A 1930s advertising poster for the Inman Brothers Flying Circus offered up an interesting hand lettered Art Deco design that’s a cross between both squared and rounded character shapes. Because of it's 'futuristic look', the resulting type style can also lend itself to 1970s and 1980s retro projects as well as those from the 1930s and 1940s. Now a digital font, Air Circus JNL is available in both regular and oblique versions. A “Flying Circus” is a troupe of ‘barnstormers’ (stunt pilots) who performed aerial tricks either individually or as a team along with selling airplane rides to the general public.

The name FeggoliteHatched comes from the fact that it was created with the help of an old font manipulation program called Incubator Pro. It was an attempt to create a more conventional typeface from the odd monospaced font, FeggoliteMono. As a monospaced font, FeggoliteHatched could be considered a typewriter face, but no typewriter ever produced letters like these. The original version from 1994 is now the italic style and it has a leftward or back slant. The upright or plain version was added much later, in 2018. There is also a choppy upright version included in this family.

The original design came from Berthold Herold typeface, designed by Hermann Hoffmann during 1913 (Art Nouveau style) in Germany. This project started from flyer printed during 1947 with movable type, the specimen was scanned as a source to development some of the uppercase letterforms. However the most unusual and tricky element from this sample is the leg from the uppercase (R) which is different from the original Herold design, until now I didn’t found where this version originally came from. This expanded version only contain the bold weight, however there are also stencil (Nouveau LX Stencil) and condensed version (Nouveau LX) available.

If you thought you heard someone callin' your name just now, you might have caught the firm but soft spoken tones of Comicraft's classy balloon lettering font, HushHush. Created in the style of the newspaper strips of the 30s and 40s, HushHush captures the slick movements of the skilled hand letterers of that era. Gracing the pages of Jeph Loeb and Jim Lee's chart-topping BATMAN storyline -- which by a staggering coincidence was also called "Hush" -- these characters have brought to life the words of Two Face, The Joker, Scarecrow, Catwoman, Batman and Robin -- from every whisper to every scream.

The original design came from Berthold Herold typeface, designed by Hermann Hoffmann during 1913 (Art Nouveau style) in Germany. This project started from flyer printed during 1947 with movable type, the specimen was scanned as a source to development some of the uppercase letterforms. However the most unusual and tricky element from this sample is the leg from the uppercase (R) which is different from the original Herold design, until now I didn’t found where this version originally came from. This font family only contain the bold weight, but there are also a stencil and expanded versions available.

Cambridge seeks to build on the popularity of Fiendstar amongst educational publishers and advertisers who need easy-to-read text in a classic sans serif format. Cambridge is an elegant typestyle that is equally at home in a schoolbook or an annual report. Feedback from users has resulted in a handful of changed letterforms which remove any ambiguities between similar letter forms. The family contains four weights in three widths and now benefits from matching italic form for all variants. Cambridge Round provides a rounded version of all styles, useful for headings and more informal texts.

Designed by José José Villamizar, Enza Expanded is a display sans font family. This typeface has nine styles and was published by Neo Type Foundry. This font includes 8 OpenType features including Stylistic Alternates and Standard Ligatures making this font a great value. Enza Expanded has extensive Latin language support. Its design stems from the typographic exploration for conducting an identity aimed at entrepreneurs of the Millennial Generation, also known as Generation Y. Its use is recommended for titles, semicondensed texts or short, and elements of visual communication large phrases. It is also ideal for creating logos, in packaging, signboards and poster design.

Chalk lettering without the mess! Chalky Fingers was designed by a genuine chalkboard artist as his go-to hand-lettering style for custom illustrating menu boards for bars and cafés – now available for all to enjoy as a font. A rough textured font, hand-drawn with real artists’ chalks and perfect for use on restaurant & cafe menu boards, signage, posters, displays, t-shirts, social media quotes, children’s books and food packaging. Chalky Fingers includes loads of swashes and arrows to give extra emphasis to your messages. Numbers, punctuation and multi-language characters are all included. Enjoy getting Chalky Fingers!

Edda Glaser’s digitized handwriting is a beautiful script containing many ligatures and alternates. The first lines were drawn in 2012 – however, there are now over 850 glyphs! The elegant and light typeface combines both connected and separate characters, in this way gaining a dynamic flow. The Open Type Features allow you to choose glyph alternates for the beginning and end of words. The script also contains lots of numbers as old-style and titling figures as well as sub- and superscript figures.  The many alternates and swash uppercase letters let you create a versatile look which suits designing magazine and other print media.

This family was inspired by the set of fonts used in the end of 1800s by the famous J. H. Geiger, printer in Lahr (Germany), especially these used to print an almanac for the year 1883. It is a Fraktur pattern, with two styles, as a few others incomplete fonts also used for this work were Blackletters from other patterns. Both were used in two size, for titles, subtitles, main text and notes. This font contains standard ligatures and German historical ligatures (German double s, long s, tz, ch, ck...) and diacritics. 1543 German Deluxe Initials may be used in complement this family.

»QUINCY« started as an art project. I was stitching roughly cutout letters together on a piece of wooden board, but I didn’t like the result! So I ended up with a font in three cutout styles. I thought it was so unusual and really beautifully ugly, that I finished it, adding flashes here and there. Now I am offering this absolutely unusual font as a packet of three for you to enjoy. Have at least as much fun working with it as I had designing the packet. The font is great for packaging or posters, or whatever comes to your imaginations.

Lucida Calligraphy is a chancery cursive script typeface family designed by Kris Holmes and Charles Bigelow. It is a very legible and readable typeface, designed for use on screen and in print environments. Lucida Calligraphy was originally released in one weight. It is now available in five weights, from Thin to Black. Lucida Calligraphy is part of the Lucida superfamily of fonts from Bigelow & Holmes. Lucida is highly regarded for legibility and its extensive range of type styles. The Lucida Calligraphy typeface family has a Standard character set with 255 glyphs supporting the basic range of Latin languages.

Minor is contemporary simple equable text grotesk in 6 weights with italics. It combines the best features of neo- and humanist sans types for legibility and easy reading. Clean design and balanced white spaces enables using Minor for long texts. Or in any other work as secondary invisible type in pair with display face. Using as primary type in large sizes it, static and non-emotional, will focus attention to text content. Minor family supports Latin Extended-A (Western, Central Europe, Baltic, Turkish) and Cyrillic Extended encoding languages. All styles contain basic OT-features and numeric forms for text typography.

Ariom is a fresh, geometric, sans-serif font family inspired by iconic typefaces. Ariom has a big x-height value, ​geometrical letterforms, sharp edges, and strong stroke contrast as the neo-grotesque fonts from the 20th Century. The typeface is versatile and can be successfully used in magazines, posters, branding, websites, headlines, large-format prints, brand identities, social media, advertising, editorial design, posters. The family contains over 40 alternative glyphs and over 50 ligatures in each style. The family comes in 3 weights with their corespondent italics. The family Latin supports Western, Central, South Eastern, South American, Oceanian, Pan African, Vietnamese, and Sámi.

Naga is Hans van Maanen's original creation of art deco shapes interected with intricate mazes of what could be Celtic or Mesoamerican knotwork art. The totality of the typeface borders on the mysterious, exotic and yet clearly discernible as far as readability is concerned. Naga comes with a companion outline style that emphasizes its intricacy. Both fonts hold up quite strongly when combined with photo/illustration masks. The Naga family comes in both OTF and TTF formats, and includes an extended range of characters covering most Latin-based languages. A few unicase forms are also included.

A pure neo-grotesque typefamily inspired by the first typographies' old wooden characters, and by the marks soft and sometimes imprecise these left on the paper. All typographic elements are also influenced by the Cyrillic alphabet letter-form. -- HT Pavla Prospekt is inspired by ancient wooden typefaces and eastern-style letterform. This reference gives the letters unusual but characteristic proportions. The visual effect of the diffusion of the ink imprinted on the paper, which gives softness to the forms, is also very influential. The proportions of the bold and thin faces are visually balanced to ensure a more modern feeling. --

In the wake of the Enlightenment and the French Revolution there was a desire for a clear classical blackletter font without frills. That is why in 1793 the famous printer and editor Johann Friedrich Unger and his partner Johann Christian Gubitz accomplished their own fraktur. Now you will be able to use both regular and bold styles of this highly readable blackletter font. It is recommended to activate both OT features Standard and Discretionary Ligatures to access all ligatures in both these fonts. Typing N-o-period and activating the ordinal feature gives you the numero sign.

Hello Everyone have a nice day, let me introduce our new Classy Serif Font called "Gilbert Qualifi" !! Are you ready to make the project more elegant and classy? makes every eye that sees it stunned and silent for a moment This font is part of our dedication to the world of fonts, the work that takes a long time, makes us make this font as our mainstay font Whether you have a client that needs a new chic logo, or you're designing your social media posts. Maybe you're preparing your wedding mood board, stationery, invitations, Gilbert Qualifi font is just perfect for all of that and more. you can check it all on preview !! Enjoy !! and start Creating !! Include Multilingual : ÀÁÂÃÅÄĄĀĂÆÇĆČĎÈÉÊËĘĒĖĚĞÌÍÎÏĪİÐÑŃŇÒÓÔÕÖŌŐOEŔŘØÙÚÛÜŪŮŰŲŚŠŞŁÝŸŻŹÞ àáâãąåäāăæçćčďđèéêëęěēėğıìíîïīðñńňòóôõöoőoeøùúûüūůűŭųþýÿŕřśšşłżźž

Inspired by the emerging Korean culture that grabbing the worldwide actuation in so many realms of the industry. To bridge the vibes and to make it easier to consume, we found the gap to fill with simple things in life that are useful for it, and yes, it’s a new day it’s a new font. So without any further ado, please welcome Hwaiting Sans. 2/3 series of Korean vibes typefaces. It’s a sans-serif font with bold and strong vibes to catch up with today’s graphic design trends. Crafted with deep research about Korean traditional letters, shaped up with the approach of universal Latin letters. This is the second drop of 3 series from the Hwaiting family. So stay tuned for the upcoming release.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Sibylle Schlaich and her friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Schlaich and her fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Styletti Medium is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype GmbH."

Tex Mex is simply a spurred version of our Saloon Girl font family. When you think of a classic western font you think of spurs in the letters, with Tex Mex we set out to create a font that stands out and says Western. Whether you're making a new steakhouse menu or a new logo for your cowboy boot and hat company Tex Mex is the font you're looking for. If you're a pioneer in the culinary scene Tex Mex is perfect for you're next cookbook cover, chili cook off or barbecue competition. Just like our Saloon Girl font Tex Mex also works in layers, to make a layered font image you'll need an application that works in layers such as Illustrator or Photoshop.

Pizza is a font fusion of our Saloon Girl and Mi Casa font families. Our new Pizza font will look great for headlines in your new restaurant menu as well as the sign out front. Pizza offers different levels of ornamentation to choose from to best suit your design needs. Pizza Margherita is a solid black version for plain text. Fill fonts are also available, however, you'll need an application that works in layers to take advantage of the Pizza fill fonts. Fill fonts in the Pizza font family are not meant to be used as a stand alone font, please use the Pizza Margherita font if you need a solid black weight. Pizza is a trademark of FontMesa LLC, initial release December 6-2021

Tortilla is a flat sided version of our Saloon Girl and Tex Mex font families. When you want a smooth classic western font without spurs in the letters Tortilla is just right. Whether you're making a new Mexican restaurant menu or a new logo for your cowboy boot and hat company Tortilla is the font you're looking for. If you're a pioneer in the culinary scene Tortilla is perfect for your next cookbook cover, chili cook off or barbecue competition. Just like our Saloon Girl and Tex Mex fonts Tortilla also has the option to work in layers using the fill fonts, to make a layered font image you'll need an application that works in layers such as Illustrator or Photoshop.

The techno sound of the 1990s, a personal computer, font creation software, and some inspiration all came together to inspire the F2F (Face2Face) font series. Alessio Leonardi and his friends had the demand to create new unusual typefaces, which would be used in the leading German techno magazine of the day, Frontpage. Even typeset as small as 6-points, in nearly undecipherable layouts, it was a pleasure for the kids to read and try to decrypt the messages. Letterforms in F2F Metamorfosi are parts of other characters that have been rotated to take on new meaning. For instance, an upside down V has become an A, a German ß has become the B, and a left parenthesis has become the C, etc.

»Supra« – designed by Gert Wiescher in 2012/13 – is a new sans typeface family of eight weights with matching italics. Supra is influenced by current and past sans typefaces, but has a completely new look. The pleasant flow and warm touch combined with great legibility makes Supra unique. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is an OpenType family for professional typography with an extended character set of over 700 glyphs. It supports more than 40 Central- and Eastern-European as well as many Western languages. Ligatures, different figures, fractions, currency symbols and smallcaps can be found in all cuts.

“A picture is worth a thousand words” and here, that’s more than true. Take a look at Erotica’s Booklet; Erotica’s Poster Design and Erotica’s User’s Guide before reading below. THE STYLES The difference between Pro and Std styles is the quantity of glyphs. Therefore, Pro styles include all the decorative alternates and ligatures while Std styles are a reduced version of Pro ones. Big and Small styles were thought for better printing results. While Big is recommended to be printed in big sizes, Small may be printed in tiny sizes and will still show its hairlines well. INTRODUCTION I have always wondered if the circle could ever be considered as an imperfect shape. Thousands of years have passed and we still consider circles as synonyms of infinite beauty. Some believe that there is something intrinsically “divine” that could be found in them. Sensuality is many times related to perfectly shaped strong curves, exuberant forms and a big contrasts. Erotica is a font created with this in mind. THE PROCESS This story begins one fine day of March in 2012. I was looking for something new. Something which would express the deep love I feel regarding calligraphy in a new way. At that time, I was practicing a lot of roundhand, testing and feeling different kinds of nibs; hearing the sometimes sharp, sometimes soft, sound of them sliding on the paper. This kind of calligraphy has some really strict rules: An even pattern of repetition is required, so you have to be absolutely aware of the pressure of the flexible pen; and of the distance between characters. Also, learning copperplate can be really useful to understand about proportion in letters and how a minimum change of it can drastically affect the look of the word and text. Many times I would forget about type-design and I would let myself go(1): Nothing like making the pen dance when adding some accolades above and below the written word. Once something is mastered, you are able to break some rules. At least, that’s my philosophy. (2) After some research, I found that the world was in need of a really sexy yet formal copperplate. (3) I started Erotica with the idea of taking some rules of this style to the extreme. Some characters were drawn with a pencil first because what I had in mind was impossible to be made with a pen. (4) Finding a graceful way to combine really thick thicks with really thin hairlines with satisfactory results demanded months of tough work: The embryo of Erotica was a lot more bolder than now and had a shorter x-height. Changing proportions of Erotica was crucial for its final look. The taller it became the sexier it looked. Like women again? The result is a font filled with tons of alternates which can make the user think he/she is the actual designer of the word/phrase due to the huge amount of possibilities when choosing glyphs. To make Erotica work well in small sizes too, I designed Erotica Small which can be printed in tiny sizes without any problems. For a more elegant purpose, I designed Erotica Inline, with exactly the same features you can find in the other styles. After finishing these styles, I needed a partner for Erotica. Inspired again in some old calligraphic books I found that Bickham used to accompany his wonderful scripts with some ornated roman caps. Erotica Capitals follows the essentials of those capitals and can be used with or without its alternates to accompany Erotica. In 2013, Erotica received a Certificate of Excellence in Type Design in the 59th TDC Type Directors Club Typeface Design Competition. Meet Erotica, beauty and elegance guaranteed. Notes (1) It is supossed that I'm a typographer rather than a calligrapher, but the truth is that I'm in the middle. Being a graphic designer makes me a little stubborn sometimes. But, I found that the more you don't think of type rules, the more graceful and lively pieces of calligraphy can be done. (2) “Know the forms well before you attempt to make them” used to say E. A. Lupfer, a master of this kind of script a century ago. And I would add “And once you know them, it’s time to fly...” (3) Some script fonts by my compatriots Sabrina Lopez, Ramiro Espinoza and Alejandro Paul deserve a mention here because of their undeniable beauty. The fact that many great copperplate fonts come from Argentina makes me feel really proud. Take a look at: Parfumerie, Medusa, Burgues, Poem and Bellisima. (4) Some calligraphers, graphic and type designer experimented in this field in the mid-to-late 20th century and made a really playful style out of it: Letters show a lot of personality and sometimes they seem drawn rather than written. I want to express my sincere admiration to the fantastic Herb Lubalin, and his friends Tony DiSpigna, Tom Carnase, and of course my fellow countryman Ricardo Rousselot. All of them, amazing.

Manihot is a cool display sans-serif font, loaded with interlocks, ligatures and alternates to render your message in a nice eye-catching way, topped off with the usual je-ne-sais-quoi of PintassilgoPrints fonts. The family brings rough and clean styles and yet a very useful dingbat font with dozens of tiny graphics to complement your words. It’s up, witty, honest and just impossible to ignore. Give it a go!

Awwam refers to the region of Awwam which is now thought by most scholars to be Ma'rib or the famous temple of Awwam otherwise known as Mahram Bilqis. The Awwam temple—Arabic Haram Bilqis or Mahram Bilqis—is a Sabaean temple near Ma'rib in today's Yemen. It was built by Mukarrib ‘Yada'il Dharih I’ between the 7th and 5th century B.C. Also, one of the most frequent titles of the God ‘Almaqah’ was the Lord of Awwam. Almaqah was the main God of the ancient Yemeni kingdom of Saba' and also the kingdoms of D’mt and Aksum in Eritrea and Northern Ethiopia. Different members of the ruling dynasties of Saba' regarded themselves as Almaqah’s children. Awwam is a wide and headline Arabic display typeface. The main trait of this typeface is the wide, curved, and streamlined design of its wide kashida, letters, and ligatures. This feature renders it as one of the modern stylish typefaces used for headlines, titles, headers, banners, and captions. Among the distinguished letters of Awwam typeface are the “Alef”, “Qaaf”, “Waaw”, “Yaa”, “Gheen”, and others. Moreover, Awwam typeface has a character set which supports Arabic, Persian, Urdu, and simple Latin letters/numerals with a limited range of specific Arabic and Latin ligatures. This typefac comes in two styles (i.e., Awwam, and Awwam-Pro) with a single weight (i.e., regular) and nearly 650 distinctive glyphs for each style. Due to its ultra-wide design, Awwam typeface is mostly appropriate for headings and titles in Arabic, Persian, and Urdu. It can be graphically and visually exploited in books, novels, magazines, newsletters, pamphlets, posters, and interfaces of other objects such as clothes and equipment. Moreover, it can be pleasingly used for signs, books’ covers, advertisement light boards, and titles of flyers, and books of children and adults. In brief, Awwam typeface is one of the new wide Arabic typefaces which can be utilized efficiently in diverse graphic, typographic, and artistic works for different languages and cultures.

In July 2014, using my light pen, I completed the work in designing the font - Nizar, which was named in honor of the great poet Nizar Qabbani who inspired millions through poetry and prose. The font depends mainly on the characteristics of the traditional Ruq'ah handwriting, but the spirit of the letters tend to embrace the distinguished style that we knew of the poet in his hand-written poetry books. Due to the fact that I could not find all the alphabets in the great poet's handwriting, I adopted the method of measurement and prediction for structure of the missing letters, Which resulted in a new style of the Ruq'ah Typeface; a closer look at the font highlights the common characteristics of all the usual Ruq'ah writings, which are the height of the character "Alef" and spaces and formation on the line, the contextual replacement and convergence of when a letter meets another, closed and open letters, letters coming down from the baseline, and the forms of dots. That been said, hidden touches in the details of Nizar Typeface can be observed, the characters are all dependent on one pen stroke thickness, and are attracted to the baseline as much as possible when vertically and horizontally formed, and the distance between words and lines grows leading to creating both an aesthetic and typographical touch distinguishing this font from the conventional Ruq'ah – which can be found in some of my previous Ruq'ah projects. It is important to mention that after the completion of the Arabic characters and punctuation, I began drawing the Latin alphabets, punctuation and necessary symbols. I cannot fail to also note that the Arabic characters include the Persian, and the Urdu characters. This Typeface is fit to be used in lengthy texts, especially in literary works, artistic print, and diverse visual display, giving the design striking features, modernity and distinction. Sultan Mohammed Saeed

BigStripesMono is another typeface family from IngrimayneType that explores the possibilities of alternating letters sets. The family is monospaced with four fonts: a base or solid style, an outlined style, and two styles in which each character is cut diagonally and the halves are separated to form two characters. These split styles are not designed to be used alone but layered with the base style, outlined style, or both to form colorful lettering with an unusual striped appearance. The stripe is not apparent in single letters but only in words or lines of text. For best results use an application that supports the OpenType feature Contextual Alternatives (calt) to alternate the letters of the split styles. The four styles can be combined in several ways to create unusual lettering appropriate for titles, headlines, and similar uses. And if one wants a bold, monospaced, sans-serif face, BigStripesMono has that too.

Hurley 1967 is a bold script, with clean lines and smooth curve combined with beautiful features! Simply amazing fonts, comes with 7 styles. Hurley 1967 has a bunch of styles as a families to designed lettering style logotype using the fonts.

Introducing FSY Deko, a typeface inspired by the art deco style that you might be able to use for design projects with classic, retro, vintage styles to make it even cooler. It can also be used with contemporary design styles.

Misty - a two weight wild west style serif with numerous alternatives, swashes and irregular alternatives for numerous characters in SC style. Interchanging regular characters with alternatives and vice versa, it allow you to do slightly strange inscriptions. Plus deco style.

Asteric Vintage is a retro-vintage font family with an amazing set of ornaments. It comes in 3 different styles: Regular, Rough, Display, and also presents 26 beautiful and luxurious ornaments . The Rough Style has a characteristic that resembles rust on each character, thus creating results that seem strong and hard. The Display Style is very suitable for display, every work created with it becomes luxurious, wrapped in a classic atmosphere. The Regular Style is a style that has a clean character but still carries a classic scent that is thick and unique. This style is very suitable for use in magazines, books, newspapers, etc.

The Joanna® Nova design, by Monotype Studio designer Ben Jones, is an extensive update to Eric Gill’s original Joanna typefaces and brings this much admired – but underused – slab serif typeface into the 21st century. Joanna Nova features 18 fonts – more than twice as many as the original Joanna – with a wide range of weights including thin and ultra black, which were not available in the original design. Every glyph has been redrawn using a variety of reference sources, including Gill’s original sketches and the copper patterns used in Joanna’s initial production. When Jones set out to design Joanna Nova, he saw that the ‘real Joanna’ was not immediately evident. “Some of Gill’s original drawings have a sloped ‘M’; there is also a ‘K’ and ‘R’ with a curled leg and a letter ‘d’ without the flat bottom,” he explained. “Is this Joanna? Or is it the version used to print Gill’s Essay on Typography? Or is it the digital version with which most people are surely more familiar than any other version? Ultimately, I think, none of these and all of these were ‘Joanna’ because, as with any typeface, it is more the idea or concept behind the typeface that makes it what it is. My approach was to create a version of Joanna that appears in your mind when you think of Joanna.” Jones noted that one of the most distinguishing aspects of Joanna is the italics; and that, for reasons unknown, many of the characters in the current versions are much more condensed than those in the hand-set fonts of metal type., The newer designs being almost unusable at small sizes. The italics in Joanna Nova have been reworked to be more legible and closer to their original widths. Joanna Nova expands the original Joanna in several ways that open up new typographic possibilities, These additions include several new weights, support for Greek and Cyrillic scripts, small caps for all scripts in both upright and italic styles, several numeral options and a host of context-sensitive ligatures. The Joanna Nova typeface family is part of the new Eric Gill Series, drawing on Monotype's heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The series also brings to life new elements inspired by some of Gill’s unreleased work, discovered in Monotype’s archive of original typeface drawings and materials of the last century.

The flower children of Canada Type are at it again. This time we went above and beyond the call of duty and right into the land of reconstruction in order to make this font. When we saw a few letters from an early 1970s film type called Jefferson Aeroplane, we had the sudden urge to bring their beauty to digital life. But since further research revealed no more letters or information, we just had to "wing" the rest of this Aeroplane. Now this Genie is out of the lava lamp, and it's nothing short of groovy. A few symbols and alternates come within the font, so make sure to check out the very full character set. We love this font so much that we couldn't help but play with it for a week. Some of the Wes Wilson-inspired results are in this page's gallery, so check them out for a flashback. Keep on trucking!

Here's a big shout out to all our Loud and Proud font homies -- If you've got a good set of lungs on you -- fill 'em up and get ready to Shout, SHOUT! Yes, let it all out because this is a font you can't do without -- It will make you wanna SHOUT! Throw your hands up, SHOUT! Kick your heels back, SHOUT! Throw your head back, SHOUT! Come on now, SHOUT! And don't forget to say you will... Don't forget to SHOUT! Yeah yeah yeah yeah, SHOUT! A little bit softer now, (Shout) A little bit softer now, (Shout) A little bit softer now, (Shout) A little bit louder now, SHOUT! A little bit louder now, SHOUT! A LITTLE BIT LOUDER NOW! SHOUT! SHOUT! SHOUT! SHOUT! PHEW -- Who says Comicraft doesn't know how to Pump it Up AND Get Down?!

Golden Ticket is a digitization of hand-drawn poster lettering by Otto Heim from 1925. The regular style is meant to be used on its own, but the other three styles are meant to be used one on top of another in three different colors to create a 3D effect. For best results, put the base style on the bottom, with the fill style directly on top of that in a different color, and the highlight style directly on top of that in a third color.