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experimental alphabets
charvet, a typeface designed by keven karanja, is inspired by ancient african typography.
TYPEFACE | CHARVET | BY KEVIN KARANJA In 2013, the Nest Collective commissioned Kenyan graphic artist Kevin Karanja to create this typeface, inspired by Karanja’s love for Ancient African typography and geometrics. >thisisthenest.com/charveta- typeface-2013
TYPEFACE | GILBERT | BY JUSTIN AU This chromatic typeface honors Gilbert Baker, creator of the rainbow flag, a global symbol of LGBTQIA+ pride. Developed by NewFest and NYC Pride with Fontself.
TYPEFACE | STONEWALL 50 | BY BOBBY TANNAM AND FEELD This typeface, designed to commemorate the Stonewall uprising, celebrates the validity of every person’s experience of sexuality and gender. >feeld.co/blog/ announcements/stonewall-50-a-typeface-inspired-by-the-birth-of-pride
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SOURCES On italics, see Thu-Huong Ha, “Bilingual Authors are Challenging the Practice of Italicizing Non-English Words,” Quartzy, Jun 24, 2018 >qz.com/quartzy/1310228/ bilingual-authors-are-challenging-the-practice-of- italicizing-non-english-words/. On printing and racial binaries, see Jonathan Senchyne, The Intimacy of Paper in Early and Nineteenth-Century American Literature (Amherst: University of Massachusetts Press, 2020). On Bodoni, see Manuale Filosofia: Typeface by Zuzana Licko, Vol. 1 (Berkeley: The Emigre Fonts Library, 2019). Ruben Pater talks about bell hooks’s use of lowercase letters in The Politics of Design
(Amsterdam: BIS, 2016). On capitalizing the words Black and White, see Lori L. Tharps, “The Case for Black with a Capital B,” New York Times, Nov 18, 2014 >nytimes.com/2014/11/19/ opinion/the-case-for-black-with-a-capital-b.html and Merrill Perlman, “Black and White: Why Capitalization Matters,” Columbia Journalism Review, Jun 23, 2015 >cjr.org/analysis/ language_corner_1.php; Nell Irvin Painter, “Why ‘White’ Should Be Capitalized, Too,” Washington Post, Jul 22, 2020 >washingtonpost.com/opinions/2020/07/22/why-white- should-be-capitalized/.