Katsudon is a Japanese crumbed and deep fried pork cutlet, typically served on rice with egg drizzled over it. There is also a chicken variety. I have been to Japan numerous times (it is my favourite country) and each time I revelled in the great variety of foods being served in street stalls and hole-in-the-wall eateries. I especially love the grandma-and-grandpa eateries that are tucked away in alleys behind the major shopping streets. They never speak English and my Japanese is shaky (to say the least), but the food is always good and we always seem to understand each other. This year, I couldn’t travel to Japan, because of the Covid outbreak, but I can tell you that I miss Japan a lot! Katsudon is a crumbed and deep fried font. It comes with a splash of authenticity, a sprinkling of cheekiness and a generous dose of oomph. Oh, yeah, and double letter ligatures, plus a few alternates as well.

While Walking along the shore of our Main Port to Europe in Rotterdam, The Netherlands, my 14 year old son Jules first hardly dared to step in the mud for he was wearing his brand new sneakers. Concentrating in where he put his feet, he noticed he made a character! The FootPrint-Regular was born! The FootPrint-Regular is a powerful header-typeface, but funny enough it's usable as small copy too! Blaze your Trail! Anything you can imagine on Police investigations, Bloodhound Thrillers, Trails, Tracks and Traces, anything about Outdoor Stores, Tracking or even maybe Pedestrian Clubs, or things like Survival Sports, Walking Events or Hiking Gear; Blaze'm your FootPrint-Regular Trail on all Banners, Blimps, Ads and Doormats!

If you watched ND Gestalt glitter in the dark near the Tannhauser gate. You know all these sans serifs will be lost in time, like tears in rain… If you like circles you will like ND Gestalt just as much. The unconventional stem to counter bridge in the lowercase gives this one its rather unique appeal. Fonts like this are unlike any other font – they’re either a benefit or a hazard. Beware!

I came across an article in which the author warned about the growing pile of technojunk. It appears we throw away 50 million tonnes of unwanted gadgets EVERY YEAR - and, yes, that number is growing as these are the figures for 2012. 50 million tonnes - just think of that! The new font I was working on had a squarish look - almost computer like, so I decided to call it technojunk. Hopefully you won't throw it away… Technojunk is a 3D font, every glyph was drawn by hand. It is fat, fun and very useful. Try it out!

There are a lot of things to say about fashion. I never really cared about what people meant was fashion, at any time of my life...well, not counting my teenage years!!! I was a teenager in the 1980ies and I was really into what was hot or not...but when I look at photos of myself from that time, I always wonder what kind of fashion trends I was following! :) Brutal Fashion is really not brutal in any way, but more attractive, nice, charming, handsome, delicate and graceful - with a stunning amount of handmade roughness!

A Dancing Fool is not always meant as a positive thing - but in this case it is 100 percent positive and innocent. It's just about someone who is dancing in a foolish way. A good way to describe this font, because it is silly looking, but not in any offensive way!

Based on sketches of an alphabet from examples of South Western cattle brand marks. I always liked the idea of these brands for a font. A few years later a basic font - just the capitals - was used for some logo designs.

Way back in 1996, three student letterers went into the forest looking for the mysterious fonts used to letter Spawn: Blood & Shadows. They never returned. A year later, these fonts were found. And now, over 20 years later, we've updated Wiccan with separate Regular & Bold Special weights, Central Europe & Cyrillic characters, automatically cycling alternate letters and fan-favorite Crossbar I Technology!

The inflatable font you never knew you always wanted! With its two axes you can literally blow this variable display font up and watch it float away… Uppercase display font built on OC Format Sans Print Bd Support for 84 languages 6 preset static Inflate styles gradually inflate and stay on the baseline. 6 preset static Float styles gradually inflate and rise from the baseline. Baseline punctuation and certain symbols don’t float to provide a grounded context. Various un-inflatable symbols carry over from Format Print Bd because they might come in handy as is. With a complete alternate set and double number ligatures years and zip codes don’t look repetitive (think 1991 – 10022 that sort of thing) Double letter ligatures prevent visual repetition in words like “balloon” and “coffee”.

Originally drawn in 1999 as a college project with the ambition to make the ‘most beautiful’ alphabet in the world. After these heroic beginnings Spaghetti lay dormant in the VLNL vaults for many years, appearing to silently peter away. Now look at it! Ten years hence, it is finally being served up in glorious OpenType, precisely al dente. As automated special sauce, each lowercase character before or after a space receives a nice little ball ending to round things off. And finally, the parmesan cheese sprinkled on top is like a tasty bunch of ligatures – enough to make your mouth water.

ROTHE, A luxury vintage lettering style fonts. Inspired by the branding from the vintage classic era with the full decorative feels and complex design but still get the luxury feels right away. Armed with some swash letters to expand the style like the old lettering way.

A year after the tremendous success of Memoriam in the "Lives They Lived" issue of the New York Times magazine at the end of 2008, Patrick Griffin and Nancy Harris Rouemy teamed up once more to tackle the same project for the 2009 issue. This time the magazine's design concept revolved around a typeface they created specifically for custom vertical malleability, and that can play just as well in single- or multi-color environments. The result was another iconic commemorative issue that shows exotic tri-line letters merging, swashing, extending and flourishing in stunning gold, silver and blue on black on the cover, and in black on white on the inside pages. Just like in the previous year, the issue won multiple publication design and typography awards. Crescendo is that typeface, finally issued for retail by public demand. Just turn your setting into outlines in your favorite vector program, grab single strands and extend away, and do your best alternating colours between strands. Crescendo comes with a limited punctuation set, but accented characters for Western Latin languages are included, and there many, many alternates and ligatures in there as well. This typeface is best used in large display sizes.

I live in a small hamlet near the Rhine river. It is a sleepy little town and it doesn’t have any facilities. For groceries I need to go to the next town. The only road leading to that town has been closed for half a year, because of ‘maintenance’, so doing groceries got a lot trickier. The fastest way to travel is through yet another hamlet in the forest, on a very narrow road with extremely bumpy shoulders. Yes, you’ve guessed it: it is a Bumpy Ride. Bumpy Ride was made using a so called Brush Pen. It comes with all the accents and a sweet set of alternates for the lower case letters.

The Bicicleta family recaptures the ambiance of a bicycle journey I took many years ago along the Portuguese coast and embodies a vintage flair that appeals to me. A little reminiscing is always never a bad thing. The Bicicleta family is classic, clean and stylish.

IT’S MAILBAG TIME! Dear Jolly JG Roshell and Rascally Richard Starkings, Comicraft Fonts are a thing of Beauty and a Joy Forever! You guys must be a Wild Bunch, and I roar with delight whenever a new comicbookfonts release appears in my emailbox. But I have to level with you daredevils...what about us Letterhacks? We need representation too! We haven’t spent years hammering away on our typewriters to be ignored! BRING BACK THE LETTER HACK! In fearless font form. You know it makes sense! Truly Yours, Forbush, Irving, senior. We give up! We can’t resist your appeals, threats and commands ANY LONGER!!! We may crack under the strain, but this month’s release IS two (count 'em) Letterhacks! That’s right, a pair of fantastic fonts that recreate the look and feel of your Marvelous Letters of the Sixties! It’s a Bullpen Bulletin! It’s an Iconoclastic Item!

Once a year Through mist and rain October soon to end Have no fear Beneath the full moon we gather. Welcome to the show! Now - Silence... Cirque de la Lune is an uppercase only poster/display/headline font in two variants - Eclipse (regular) & Fullmoon (outline). Alternate, nudged or slightly rotated uppercase letters are placed on the lower case keys!

100.000 years ago years ago, a group of mad scientists from the far away planet ZyrXX, encountered the earth and just waited to conquer the planet. Their masterplan was to use electronic brain waves to manipulate our minds. Sounds cheesy and comic, right? Well, that is the true story about this font. The font was built using a grid (hence the name!) and all I had in mind, was a mixture of old sci-fi movies and computer graphics from the 80ies. I did my best to recall and re-create this - I will let you be the judge to decide whether I succeeded! :)

Got a favourite pair of jeans? I do, and I wear them every Friday when it's time to PAAAARTYYYY! Well, that was 30-something years ago, but the memory of those jeans lives happily in my mind :) The font, Friday Jeans is a happy-go-lucky sans font with inky edges and lively lines. Playful as a Friday night out!

Our eye is able to join missing parts of worn letters back into undisturbed shapes. We tend to see things better than they really are. Thanks to this ability we ignore faults of those close to us as we can’t accept the fact that every once in a while we convene with an impaired entity. Typography is merely a man’s invention, hence imperfection and transience, albeit overlooked, are its key features. This typeface is based on worn-out letterings on tombstones in the St. Croce basilica in Florence. For hundreds of years, microscopic particles of marble are being taken away on the soles of visitors: the embossed figures become fossilised white clouds, fragments of inscriptions are nearing the limits of legibility. First missing are thin joins and serifs, then the main strokes finally slowly diminish into nothingness over time. Unlike an archaeologist, for whom even completely featureless stele is valuable, the typographer must capture the proper moment of wear, when the type is not too “new” but also not too much decimated. Such typeface is usable for catalogue jackets, invitations and posters. Calligraphy is a natural human trait. To write is to create characters of reasonable beauty and content, according to the nature of the writer. A natural characteristic of architecture is to create an aesthetic message very similar to the alphabet. A doric column, the gabled roof, the circle of the well plan: these are the basic shapes from which all text typeface is derived.

Animated types like this one have been around for fifty or more years. They certainly add a sense of liveliness to a headline. This one trades upon the "wrong way weights" of the old French Clarendon. Think of it as Barnum with Bounce.

As a kid I used to write my favourite football teams name with 3D letters over and over again. I spent hours doing this - often to find out I had the colors wrong, or I had made a spelling error or two - but now, several years after, I have created the "Like a cat" font - so that you can make "handmade" headlines or funny quotes or even your favourite football teams name in a swoosh! If you get the colors wrong, or you make a spelling error, it's fast and easy to correct! :) Like a cat comes with substitution characters for double letters!

🏆 Selected for Tipos Latinos 9. 🏆 Selected for the 13th Biennial of Brazilian Graphic Design. 🏆 Hiii Typography 2018 Merit Award. Kiperman is a text typeface designed in honor of Henrique Leão Kiperman, founder of the publishing house Artmed, now Grupo A. Its forms are simple and straightforward, with no unnecessary embellishments that could disturb the reading. The fonts are slightly narrower than normal, which yields higher efficiency without compromising reading comfort. Besides that, its italics are not just a slanted version of the romans, but rather a separate drawing. With a slope of 8°, its calligraphic structure provides the right amount of emphasis when necessary. The Kiperman typeface works best when setting books, magazines, ebooks and websites. It will also work very well in branding and packaging projects where a sober typeface is needed. The inspiration for the design came from the personality of the honoree. Just as Henrique always wanted to stay away from spotlights, the Kiperman typeface was designed so that it would not call attention to itself or impose any obstacles in the understanding of the text. In this way, the fonts revere Henrique’s legacy by respecting and honoring the published content. Henrique Leão Kiperman began his career in 1958, selling medical books in travels through the interior of the Brazilian states of Paraná and Santa Catarina. In 1973, he opened a bookstore in downtown Porto Alegre, the Artes Médicas Sul, and a few years later edited his first book. Since then, his company has grown to become one of the most important publishers in Brazil in the area of scientific, technical and professional books, with more than 2400 active titles distributed among the McGraw Hill, Bookman, Artmed, Penso and Artes Médicas imprints. Henrique passed away in 2017 at the age of 79. The Kiperman type family has been commissioned by Grupo A and is available for licensing. This was the way found for the fonts to be read by more people, spreading some of his spirit around the world.

A common creation: (to pass from one hand to the other): For the first time, various hand-signs from diverse sources are unified into one single visual style. This compendium is the result of 15 years of incubation and 7 years of creation. In his travels throughout the world, graphic designer Jean-Benoit Levy, principal of the visual studio AND, has collected pictures of multiple hand signage. Uncertain what to do with those signs, he kept them year after year until the idea came to unify almost 200 handsigns into one single family. In accordance with this entire collection, the name of the typeface is a mix: "h-and-s". A global collection: (To put in good hands): We all have one thing in common: Hand-signs are an international language, they are meant to be understood by all of us. Each of us regularly comes in contact with modern hieroglyphs such as the hand-sign-codes that are so prevalent in our daily life. This way of communication belongs to no one in particular and to all of us in general. Even if the sense of certain signs varies from one culture to the other, there is a common hand-sign language. We are surrounded by this language of handsigns each time we step in a store, we eat, open a container of milk, we clean up, use package of wash-powder, by shaving, when we work, use tools, at home, by tearing the envelope of a condom, by traveling, etc. When we encounter these signs, we all understand them easily. A visual connection: (To go hand in hand): This typeface is a global visual statement. Collecting, ordering, redrawing, unifying. Reconstructed and assembled into one original alphabet, H-AND-S is a unique and complex signs program. Our choice is based on daily gestures and global hand-codes. Logically this typeface starts with the "American Sign Language" and expands on two type-variations, each on two levels of keyboard. The international team of H-AND-S would like to send his special thanks to all of the anonymous graphic designers throughout the world who designed different hand-signage and who influenced and inspired to create such a sign collection into one unified family. We, the global nomad team of AND, hope that you will enjoy our H-AND-S. Additional Credits Production: Studio AND. www.and.ch. Concept, Idea & Creative Direction: Jean-Benoît Lévy, Switzerland / USA. Research & Sketches: Eva Schubert, Germany. Illustration, Graphic Design & Visual Fusion: Diana Stoen, USA. Transfer, Adaptation & Refining: Moonkyung Choi, Korea. Finalization & Checking: Sylvestre Lucia, Switzerland. Coaching & Technical Advice: Mike Kohnke, USA. Creative Energy & Implementation: Joachim Müller-Lancé, Germany / USA.

I'm thrilled to present you a new futuristic typeface. Smooth humanistic forms and elongated proportions, modern trends dictate a new fashion in type design. Perfect for science research posters, modern futuristic logos, automotive type design and more. Check how it works and let me know, I am always glad to hear your opinion.

Kurtzberg was created after the bold type on the splash pages of many of the classic comics of the 'fifties and 'sixties. Thick and chunky and filled with all those symbols basic comic book fonts rarely come with. Kurtzberg is always ready to swing into action when injustice rears its ugly face.

During the spring of 2006, while creating this typeface, I was reading Praying For Gil Hodges, by Tom Oliphant, who grew up a Brooklyn Dodgers fan. I grew up a Los Angeles Dodgers fan. My mother worked as secretary to the president of the old Triple A LA Angels Baseball Team. In 1952 when she was pregnant with me, she left the team. They gave her an autographed baseball and a puppy named Angel. That's the dog I grew up with. Toward the end of the book the author talks about Gil Hodges' favorite ballplayer, a slugger for the LA Angels, Jigger Statz. I thought, could it be? My mother died two years ago and I got the team baseball. Sure enough, the first name after the dedication to my mother was Jigger Statz.

If Sewing Patterns wasn't quite vintage enough for you, Sewing Patterns 2 is the answer to your early twentieth century wishes. Spanning the years 1910 to 1949, it's more Downton Abbey than Mad Men, more Katharine than Audrey, and definitely contains more hats. Like the original, the upper and lowercase letters feature what the well-dressed woman was wearing and the numbers are popular children's fashions.

Gastromond began about five years ago with a question: why are fat faces always based on Didot or Bodoni models? Was there a reason that the stresses of these display faces was always vertical or horizontal and never angled? It was time to find out. Gastromond is meant to blend the Renaissance stylings of the Garamond types with the Victorian outlandishness of the fat faces. The result is an emphatic take on a classic genre. Loaded with swashes and alternates, Gastromond has enough character to go around.

I am not a very romantic type (pun intended…), but a slightly slanted connected script always looks as if it was made for romance! Summer Romance is a beautiful connected script, made entirely by hand using a Japanse calligraphy brush-pen. It looks good on just anything: romantic book covers, beauty products, travel websites advertising romantic get-aways… Comes with double letter ligatures and a whole bunch of diacritics.

Some years ago I designed Chalfont as a sans face. All the characters have a top heavy look when viewed straight on, however, as most type is read at an angle with the top further away than the bottom, this top heavy look is diminished. Chalfont Roman, although re-drawn with some alterations, is still basically the same face but with a top left serif giving more emphasis to the top heavy characteristics. I have also added a set of non ranging numerals.

Morris Fuller Benton's Hobo [designed in 1910] is one of a number of fonts which have been so over-used that many designers shy away from it altogether. However, Jeff Levine had often wondered what the design might look like it given a serif treatment. The result is Rail Bum JNL, named for the hobos and transients who hitched along on freight cars to ride the rails across the country during the years when trains were the mainstay of American transportation.

Horror Korpus is an artistic rebellion, a statement against the clean and the pristine, evoking the gritty scenes of a horror movie into your design. With flames burning in its strokes and a wild, untamed demeanor, this rough font wears a garment of distress, with eroded and destroyed textures that screams an extreme temperament. It stands defiant, bearing a resemblance to edgy tattoo designs that adorn the bravest of souls.

An "Aiguille" is a sharp pinnacle of rock in a mountain range. Aiguille font is a beautiful handwritten connected script font. I thought it was a good way to start off the new year! Aiguille comes with a whole bunch of alternate glyphs, ligatures and even ‘end-of-word’ alternates.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Luis Serra was born in Alicante. There he grew up and even started a family His life was there. But at the age of 35 he split up with his wife and decided to go to Barcelona in search of a new life. And it wasn’t easy for him. He had to turn his hand to all kinds of jobs and didn’t manage to find the stability he needed. Luis is a shy, retiring person who takes great pleasure in the little things in life such as walking in the mountains or celebrating the victories of his football team, Barça. After four years living in Barcelona, Luis found himself in a position he’d never imagined. “The street’s much worse now, there’s more trouble, there’s more tension,” says Luís. In the street he had to learn, as he always had, to move fast, to find a place to sleep and something to eat. Luís is one of those people who don’t let circumstances mould him, but adapts to them and always tries to do his best.

Here I am, once again digging up 60-year sign lettering and trying to reconcile it with the typography of my own time. The truth is I've had this particular Alf Becker alphabet in my sights for a few years now. But in the typical way chaos shuffles the days, Buffet Script and Whomp won the battle for my attentions way back when, then Storefront beat the odds by a nose a couple of years ago. Nevertheless, revisiting Alf Becker’s work is always a breath of fresh air for me, not to mention the ego boost I get from confirming that I can still hack my way through the challenges, which is something I think people ask themselves about more often as they get older. You can never tell what may influence your work, or in this case remind you to dig it out of dust drawers and finally mould it into one of your own experiences. On my recent visits to the States and Canada, I noticed that quite a few high-end steak houses try their best to recreate an urban American 1930s atmosphere. This is quite evident in their menus, wall art, lighting, music, and so on. The ambience says your money is well spent here, because your food was originally choice-cut by a butcher who wears a suit, cooked by a chef who may be your neighbour 20 minutes from downtown, and delivered by a waitress who can do the Charleston when the lights dim and who just wouldn't mind laughing with you over drinks at the bar later. So Steak is just that, a face for menus and wall art in those places that see themselves in the kind of jazzy, noirish world where one-liners rule and exclamation points are part of a foreign language. As is usual with my lettering-inspired faces, there is very little left of the original Alf Becker alphabet. Of course, the challenges present in bringing typographic functionality to what is essentially pure hand lettering gives the spirit of the original art a hell of a rollercoaster ride. But I think that spirit survived the adventure, and may in fact be even somewhat magnified here. This font is over 850 glyphs. It’s loaded with ligatures, swashes, ending forms, alternates, ascender and descender variations, and extended Latin language support. Steak comes in 3 versions. According to your taste you can choose Barbecue, Braised or Smoked. It’s up to you!

I have always been fascinated by Grigory Rasputin, the rogue ‘monk’ who influenced the Russian Tsar Nicholas and - according to rumours - bedded the Tsarina. Grigory font was handmade with the use of a Chinese marker pen and rough paper. Grigory comes with all the trimmings; some alternate glyphs, a few double letter ligatures, a great amount of diacritics and basic Cyrillic as well.

Calissa Pro is a multilingual, handwritten stylish copperplate calligraphy font, a sort of upgrade to issued earlier this year Calissa font. This file contains over 1800 glyphs and has many open type features including: fancy swashes, alternates, ligatures and lettering - all easily available at the click of a mouse. To make the most of this font an open type aware software is required.

Drillepind is a kidder in danish. You know, someone who teases, without being rude. Once you start typing with Drillepind, you will notice that the font does the same, in a playful way. You never know what happens next, when using the font - but you do know that it'll be loads of fun!

Colore. Colourful and Modular. A happy and colourful New Year from the FSdesign team. In order not to lose the joy of playing, we provide the "Colore" font family: a modular font kit, that encourages to play. By superimposing the different font styles you can create a colourful typographical staging. This New Year's card was realized with the help of "Colore". Too wild? auto-referential? Try Colore and form your own opinion.

Arnold Boecklin is a true Art Nouveau font, evocative of outdoor cafes in the years prior to World War l. Arnold Boecklin seems to be telling a story, with its decorative curves and varying emphasis of strokes. The Arnold Boecklin font should be used for specific copy as in headlines or advertisements, bearing in mind its strong design. Arnold Boecklin is a trademark of Linotype GmbH and may be registered in certain jurisdictions.