Naïma Ben Ayed’s article sheds light on the biases of teaching typography from the European perspective.
Collage of North African multiscript letters: “Museum” and “École Al-Moutanabi” pictures by Laura Meseguer. Alexandria Biennale poster, designed by Khalid Osman, 1980; Belkahia-Chebaa-Melehi group show in Rabat, poster designed by Mohammed Melehi, 1966 (Source: A History of Arab Graphic Design). Hand sticker, Association pour l’Émancipation de la Femme (AEF) Alger, 1991. Courtesy of Soumia Salhi (Source: Archives des Luttes des Femmes en Algérie). Faïza (1960) and Leïla (1937) magazine covers (Source: Bibliothèque Nationale de Tunisie). Other images from Naïma Ben Ayed’s archive.
“Latin is the script of the Global North, the center of the type design industry, and the hegemonic voice of capitalism. Consider where most commercial type foundries are based—Europe and North America. Even the tools we use to create typefaces are software designed for Latin by European and North American type engineers. Also, the majority of programs and specializations to study type design are located in Europe and North America.” (Ayed, 2023)
“Type, at its core, is a connector; a crucial node in the communication circuit that allows for the circulation of knowledge.” (Ayed, 2023)
“Brands want custom typefaces to speak with one voice across continents, pushing foundries operating in the global North to expand their libraries into multiple scripts with the hopes to breach into new markets.” (Ayed, 2023)
“Working against the legacies of colonialism and structures of capitalism, could we imagine a program to destabilize the hegemony of Latin and imagine type design education otherwise?” (Ayed, 2023)
“Multi-script typefaces provide matching qualities across various languages, guaranteeing that the different scripts are equally legible and express a similar identity. Wouldn’t it make sense for an approach to multi-script type design education to emerge in a context where multiple languages overlap on a daily basis? Working against the legacies of colonialism and structures of capitalism, could we imagine a program to destabilize the hegemony of Latin and imagine type design education otherwise?” (Ayed, 2023)
In Ayed’s principles for a design programme, she states:
Archiving is a vital collective ritual.
Bringing together people and knowledge from outside but connected to the discipline of type design facilitates zooming out and perhaps moving on from the status quo.
Type design is a vessel to facilitate the questioning, exploring, expanding, navigating, and expressing of identities in a broad sense and outside of branding.
Education is a collective, collaborative, and deeply caring project.
Ayed, N. B. (2023) ‘A Multi-Script Type Design Program: Imagining a playground for collective archiving, researching and letter-making’, Futuress, 29 Mar. Available at https://futuress.org/stories/letters-words-stories/ (Accessed 22 January 2025)
Thinking about themes of typography and cultural identity, my colleague Mikael Calandra Achode suggested looking at Mexican Blackletter by Cristina Paoli, a book that explores how a style of lettering has been culturally re-appropriated in Mexico, adorning countless stores, shapes, service providers, that it “speaks volumes about contemporary Mexican culture” (Paoli, 2006, p.5).
Mexican Blackletter by Cristina Paoli
Reasons for this: – Colonial Spanish background, present in consciousness but also architecture and cities – Associations with Christianity, rooted in European religious traditions – Cultural love of ornaments, colour and contrast, both playful and mysterious
All over the world newspapers and rustic establishments such as pubs and shops use blackletter in their mastheads and signage, communicating a sense of passage of time, tradition, etc.
Mexican Blackletter by Cristina Paoli
Blackletter was forbidden by the Nazis, connected to Jewish culture.
Mexican Blackletter by Cristina Paoli
Popular in the context of heavy metal and punk, mystic and obscure connotations.
Religious connotations, particularly Catholicism.
The book speaks to how signs, symbols, a style of lettering can can adopted by different cultures and also mean different things for those cultures. Shows how lettering and type design have the potential to speak about cultural identity but also that these letterforms might have different meaning for different communities.
“From talking to the people that decorate their body with it, or that draw the letterform on a sign, I have discovered that Mexicans feel that blackletter communicates “tradition,” or that “normal letters” – Roman type – just wouldn’t be good enough for the particular message they need to express.” (Paoli, 2006, p.23)
“Many who elect to employ blackletter for tattoos, signs and anything else imaginable believe that it takes the written message to a ‘religious’ level and therefore, implicitly, associates the message with a kind of transcendence. In speaking with people, words such as ‘tradition,’, religion’ and historical’ continually surfaced.” (Paoli, 2006, p.23)
Paoli, C. (2006) Mexican Blackletter. New York: Mark Batty
Some great quotes from Kae Tempest on empathy, community and connection. I came across this book through the Stage 1 GCD reading list.
For unit 1 this talks about how creativity and creative connection can help us to develop empathy for one another, that transcends our differences (cultural, political, social). This talks about how connecting through art, music can help us overcome differences, through this common bond.
For unit 1 students it suggests creativity can help them to connect to audiences.
“creativity is any act of love”
“Connection is the feeling of landing in the present tense. Fully immersed in whatever occupies you, paying close attention to the details of experience. Characterised by an awareness of your minuteness in the scheme of things. A feeling of being absolutely located. Right here. Regardless of whether that ‘right here’ is agitated or calm, joyous or painful.”
– Thinking about my PgCert, there’s also wider relevance here about how students might connect in the classroom
“James Joyce told me once: ‘In the particular is contained the universal.’”
“Empathy is remembering that everybody has a story. Multiple stories. And remembering to make space to hear someone else’s story before immediately telling your own.”
This 2011 typeface by Geetika Alok & Henrik Kubel of A2 Type is a really lovely example of type design inspired by cultural heritage.
This is a really good visual example for my intervention.
India typeface, Cultural Identity and typeface design, Geetika Alok & A2 Type, 2011 India typeface, Cultural Identity and typeface design, Geetika Alok & A2 Type, 2011 India typeface, Cultural Identity and typeface design, Geetika Alok & A2 Type, 2011 India typeface is based on traditional Indian floor patterns
Lloyd Smith, H. (2022) ‘INDIA typeface by Henrik Kubel and Geetika Alok’. Wallpaper, 31 October. Available at: https://www.wallpaper.com/gallery/art/india-typeface-by-henrik-kubel-and-geetika-alok (Accessed 21 November 2025)
As part of my intervention I would like to involve Knowledge Exchange and the relationship of teaching to Industry practice.
I have organised for leading international type design studio Dalton Maag to teach practical, technical, theoretical skills of typeface design to Stage 3 GCD students as part of a five-week teaching block on Type Design. This will form the basis of my intervention.
“Since our founding in 1991, Dalton Maag has been committed to the creation of innovative, high-quality typefaces. We have a relentless dedication to design, and a culture that celebrates collaboration and creativity. From our early beginnings to the present day, we have sought to push boundaries and redefine excellence in typeface design, and in that time we have created some of the world’s most-read fonts.”
“Our studio may be based in London, but our client base, and influence, are truly global. We work with clients of all sizes, across every industry, and in every timezone. This extensive experience enables us to deliver typeface solutions tailored to the specific needs of each client.”
BBC, DHL, Lush, Netflix, Vodafone, and many more global brands.
For my intervention I’d like to combine several aspects of teaching:
– Decolonisation
– What can we learn from the Western canon? (how does the Western canon of design ‘function’ in a decolonial teaching environment?)
– Students’ own identity as a starting point for a typeface
– Knowledge Exchange: thinking about how teaching connects with industry, knowledge, skills, techniques, the practice of deisgn in a commercial context.
Catich, E. M. (1968) The Origin of the Serif. Davenport: Catfish Press
Edward Catich (1906–79, USA), was a calligrapher and teacher and his seminal book The Origin of the Serif (1968) is a thesis on how the serif originated with Roman square capitals and the use of the flat brush, as typified on Trajan’s Column in Rome.
Roman Square Capitals, Trajan’s Column, Rome
Representative of the Eurocentric position on typography and the teaching of typeface design.
“In the past several years we Westerners have acquired a high regard for typographic and related graphical expressions. We overlook, however, the fact that typefaces (lettering) owe their formal existence to writing, and that type is, in fact, the ‘frozen handwriting’ of the early Humanists.” (Catich, 1968)
Catich, E. M. (1968) The Origin of the Serif. Davenport: Catfish Press
Stream-of-consciousness notes from Jokela, T., & Huhmarniemi, M. (2018) ‘Art-based action research in the development work of arts and art education’. The Lure of Lapland: a Handbook for Arctic Art and Design, pp.9–23. Rovaniemi: University of Lapland.
“art as a catalyst for development work” (Jokela & Huhmarniemi, 2018, p.9)
When the article uses the word ‘art’ I will substitute for design.
“Art may be the intervention for problem solving or gaining new knowledge and understanding” (Jokela & Huhmarniemi, 2018, p.9)
– In my intervention, I’m thinking of using design, a design project to gain new knowledge, through the outcomes the students create.
– Intervention is the design of the brief, the guidance, the references, the encouragement, the discussions.
– Research is also the outcomes of the student work
“Art can also be the subject of development or the tool for the research’s data collection and analysis” (Jokela & Huhmarniemi, 2018, p.9)
My intervention uses design process and outcomes as the “subject of development”
“Art-based refers to the utilisation of art in research in such a way that stakeholders and members of the organisation or community can be included in the research, and tacit knowledge and experiences can be obtained from them” (Jokela & Huhmarniemi, 2018, p.9)
In this project, what is tacit knowledge and what is explicit knowledge?
“the aim of research is typically to develop increasingly more functional practical working methods” (Jokela & Huhmarniemi, 2018, p.9)
“ART-BASED ACTION RESEARCH AS QUALITATIVE RESEARCH” (Jokela & Huhmarniemi, 2018, p.10)
“We associate art-based action research as part of qualitative research” (Jokela & Huhmarniemi, 2018, p.10)
“while qualitative research is based on verbal expression, art-based research is described with images, sounds, drama, etc.” (Jokela & Huhmarniemi, 2018, p.10)
“According to Leavy (2009), quantitative research aims for the freedom of values, while qualitative research is based, in principle, on values, and art-based research is political and promotes freedom.” (Jokela & Huhmarniemi, 2018, p.10)
“it is typical for [art-based action research] to be associated with social or environmental politics — more strongly than qualitative research traditionally is.” (Jokela & Huhmarniemi, 2018, p.10)
objectivity and subjectivity
“Objectivity-theoretical research aims to produce objective knowledge by means of quantitative methods” (Jokela & Huhmarniemi, 2018, p.11)
“Subjectivity-theoretical research uses research methods that aim for interpretations, understanding, and meaning” (Jokela & Huhmarniemi, 2018, p.11)
“Research that is based on the development of practice can respectively be specified under subjective and objective” (Jokela & Huhmarniemi, 2018, p.11)
My research is about the development of type design practice???
Pirkko Anttila’s diagram (2007, p.23)
– Where would my intervention be placed on this diagram? Objective / Practical?
“Critical-realistic art-based action research is participatory and aims for better practices” (Jokela & Huhmarniemi, 2018, p.11)
“A research strategy is a guiding principle for the implementation of research” (Jokela & Huhmarniemi, 2018, p.12)
“It is the ensemble of the research’s methodical approaches, which guide in the selection and use of research methods at both a theoretical and practical level.” (Jokela & Huhmarniemi, 2018, p.12)
“Action research rests on processes of collaborative knowledge development and action design involving local stakeholders as full partners in mutual learning processes. (Greenwood & Levin, 2007, p. 1)” (Jokela & Huhmarniemi, 2018, p.12)
‘Enhancing change’ – this is the goal!
“The orientations of action research in art-based action research have similar characteristics to design research.” (Jokela & Huhmarniemi, 2018, p.13)
!!!!!!!! “The research process and results are documented, and this documentation is used as research material. Produced artistic work and artistic productions, as well as the participatory observation of activities, are also essential research materials.” (Jokela & Huhmarniemi, 2018, p.14)
“In a manner typical of action research, the research questions are reoriented and further specified after each research cycle.” (Jokela & Huhmarniemi, 2018, p.14)
– So for next cycle, how does the research question change? Become more focussed? What have you found out that changes this?
– There is tacit knowledge of the student – And explicit knowledge that tutors have taught during the four weeks
“In art-based action research, the artist-researcher does not wander alone, but instead development work is usually carried out in some kind of team or community.” (Jokela & Huhmarniemi, 2018, p.14)
– This diagram became very useful in planning the stages of my ARP intervention cycle:
First I looked at the context of my ARP and did some research – Attainment gap (evidence in stats) – Lack of diversity in industry (Evidence) – Lack of equality in typefaces that represent global cultures and non-latin scripts (evidence) – What has been done in the field so far? Projects, research, etc – Build up the working team: this is my Stage 3 GCD practices group
Make action / art works – Students design the typefaces – explain process: starting point, weekly sessions, etc
Observe / document – Observe how the planned action works: pallet, photos, notes – Collect research data and make documentation (pallet) – Use research diaries, video and audio recordings (images on pallet)
Reflect / Evaluate data with the organisation, focus groups, users – work with the observation data in a ‘dialogical form’ what is this? – Use interviews, group interviews and group discussions based on the reflection data and participants experience (these were the group discussions at the end: recordings, photos exist of these)
COLLECTING AND ANALYSING MULTIPLE RESEARCH DATA
Research data can include: – meeting memos and notes? – Researcher’s personal observations of the activities (can make these) – Photographic documentation / – Completed pieces / – Sketches, drawings and other planning and design material made by the researcher or participants (material on pallet, slides by Dalton Maag, my slides, my class materials, the printouts of canon typefaces for example) – Documentation of the activities’ reflection and evaluation discussions (photos, notes and audio recordings of discussions) – Various interviews, questionnaires and other feedback (have bits of this) (Jokela & Huhmarniemi, 2018, p.16)
Observation diary – Personal observations should be complied ii an observation diary (didn’t really do this???) – I have photos on my iPhone and maybe notes? (Jokela & Huhmarniemi, 2018, p.16)
“Photographic and video documentation are common data of art-based action research. It is typical for this material not to be compiled solely for the purpose of the research, but instead they can be used to exhibit the contemporary art process at exhibitions and, for example, as study material. Documentation is needed for knowledge purposes, exhibitions, evaluation, reporting, and the planning of new projects, and not all needs can be anticipated during the project.” (Jokela & Huhmarniemi, 2018, p.16)
“The analysis of such material does not differ from the qualitative analysis methods of material. However, it is possible in art-based research to apply artistic work to the analysis and interpretation of the material. In this case, the artist can process the photographic material into a photo collage or the voice recordings into an audio piece or an element of installation art. This type of method may also lead to the artistic representation of the research.” (Jokela & Huhmarniemi, 2018, p.17)
– This is like Nav’s installation piece in his garden of the garments made in his workshop – For me it could be using the typefaces for something: an exhibition, for example, to compare and contrast the typeface designs, look at the effect on language, the voice of the typeface. – An exhibition in the CSM GCD studios would be a good way to do this and / or some kind of publication or website to disseminate the work and ideas. – In collaboration with Dalton Maag?
Evaluation
“The final results of the project are evaluated in two stages: as soon as the project ends and they are still fresh in one’s mind and later, when those involved have had a chance to reflect more on the experience.” (Jokela & Huhmarniemi, 2018, p.17)
“The project participants’ concepts, experiences, and analyses form the basis for the entire project’s evaluation.” (Jokela & Huhmarniemi, 2018, p.17)
“When activities are reviewed from the perspectives of the researcher, the participants, and the community or stakeholder groups, the review does not become too one-sided.” (Jokela & Huhmarniemi, 2018, p.17)
– Important to consider this in the next cycle or at a later date. To involve the participants in the evaluation. (Jokela & Huhmarniemi, 2018, p.17)
Next steps
The article states that “If the research has been completed in close cooperation with the community, the researcher should ask the community to also participate in the analysis of the material (Jokela, 2009).”
“Furthermore, if the analysis results are presented as an artistic production, the research result may be convergent with a production completed in a communal art process. The evaluation of art productions is an essential part of forming knowledge about the functionality of a method. The completed work demonstrates how functional, successful, and empowering the process has been. The evaluation criteria of effectiveness include, for example, the work’s and research’s ability to generate ideas, feelings, and mental images, as well as a sense of empowerment and increasing participants’ confidence in their own capabilities and skills (Jokela, 2009).”
– So it would be really interesting as a next step to involve the community in analysing the finding, maybe an exhibition that addresses this in the way the work is exhibited and captioned, to communicate these findings. Does this involve the typeface design industry in someway in order to bridge the gap between knowledge gained and how this permeates into the industry and design practice.
“An artistic production may be, for example, a place- and time-based process, work or event.” – An exhibition would fit into this
The article also talks about making the findings available to the general public (as users / “readers” of typefaces, this is interesting).
Methods – So is ‘art-based research’ the method?
Bias
“Art-based research is intentional. The objective of the research is influenced by, for example, by the researcher’s and community’s values and attitudes, even their political views. These background factors should be demonstrated in a transparent manner in the research process and reports.”
– Explain my relationship to the research topic, personal intentions
– I have consent from students
•••
P.21 outlines the steps
Some things I should do and evidence – Review research literature and art in the same field (Queer type stuff, articles on diversity, decolonisation etc) – Set goals – Clarify your research methods and ways of date collection
Team work – Identify possible project partners: Dalton Maag, students? UAL? – Create project group: GCD Practices block 2 – Build a common understanding: explained to students, pallet, course materials
Realisation and collecting research data – Plan activities – Plan ways to collect observation and documentation data (Padlet) – Implement activities and data collection – Celebrate the results by sharing them: class round-up. An exhibition could come later
Reflection, evaluation and reporting – Edit the observation and feedback data in usable form – Classify and analyse research data gathered (core themes and categories) – Evaluate results – make suggestions for improvement – Write a report as a form of development narrative
Jokela, T., & Huhmarniemi, M. (2018) ‘Art-based action research in the development work of arts and art education’. The Lure of Lapland: a Handbook for Arctic Art and Design, pp.9-23. Rovaniemi: University of Lapland
Also from the brief was this quote: “Notice and reflect on your positionality, embodiments, and practices as a researcher”
My positionality is that I’m a white European male, from a lower middle-class background. I was educated at Central Saint Martins, a leading European art & design school and then went on to work in industry for a boutique design agency in London, Fraser Muggeridge studio, before setting up my own studio, working mainly with cultural and arts clients (predominantly white, middle class clients and audiences). My upbringing, where I’ve lived and worked, where I’ve studied design and who and what I’ve worked with in terms of clients, audiences, content and contexts has undoubtedly shaped and influenced my sense of aesthetics, taste, what I consider good/bad practice, no matter how much I try and acknowledge these biases, they exist. As a design practitioner, I value aesthetics, notions of ‘beauty’ and style, consider my work to be research-led, experimental and playful and I work with communities of people on projects and try to adapt to different people and scenarios.
My teaching practice is very much rooted in an industry-related perspective. So while I’m not necessarily training students for a vocation, I do frame my teaching in terms of industry context. How are these skills, techniques, knowledges and experiments related to what it means to practice design in an industrial context.
Learning a craft, how to make things really well, has been important in my development and I see that as important to design students and important to preserve in teaching.
Websites to look at further in terms of diversity and racial inequality in the design industry.
Home page of WATBD?
Where are the Black Designers
Websites such as www.watbd.org (Where are the Black Designers?) looks to address some of the inequality and lack of diversity in the design industry and state “We exist to heal, support, amplify, and make space for the entire spectrum of Black creativity while also decolonizing design through education and wellness resources, events, partnerships, and collaborations.”
It provides a network of support, jobs board and promotes Black designers.
