"There are many sources of inspiration for this typeface.

First, there is the postcard I recieved from a friend on holiday in Egypt in the mid - ’90s. On the postcard was a stamp that mixed egyptiennes and what appeared to be some reference to cyrillic glyphs. I started to work on a typeface inspired by the stamp, but it never got to a point where I was satisfied. So I put it in a folder and forgot about it.

Second, there is the "Learn-how-to-draw-letters" book I got for my birthday a few years back. It was a paperback which consisted of xeroxed pages. It probably wasn’t the first edition, and the xeroxed pages looked like the came from a xeroxed original. One of the chapters showed different typefaces - among them a clarendon. The roughness of the of the letters appealed to me & made me think of old woodtype specimens which brings us to the 3rd source of inspiration: printed ephemera from 1800s to the early 1900s.

There’s something warm-hearted about old ephemera –letters that clutch together, wacky baselines, spilled ink, bad paper and a mix of letters from different typefaces. None of which would be considered good type & printing, but still feels so much more alive than many of today’s gridbased fonts.

I've tried to put some of this human touch & warmth into Farao."