{"id":8235,"date":"2020-07-10T10:56:23","date_gmt":"2020-07-10T14:56:23","guid":{"rendered":"https:\/\/www.ceros.com\/inspire\/?p=8235"},"modified":"2021-03-10T11:46:09","modified_gmt":"2021-03-10T16:46:09","slug":"bipoc-designers-font-typeface","status":"publish","type":"post","link":"https:\/\/www.ceros.com\/inspire\/originals\/bipoc-designers-font-typeface\/","title":{"rendered":"How to Support BIPOC Typeface Designers and Their Fonts"},"content":{"rendered":"<span class=\"rt-reading-time\" style=\"display: block;\"><span class=\"rt-label rt-prefix\">Reading Time: <\/span> <span class=\"rt-time\">6<\/span> <span class=\"rt-label rt-postfix\">minutes<\/span><\/span>\n<p>Every font has a story. Every typeface carries the cultural marks of their makers, along with the stories of the political and cultural moment in which they were designed\u2014but to date, those histories have been largely devoid of experiences from Black, indigenous, and people of color (BIPOC) designers.&nbsp;<\/p>\n\n\n\n<p>Graphic design is, and <a href=\"https:\/\/www.aiga.org\/diversity-inclusion-design-journeys-essay-cheryl-d-miller\">has always been<\/a>, a predominantly white industry (and its leaders are <a href=\"https:\/\/www.ceros.com\/originals\/inequality-by-design-female-designers-equal-opportunity\/\">mostly male<\/a>). According to AIGA\u2019s <a href=\"https:\/\/designcensus.org\/\">2019 Design Survey<\/a>, only 29% of the 9,429 respondents identified as a designer of color, with only 3% identifying as Black.<\/p>\n\n\n\n<figure class=\"wp-block-embed-twitter wp-block-embed is-type-rich is-provider-twitter\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"twitter-tweet\" data-width=\"550\" data-dnt=\"true\"><p lang=\"en\" dir=\"ltr\">.<a href=\"https:\/\/twitter.com\/bobbycmartin?ref_src=twsrc%5Etfw\">@bobbycmartin<\/a> asking the tough questions at <a href=\"https:\/\/twitter.com\/hashtag\/typecon?src=hash&amp;ref_src=twsrc%5Etfw\">#typecon<\/a>. <a href=\"https:\/\/t.co\/M5tBxheper\">pic.twitter.com\/M5tBxheper<\/a><\/p>&mdash; Nina St\u00f6ssinger (@ninastoessinger) <a href=\"https:\/\/twitter.com\/ninastoessinger\/status\/901146165558878208?ref_src=twsrc%5Etfw\">August 25, 2017<\/a><\/blockquote><script async src=\"https:\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"><\/script>\n<\/div><\/figure>\n\n\n\n<p>There\u2019s no way to correct for this lack of diversity without making significant changes industry-wide, and nurturing those changes takes time. But one small, easy-to-implement adjustment is to make the active choice <a href=\"https:\/\/twitter.com\/typecritcrew?lang=en\">to support BIPOC designers<\/a>. And one way of doing that is to start <a href=\"http:\/\/www.alphabettes.org\/\">using different fonts<\/a>\u2014both by using typefaces created by designers of color and also by <em>not <\/em>using fonts with racist histories.&nbsp;<\/p>\n\n\n\n<p>That\u2019s the argument made by Agyei Archer in his essay, \u201c<a href=\"https:\/\/typographica.org\/on-typography\/type-choice-political-choice\/\">Type Choice, Political Choice<\/a>,\u201d in which he explains that using a type that doesn\u2019t have a fascist or racist history should be an easy decision, if diversity is a priority. Archer specifically cites <a href=\"https:\/\/www.dutchtypelibrary.nl\/Prokyon_rdrct.html\">DTL Prokyon<\/a>, drawn by anti-Islamic German nationalist Erhard Kaiser, as one such font with a troubling backstory.&nbsp;<\/p>\n\n\n\n<p>\u201cIf type design, like any other industry, wants to open itself to inclusiveness and diversity, that means necessarily distancing itself from forces that undermine those values,\u201d he writes. In other words, the more conscientious and discerning designers become about font choice, the more inclusive the industry will become.<\/p>\n\n\n\n<p>There are still too few BIPOC type designers working today, but those that are out there are producing beautiful\u2014in some instances, radical and experimental\u2014fonts. Typefaces with new stories to tell. We\u2019re ceding the floor to these lesser-known designers deserving of a platform\u2014here are a few of their fonts to add to your book.&nbsp;<\/p>\n\n\n\n<h2>Martin by Tr\u00e9 Seals<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img src=\"https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2021\/03\/img_6048f2708510d.jpg\" alt=\"\" \/><figcaption><em>An example of Martin used in a poster designed by <\/em><a href=\"https:\/\/eyeondesign.aiga.org\/design-legend-gail-anderson-answers-your-questions-about-where-designers-should-live-racism-in-the-workplace-and-creating-social-impact\/\"><em>Gail Anderson<\/em><\/a><\/figcaption><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.vocaltype.co\/manifesto\">Vocal Type<\/a>, a <a href=\"https:\/\/www.instagram.com\/vocaltype.co\/\">foundry <\/a>started by Tr\u00e9 Seals, designs typefaces that draw inspiration from historical movements and moments in Black culture and the cultures of other marginalized communities, creating typographic legacies for radical thinkers of color. Some of Seals\u2019 currently available fonts include <a href=\"https:\/\/www.vocaltype.co\/eva-1\">Eva<\/a>, named after the Argentine feminist and socialist icon Ev\u00e1 Peron; <a href=\"https:\/\/www.vocaltype.co\/wip\">William<\/a>, inspired by W.E.B. Du Bois\u2019 hand-drawn infographics; and <a href=\"https:\/\/www.vocaltype.co\/history-of\/ruben\">Ruben<\/a>, for Rub\u00e9n Salazar the first journalist to support the Chicano movement. For Martin, named after Martin Luther King, Jr., Seals developed the typeface from imagery of the civil rights movement\u2014in particular, <a href=\"https:\/\/eyeondesign.aiga.org\/tre-seals-is-turning-typography-into-a-radical-act\/\">a series of broadsides<\/a> printed for the 1968 Memphis Sanitation Workers Strike, which said \u201cHONOR KING: END RACISM!\u201d and \u201cI AM A MAN.\u201d<\/p>\n\n\n\n<h2>Freight Sans by Joshua Darden<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" width=\"1024\" height=\"507\" src=\"https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2020\/07\/Screen-Shot-2020-07-08-at-5.14.16-PM-1024x507.png\" alt=\"\" class=\"wp-image-8252\" srcset=\"https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2020\/07\/Screen-Shot-2020-07-08-at-5.14.16-PM-1024x507.png 1024w, https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2020\/07\/Screen-Shot-2020-07-08-at-5.14.16-PM-700x346.png 700w, https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2020\/07\/Screen-Shot-2020-07-08-at-5.14.16-PM-768x380.png 768w, https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2020\/07\/Screen-Shot-2020-07-08-at-5.14.16-PM-1536x760.png 1536w, https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2020\/07\/Screen-Shot-2020-07-08-at-5.14.16-PM-1200x594.png 1200w, https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2020\/07\/Screen-Shot-2020-07-08-at-5.14.16-PM.png 1912w\" sizes=\"(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><figcaption><em>Source: <a href=\"https:\/\/philsfonts.com\/family_glyphs_ext\/GF060015X1\/GF06001509\/all\">Phil\u2019s Fonts<\/a><\/em><\/figcaption><\/figure>\n\n\n\n<p>Joshua Darden designed Freight Sans while he was still working at <a href=\"https:\/\/garagefonts.com\/\">GarageFonts<\/a>, the foundry set up to distribute the typefaces that were used in <a href=\"http:\/\/www.davidcarsondesign.com\/t\/tag\/raygun\/\"><em>Ray Gun<\/em> magazine<\/a>. Since then, the rounded sans serif has been the cornerstone of many a visual identity, including <a href=\"https:\/\/nmaahc.si.edu\/about\/nmaahc-brand-guide\/typography\">The National Museum of African American History and Culture<\/a> and <a href=\"https:\/\/www.vrbo.com\/\">Vrbo<\/a>. In 2004, Darden founded <a href=\"https:\/\/www.dardenstudio.com\/typefaces\">Darden Studio<\/a> and has gone on to design six other typefaces, including the slab serif <a href=\"https:\/\/www.instagram.com\/p\/Bt2muG8gakS\/\">Jubilat<\/a> and the grotesque sans serif Halyard\u2014which you can see paired with Darden\u2019s seriffed Freight Text in the visual identity of <a href=\"https:\/\/notation.vc\/\">Notation Capital<\/a>. The Freight Sans font family can be <a href=\"https:\/\/philsfonts.com\/font-family\/garagefonts\/freight-sans\/GF060015X1\/\">found at Phil\u2019s Fonts<\/a>.&nbsp;<\/p>\n\n\n\n<h2>Format 1452 by Frank Adebiaye<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img src=\"https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2021\/03\/img_6048f2712f1fc.jpg\" alt=\"\" \/><figcaption><em>Source: <\/em><a href=\"http:\/\/www.velvetyne.fr\/fonts\/format-1452\/\"><em>Velvetyne<\/em><\/a><\/figcaption><\/figure>\n\n\n\n<p>In 2010, writer and type enthusiast <a href=\"https:\/\/twitter.com\/fadebiaye\">Frank Adebiaye<\/a> founded Velvetyne, a foundry that designs and distributes open-source typefaces, creating a digital space that encourages collaborative experimentation with <a href=\"https:\/\/www.typeroom.eu\/velvetyne-type-foundry-back-online\">an anti-capitalist flavor<\/a>. In the last decade, the foundry\u2019s reach and influence has grown, garnering attention with some of its more popular offerings\u2014including the brutalist serif <a href=\"http:\/\/velvetyne.fr\/fonts\/bluu\/\">Bluu<\/a> by Jean-Baptiste Morizot and the calligraphic <a href=\"https:\/\/www.velvetyne.fr\/fonts\/pilowlava\/\">Pilowlava<\/a> by Anton Moglia and J\u00e9r\u00e9my Landes. Adebiaye\u2019s own <a href=\"http:\/\/www.velvetyne.fr\/fonts\/format-1452\/\">Format 1452<\/a> is a modular sans serif based off the stolid Din 1451\u2014but with certain characters bestowing the font a geometric flair. In the eye-catching uppercase R, for example, the tail diagonally extends to the full height of the letter, cutting across the counter.<\/p>\n\n\n\n<h2>Cabeza Grossa by Kwesi Amuti<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img src=\"https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2021\/03\/img_6048f27210f5f.jpg\" alt=\"\" \/><figcaption><em>Source: <\/em><a href=\"https:\/\/market.akofa.com\/product\/akofatype-cabeza-grossa\"><em>AKOFAType<\/em><\/a><\/figcaption><\/figure>\n\n\n\n<p>Originally from Ghana, Kwesi Amuti is the founder of the design studio <a href=\"http:\/\/www.akofa.com\/\">AKOFA<\/a> and the foundry AKOFAType. Based in Atlanta, Amuti has worked with <a href=\"http:\/\/www.akofa.com\/work\/\">clients<\/a> like St. Jude\u2019s Children\u2019s Hospital and <a href=\"https:\/\/www.rheem.com\/find-a-pro\/?gclid=EAIaIQobChMIiIG31OWa6gIVgbbICh2dmAkFEAAYASAAEgIH6_D_BwE\">Rheem Manufacturing Co.<\/a> on custom typefaces. <a href=\"https:\/\/market.akofa.com\/product\/akofatype-cabeza-grossa\">Cabeza Grossa<\/a> is a <a href=\"https:\/\/fontsinuse.com\/typefaces\/33088\/cabeza-grossa\">slightly modified interpretation<\/a> of <a href=\"https:\/\/fontsinuse.com\/typefaces\/7819\/jackson\">Jackson<\/a>, a top-heavy blocky typeface from the \u201970s that\u2019s ideal for big displays. Amuti\u2019s <a href=\"https:\/\/revisionpath.com\/tre-and-kwesi-part-1-of-2\/\">West African<\/a> upbringing has also influenced his type design\u2014as can be seen in his symbol typeface <a href=\"https:\/\/market.akofa.com\/product\/akofatype-adinkra-pro\">Adinkra<\/a>. It takes the iconography of traditional West African art as its inspiration, and even goes so far in some cases as to mirror the style, lending the symbols a hand-drawn quality.&nbsp;<\/p>\n\n\n\n<h2>Redaction by Jeremy Mickel and Forest Young<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img src=\"https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2021\/03\/img_6048f272c5db7.gif\" alt=\"\" \/><figcaption>Source: <a href=\"https:\/\/www.redaction.us\/\"><em>Redaction<\/em><\/a><\/figcaption><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.redaction.us\/\">This<\/a> collaboration between <a href=\"https:\/\/twitter.com\/ten_ten\">Forest Young<\/a>, global principal of Wolff Olins, and Jeremy Mickel, a white type designer behind <a href=\"https:\/\/mckltype.com\/about\/\">MCKL<\/a>, was created for 2019 art project <a href=\"https:\/\/www.moma.org\/calendar\/exhibitions\/5056#:~:text=Drawing%20inspiration%20and%20source%20material,etched%20portraits%20of%20incarcerated%20individuals.\"><em>The Redaction<\/em><\/a>, which sought to highlight the injustices of the criminal justice system. In this particular case, the focus was on the practice of keeping those who cannot make bail incarcerated. Redaction was the concept and the process by which the project came together: Betts used lawsuits filed by the Civil Rights Corps (CRC) as source material, redacting lines to create found poems that were then overlaid onto Kaphar\u2019s etched portraits of incarcerated people.&nbsp;<\/p>\n\n\n\n<p>Young and Mickel carried the theme of redaction into the type itself. They created a font to mimic the process of degradation that a legal document undergoes when it\u2019s photocopied. Drawing inspiration from legal-standard Times New Roman and New Century Schoolbook, Redaction is available in seven \u201cgrades\u201d of degradation, from a highly legible, formal serif to a barely legible pixelated font. These various \u201cgrades\u201d echo the dehumanizing process of incarceration itself: \u201cThe typeface nods to the transformation and marginalization that many people face in the criminal justice system today, and specifically, the role and responsibility of the author of text to be conscious of legibility as a signature of power.\u201d<\/p>\n\n\n\n<h2>Crispy by Agyei Archer<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img src=\"https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2021\/03\/img_6048f27334009.png\" alt=\"\" \/><figcaption><em>Source: <\/em><a href=\"https:\/\/agyei.design\/work\/crispy-wip\"><em>Agyei Archer<\/em><\/a><\/figcaption><\/figure>\n\n\n\n<p>Archer, a designer based in <a href=\"https:\/\/agyei.design\/\">Trinidad<\/a>, originally designed this work in progress for the brand identity of a software development startup. Archer met them and took them on as a client because of his work as co-director of <a href=\"http:\/\/designobjective.org\/\">Design Objective<\/a>, a nonprofit community of designers in Trinidad and Tobago whose mission is to support and advocate for one another. Since then, Archer has developed <a href=\"https:\/\/agyei.design\/work\/crispy-wip\">Crispy<\/a> into a dynamic variable font for Google Fonts, with hard angles and extreme weights that evoke <a href=\"https:\/\/medium.com\/@agyei.design\/crispy-finally-some-client-type-design-57a2495668f1\">the brittle, crunchy<\/a> connotations of the word itself. Find the open-source typeface <a href=\"https:\/\/github.com\/agyeiarcher\/Crispy-VF\">here<\/a>.<\/p>\n\n\n\n<h3>The Colonial Bastard Rhodes by Osmond Tshuma<\/h3>\n\n\n\n<figure class=\"wp-block-image\"><img src=\"https:\/\/www.ceros.com\/inspire\/wp-content\/uploads\/sites\/5\/2021\/03\/img_6048f2752316a.jpg\" alt=\"\" \/><figcaption><em>Source: <a href=\"https:\/\/www.behance.net\/gallery\/11886313\/COLONIAL-BASTARD-RHODES-TYPEFACE\">Osmond Tshuma on Behance<\/a><\/em><\/figcaption><\/figure>\n\n\n\n<p>Zimbabwean designer <a href=\"https:\/\/mamgobozidesign.com\/colonial-bastard-rhodes-typeface\">Osmond Tshuma<\/a> made this typeface when he was <a href=\"https:\/\/www.obama.org\/osmond-tshuma\/\">still a student<\/a> at the University of Johannesburg in South Africa. Named after British imperialist politician Cecil John Rhodes, the font was intended as a critique of the early British Colonial Era, harkening back to popular typographic styles of the time\u2014like this <a href=\"https:\/\/www.loc.gov\/resource\/cph.3b32850\/\">Pears\u2019 Soap advertisement<\/a> from 1899. The typeface\u2019s elegantly exaggerated serifs and hairline strokes are intended to be aesthetically pleasing, calling attention to the troublesome ways in which colonial histories can be excused or ignored.<br>Tshuma intended the title to shock. \u201cThe title was my own way of expressing my frustration at how these colonial figures are still being celebrated today,\u201d he said <a href=\"https:\/\/www.letsbebrief.co.uk\/osmond-tshuma-qa\/\">in an interview<\/a>. \u201cColonialism was an act of brutality clothed in the farce of civilisation. Families were displaced, enslaved, massacred, wealth stolen and yet the names of these perpetrators are mounted on street names and buildings.\u201d This font ise not actually available to use, but its addition on this list acts as a reminder that every typeface carries with it a long history\u2014and that history should be considered every time a font is used.&nbsp; <\/p>\n<!-- AddThis Advanced Settings generic via filter on the_content --><!-- AddThis Share Buttons generic via filter on the_content -->","protected":false},"excerpt":{"rendered":"<div class=\"myclass\">There are too few designers of color in the industry today, but some of those that are producing beautiful, unique (and sometimes radical) typefaces. We&#8217;re ceding the floor to some BIPOC type designers whose works deserve some love.<\/div>\n<p><!-- AddThis Advanced Settings generic via filter on get_the_excerpt --><!-- AddThis Share Buttons generic via filter on get_the_excerpt --><\/p>\n","protected":false},"author":99,"featured_media":8243,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":[],"categories":[],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v15.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>How to Support BIPOC Typeface Designers &amp; Their Fonts - Ceros Inspire<\/title>\n<meta name=\"description\" content=\"There are too few designers of color in the industry today, but these BIPOC creatives have each created a typeface that&#039;s beautiful, unique, and radical.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.ceros.com\/inspire\/originals\/bipoc-designers-font-typeface\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How to Support BIPOC Typeface Designers &amp; 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