Font Elephantmen

[Klaudia Aricas]

AnElectronic 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:

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Roll up! Roll up! The world's largest three (letter-)ring circus of Great and Tall Elephantmen fonts is now touring cities and towns in your area! See the amazing exploits of fonts of heretofore unimagined heights and weights!

Gasp as x-heightwire artist John Roshell walks great and tall on the typerope up above your headlines! Look in wonder as Elephantmen get greater and taller on stilts, staggering around with their trunks high in the air as well as loose around their waists! Peer cautiously into the sky as the greatest and tallest Elephantmen disappear into the clouds as they swing up on the trapeze...

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.

As digital lettering began to have an impact on comics in the early 1990s in titles by John Byrne and others, more letterers began trying it out, including independent comics publisher, writer, and artist Jeff Smith.

Smith did everything on the comic from the start, including the lettering, which again was roughly in the style of Walt Kelly with lots of large display lettering for emphasis. Smith began falling behind his publishing deadlines, and one way he found to save time was to create fonts from his own hand lettering.

Meanwhile, a British letterer, Richard Starkings, was finding his way into digital lettering and font creation. He began his career in England, then moved to New York and soon to Los Angeles. In 2014, Richard told me:

The job of designing type just fell into my lap. A friend of a friend [Starkings] was looking for someone to help input comic lettering into his computer. I was always a big Spider-Man fan, so I jumped at the chance. I started inputting the type for low profile Marvel books like CAGE and HELLSTORM. Soon Richard was letting me make updates to the font in Fontographer, and before long I had created a more accurate version of his hand-lettering as well as fonts based on some of his sound effect and display styles.

By 1993, Starkings named their lettering studio Comicraft, and their workload was growing. The founding of Image Comics in 1992 meant that many of the more established letterers were being lured away by the Image founders, and Marvel turned to Comicraft to pick up the slack. Richard told me:

The style reminds me of John Costanza. though he told me he had nothing to do with it. It was apparently designed by Andre Kuzniarek. The font was quickly bought by comics creators and companies, and was soon being used everywhere. John Costanza was a popular and prolific letterer whose first comics credits date to 1969. He worked on dozens of titles for DC, Marvel and others from that point on. Some time in the early 1990s Costanza created his own font from his hand lettering.

The success and omnipresence of Whizbang had an impact on letterers. Creating fonts was, and remains, difficult, but many came to hate the look of Whizbang, including Richard Starkings, and he decided he should offer some of his own fonts for sale as a better alternative, and perhaps capture some of the Whizbang market. JG Roshell remembers:

We started selling Comicrazy commercially at the San Diego Comic-Con in the summer of 1995, then released a few more (Zoinks, Clobberin Time, Phases On Stun and Pulp Fiction) around Christmas of that year.

While Whizbang has been the only font from Studio Daedalus to date, Comicraft went on to become a major vendor of comic book fonts, and continues to release new ones regularly. Comicraft also continues to letter comics, and has moved into publishing with Starkings written titles like ELEPHANTMEN.

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