Modern Nigerian design space has long enjoyed a highly beneficial relationship with the signage artists responsible for transport decor. Although separate parts of a whole, the divide between ‘classed’ designers and signage artists has never been greater. Increased patronization and documentation of the history of Nigerian typography via signage artists seems to be the prevalent mode of bridging this gap but is it enough ? Given its geographical (I’m looking at you Lagos) and accessibility limitations I wonder what more could be done to elevate the work and style of signage artists especially as it pertains to typography. Personally, the intentionality with which observation, ‘transformation’ and documentation occurs today, fills me with hope.

Typography is an important aspect of transportation decor. It’s utilization as a means of identification, personal projections and more cannot be understated. Although there exists a preference for visual content owing to its reach with a wider cross section of the local population (1), religious and political writings are part and parcel of the visual design language of transportation decor and cannot be removed from it. Given this, I would like to highlight the various fonts inspired by transportation decor across nigeria*.

1. Lagos Brushscript and Lagos Signwriter Stamp by Weyimi Atigbi , Felix Omoregbe and Demola Ogunajo.

Lagos, a city at work by Olakunle Tejuoso (2005) details the various complexities riddled with surviving Lagos. From collapsing infrastructure to its combative visual language, this book covers the intricacies of Lagos living. Commissioned by Olakunle Tejuoso of the Jazzhole Lagos, Weyimi Atigbi , Felix Omoregbe and Demola Ogunajo created a font inspired by Nigerian plate numbers and various visual design styles scattered over Lagos. Hand drawn and later stenciled, these fonts embody the structure of Lagos while balancing the uncertainty of its operations.

2. Danfo by Afrotype

One of the first ‘modern’ expeditions into Nigerian typography, this font was created in 2018 ‘out of curiosity and a need for more representation’(2) by Seyi Olusanya. As the name implies, it takes inspiration from the vinyl stickers seen on Danfo buses in Lagos, Nigeria. I believe its set the standard for the current resurgence in Nigerian typography and its new modifications embody the ‘imperfect’ aura commonly seen on the buses. A deep dive into the styles Tuscan origins and introduction to Nigeria can be found here *.

3. Untitled Sporting Lagos typeface Number by Joseph Adesiyan for Belonwus.

Designed by Nigerians for Nigerians, with Nigerians, this font encapsulates Belonwus commitment to utility. Inspired by a teutonic wooden style font found on a Nigerian truck, the font embodies convenience. Its use as squad numbers for the Sporting Lagos team is nothing short of genius. Avenues for its flexibility is something I look forward to.

4. Tolo Tolo by Abel Idume

Inspired by the song of the same name and a moving truck , Tolo tolo is a playful bifurcated end font developed by Abel Idume. Although not fully developed, its modification and stylization is both gorgeous and resourceful. More of his work can be found here

References

1. Pinney 2004.
2. Jordan Belonwu 2023. https://medium.com/demagsign/nigerian-typography-catching-lightning-in-a-bottle-31ec1e835d07