ELEPHANTMEN Font
Theodora Glime
An Electronic Doc license is based on the number of publications in which the font is used. Each issue counts as a separate publication. Regional or format variations don't count as separate publications.
We'll supply a kit containing webfonts that can be used within digital ads, such as banner ads. This kit may be shared with third parties who are working on your behalf to produce the ad creatives, however you are wholly responsible for it.
Digital advertisements also have different usage patterns compared to websites. Most websites generally have consistent pageviews month-to-month whereas advertising impressions can vary wildly month-to-month. Prices reflect this, making it much less expensive to use a Digital Ad license.
If you know the number of impressions the campaign requires, that amount can be ordered before the campaign begins. For campaigns where number impressions is unknown until the end of the campaign, you can true up at the end of each calendar month.
Webfonts allow you to embed the font into a webpage using the @font-face rule, so paragraphs and headings of text can be styled as the webfont. You will be serving the webfont kit for your own site and linking it in the CSS.
Webfonts can be used on a single domain. Agencies responsible for multiple websites, for example web design agencies or hosting providers, may not share a single webfont license across multiple websites.
So, first things first: how do we load Job Clarendon as a variable font and make it accessible from our CSS? The first thing to note is that we have to support both the new syntax and the old syntax for variable fonts:
Bramus made some notes about potential upcoming changes to viewport units. You know, like today where we have the ever-so-useful 100vh or 100vw and we can set the size of an element based on the width of the viewport.
Alex Riviere then takes this bonkers idea even further and makes another demo where you can click on links to navigate between pages. He uses the IntersectionObserver to stop the animation on certain pages:
This robust app brings all of your favorite essential Jetpack features to your mobile device. Receive important notifications, keep tabs on site activity, restore a backup if necessary, scan for malware, view valuable site stats, and access other Jetpack features you love, anytime and anywhere.
On the 80s game show Press Your Luck, each player has arrows tracking their spins. The arrows read EARNED and PASSED. I've attempted to identify this font with fontsquirrel, Find My Font, and other tools but the online images are too blurry (and letters too small) so the identification tools keep seeing fuzzy letters and thus returning wrong results.
Comic characters come from all different places. Some are born of necessity like a golden age creator needing to fill pages and dreaming up a new crime fighter. Others simply take up shop in a writer or artist's brain waiting to be unleashed. Hip Flask and his fellow Elephantmen, came from both. Creator Richard Starkings originally developed the hippopotamus-human hybrid known as Hip Flask -- complete with P.I. get-up -- as a mascot for his revolutionary comic book font and lettering company Comicraft. From there, though, he started developing the character along with artist Ladrnn and co-writer Joe Casey.
After a series of "Hip Flask" solo books, Starkings launched the ongoing comic book series "Elephantmen" in 2006 through Image Comics. The comic has been going strong ever since and celebrated its 50th issue in July with an issue featuring a frame story by regular series artist Axel Medellin with the majority of the tale told through splash page-like watercolor paintings by Gabriel Bautista. These images tell the larger tale of the Elephantmen, a group of genetically engineered animal-man hybrids who have been shoved back into a society that isn't particularly interested in their well-being after being bred for a war they helped win.
CBR News caught up with Starkings to talk about everything from Hip Flask's earliest days as a mascot and the transition to comic book star to the unique method of putting "Elephantmen" #50 together and the real life experiences that helped shape the book's social commentary.
CBR News: As the story goes, you were going to use Marvel or DC characters to advertise Comicraft, but they wouldn't allow it so you created Hip Flask to fill that role. Is there more to the story than that?
Richard Starkings: I think it's no different to anyone else's creative process, it's just that what prompted me to create my own character was necessity. I wanted to illustrate how to use our comic book fonts with a comic book character.
This was at the very early days of digital comic book lettering. We were one of the very first lettering studios -- if not the first lettering studio -- to make our fonts commercially available and it just occurred to me that the best way to show that is to show them in a comic book which of course we'd already done because we were using our own comic book fonts to letter Marvel comics. At the time, we were doing the lion's share of lettering for WildStorm Studios. We were doing "WildC.A.T.S.," "StormWatch," "WildC.A.T.S Adventures" and "Kindred" and "Grifter" and everything they were doing at the time. So, I approached Jim Lee at WildStorm about the possibility of using the WildC.A.T.S characters to promote the fonts because we had a font that we created called Wild Words for "WildC.A.T.S Adventures" and really they didn't know what to do with us.
I spoke to Bob Harras and Ben Raab at the time in the X-Men office at the time and they didn't really know what kind of license that would be. I pitched an idea of a lettering-less issue of "X-Men" with a script by Scott Lobdell that people could then, using the fonts, letter the comic book, almost an instructional comic book. That's because of my background at Marvel UK where I would always think, "Well, if I have something to sell, how can I sell it in a way that's useful to comic book readers?" Looking back, I don't think that was a very good idea, but just the process of feeling I needed a comic book character to sell comic book fonts caused me to create my own comic book character.
I think when you start thinking, "What kind of character would I like to create?" All your influences, all your experience, whether you've been working in comics or reading comics, anything you've read, everything you've seen, everything you've experienced bubbles up out of your subconscious. In my case I put pen to paper and designed the character Hip Flask.
The name came first and I wasn't sure if it would be a human character or a human-animal hybrid. Actually it was my wife who said, "There's nothing new about a human character in a trench coat and hat, but a hippopotamus in a trench coat and hat is interesting." So, I went in that direction. From there, having one visual you then say, "Why is he a half-human, half-hippo?" I never pictured him as a Mickey Mouse type character or Bugs Bunny, I never thought of him as a cartoon animal because of his human attributes. I always thought of him as half-human, half-hippo and that's because science-fiction is my favorite genre.
From there it sounds like you started asking and answering questions to help build up the world around the character. How long was it before you decided to take this character and build a comic around him?
The idea of making it an actual comic book was there day one. I had five years working at Marvel Comics in England developing comic books. I developed "Death's Head," "Dragon's Claws" for Simon Furman, "Sleeze Brothers" with John Carnell and Andy Lanning. I was working on "Ghostbusters," "G.I. Joe" and "Doctor Who." Once you've trained a muscle to think a certain way, you're going to find that you're using that muscle whether you're aware of it or not. I had a picture of Hip Flask above the entrance of my office, so every time I came into my office, I'd look at Hip Flask and think about what stories he'd be involved in. That's got to be 1995.
From that moment on, in fact when Ian Churchill did a poster for us, we had Hip Flask's sidekick Ebony Hide, Obadiah Horn already. I'd already developed a villain, a sidekick and it was just a matter of, "Okay, now I have a human-hippo hybrid, what's the origin story?" It really does start to write itself if you're asking the right questions.
I'd like to think it was natural. If writing was natural, it would be as easy as breathing. You have to ask yourself questions and you have to start designing characters and working with artists. I'm more of a cartoonist myself. Brian Bolland did an image for me, Ian Churchill and I wanted to see it look like an American comic book, which had been one of my goals when I was working at Marvel UK working on "Death's Head" and "Dragon's Claws." We wanted to create 22-page stories that sold in the American market. That muscle was still working for me and I wanted something that would work in the American market rather than the kind of books that sell in England like "2000 AD" which is an anthology comic, weekly comics. Having worked first at Marvel UK and then working on every Marvel and DC character in the U.S., I was looking at developing something along those lines. The moment you know you've got 22 pages, you better have some ideas.
No. [Laughs] When I first came up with Hip Flask it was just going to be a four-issue miniseries with Ladrnn. Joe Casey was scripting it originally from plots. Basically once Ladrnn said he wanted to be involved and he started talking about, "What's the origin story and who's the creator?" he really wrapped his head around it and we got into lots of discussions about what age range we were shooting for -- we were definitely going for 18 and up -- the tone which was definitely "Alien"-slash-"Blade Runner," both graphic and gory, that it was sexy, that it was violent, that it was something you might turn away from because the images are disturbing.
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