Introducing Oleragie, a classic modern serif with an aesthetic look inspired by the Egyptian and middle east atmosphere. Perfect for those who need a touch of elegance, stylish, classy, beautifully thin, and modernity for their design. Complete with ligatures alternates regular italic icon kerning multilingual support

This pseudo-Egyptian fantasy originally was named Karnac, and was unearthed in the pages of the 1888 American Type Founders Specimen Book. This version derives it name from a continuing character from Johnny Carson's stint on the Tonight show. Both versions of this font include the Unicode Latin 1252 and 1250 Central European character sets, with localization for Moldovan and Romanian.

Circus Poster Shadow was created by Tom Rickner as a tribute to the classic Tuscan Egyptian forms used in many wood types of the 1890s. It captures the spirit of the wild west, amusement parks and ciruses. The details of Circus Poster Shadow are best reproduced at larger, display sizes.

Thick horizontals reminiscent of certain Egyptian or western-themed display faces warp into stretched-out glyphs and strange elliptical forms in this haphazard, page-filling font. Sure to evoke images of saturday morning cartoons, zany retro advertisements, and various other expressions of mid-20th century whimsy . Comes packaged in both TrueType and OpenType formats with standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and European diacritics.

Kenwyn is a bold, geometric, Egyptian style slab-serif display font. It comes in two variations — Single Dot and Double Dot — each with an accompanying Stencil variation. Essentially a blend of circles and squares, Single Dot features a circular counter at the centre of each character, while Double Dot uses a lower and upper circle. Although the two variations are similar in principle, the results are visually quite different.

Luxor Pro is a semi-encircled Egyptienne with exaggerated serifs. It is a font of Victorian style which was widespread in Europe and America at the fin de siècle, especially in advertisements.

Two handlettered typefaces from J. M. Bergling’s 1914 classic, Art Alphabets and Lettering collided to produce this lively and unusual combination. The caps were originally called "Morocco", and the lowercase are taken from his Keramic Text. The result suggested more of an Egyptian flair, in an offbeat kind of way, and so it got its name. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Neo Contact is the typeface used on the packaging of Marlboro cigarettes (Marlboro “Reds,” the main line of the brand). The typeface is bold and condensed, designed in the Egyptienne style. Egyptienne types were first designed in the 1800s, as type founders - especially in the westward-expanding United States - began to dream up newer, bolder styles of letters for advertising usage. During the 1800s, it became increasingly important for businesses to set themselves, and their products, apart from competitors. This desire has remained with corporations, as well as with advertisers and designers, into the 21st century. In addition to cigarette packaging, Neo Contact (as part of Marlboro’s branding efforts) can be seen on numerous items, including Ferrari’s F1 racers, and at Formula 1 race tracks. The letters in Neo Contact are filled with personality. Their forms display two distinct weights of line, and the serifs are made up of tiny, strict slabs. Ball terminals round out the design. Neo Contact is a complete font, with a complete western character set. Typefaces in the Egyptienne style preceded the development and distribution of larger, crazier wood typefaces, but also share many similarities with these descendents. More traditional, text faces in the Egyptienne manner are also available from Linotype GmbH (e.g., Adrian Frutiger’s Egyptienne F). On the opposite end of the spectrum, we offer interesting, personality-filled wood display types, like Ponderosa as well.

Zanjabeel is an Arabic typeface with a hybrid design between the Naskh and Modern Kufi styles, comes in 9 weights, and some italic letters that give a unique and dynamic feel. the typeface works well with large sizes, headlines, and short text. also, works in printing and digital uses. The typeface is a collaboration with the Egyptian designer Ibrahim Hamdi

Nogoom was inspired by the titles of Egyptian Magazine ALOSTUDIO, which used to be published during the 50s-60s. The typeface is part of Arsheef Alkhatt Project, a platform that revives and tributes classical Arabic lettering from different resources and presents them as affordable, digital fonts for independent designers. Nogoom means stars in Arabic, hence the name. Note: The font uses an Opentype feature for the connections that are not supported by MyFonts tester, but it works properly with all Adobe CS softwares.

The first Clarendon was introduced in 1845 by R. Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual.

Foundry Origin has an elemental quality hinting at its ‘Egyptian’ roots. Developed out of the desire to create a serif typeface with a difference, Foundry Origin's elegant design and versatile family of weights, with lyrical cursive italic, generous x-height and classical proportions, make it ideal for editorial and information design. A quiet design with a big presence, tipped to become a modern classic.

The first Clarendon was introduced in 1845 by R. Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual.

The Afeesh typeface is an attempt to create a solid and robust type family, that is based on the Ruq'a calligraphy style. Following the Egyptian style of drawing Ruq'a, which was very popular on movie posters during the 50s-70s. The typeface comes with an extensive set of ligatures, and opentype features such as swash and stylistic alternates. Arabic, Farsi, Urdu, in addition to Kurdish are supported.

Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell, but with rounded edges— offering contrast and balance to the square structure. Sánchez & Sánchez Condensed comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free.

The first Clarendon was introduced in 1845 by R. Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual.

HS Masrawy is an Arabic display typeface. It is useful for titles and graphic projects where a contemporary, streamlined look is desired. The font is based on the simple lines of Kufi calligraphy. The font has a new modern idea where the vertical strokes have a constant value in all of its five weights. It has (5) weights and supported Arabic, Persian and Urdu compatible with Unicode (6.2). HS Masrawy is the first released typeface of collaboration between Hasan Abu Afash and Egyptian designer Abdulsamie Rajab Salem.

Broken is a grunge font with two interchangeable sets of uppercase. Its forms are in the Egyptian style of the early- to mid-nineteenth century, and the totality of its setting gives off the impression of a most unfortunate letterpress situation, with badly cut punches, uncontrolled ink spread, and metal shards and slivers strewn all about. Available in all mainstream font formats, Broken works very well and has a very unique appearance in design concepts where the overall visual can benefit from harshness, erosion, destruction or weathering.

Sobek, the Egyptian crocodile god, comes to life in this font as a striking and impressive set of characters. Somewhat alien and dangerous, Sobek uses sharp corners, excessive lines and geometrically circular curves to create a font that looks both organic and crafted at the same time. Use Sobek when you want your words to stand out from the crowd, and convey the feeling of something Other. Sobek even has support for numerous languages, so you can create interesting forms in many different dialects.

Kyotce is inspired by the Egyptian serif which has a strong and bold typeface. This family of 8 weights from Light to Bold along with italics and is perfect for advertising, packaging, logo, editorial and publishing, branding and other creative industries. Each style includes 700+ glyphs, Kyoto supports around 200 languages in the Latin and Cyrillic. This font provides advanced typographic support with features such as ligatures, alternate characters, old-style figures, fractions, numerator/denominator, superior/inferior, and various symbols.

Our Ultra Pro is an ultra bold slab typeface with nods to wood type styles like Clarendon and Egyptian. Its powerful and dramatic letterforms are both serious in form but friendly in appearance yet it is still easily legible. Perfect for power headlines and titling for impact, the SmallCaps and extensive figure sets only work to further expand the usefulness of the typeface across a wider gamut of design options.

The sixteen styles of Giza bring back the colorful power and variety of the original Egyptian letterforms, a glory of the Victorian era. Designer David Berlow based the family on showings in Vincent Figgins’ specimen of 1845, the triumphant introduction of this thunderous style. The truly unforgettable “Nine” weights were designed for ultimate emphasis in posters, and do their most effective work in the very largest of sizes.

Giza brings back the colorful power and variety of the original Egyptian letterforms, a glory of the Victorian era. Designer David Berlow based the family on showings in Vincent Figgins’ specimen of 1845, the triumphant introduction of this thunderous style. This version of the family is part of the Reading Edge series of fonts specifically designed for small text onscreen, having been adjusted to provide more generous proportions and roomier spacing, and having been hinted in TrueType for optimal rendering in low resolution environments.

Estro was originally designed by Aldo Novarese in 1961 for the foundry Nebiolo. Estro can maybe be classified a combination of Egyptienne and script.Ralph M. Unger redrew and digitized this font exclusively for profonts in 2003. His work is based on artwork taken from old font catalogues.

Eponymous is an Egyptian-style typeface with chunky, scalloped serifs. It is available in five weights in both roman and italic. I have always loved slab serif type and have created Eponymous to fulfil a yearning for a versatile, stylish and contemporary slab face. A key design characteristic is the implementation of scalloped serifs which, to me, imbues the typeface with a distinctive personality. Make use of the Open Type features that are part of Eponymous. For a start, you can implement some stylistic alternates, so, if the main characters don’t quite suit your concept, try activating Stylistic Set 1. There’s also a full set of small caps included. You can mix and match these characters with regular lowercase to create some interesting unicase typography. Of course, all characters have complementing diacritics, enabling multi-language support. Key features: Eponymous is is an Egyptian-style typeface with chunky, scalloped serifs 5 weights in roman and italic: Light | Regular | Medium | Bold | Black Full set of small caps with diacritics and figures 30+ alternate characters Full European character set 650+ glyphs per font Eponymous was redrawn and re-spaced to a higher standard in April 2021 (v2.0).

CHECK OUT Sánchez Niu (new, nova, neue, next) Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell, but with rounded edges— offering contrast and balance to the square structure. Sánchez & Sánchez Condensed comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free. Download specimen pdf

Calamity Wayne is a reverse-contrast slab serif, inspired by the ‘wild west’ French Clarendons (aka Italians or Egyptians) of the late-1800s. Despite the idiosyncrasies that make it ideal for display and headline uses, it is also surprisingly legible in text settings. Calamity Wayne supports Latin, Cyrillic and Greek, and is available in OTF and TTF formats. Acknowledgement: I am very grateful to David Jonathan Ross (https://djr.com) for his support and encouragement.

VTC Bloke is a revival of Miller & Richard’s classic metal typeface, ‘Egyptian Expanded’, including the three-dimensional, ‘Open’ style that was later introduced to the family. The roots of this typeface stem from the UK, where William Miller and his son-in-law Richard had their initial foundry in Edinburgh, Scotland. In addition to the beautiful and timeless type designs, the foundry gained a reputation for offering super small type sizes, designed for Bibles, dictionaries, documents, etc. Slab Serifs (or Egyptian Serifs) started to gain popularity in the early 19th century. It’s around this time, due to emerging industrial technologies, and an ever-expanding advertising industry, that type designers started to really experiment with letterforms that could help their clients distinguish themselves from the competitor, and catch people's eyes. The size of posters and advertising space was getting bigger, and bigger, and so was the type. All original letterforms have been re-drawn and cleaned up, with some more modern glyphs and characters added in. VTC Bloke supports Adobe Latin 1 Language Support.

Claremont is a serif font family designed by Les Usherwood (Typsettra). Usherwood originally created four weights – a light, extra bold, light italic, and extra bold italic. Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) digitized the family and created eight new weights, and it was released exclusively for the Red Rooster Collection in 1993. Claremont shares similarities to Bookman Old Style, but also shares properties with slab serif Egyptian-style typefaces. Like all Usherwood typefaces, the family was engineered with great care for maximum legibility and aesthetics. ©1993. International TypeFounders, Inc.

Born as a revival of an Egyptian typeface, this hand-drawn typeface is is perfect for headers and even as a body text. It manages to keep the neutrality required for a legible typeface and having slight details that makes it unique. All the details are hand drawn, and it comes in 3 versions: Santa 01 Black, with the original inked look Santa 02 Line, an sketch version of the font, Santa 03 Out, an outline version with subtle different strokes. A Santa Pack is available including all the 3 styles.

Originally designed in 1998 as a 3-font family, updated in 2016 by new italics, small caps and many OpenType functions, resulting in a set of highly visible poster typefaces. If a  text is set in a  good Egyptienne, we can observe a  kind of sparkle in the lines. Slab-serifs are cheerful typefaces, possibly due to the fact that they developed simultaneously with Grotesque typefaces. The design principle originating from the first half of the 19th century does not have such firm and long-established roots as for example, the Venetian Roman typefaces, hence it’s much more prone to a  “decline”. We know of Egyptiennes with uneven color, with letters falling backwards (this often happens in the case of “S”), and especially with slightly bizarre modeling of details. In the course of time, however, it was realized that such things could be quite pleasant and tempting. After a  century and a  half, we find that such Egyptiennes could refresh uniform computer typography. The forms of many twisted letters resemble the gestures of a  juggler: others, rectangularly static ones, reflect the profile of a  rail or a  steel girder – things which, in their times, were new and were observed by the first creators of Egyptiennes. These typefaces are ideal for circus posters and programs for theatre performances, just as for printing on cement sacks.

Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell. Offering contrast and balance to the square structure, Sánchez Slab is a new version, more robust with straight edges, that give greater character and power. Sanchez Slab comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free.

As you can see, Nefertiti is a font based on ancient Egyptian hieroglyphs and could be classified as a fun-font. I've always been really interested in Egyptology and a couple of years ago I thought it would be great to be able to write in hieroglyphs. I started to study them but soon realized it would take me a long time to be able to do this. Still, I was determined to find a way around this problem. At some point I came up with the idea of rearranging and reforming the hieroglyphs so as to resemble the English alphabet. During this process I tried as much as possible to preserve their ethos and appearance. However, since they are designed to write in English with, it's obvious that they are not always going to look like the real thing. Despite this, I'm really happy with the final result and I think many Pharaohphiles who just want to have some fun will be also. The only difference in this font between lower and upper case characters, is that the latter are set between two parallel, horizontal lines. These are for use with brackets (motif ends) to form cartouches - elongated ovals for names and/or titles. Try typing the following using the upper case in the sample text box. e.g. (JOHN} The zigzagged vertical lines at each end, separate the motifs from the hieroglyphs. Note the three types of ends/brackets. These lines are also used to separated words from one another and to give a more authentic appearance. So pressing the space bar gives a zigzagged line - not a space. They can also be used at any point within a cartouche to separate first and last names or titles. e.g. ; (JOHN;BROWN} walked straight home after work. Notice the eye glyph (period/full stop) at the end of the sentence. This is the only punctuation mark which can be used within a cartouche, e.g. after Mr. or to add a more Egyptian appearance to a name or title. e.g. (MR>;JOHN;BROWN} Parallel lines dividing hieroglyphical inscriptions and writing into rows or columns are very common. To incorporate these in a body of text, simple use the underline U. e.g. (OSIRUS) and {ISIS} were important gods of the ancient Egyptians. (HORUS) {HATHOR} and [RA],the sun god, were also highly revered deities. The punctuation marks available are shown below. . , " " ' ! ? "where is the king?" The font also includes the numbers 0-9, the following mathematical symbols and the hash sign(Scarab beetle). Once again, I've tried to make them look as Egyptian as possible; whether I've succeeded or not is open to debate. e.g. + - x / = # This font is named after Akhenaten's beautiful wife, Nefertiti, who's image can be seen in the graphic on this page.

Rigel was inspired by one poster by American artist and illustrator Katherine Milhous. It was a poster promoting the Ephrata Cloister in 1936. The letters from the Ephrata title on this poster are very concise and expressive, reminiscent of blackletter, but have a simplified look, which looks quite fresh even today. It was very inspiring to bring this font to life. In the process of redrawing and redesigning, the font has been slightly modified, but retained the character of those six letters from the reference poster. This is a header font consisting only of uppercase letters. It contains 6 styles from Light to ExtraBold. Despite the fact that the font has the character of blackletter, due to simplified forms, increased contrast and sharp lines, the font looks like a modern rethinking of Gothic script and it has found a new life. The name Rigel is taken for a reason. Rigel is a star, an blue supergiant in the constellation of Orion, and the Ancient Egyptians associated Rigel with the Sah - king of stars and patron of the dead. The human body after mummification was also seen as the embodiment of the soul. Of course, there is no direct connection between the font and Egyptian mythology, but indirectly in this way I wanted to emphasize even more the idea of incarnation, rebirth. Rigel is good for posters, large headlines, logos and any other large font compositions.

Warrior is a chunky typeface design inspired by a Russian Egyptian-style block alphabet (original designer unknown). Now available in seven weights (Hairline, Extra Light, Light, Medium, Regular, Bold, Black) in addition to three decorative styles: Shaded (3-dimensional), Inline, and Open. With its blocky letters and stable slab serifs, Warrior will add a bold, masculine look to your design. All members of the Warrior family support most European languages including modern Greek, and, of course, languages that use the Cyrillic alphabet.

Calypso I (Italian) draws its inspiration from type founders' plentiful show-off-letters, which were typical on title pages and lithographs in the early 19th century. It borrows luscious details from these but inherits a stiff modern backbone from its parent, Calypso E (Egyptian). Within the Calypso type family all fonts share the same dimensions and work together consistently. Calypso I supports many languages and includes, for example, four sets of basic numerals, circled numbers, alternative characters, case sensitive forms and dingbats. Give it a go on drop caps and headlines or even set short paragraphs with it. It loves colour and effects.

Keyboard is a condensed and elongated Egyptian font family with thin serifs and a large x-height. Its original design was created in 1951 by Stephenson Blake. International TypeFounders, Inc. gained exclusive licensing rights to the Stephenson Blake Collection, and then Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) created its digital form in 1994. Keyboard excels in display and subhead sizes, and brings a formal feel to any project. Its condensed nature gives it great visual density in the bolder weights, and the lighter weights allow it to retain legibility at both small and massive sizes.