The Sociogenic Imperative of Typography

Abstract

The Corporate Identity and Branding Guidelines of the Republic of South Africa (2005) regulates the visual communication protocol of the new Republic of South Africa. The Guidelines were symptomatic of the profound political shift that came into effect with the end of the Apartheid era. This article analyses the fonts officially selected for the new visual identity as it pertains to the country's ‘Great Seals’. It will argue that, in contrast to the other visual elements of the design, the policy on fonts works against the stated aims of the Branding Guidelines to produce a ‘visual symbol … [t]hat distinguishes us from other countries’ and ‘reflects a unique history in addition to embracing the future’. Central to the argument is the importance of viewing typography as a sociogenic object, symbolically and ideologically potent as it performs both history and culture. The article concludes by introducing alternative approaches by South African designers to typographical design that seek to respond to the challenge of a ‘face’ for the new South Africa.

Keywords:

• branding
• national identity
• coat of arms
• typeface
• South Africa
• Timbuktu

Notes

A revision of the initial coat of arms was proposed by the British government in 1911. A technical objection was raised, as it was felt that the inclusion of all four elements on a single shield and not as four separate shields undermined the idea of the four separate provinces. As a result, no change was made to the original arms (see Berry, 2008).

For an in-depth discussion on the genocide of the Khoi San see Adhikari (2010).

The first conference on African orthographies was held in London in 1854 by the Christian Missionary Society (see Pasch, 2012: 75).

Pasch (2012) provides a survey of these scripts; for an in-depth study, see Mafundikwa (2004).

I-jusi, Issue 11 was edited by Garth Walker (2000). The fonts from this issue discussed below can be viewed at <http://media.withtank.com/400bff48bf/ijusi11.pdf>.