Up until the point our train jumped the professional rails and plowed straight through the ass of Hollywood, many of us were involved in the magazine trade. Yes, despite all lowly appearances on jackass, we do have a combined sense of graphic design with a blue-collar knowledge of fonts. Hence our affinity for all things Helvetica and my main reason for posting up a Johnny-come-lately video from our now oddly distant days of Ireland past.
Within the context of this video, you will witness the use of Hobo, a font that was built into the computer revolution early on. As such, Hobo had a distinct "first mover" advantage, and it quickly became an 800-pound gorilla among those with low moral graphic design sense. From church socials to lost pets and gem and mineral shows, it became the scourge of public kiosks and bulletin boards everywhere.
Not that Hobo had a lot going for it design-wise to begin with (although its non-descender capacity did make it an ideal choice for bumper sticker slogans), but this rampant misuse and abuse by the plebeians perched it high atop the list of most mocked fonts by elitist typographers*. Of course it was later superseded in its infamy by Comic Sans, a font best described in the critically-acclaimed "I'm Comic Sans, Asshole" monologue posted on the McSweeney's site.
I'm not sure Hobo will ever see its retro day in the sun, but it was oddly refreshing to see its usage in this jackass 3D Dublin premiere recap. Slainte!
* In one instance we even used Hobo in Big Brother skateboard magazine Issue #4 (1993) to snidely illustrate a dicky little article devoted to "inside jokes," accompanied by a photo of Danzig.
(Photo by Sean Cliver; Dublin, Ireland 2010)