Did you know that African typography has a rich, yet often overlooked, history? It’s time to shine a spotlight on the Nigerian graphic designers who are redefining African expression in the world of type. While many might assume typography is a Western-dominated field, Nigeria’s visual culture has long embraced unique letterforms—from hand-painted shop signs to vibrant danfo buses—that tell stories of regional dialects and everyday life. But here’s where it gets controversial: these indigenous typographic traditions were nearly overshadowed by imported Western styles, leaving many to wonder: Can African typography reclaim its identity?
The good news? A new wave of Nigerian designers is rising to the challenge, blending digital innovation with traditional sensibilities to create fonts that are unapologetically African. These designers are not just preserving their heritage; they’re pushing it onto the global stage. And this is the part most people miss: their work isn’t just about aesthetics—it’s about reclaiming a voice that was almost lost.
Take Chisaokwu Joboson, for instance. Frustrated by the lack of African representation in Western typography, he pivoted to type design, determined to create fonts that truly reflect his culture. His journey hasn’t been easy—he highlights the isolation of working in a field with limited infrastructure in Lagos. But he’s also building a community through initiatives like Ụdị Foundry and Type Afrika, ensuring future designers don’t face the same barriers. His latest project, Mekanikal Display, is a bold, industrial-inspired font rooted in African vernacular, complete with beveled cuts that nod to workshop aesthetics. It’s a perfect example of how African typography can be both modern and deeply cultural.
Then there’s Seyi Olusanya, who sees type design as a way to both learn about and contribute to Africa’s visual vernacular. He’s on a mission to move beyond stereotypical African design tropes, creating typefaces like Danfo—inspired by Lagos’s iconic bus lettering—and Tac, a collaboration with Google Fonts. Through Afrotype, he’s building a catalog of fonts that celebrate African history, culture, and environment. But here’s a thought-provoking question: Are designers doing enough to incorporate genuinely African types into their work, or are they still relying too heavily on Western influences?
David James Udoh’s story is equally inspiring. Starting as a self-taught graphic designer, he found his calling in type design after realizing the lack of typefaces that truly represented his culture. His work, like Funky Waka, is a funky, highly stylized serif typeface inspired by hand-painted signs in Lagos and Mombasa. Through his visual archive, Caveat Emptor, he documents vernacular design culture, proving that creativity thrives even outside formal training. But this raises another question: How can we ensure these grassroots design traditions are preserved and celebrated, not just in Africa, but globally?
These designers are more than just creators—they’re cultural ambassadors, challenging the status quo and inviting the world to see African typography in a new light. Their work is a testament to the power of design to tell stories, preserve heritage, and spark conversations. So, here’s the final question for you: What role do you think African typography should play in the global design landscape? Let’s keep the discussion going in the comments!
