Walken is a sure-footed slab serif font family.

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Based on the original design by Robert Hunter Middleton. Digitally engineered by Steve Jackaman and Ashley Muir from the Ludlow drawings, circa 1931–1942.

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Based on a revival of one of the popular wooden type fonts of the 19th century, suitable for display, or text.

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Spanish for press, Prensa is a new series from Cyrus Highsmith. He arrived at this family’s character through his process of “wrapping outside curves around the inside, deliberately creating tension between the two,” a technique epitomized in Electra, a 1935 bookface by twentieth-century master W.A. Dwiggins.

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Museo... it all started with my love for the letter ‘U’. This uppercase letter just came to me as an image in a daydream. The top of both stems bent into semi-slab serifs. From this principle I worked out the rest of the uppercase letters. My first intention was to make it an all-caps display font but after a while I changed my mind. I wanted it to be a bit more versatile, so I decided to add lowercase and adjust spacing and kerning to increase legibility.

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Sketch Block is a hand-sketched headline font. The family contains a light and bold weight; both complement each other perfectly. The mundane, constructed basic forms of the egyptienne typeface get their charming touch by the handmade hatching. Impressions of dominance and warmth are equally created.

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While Adelle is a slab serif typeface conceived specifically for intensive editorial use, mainly in newspapers and magazines, its personality and flexibility make it a real multiple-purpose typeface.

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Centro Pro is the winner of the prestigious European Design Awards 2008 for original typeface.

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Prelo Slab is the serif companion to Prelo, a neutral, highly readable typeface, for identity, editorial and information design.

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Dobra is a very geometric and robust typeface with Sans and Slab Serif companions, specially suited for magazines and newspapers, although it works great as a corporate typeface.

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This Linotype typeface was designed in 1990 by Peter Matthias Noordzij (PMN), and named for his wife, Caecilia. Because its shapes are humanist rather than geometric, PMN Caecilia is easier on the reader’s eye and so more useful as a text typeface than most slab serif designs.

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The 1974 design for ITC Lubalin Graph is based on Herb Lubalin’s earlier design of ITC Avant Garde Gothic. The basic geometric character shapes are identical in both designs, while Lubalin Graph has the added feature of slab serifs.

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Clarendon Text is a contemporary remake of the truly classic slab serif typeface with a distinctively clear and legible visibility. It is a widely usable text type suited equally well to advertising, books, publications, and a wide range of corporate literature where large amounts of reading matter call for distinction and style without sacrificing readability.

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Morris Fuller Benton’s 1931 design, reworking the model of Memphis for ATF.

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Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text.

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Eksja is a modern slab serif available in four weights, each with a corresponding italic. All the fonts in the family have small caps, the extended latin character set, diacritical f-ligatures, enclosed numerals (numbers in circles) and case-sensitive punctuation.

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The straight-sided form of condensed Geometric slab-serif, Font Bureau Constructa provides a stronger and more geometric form than the customary design.

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If a text is set in a good Egyptienne, we can observe a kind of sparkle in the lines. Egyptiennes are cheerful type faces, possibly due to the fact that they developed simultaneously with sans-serif faces. The design principle of a sign from the first half of the 19th century does not have such firm and long-established roots as for example, the Renaissance Roman type face; it is, therefore, much more prone to mistakes which are symptoms of a “decline”.

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Designed by Albert Boton of France, H. Berthold released the Boton family in 1986.

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The eight-part Belizio series updates the first Font Bureau typeface.

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Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration – particularly its weight and width proportions – can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out – the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears.

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Typedesigner Hannes von Döhren created Cowboyslang, a display typefamily with a Wild West flair. It consists of three widths plus fitting ornaments. Although it is based on the slab serif typefaces from the nineteenth century Von Döhren gave it a contemporary feeling.

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Zapatista is derived from a typeface that I designed in 1998 but never released. It is a playful slab serif with a texture that is sometimes subtle and reminiscent of the irregularities of letterpress printing.

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The original Rockwell was produced by the Inland typefoundry in 1910, which issued it as Litho Antique; American Type Founders revived the face in the 1920s, with Morris Fuller Benton cutting several new weights.

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Freight’s comprehensive range of weights and styles excels in a variety of uses, from train schedules and university catalogues to technical manuals and cookbooks.

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A real powerful look great for headlines, a true heavy weight.

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Egon is non-traditional slab-serif contemporary typeface family, which includes three weights in roman and italic respectively, making six font styles in total.

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The sixteen styles of Giza bring back the colorful power and variety of the original Egyptian letterforms, a glory of the Victorian era.

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Sky Serif is a clean-cut slab-serif design.

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The definitive monoline Egyptian, Weiss’ Memphis of 1928, was devoutly industrial in its effect and set the tone for those that followed, right up to Lubalin Graph. More recently, TheSerif and Silica are humanist in form, with complex, asymmetric curved strokes in the lower case. Unique among monoline slab serif types, Bodoni Egyptian has a simple, neo-classical form and proportion, and strict detailing that is antique, not machine-age.

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The OpenType versions of Buckboard and Buckboard Alternate have 26 ligature features that automatically substitute a unique pair of distressed characters when any lower case letter is keyed twice in a row.

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Majestic Mishmash is inspired by old times, patterns, ornaments and Eduardo Recife's work. Majestic Mishmash is totally hand drawn and every letter is unique. There’s even double version of A-Z and a-z to prevent identical characters being side by side.

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Facebuster is a no-nonsense block serif display typeface with hard geometry and minimal negative space.

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There were many typeface designs based on Clarendon letterforms seen in type catalogs from 1866 to 1875.

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Serifa was designed by Adrian Frutiger for the Bauer foundry in 1967. The letterforms are based on those of Frutiger’s earlier sans serif design, Univers. Square, unbracketed serifs have been added, making this a slab serif (or Egyptian) typeface.

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The Sans Narrow and Slab versions were added to the Vista family in 2008, extending this super-family to a total of 108 fonts.

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Loosely based on Prumyslava, an old Monotype design.

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Hawksmoor is a digital font that preserves the worn and inky idiosyncrasies of old woodblock type.

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Kulturista is related to our Nudista typeface. Both faces share the elementary shapes, proportions and weight alternatives. While Nudista is a sober display face, Kulturista is a distinct linear typeface with sturdy serifs. Kulturista is a display typeface well suited for use in magazines and certain newspapers; five available weights are a perfect for the layout of various columns, titles, and supplements. The face may also work well as a basis a corporate style, it may be used on heavy machinery and equally well on the cover of a book dedicated to graphic design.

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Designed in 1955 by Howard G. Kettler for the IBM bar typewriter and later adapted for the Selectric typewriter, Courier? has truly stood the test of time. Installed on nearly every computer in the world, Courier? is also one of the most used typefaces in history. The 12 pitch mono Kettler type family pays tribute to the simplicity of Howard Kettler¹s monospaced classic by revisiting the smooth letter fit and efficiency of form.

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Lonestar is a revival of the old classic slab serif font named Hellenic which was very popular in the middle to late 1800s.

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H. Berthold released this Aldo Novarese design in 1984.

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This slab serif is a general purpose type in six weights.

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Gold Fever is a revival of the old classic Caxtonian font originaly designed in the mid to late 1800s.

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Octin Sports is a tough headliner in 7 weights: light, book, regular, semi-bold, heavy & black. Octin Sports isn’t just for sports; it’s also great for school, construction, prison, police or military themes. Check out the rest of the Octin families: Octin College, Octin Prison, Octin Stencil, Octin Vintage & Octin Spraypaint

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Egyptian, or slab serif, typefaces surged to popularity in the early 1800s. Memphis was the first Egyptian revival, designed by Dr. Rudolf Wolf in 1929 for the Stempel foundry.

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Ink Gothic is a contemporary slab serif with a split personality - a mix of heavy industrial with light typographic twists. Unique letterforms evolve the typeface into a class all its own.

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Having spent all of my teenage years in the 90s, it’s no surprise that this very particular decade resonates so deeply in me. As a graphic designer, I still think the strongest visual languages of the last 50 years or so come from that time. Bold aggressive attitude is what most people remember from those designs. What they seem to forget—or, rather, to have completely ignored—is that some incredibly elegant and subtle styles emerged from those years. It still amazes me how they reflected so well the period in which they were conceived, taking style construction to the next level.

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Created by Adobe type designer Carol Twombly, Chaparral combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th-century roman book lettering.

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Ryno Slab is a superslab that was born out of a need for an aggressive, heavy, geometric display face that did not appear clunky. Its serifs are so thick, you could create reasonably legible word shapes by using all caps and masking the words out.

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Jillsville is a sweet, delicate font with a fine lines and feminine overtones. She’s light and lithe, but “she ain’t no wallflower.”

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Joanna was designed by Eric Gill in 1930, based on type originally cut by Granjon, and released by the Monotype Corporation in 1937.

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Cape Rock is foremost an impressive display font.

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One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Spaghetti Western is a based on an Italian interpretation of a classic ultrabold Western-style face; so, fittingly, the font is named for the genre of “cowboy” film pioneered by Sergio Leone.

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Warrior is a three dimensional font based on Ògún, which in turn was inspired by a Russian Egyptian-style block alphabet (original designer unknown).

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Lonestar Western is a revival of the old classic slab serif font named Hellenic which was very popular in the middle to late 1800s.

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Slab serif fonts are generally macho, but Bullpen is 1,000,000 times more masculine than most slab serif fonts.

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Based on an early wood type design. An original creation, that kept growing...!

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BD Mothers’s main characteristic is the humorous blend of fat serifs, knobbly curves and the thin square inner shapes.

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Inspired by letterforms painted on restaurant wall in the tiny village of Tuk Tuk in Sumatra.

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The BDR A3MIK is an uppercase alphabet with alternatives including European/Eastern European, Russian Cyrillic and Japanese Katakana characters.

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Wickenburg is a rough and tumble grunge slab typeface that has taken a lickin' but keeps on coming back for more.

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A linear slab serif design consisting of fifteen styles. The design has a large x-height with short descenders and ascenders. Antique Central requires subjective text and display kerning and compensation.

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Superclarendon is an homage to the original 19^th Century Clarendon. Superclarendon includes 4 weights, italics & old-style numerals.

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Clarity and Clarity Lost play on readability, from extremely legible to bordering on hard to read and worn away, offering the designer a range of use.

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Extended display typeface.

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Pokerface is an industrious mixed-case display font devised on the theme of playing cards, designed by Jim Ford.

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The strong, geometric letterforms of this typeface incorporate a heavy outline and were inspired by college and university sportswear, making Princetown an excellent choice for work associated with sports. Created by Letraset Type Designer Richard Jones.

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Ironmonger was inspired by lettering painted on masonry walls and fascia signs of warehouses and factories in older American cities.

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Sutro is based on the square serif types of the mid-nineteenth century, considerably updated with many contemporary touches.

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Gaufre is a pixel-based font with holes. Each character is built from a kind of dry dog food or square doughnut-like elements.

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A light destructive western slab serif typeface inspired by Astro Zombies, the 1968 Cult Cinema Classic.

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This extra stout slab serif derives its inspiration from two Vincent Pacella designs: Pacella Barrel and Pacella Colossus. Essentially it’s an all-caps font, but there are biform variants of a, e, m, n and u, so you can mix things up to create more interesting headlines.

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The LifeAfterCollege family of four fonts is based on two styles of Ranger, which are slab-serif, geometric fonts with no curves.

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Yet another member of the Weird Bill dysfunctional font system!

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Akimoto is a fat slab typeface.

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Rody is the inspired by early russian typographic designs and works well with Lazar.

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Match and Kerosene is proud to present its debut font, Slab Sheriff.

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No telling how old this font is, because it came from Hamilton, a firm that was late in the wood type business, but was the repository of many older patterns from earlier wood type makers.

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Once I ate a knuckle sandwich after saying some things about some guy’s pregnant girlfriend. It turns out she wasn't pregnant at all. I felt like a real knucklehead. So I made this font.

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