, headlines, event graphics, packaging, and warning/wayfinding-style signage where the stencil structure and wear can be appreciated. It can also work well for props, interfaces, and graphics that need an industrial or tactical labeling feel.
The font projects a utilitarian, no-nonsense tone—suggesting equipment markings, shipping labels, and field signage—while the worn pattern adds a gritty, used-in-the-real-world character. The combination of stencil breaks and abrasion evokes urgency and toughness, with a retro-industrial edge.
The design appears intended to combine a classic stencil marking system with a deliberate worn-overlay effect, creating a rugged display face that feels like paint through a stencil on metal, crates, or utilitarian surfaces.
The stencil gaps are prominent enough to define the style, so the face performs best when the cut lines are intended as a feature rather than a distraction. The distressed texture is visually active; at smaller sizes it may fill in or become noisy, while at larger sizes it reads as deliberate wear.