Slab Serif Font History

Carl Shank • July 21, 2025

Slab Serifs. Born in Great Britain in the Industrial Revolution of the 1800s, slab fonts, or slab serif fonts, provided a beefy and starkly bold contrast to text fonts that were popular. Found on just about every billboard, poster, pamphlet and advertising vehicle of the day, slabs were designed to stand out from the crowd, a type that shouted, "look at me!" Slab serifs, also called Egyptian, antique, mechanistic or square serif, are characterized by usually thick, block like serifs.


Slab serifs possess  thick serifs, which are squared-off or slightly rounded, and almost the same weight as the main strokes. From a typographical standpoint, they have low contrast, with minimal  difference between thick and thin strokes. Slab serifs can have a  geometric or humanist structure, and can range from mechanical-looking to more organic. They are sturdy and legible, designed for impact and readability even at large sizes. Early examples were Antique and Clarendon.


ANTIQUE. The first commercially available slab serif, or Egyptian, typeface—called “Antique”—appeared in 1815 and was designed by Vincent Figgins. They were more attention-grabbing than more traditional serifs. The primary characteristic of slab serif fonts is the lack of curvature on the serifs.


After the first slab serif typeface was released, they quickly grew in popularity early in the 19th century, alongside the rise in printed advertising. Some slab serifs were developed specifically to be used at larger sizes for printed matter like posters. This was a departure from earlier large-scale type designs, which adapted existing forms of book type.


CLARENDON. The first slab serif fonts appeared at the beginning of industrialization in Great Britain in 1820. Clarendon and Ionic became the names for this new development in England, known as English Egyptienne elsewhere in Europe. Clarendon is also the name of a particular font of this style, which, thanks to its clear, objective and timeless forms, never lost its contemporary feel. In small point sizes Clarendon is still a legible font and in larger print, its individual style attracts attention.


Although Clarendon itself was created by Robert Besley in 1845, it is inspired by the typeface Antique, one of the original slab serifs. While Clarendon and Antique share a similar flavor, Clarendon's addition of bracketed serifs, the gentile curves connecting the serif to the body of the letter, gives it the ability to work better inline of a body of text with other serifed fonts as well as giving it its softer and more approachable feel. It quickly became one of the most popular typefaces of its time period and to the point where today we rather quickly associate it with turn of the century England and in the U.S., the old west.



There were a few Clarendons — a thick-faced condensed type with heavy serifs. The original Clarendon is an English slab-serif created in in the 1830s by Robert Besley for Fann and later Thorowgood and Co. type founders. A version was made into a wood typeface and also was reworked in metal by the Monotype Corporation foundry in 1935. Hermann Eidenbenz and Edouard Hoffmann made their own version based on Besley’s original design in 1953. The Craw Clarendon family designed by Freeman Craw was released by American Type Founders in 1955, with light, bold and condensed variants. Fortune or Volta, a very modern version of Clarendon, was designed by Konrad Friedrich Bauer and Walter Baum for the Bauer Type Foundry, in 1955, adding an italic in the medium weight. Aldo Novarese drew the Egizio family, a Clarendon by any other name for the Nebiolo foundry in Turin, Italy in 1958. (From https://www.printmag.com/daily-heller/clarendon/)


BLICK FREEHAND. Built on innovation and creativity, BLICK is a company of firsts. Dick Blick's first catalog originated in 1911 in the form of a small pamphlet issued by the company's founders, Dick and Grace Blick. Our first product was a lettering pen, the Payzant, which quickly became a bestseller. The Freehand typeface featured in C.A. Faust's 75 New Typefaces in 1912 was penned by Blick using the Payzant. The Blick's first warehouse was their kitchen, and their first shipping department was the Galesburg, Illinois post office where they would send out their daily shipments. See dickblick.com for more information.


Egyptian/Egyptienne — mostly used for slab-serifs generally, although first used by the Caslon Foundry in naming their sans-serif, the first made. Continued to be used as a name for "geometric" slab-serifs appearing in the twentieth century, and so several geometric slab-serifs had Egyptian-themed names, including Memphis, Cairo and Karnak.


Memphis is a slab-serif typeface designed by Rudolf Wolf and released in 1929 by the Stempel Type Foundry.

Memphis is a "geometric" slab serif, reflecting the style of German geometric sans-serifs (in particular Futura) which had attracted considerable attention, and adapting the design to the slab serif structure. Its structure is strictly monoline, with a "single-storey" 'a' similar to blackletter or handwriting, in an almost-perfect circle. It was released in several weights and with alternative characters such as swashes, which digitisations have mostly not included.


Memphis has an Egyptian name, in reference to the fact that early slab serifs were often called "Egyptians" as an exoticism by nineteenth-century typefounders.

Memphis and other similar designs were popular in printing during the hot metal typesetting period 


Ionic — in the nineteenth century used as a name for slab-serifs. In the twentieth century this term became used to mean text faces with some Clarendon-style features, because of an influential body text face of this name from Linotype - this followed from previous faces of the same name only slightly bolder than text proportions from Miller & Richard.


Egyptienne is a slab serif typeface designed by Adrian Frutiger in 1956. The design was influenced by the Clarendon model of slabs that originated in 1845. Egyptienne has a large x-height and, unlike Clarendon, contains italics so it can work well for setting body text. The typeface has been a classic, go-to slab serif for over 50 years but doesn’t seem to be used much on the web, with other humanist slabs such as Adelle being more popular.


ROCKWELL. The Rockwell family is a fine example of this appealing and eminently usable type style. This is a design that is both robust and adaptable. Marked by the flat top-serifs on the cap A, unusual Q tail and high-legibility two-storied lowercase a, Rockwell has a bit of handmade charm that distinguishes it from the cool, more modern interpretations of the slab serif style. The family is excellent for branding, headlines and other display uses. The simple shapes and hearty serifs also make it a good choice for short blocks of textual content in both print and on-screen environments. The light and bold weights are perfect for setting blocks of text copy, while the extra bold and condensed designs bring authority to display copy. Throw in a little color, and you amp up Rockwell’s messaging power. Rockwell’s large x-height, simple character shapes and open counters, make for an exceptionally legible design. It should not, however, be set so tight that its serifs touch, as this will erode legibility and impair readability. A benefit to Rockwell’s slab serifs, however, is that the design combines beautifully with both sans serif typefaces and a variety of serif designs. (MyFonts.com)

ROBOTO SLAB. Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn’t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types.


Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn't compromise, allowing letters to be settled into their natural width. Roboto Typeface is popular among designers because of its versatility and readability. It is designed to work well on all platforms, including mobile, web, and print. Its open and friendly curves make it easy to read, while its mechanical skeleton gives it a solid structure.


SERIFA. Serifa is a slab serif typeface family created by Adrian Frutiger in 1967. The typeface is based on the Univers family. It was most prominently featured in the logo of Montgomery Ward from 1982 to 1992 and again in the revived online store. It was also used in the campaign ads for Ross Perot's 1992 Presidential campaign and from 1982 to late 1987 on the graphics of various CBS News programming, and for the local news programs at the CBS owned-and-operated television stations (as well as several affiliates). In 2014 Jake Tilson used it in the NT signage to complement the NT logo. Serifa is also used in nearly all of the College Board's communications and exams.


Museo Slab (from Adobe)

Jos Buivenga lives and works in Arnhem. He started designing type in 1994 and started his exljbris Font Foundry ten years later. He is most known for his Museo font family and also for the way he markets his typefaces. This OpenType font family comes in five weights and offers supports CE languages and even esperanto. Besides ligatures, contextual alternatives, stylistic alternates, fractions and proportional/tabular figures MUSEO also has a 'case' feature for case sensative forms. Museo Slab supports a very wide range in languages and is a complete OpenType typeface. Each weight counts 455 glyphs. You can find detailed info in the Museo Slab PDF specimen. Museo Slab is spaced and kerned with Igino Marini's wonderful iKern service. 


ARVO (Google)

Copyright (c) 2010-2013, Anton Koovit (anton@korkork.com), with Reserved Font Name 'Arvo'

This Font Software is licensed under the SIL Open Font License, Version 1.1 . This license is available  as FAQ at https://openfontlicense.org.


COURIER. Howard G. “Bud” Kettler, worked as a type designer for IBM in the 1950s. He designed corporate logos, special-purpose fonts, like the Bell Gothic, and a number of typewriter fonts. He was tasked with the job of designing a typeface that was “weightier” than the fine lines of Pica and Elite that were being used at the time. 


Dirk Stratton, in Aldus Magazine noted that Kettler in the mid-1950s designed the face we call Courier — “He based its geometry on nineteenth century Egyptian typefaces, slab-serifs they are called, and made them work on the typewriter.”¹ IBM never assigned a trademark to the face and it has been in the public domain ever since. Kettler was proud of his work — “A letter can be just an ordinary messenger [that was thought to be the desired name] or it can be the courier which radiates dignity, prestige and stability.”² The Courier typeface was born. 


Even the renowned Robert Bringhurst in The Elements of Typographic Style acknowledges Courier’s long standing usefulness — “And on the principle that a good hamburger is better than a bad souffle, even monospace typewriter fonts - such as IBM Courier and Prestige, which are models of their kind - remain well worth considering for routine work on laser printers.” (Robert Bringhurst, Elements of Typographic Style (Hartley & Marks, 1992 edition), 90–91.)



As a monospaced font, Courier found usefulness in computer programming and became the industry standard for screenplays written in 12-point Courier, called Courier Screenplay. The typeface Courier New was used until January 2004 by the federal government, being replaced by 14-point Times New Roman typeface. The iterations and variants of Courier have been many, including Courier New, Courier Screenplay, Courier Prime, Dark Courier, Courier 10 BT, Courier Final Draft and Courier LT Round Font. 


Successful Layout & Design

Type Trends 2026 Analysis

By Carl Shank • October 13, 2026
Type Trends 2026 Analysis Tiffany Wardle, The Type Founders copy and design service editor, has offered her perspectives on the state of type in 2026 (SEE https://bit.ly/4s5fgNV ) She offers the summary that “no single style has defined 2026.” She, instead, offers that “variety” is the defining feature of 2026 — “traditional and unconventional approaches, maximalism beside restraint, and pairings without an obvious connection that still suit their context.” She notes that familiar or bookish type is found in unexpected roles and scales, that “expressive type is paired with pragmatic type, and that character-rich typefaces used as logotypes with broader use of variable fonts for creativity and performance.” Instead of the traditional typeface advice of carefully selecting faces that harmonize with one another, and the classic sans-serif headlines with serif text, she notes that type in 2026 emphasizes contradiction — “Contradiction gives much current typography its appeal. A bold, mannered display face can sit beside a practical sans serif; the two need no obvious formal connection. Their contrast creates energy. These ideas are not new. Typography has always adapted and recombined earlier approaches for new purposes. What matters now is the particular mix—and the wide range of methods that can feel contemporary at once.” The age-old sage advice, that I posted in 2021, notes this about how to use and combine typefaces — "Robert Bringhurst wisely says — “The best type for a book about bicycle racing will be, first of all, an inherently good type. Second, it will be a good type for books, which is to say, a good type for comfortable long-distance reading. Third, it will be a type sympathetic to the theme. It will probably be lean, strong and swift; perhaps it will also be Italian. But it is unlikely to be carrying excess ornament or freight, and unlikely to be indulging in a masquerade.” ( The Elements of Typographic Style , 91). Jan White echoes this sentiment about choosing type in How To Spec Type — “There is no such thing as 'right' or 'correct' use of type. There is only vivid and eloquent effectiveness, or numbing and misleading ineffectiveness.” (10) Consequently, a math textbook will use a different typeface than a slogan on a can of soda or a bottle of wine. White suggests the following questions for the would-be use of a typeface in any context — [1] Does the way the type is handled in a specific circumstance fulfill its purpose? [2] Is it doing the job efficiently? [3] Is the message coming through clearly and vividly? is the message jumping off the page into the reader's mind crispy and memorably? (10) He goes on to say that “good typography is transparent, like blister-packaging — exposing the content inside and letting it speak for itself.” He agrees with Bringhurst about the use of type ornaments — “too often typography is used like gift wrapping, in the hope that cosmetic prettification will make the package seem more desirable.” (10) So then, “good typography links the verbal with the visual to produce arresting results. Good typography clarifies. It articulates. It elucidates. It expresses meaning.” (11) Many would-be editors and writers and office personnel try too hard when it comes to setting type. With the thousands of possible typefaces that are on the market today, produced by would-be typographers, playing with digital type producing programs, many people can get overwhelmed and confused and frustrated by what typeface to use.”(SEE my blog “How To Choose the Right Type for the Right Job,” March 29, 2021, www.caretypography.com ) This age-old and wise advice has been supplanted, I would suggest, by a post-modern theoretical, indeed theological, cast. Like Dutch De Stijl (See Reference ), or Dadaism (See Reference ), or Psychedelic (See Reference ) or Punk (See Reference ), or Grunge type (See Reference ), the cultural context of rebellion against any typography rules of readability and legibility and well-defined type go out the window in favor of whatever gives “energy” to an ad or a poster or a book that wins the day. Wardle goes on to say about 2026 type combinations — “Unexpected roles. Bookish, text-oriented, or familiar type appears at surprising scales or in applications not usually associated with it. Contrasting character. Maximalist or highly expressive type sits beside pragmatic type, with the overall composition mattering more than obvious stylistic harmony.” She says these contrasts “invite closer attention to the content and reasoning behind each choice.” Post-modernism rejects absolutes and what I would call “common-sense” order and structure. Everyone makes up their own rules, their own agendas, their own type combinations, ignoring centuries of time-tested typography. This is what “feeling contemporary” means. If I am correct, then the 2026 typeface choices and patterns will likewise disappear from regular use. Using what has been called display type for “normal” use betrays one of White’s criticisms — “too often typography is used like gift wrapping, in the hope that cosmetic prettification will make the package seem more desirable.” What is important is what is on the inside of the package, not the audacious gift wrapping.  I would imagine that Wardle would point to White’s other typography notes that say “good typography links the verbal with the visual to produce arresting results. Good typography clarifies. It articulates. It elucidates. It expresses meaning.” She might point out the “energy” aspect of 2026 type choices and combinations and maintain that they accomplish the same thing as White suggests. I am not at all sure about that. Some of Fonts In Use samples below are what Wardle highlights (SEE https://fontsinuse.com ). You make the judgment call.

Typeface Characteristics: Which Type Where?

By Carl Shank • September 9, 2026
Typeface characteristics are the visual and structural features that distinguish one typeface from another. They determine a typeface’s historical appearance, readability, personality, and appropriate use. Useful Ways to Analyze Any Typeface. When examining an unfamiliar typeface, ask these questions in order (provided by ChatGPT) — Does it have serifs? What kind of serifs? How much thick/thin contrast is present? What is the stress angle? What is the x-height? How wide or narrow are the letters? How are the counters constructed? What do the terminals look like? What are distinctive letters such as a, g, e, R, and Q doing? How does the typeface behave in a paragraph—open, dark, dense, airy, mechanical, or calligraphic? What historical or technological process does its construction suggest? What personality does the combination of these characteristics produce? There are a number of online sources to help identify typefaces ( See Feb. 6, 2022 Blog for more explanation and use.) Sources include — MyFonts ( www.myfonts.com/WhatTheFont ), FontSquirrel ( www.fontsquirrel.com/matcherator ) WhtFontIs ( www.whatfontis.com ) Identifont ( www.identifont.com ) is one of the best. Here are the questions it will ask you — Does it have feet (serifs) or not (sans-serifs)? What style is the tail on uppercase Q? What style is the ampersand (the &)? Is the numeral “4” open or closed? What style of vertical line does the Dollar sign ($) have? How high is the center vertex of the uppercase M? Sit on the line or not? What type of bar does the uppercase G have? How far below the baseline does the uppercase J extend? What about the uppercase R? How far does the center bar extend? Is there a gap with the vertical part of the letter? Does it meet or cross the vertical? What about the question mark (?) What shape is the dot at the bottom? Is it circular, square, triangular, rectangular or even missing? The important point is that a typeface should not be identified by a single characteristic. Its identity comes from the interaction of serifs, contrast, stress, proportions, counters, terminals, spacing, and letterform construction.
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