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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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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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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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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An original design by Malcolm Wooden of DTP Types Limited.

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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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"A capital titling face with numerals, erroneously labelled in Figgins specimen book of 1817 as an ‘antique’ or roman. With a very bold, nearly monoline construction and squared serifs as thick as the main stroke, this type surpassed even the fat face style in blackness, it was popularised by the advent of handbills and early advertising posters, which needed bold type styles to project commercial messages from a distance. A sign-writer friend of mine theorises that the Egyptian style originated with the North African campaigns (hence Egyptian) of Napoleon Bonaparte, and the type historian Ruari McLean also suggests that the Egyptian style originated with signwriters ‘block’ letters, just like the prototypical (and contemporary) sans serif of Caslon IV." (Ben Archer)

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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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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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The classical Clarendon form originating in England in 1845 as polished by Edouard Hoffmann and Hermann Eidenbenz at Haas a little over a century later. Haas’ revival of this typeface in 1953 precipitated the revivals that follow.

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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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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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Madawaska is a rugged slab-serif font fortified with black-strap molasses and vigor!

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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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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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A square-serif type is called a slab serif or Egyptian, but when the serif is bracketed (the curved linking stroke between the stem and the square serif), the type is sometimes referred to as a Clarendon. Originated in England by the Fann St. Foundry in 1845, these types are named for the Clarendon Press in Oxford. Clarendon was originally designed as a heavier complement to ordinary serif designs, and is used frequently in dictionaries and headline applications.

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Aviano slab is an extended slab serif and the newest member of the popular insigne series Aviano.

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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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Cape Rock is foremost an impressive display font.

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The Bitstream version of Monotype Rockwell, 1934.

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

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Re-tooled from the QBF Collection.

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Extended display typeface.

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Based on the early original Monotype design, you can definitely see the influence of Italian Old Style, Jenson and Morris’ Golden Type.

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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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New formula for an alphabet: unicase + tabular

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Motoring at top speed calls for your own high-performance machine and a special racetrack font to run it on. Speedway was built with blacktop smooth caps to ease you through those short and dangerous curves. And its sleek, aerodynamic lowercase linking makes getting your speedy cruiser to the checkered flag a breeze. Developed in typeface alley for discriminating designers.

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The Egyptian Hieroglyphics contains over 270 Phonetic and Ideographic symbols, including the primary alphabet commonly used by jewelers and craftspeople to create your name in Hieroglyphs.

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

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Designed for a role-playing scenario, this font uses Egyptian hieroglyphs closely relating to characters in the English alhahbet as its starting point. It’s fun to use and has many extra hieroglyphs taken from monumental carvings.

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Handegypt resulted from playfully hand-rendering Egyptian style fonts from memory.

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Register Serif is a typestyle inspired by the clean, generic handwriting specimens from an old Speedball booklet modified for more friendliness and finesse.

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Sandra Oh is a quirky modern take on the classic serif fonts of the 20th century, updated here with a wiggle in her walk and a giggle in her talk. A Chankstore classic from the earlier days of the internet, this font is now available in OpenType format for the first time. Perfect for indie films or youtube videos.

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Based on the Stephenson Blake design.

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This font contains 174 characters; a variety of straight and tilted crosses, crosses in circles, French crosses, German crosses, Spainish crosses, dagger cross, crossed swords, ank and glowing crosses.

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In 1890, William Morris produced the Golden Type for the Kelmscott Press.

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Designed by Konrad F. Bauer and Walter Baum, Impressum was released by the Bauer foundry in 1962.

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Show you school spirit with this sporty, collegiate font.

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Where Modern is too fragile and Century too boring, Hercules comes with its elegant forms and, at the same time, with sufficient firmness to be usable for longer texts. In its heavy, bold designs it approaches Falstaff, while in the light ones it has some features which are taken over from Didot or from Modern. The text designs have been corrected for small sizes. The range of its use is, therefore, quite extensive - from dictionaries and technical literature through magazines to art posters and advertising materials.

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This old classic font has an interesting history, it was originally cut with lowercase by the Bruce Type Foundry in 1865 and listed as Ornamented No. 1514. Around 1903 the Bruce foundry was bought by ATF, in 1933 this font was revived by ATF as Caps only and was given the Gold Rush name but was sometimes called Klondike.

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Two handlettered typefaces from J. M. Bergling’s 1914 classic, Art Alphabets and Lettering collided to produce this lively and unusual combination.

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DuBois Block JNL is based on hand lettering designed by Albert DuBois of New York City, and originally titled “Round Block”.

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Ògún, a CastleType Original, was inspired by an Egyptian-style Russian block alphabet (original designer unknown) that caught my eye in the book, ABZ: More Alphabets and Other Signs. It was interesting to start with Cyrillic letters and then create Latin letters based on them, instead of my usual method of doing Latin first.

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Oxeran & Oxeran Z (outlined) are a pair of dirty fonts in OpenType or Windows TrueType format. The OpenType format includes custom letter pairs or autoligs which, in OpenType savvy applications, are automatically substituted as you type for an extra-raunchy look.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les never released this completed typeface before his untimely death in 1983.

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Designed for ParaType in 1990 by Lyubov Kuznetsova. A bold square-serif style. For use in advertising and display typography. The decorative style was added in 1993 by Lyubov Kuznetsova and Alexander Tarbeev.

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Here’s a wide, very light version of the widely known font P. T. Barnum (or French Clarendon, if you prefer). We have used this to good effect as secondary lines on old fashioned stationery.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

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The Cross has a rich and varied history and has been used in many cultures. It has been around since before Christianity, and has been used as a symbol of pride, honor, protection, and persecution. Of the many forms of the Cross, the Latin, Celtic, Greek, and the Maltese are the most common. The Egyptian cross, called the Ankh (cross with a circle on top) represents life and regeneration. The Maltese Cross began as a symbol for hospitallers during the crusades. The Maltese cross is also used as a symbol of protection by Firefighters. The cross also makes a great printer’s ornament.

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Based on the Haas 1928-30 design.

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Diglossia is based on geometry; the weights can be integrated to achieve a interesting typographic headlines. Diglossia contains OpenType features such as stylistic alternates and discretionary ligatures.

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Mymra Piano is a monoline serif Roman face, inspired by Charles Robinson lettering from the Art Nouveau period. The enchantment of some of the characters' flamboyant shapes has created an idea to rework the face and bring it to life as a contemporary typeface.

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See also BF Fiona Serif and BF Fiona Script.

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Based on an early wood type design. An original creation.

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An Eric Gill “Light Egyptian” called Solus was cut in 1929 and withdrawn by Monotype in 1967.

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The powerful Eknaton comes with slanted slabserifs, a new way to add some spring to the old Egyptian slabs. Eknaton echoes the tradition that started with Napoleon’s Egyptian campaign 1798, and the simultaneous looting of Egyptian art. The imports led to new ladies fashion in Europe, new architecture and new typefaces like Antique (Figgins, 1815) and Egyptian (Caslon, 1816).

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Based on an early wood type design. An original creation.

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Mymra Forte is counterpart family to Mymra Piano. Like Piano, Forte is also a monoline serif face inspired by Charles Robinson. However, in Forte, the terminals and serifs are simplified and straightened to convey a more rigid presence. Although ideally suited for display use, Forte could also be used in short text especially in Light and Regular weights.

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Based on the early ‘Pall Mall’ typefaces.

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Alexandrya is a subtly modulated block serif font family with a humanist sensibility and all of my personal style for font design. A distant ancestor of the basic letterforms is Minister (a Dutch bible font of the 19th century) through my first font in the mid-1990s, Diaconia.

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The Original design was produced by the Keystone Type Foundry, circa 1903; this condensed version was added circa 1917 by Lanston Monotype

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The Egyptologist font bundle contains over 920 unique Phonogram and Ideograph Egyptian Hieroglyphic symbols in 10 font files. The hieroglyphic characters in the series are arranged in a catalogue system in accordance with Sir Alan Gardiner’s “Egyptian Grammer”, making it easy to search and document Egyptian Hieroglyphic symbols. The accompanying user guide, in PDF format, allows you to quickly view and find the hieroglyphics needed for your documents.

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Mymra Mono is monospaced companion to Mymra Forte. This subfamily consists of three styles of uprights: Light, Regular and Bold.

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