![]() ![]() But such fonts perpetuate problematic stereotypes. No linguistic or cultural group was safe from typographic caricature: hippies, trekkies, scrapbookers, programmer/geeks, new-agers, believers in unicorns, headbangers, fratboys, needlepointers, grafifiti artists, restroom taggers, renaissance fairgoers, secret agents, Klingons and cowboys. The chop suey font is a subcategory of the so-called ethnic presentation fonts and is a uniquely American innovation rooted in the 170-year history of Chinese immigrants in the United States. For years, the West has relied on so-called 'chop suey' fonts to communicate 'Asianness' in food packaging, posters and ad campaigns. Type designers later moved on to create cliché representations of Irish, Greek, Arab, Tropical Hispanic, Slavic, German and French. Thorp for Cleveland Type Foundry, and released in 1883. Paul Shaw, in Print Magazine claims that the mother of all chop suey faces is Mandarin, originally known as Chinese, designed by Henry H. These ‘chop suey fonts,’ as American historian Paul Shaw calls them, have been a typographical shortcut for ‘Asianness’ for decades, Quito added. The most recognizable and ubiquitous of “ethnic fonts” are the faux Asians, or chop suey typefaces: Kanban, Wonton, Rickshaw, &c. ![]() ![]() After all, who would give the carry-out box in the illustration a second thought if Moishe had used the typeface Shalom? Even so, sensitivity is recommended.įor some reason, ethnic typefaces are only common in the restaurant and bar industries. Downs and Lucia Aniello get into a deep discussion on the possible racism resulting from a high school. “Ethnic” typefaces do have a place in graphic design, though you’re well advised to avoid them, unless your client insists. ![]()
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