the art + science of seeing

issue 7

TEXT

This work, or an earlier version of it, originally appeared as “Aesthetic Innovation in Indigenous : Designing a Lushootseed ” in GLIMPSE | the art + science of seeing, issue 7, autumn 2010; http://www.glimpsejournal.com. AestheticAesthetic Innovation Innovation in in Indigenous Indigenous TypefacesTypefaces Designing a Lushootseed font

by JulietBy Juliet Shen Shen

TheThe role role of new of new typeface designs designs in in languagelanguage preservation preservation This Thispast past June, June, I sat I amongsat among 350 350 linguists linguists and and educators educa- languages.(sans serif) Althoughmay offer the a more recentneutral in Eugene,tors in Eugene, oregon, Oregon, and and listened listened toto aa keynote keynote designsspringboard of text from typefaces which without to design ser- addressaddress by byone one of ofthe the last last surviving surviving native speakersspeakers ifsnew (sans native serif) amaymerican offer afonts, more neutralraising of herof herathabascan Athabascan language. language. TheThe Northwestnorthwest Indian Indian springboardthe cultural from and which aesthetic to design appeal new LanguageLanguage Institute Institute at theat the university University of ofo regonOregon hosted Nativeof these American fonts,calls raisingfor more the culturalthan the hostedStabilizing the Stabilizing Indigenous Indigenous Languages Languages Symposium, Sympo- andneutrality. aesthetic appeal of these fonts calls whichsium, I attended which I attended to speak to about speak aesthetic about aesthetic innovation for more than neutrality. in theinnovation design of in n theative design american of Native typefaces. American Innovation type- Most native american languages had is neededfaces. Innovation to give indigenousis needed to typefaces give indigenous a stronger type- Mostno written Native Americanscript until languages the late had 20 noth culturalfaces identity, a stronger since cultural the identity,Latin typographic since the Latin design writtencentury, script when until linguists the late began 20th recording century, tradition,typographic which originateddesign tradition, in Europe, which is originated not historically in whenthe linguistsstories, begansongs recording and everydaythe sto- 20 germaneEurope, to isthe not culture historically of n germaneative american to the culture peoples. of ries,speech songs of elderlyand everyday native speechspeakers. of elderly (This BothNative the small American stroke peoples. terminals Both that the we small call stroke serifs terand- nativemovement speakers. came (This too movement late for came many too the minalsrelative that position we call of serifs thick and and the thin relative strokes position on theof lateindigenous for many languages, indigenous languages,after a century after lettersthick themselves and thin strokes are beholden on the letters to the themselves broad-nib arepen, aof century public of policy public policyattempted attempted to stamp to the beholdenpredominant to the tool broad-nib of scribes pen, inthe the predominant 15th century stampthem themout.) out.)Today Today most most of ofthe the extant extant whentool the of technology scribes in the of 15th printing century from when cast the metal technol type- indigenousindigenous languages languages in thein theU.S. uare.S. writ are- literallyogy solidifiedof printing the from appearance cast metal type of the literally prototypical solidified tenwritten in the in Latin the alphabetLatin alphabet amplified amplified by dia- romanthe typefaceappearance we of are the prototypicalaccustomed roman to reading. typeface Its criticalby diacritical accents andaccents phonetic and characters, phonetic a appearancewe are accustomed has changed to reading.very little Its over appearance the centuries has systemcharacters, of writing a system devised of bywriting linguists. devised sincechanged then. very little over the centuries since then. Unlikeby linguists. the unlike the of typography the traditional of the Latintraditional alphabet, Latin these alphabet, scripts dothese not formscripts a Today,Today, design design innovations innovations in typefacestypefaces made made for for harmoniousdo not form interwoven a harmonious texture interwovenon the page. readingreading are arenecessarily necessarily subtle subtle and and difficult difficult to perceiveto per- Thetexture idea thaton indigenousthe page. fontsThe should idea bethat withoutceive a without trained a eyetrained because eye because too much too muchinnovation inno- aestheticindigenous as wellfonts as shouldfunctional, be thataesthetic they as GLIMPSE www.glimpsejournal.com divertsvation the diverts reader’s the attention reader’s attentionfrom the from content the of the shouldwell as look functional, as balanced that as they Latin should text on look the text contentto its ofappearance. the text to itsThis appearance. reigning Thisconservatism reigning page,as balanced has not yetas Latintaken roottext amongon the linguists page, was conservatismabetted by the was large abetted capital by the investment large capital required andhas educators,not yet taken concentrated root among as they linguists are of printersinvestment while required of printers remained while typesetting within their onand capturing educators, and concentratedanalyzing the speechas they of are exclusiveremained purview. within But their so exclusivelong as principles purview. Butof legibility so long elderson capturing while it’s andstill possible,analyzing and the on findingspeech are asobserved, principles orthodoxy of legibility in are typeface observed, design orthodoxy is less in effectiveof elders ways while to teachit’s still fluency possible, to second- and on relevanttypeface in cases design where is less literacyrelevant inhas cases been where imposed liter- languagefinding effective learners. waysTypographic to teach aesthetics fluency to so recentlyacy has beenupon imposedan oral tradition,so recently as upon is the an case oral trawith- aresecond-language just not on their radar.learners. As a result,Typographic the mostdition, american as is the indigenous case with languages.most American although indigenous the appearanceaesthetics areof most just devisednot on writingtheir radar. systems as more recent designs of text typefaces without serifs a result, the appearance of most devised issue 7 Text 21 Aesthetic Innovation in Indigenous Typefaces mage courtesy of ashington. i ashington. isconsin. The press was used at theisconsin. The press ood Type & Printing, Two Rivers, & Printing, Two ood Type (This page) Lushootseed wood type by the Hamilton Museum ofcreated w w Lushootseed Language 2010 Camp in w of w Tribes The Tulalip Designing aLushootseed font 22 GLIMPSE www.glimpsejournal.com 22 teaching children. since itsprimarypurpose was asatoolfor named thenewfont“Lushootseed School” Scientific andCulturalo languages. The Lushootseed, amemberoftheSalishfamily design asansserif, The Tulalip Tribes commissionedmetocustom one belongingtotheel,inthisextendedunicodefont. comma accents,oneabovethec-caron (c-wedge)and (Figure 1)notethepoordefaultdisplayoftwo (figure 1). and maycallforacustomizedfontinstead not allscriptsare wellservedbythesesets, of someindigenouslanguagecommunities, (numbering inthethousands)andtinysize contained inthesepan-indigenousfonts because ofthesheervolumecharacters the needsofanyandallsuchscripts.But extensive charactersetsthatseektomeet language charactersistousefontswith better waytoobtaintypefacesforindigenous that prohibit editingandredistribution. programs andhavelicensingagreements with operatingsystemsandoffice software of theso-called“free” fontsare bundled missing characters.Most them toaddthe practice ofopening“free” fontsandediting met through theillegalbutstillcommon sometimes indigenous languagecharactersis Currently, theneedfortypefaceswith of indigenouslanguagefonts Typographic needs the script. than invitethemtodecodethemysteries of more likelytointimidate youthfullearners writing systemsforindigenouslanguagesis the finalstatusbefore extinction(f ranks Lushootseedascriticallyendangered, GLIMPSE www.glimpsejournal.com mysteries ofthescript. youthful learnersthaninvitethemtodecodethe for indigenouslanguagesismore likelytointimidate Lushootseed instruction beginsatthepreschool the SalishSea about40milesnorthofSeattle, On theTulalip reservation, a20,000-acre area on purpose wasasatoolforteaching children. new font“LushootseedSchool” sinceitsprimary status before extinction(Figure 2).We namedthe Lushootseed ascriticallyendangered, thefinal and CulturalOrganization (UNESCO)ranks guages. TheUnitedNationsEducational,Scientific Lushootseed, amemberoftheSalishfamilylan- design asansserif,Unicode-compliantfontfor The Tulalip Tribes commissioned metocustom instead (Figure 1). by thesesets,andmaycallforacustomizedfont language communities,notallscriptsare wellserved the thousands)andtinysizeofsomeindigenous tained inthesepan-indigenousfonts(numbering because ofthesheervolumecharacterscon- to meettheneedsofanyandallsuchscripts.But use fontswithextensivecharactersetsthatseek typefaces forindigenouslanguagecharactersisto editing andredistribution. Abetterwaytoobtain grams andhavelicensingagreements thatprohibit with operatingsystemsandofficesoftware pro- ters. Mostoftheso-called“free” fontsare bundled fonts andeditingthemtoaddthemissingcharac- illegal butstillcommonpracticeofopening“free” language charactersissometimesmetthrough the Currently, theneedfortypefaceswithindigenous of indigenouslanguagefonts Typographic needs 22 teaching children. since itsprimarypurpose was asatoolfor named thenewfont“Lushootseed School” Scientific andCulturalo languages. The Lushootseed, amemberoftheSalishfamily design asansserif, The Tulalip Tribes commissionedmetocustom (figure 1). and maycallforacustomizedfontinstead not allscriptsare wellservedbythesesets, of someindigenouslanguagecommunities, (numbering inthethousands)andtinysize contained inthesepan-indigenousfonts because ofthesheervolumecharacters the needsofanyandallsuchscripts.But extensive charactersetsthatseektomeet language charactersistousefontswith better waytoobtaintypefacesforindigenous the finalstatusbefore extinction(f ranks Lushootseedascriticallyendangered, that prohibit editingandredistribution. programs andhavelicensingagreements with operatingsystemsandoffice software of theso-called“free” fontsare bundled missing characters.Most them toaddthe practice ofopening“free” fontsandediting met through theillegal but stillcommon sometimes indigenous languagecharactersis Currently, theneedfortypefaceswith of indigenouslanguagefonts Typographic needs the script. than invitethemtodecodethemysteries of more likelytointimidate youthfullearners writing systemsforindigenouslanguagesis one belongingtotheel,inthisextendedunicodefont. comma accents,oneabovethec-caron (c-wedge)and (Figure 1)notethepoordefaultdisplayoftwo GLIMPSE www.glimpsejournal.com teaching children. since itsprimary purposewasasatool for named thenewfont“Lushootseed School” Scientific andCulturalo languages. The Lushootseed, amemberoftheSalishfamily design asansserif, The Tulalip Tribes commissionedmetocustom one belongingtotheel,inthisextendedunicodefont. comma accents,oneabovethec-caron (c-wedge)and (Figure 1)notethepoordefaultdisplayoftwo (figure 1). and maycallforacustomizedfontinstead not allscriptsare wellservedbythesesets, of someindigenouslanguagecommunities, (numbering inthethousands)andtinysize contained inthesepan-indigenousfonts because ofthesheervolumecharacters the needsofanyandallsuchscripts.But extensive charactersetsthatseektomeet language charactersistousefontswith better waytoobtaintypefacesforindigenous that prohibit editingandredistribution. programs andhavelicensingagreements with operatingsystemsandoffice software of theso-called“free” fontsare bundled missing characters.Most them toaddthe practice ofopening“free” fontsandediting met through theillegalbutstillcommon sometimes indigenous languagecharactersis Currently, theneedfortypefaceswith of indigenouslanguagefonts Typographic needs the script. than invitethemtodecodethemysteries of more likelytointimidate youthfullearners writing systemsforindigenouslanguagesis the finalstatusbefore extinction(f ranks Lushootseedascriticallyendangered, u nited u nicode-compliant font for nicode-compliant fontfor u nited u rganization (unESCo n nicode-compliant font for nicode-compliant fontfor ations Educational, ations Educational, u rganization (unESCo nited u n nicode-compliant font for nicode-compliant fontfor ations Educational, ations Educational, rganization (unESCo igure 2).We n ations Educational, ations Educational, igure 2).We igure 2).We a ) a reading andwritingsimultaneously. fonts, educatorsstillprefer themwhenteaching readers hasfoundnoadvantagetousingsansserif in pedagogicmaterials.Thoughresearch withyoung some letterswhenafontlikeTimesRomanwasused to methatchildren laboriouslycopiedtheserifson in theTulalip Lushootseed instruction beginsatthepreschool level.Theteachers Salish Seaabout40milesnorthofSeattle,Lushootseed on theTulalip reservation, a20,000-acre area onthe courtesy oftheauthor. (http://www.unesco.org/culture/ich/index.php?pg=00206). Image (Figure 2)unESCoInteractiveatlasoftheWorld’s Languages encoding standards, ensuringthatone may changethe compliance meansthatthe fontfollowsinternational of glyphsforanindigenous languagefont.unicode There are sometasksthat mustprecede thedesign sounded. that lookedasgracefulonthepagelanguage and madeitmydesignbrieftoproduce atypeface to recordings ofelderstellingtraditionalstories, to thespokenlanguage.Iwenthomeandlistened out tomethatthewrittenscriptdidnotdojustice at ourveryfirstmeeting,masterteacherpointed trees, theconsonantalclickingofcreatures inthewild. lapping ontheshore, windrustlingthrough cedar the naturalsoundsofPacific world thatsustainedthem.Thesoundofitblendsinto thrived, spokenbypeopleswhorevered thenatural Lushootseed isindigenoustotheplacewhere itonce Designing aLushootseedfont ) reading andwritingsimultaneously. fonts, educatorsstillprefer themwhenteaching readers hasfoundnoadvantagetousingsansserif in pedagogicmaterials.Thoughresearch withyoung some letterswhenafontlikeTimesRomanwasused to methatchildren laboriouslycopiedtheserifson in theTulalip Lushootseed instruction beginsatthepreschool level.Theteachers Salish Seaabout40milesnorthofSeattle,Lushootseed on theTulalip reservation, a20,000-acre area onthe courtesy oftheauthor. (http://www.unesco.org/culture/ich/index.php?pg=00206). Image (Figure 2)unESCoInteractiveatlasoftheWorld’s Languages encoding standards, ensuringthatonemaychangethe compliance meansthatthe fontfollowsinternational of glyphsforanindigenous languagefont.unicode There are sometasksthatmustprecede thedesign sounded. that lookedasgracefulonthepagelanguage and madeitmydesignbrieftoproduce atypeface to recordings ofelderstellingtraditionalstories, to thespokenlanguage.Iwenthomeandlistened out tomethatthewrittenscriptdidnotdojustice at ourveryfirstmeeting,masterteacherpointed trees, theconsonantalclickingofcreatures inthewild. lapping ontheshore, windrustlingthrough cedar the naturalsoundsofPacific world thatsustainedthem.Thesoundofitblendsinto thrived, spokenbypeopleswhorevered thenatural Lushootseed isindigenoustotheplacewhere itonce Designing aLushootseedfont a ) encoding standards, ensuringthatone maychange compliance means thatthefontfollowsinternational of glyphsforanindigenous languagefont.Unicode There are sometasksthat mustprecede thedesign on thepageaslanguage sounded. brief toproduce atypefacethatlookedasgraceful telling traditionalstories,andmadeitmydesign I wenthomeandlistenedtorecordings ofelders script didnotdojusticetothespokenlanguage. master teacherpointedouttomethatthewritten creatures inthewild.Atourveryfirstmeeting,a through cedartrees, theconsonantalclickingof west: waterlappingontheshore, windrustling blends intothenaturalsoundsofPacificNorth- natural worldthatsustainedthem.Thesoundofit once thrived,spokenbypeopleswhorevered the Lushootseed isindigenoustotheplacewhere it Designing aLushootseedfont simultaneously. still prefer themwhenteachingreading andwriting no advantagetousingsansseriffonts,educators als. Thoughresearch withyoungreaders hasfound like TimesRomanwasusedinpedagogicmateri- ously copiedtheserifsonsomeletterswhenafont Department explainedtomethatchildren labori- level. TheteachersintheTulalip Lushootseed http://www.unesco.org/culture/languages-atlas/index.php. reading andwritingsimultaneously. fonts, educatorsstillprefer themwhenteaching readers hasfoundnoadvantagetousingsansserif in pedagogicmaterials.Thoughresearch withyoung some letterswhenafontlikeTimesRomanwasused to methatchildren laboriouslycopiedtheserifson in theTulalip Lushootseed instruction beginsatthepreschool level.Theteachers Salish Seaabout40milesnorthofSeattle,Lushootseed on theTulalip reservation, a20,000-acre area onthe encoding standards, ensuringthatone may changethe compliance means thatthefontfollows international of glyphsforanindigenous languagefont.unicode There are sometasksthat mustprecede thedesign sounded. that lookedasgracefulon thepageaslanguage and madeitmydesignbrief toproduce atypeface to recordings ofelderstellingtraditionalstories, to thespokenlanguage.Iwenthomeandlistened out tomethatthewrittenscriptdidnotdojustice at ourveryfirstmeeting,masterteacherpointed trees, theconsonantalclickingofcreatures inthewild. lapping ontheshore, windrustlingthrough cedar the naturalsoundsofPacific world thatsustainedthem.Thesoundofitblendsinto thrived, spokenbypeopleswhorevered thenatural Lushootseed isindigenoustotheplacewhere itonce Designing aLushootseedfont courtesy oftheauthor. (http://www.unesco.org/culture/ich/index.php?pg=00206). Image (Figure 2)unESCoInteractiveatlasoftheWorld’s Languages department explained department explained northwest: water department explained northwest: water northwest: water issue 7 Text 23 - unicode unicode 0315) S’abadeb, The Gifts, at mage courtesy and © Trustees of mage courtesy and © Trustees font-specific font-specific glyph outline glyph designing aesthetic indigenous typefaces

• š key century. i century.

th el (unicode 0063 + visible glyph visible (unicode for example, the el-caron Juliet Shen Juliet

• How font software works software font How A figure 4, right) (Figure mage courtesy of the author. June 2010

• unicode for the the unicode for 0161 character “scaron” character

) or incorrect encoding (Pua) or incorrect unicode private use area 17th Annual SILS 17th the British Museum. Font software works by connecting a character outline with a works by connecting a character outline with 3, above) Font software (Figure fonts like Helvetica and Times constant. Different unicode value which remains for a character character outlines, but the unicode value Roman may have different is the same in both fonts. i from of Salish figures displays stylization typical collected in 1792 from the time of contact into the 20 before After the encoding for Lushootseed School was agreed upon, After the encoding for Lushootseed School was agreed the I studied traditional Salish art forms, benefiting from of a Salish art exhibit named S’abadeb, The fortuitous presence Gifts, at the Art Museum. I hoped to discover authentic forms that could be used in the font design. I found that the symmetry of Salish art does not fit the rigid geometry of the rect encoding produce documents that can only be read in the documents that can only be read encoding produce rect This impedes the exchange created. font with which they were example, who may not of information among academics, for - computers. It also cre have the same font installed on their since the digital documents are ates headaches for archivists lost. So the first step in are if the original fonts unreadable is to determine designing a font for an indigenous language characters. Sometimes similar- Unicode for its the standard Unicodes. For example, different linked to looking glyphs are European (Unicode 013E) that is used in central the el-caron - as the letter el followed by an apostro languages is rendered phe-like accent and looks identical to the glottalized el (Uni- code 0063 + Unicode 0315) in Lushootseed. Selection of the with consulting right code for a particular language requires consis- speakers and linguists and then applying the standard tently in all subsequently designed fonts. the font of a document without affecting its actual text the font of a document without affecting (PUA) or incor private use area 3). Fonts with Unicode (Figure fter the encoding for Lushootseed School was agreed upon, I after the encoding for Lushootseed School was agreed the fortuitous studied traditional Salish art forms, benefiting from of a Salish art exhibit named presence in Lushootseed. Selection of the right code for a particular consulting with speakers and linguists and language requires consistently in all subsequently then applying the standard designed fonts. 013E) that is used in central European languages is rendered is rendered languages 013E) that is used in central European accent and looks as the letter el followed by an apostrophe-like identical to the glottalized produce documents that can only be read in the font with which in the font documents that can only be read produce This impedes the exchange of information created. they were may not have the same among academics, for example, who headaches It also creates font installed on their computers. the if unreadable since the digital documents are for archivists a font for lost. So the first step in designing original fonts are the standard an indigenous language is to determine igure 3). text (figure its actual font of a document without affecting fonts with linked are glyphs for its characters. Sometimes similar-looking unicodes. to different digital environment. It is the symmetry of nature,the Seattle where alinesrt Museum. curve and I hopedthere are to discover noauthentic true circles. forms In Salish that objects, could begeneros used- in the ityfont in volume design. is favoredI found over that elongation, the symmetry of soSalish that conical art does baskets not fit have the convex rigid geometry sides of andthe circular digital shapes environment. are always It is wider the symmetry in the of middle.nature, Most where strikingly, lines curvethe persistent and there rep are- no etitiontrue ofcircles. certain In formal Salish motifs, objects, the generosity reduc- in tionvolume and simplification is favored over of shapes, elongation, and a so that heightenedconical baskets awareness have of the convex interaction sides and between the interior space of a shape and parts of a stroke that withstood the circular shapes are always wider in the pressure of the printing platen, and themiddle. exterior Mostspace definedstrikingly, by itsthe perim persistent- eter—all these attributes of Salish art are broad areas that inked evenly, all in repetition of certain formal motifs, the the same small letter. It faithfully mirroredreduction in the and way simplification typeface designers of shapes, and a see letter forms (Figures 4–9). reproduced the sharp edges of the heightened awareness of the interaction pen stroke and the small serifs. But between the interior space of a shape and Designing in the spirit of wood traditional Salish art and artifacts the exterior space defined by its perimeter— are infused with the spirit of wood. all these attributes of Salish art are mirrored Next, I considered how to incorporate the wood.o Objectsbjects sculpted ofof wood wood have have softer in the way typeface designers see letter softer edges and broader details. influenceforms (f iguresof traditional 4-9). Salish art in the edges and broader details. Lushootseed typeface. Metal typecasting wasDesigning a technology in thewell spiritsuited toof reproducwood - To preserveTo preserve the spirit the of spiritwood ofin Lushootseedwood in ing thin parts of a stroke that withstood School,Lushootseed I avoided the School, true straight I avoided edge the that next, I considered how to incorporate the the pressure of the printing platen, and is the truenatural straight extension edge of that the is digital the natural pixel 24 influence of traditional Salish art in the broad areas that inked evenly, all in the and madeextension straight of strokes the digital with slightlypixel and curved Lushootseed typeface. Metal typecasting was same small letter. It faithfully reproduced edgesmade and terminals. straight strokesThe basic with round slightly unit in the a technology well suited to reproducing thin the sharp edges of the pen stroke and typefacecurved is broader edges across and thanterminals. it is tall. The Stroke the small serifs. But traditional Salish art intersections,basic round such unitas the in centerthe typeface of the x ,is are and artifacts are infused with the spirit of roundedbroader instead across of pointed than it (Figures is tall. Stroke 10 and 11).

Clockwise from above-left. (Figure 5, above left) Housepost of Tsimalano, Musqueam, late-19th century. image courtesy of University of British Columbia Museum of Anthropology, vancouver, Canada. (Figures 6 and 7, top right) Canoe paddles carved more than a century apart: Thunderbird and Serpent, by Shaun Peterson, Puyallip/Tulalip, 2006 (above) and Canoe Paddle of Princess angeline (Chief Seattle’s daughter), Suquamish/Duwamish, 1882 (below). Courtesy of the Burke Museum of Natural History and Culture, catalog numbers 2006-158/1 and 2.5e1556. (Figure 8, right) Spindle-whorl, Cowichan, 19th century. image © Trustees of the British Museum. (Figure 9, above) D-adze, Puget Sound, late-19th or early-20th century. This tool illustrates a consciousness of the interaction of interior and exterior space on form that is essential to typeface design as well. Courtesy of the Burke Museum of Natural History and Culture, catalog number 8611. issue 7 Text

25 ʔ a intersections, such as the center name, running man (see the final a Improvingofintersections, the x, are the suchrounded texture as theinstead of center Lushootseed of name,character runningon inthe figure pageman 11),(see thanthe finalthe b b̓ pointedof the x (,f iguresare rounded 10 and instead11). of typicalcharacter typeset in f igureGreek 11), lambda. than othene pointed (figures 10 and 11). typical typeset Greek lambda. one b b̓ The typography of Lushootseed in lambda.character One in characterparticular in provedparticular to character in particular proved to č̓ č c̓ c continuousImproving text the suffers texture most of from provedbe controversial. to be controversial. among theAmong three č̓ č c̓ c be controversial. among the three theLushootseedImproving frequent usethe on oftexture charactersthe page of incor- thecrossed three elcrossed characters el characters in unicode, in d dᶻ crossed el characters in unicode, d dᶻ poratingLushootseed a raised on small the w page, which Unicode,the correct the linguistic correct linguistic choice for choice the The typography of Lushootseed in the correct linguistic choice for the ə modifies the pronunciation of the forTulalip the TulalipTribes’ Tribes’ font fontis one is one with with a The typography of Lushootseed in Tulalip Tribes’ font is one with a ə lettercontinuous immediately text suffers preceding most it. fromThe alooped looped belt, belt, but but thethe teachers concon-- gʷ g continuous text suffers most from looped belt, but the teachers con- spacesthe frequent under the use raised of smallcharacters w leave sideredsidered thisthis letter letter awkward awkward to to write write gʷ g the frequent use of characters sidered this letter awkward to write disturbingincorporating holes ain theraised middle small of w, and tootoo similar similar to toan anampersand. ampersand. h whichincorporating modifies thea raised pronunciation small wof, and too similar to an ampersand. h words. For Lushootseed School, this They hadhad their their own own way way of ofwriting writing which modifies the pronunciation of They had their own way of writing i glyphthe letter is based immediately on the handwritten, preceding it. or thethe charactercharacter as as a cursivea cursive looped looped el i the letter immediately preceding it. the character as a cursive looped informalThe spaces form. under The roundedthe raised vertices small withel with a bar a acrossbar across the intersection. the intersec - ǰ The spaces under the raised small el with a bar across the intersec- ofw theleave informal disturbing w capture holes more in white the Withtion. anyWith script any for script a major for world a major lan- ǰ w leave disturbing holes in the tion. With any script for a major spacemiddle within of words. the letter, for Lushootseedallowing it to guage,world language,such an anomaly such anwould anomaly not be k k̓ kʷ k̓ʷ middle of words. for Lushootseed world language, such an anomaly k k̓ kʷ k̓ʷ beSchool, reduced this in glyph size without is based filling on thein. incorporatedwould not be into incorporated the typeface, into but the School, this glyph is based on the would not be incorporated into the (ɬ ɬ) l̕ l Reducinghandwritten, the sizeor informal in turn reduces form. The the fortypeface, endangered but for languages endangered such aslan - (ɬ ɬ) l̕ l handwritten, or informal form. The typeface, but for endangered lan- unsightlyrounded gapsvertices in the of middle the informal of words Lushootseed,guages such assmall Lushootseed, indigenous teachsmall - ƛ̕ rounded vertices of the informal guages such as Lushootseed, small (Figurew capture 12). more white space ingindigenous communities teaching are all communitiesthat stand ƛ̕ withinw capture the letter, more allowing white it spaceto be indigenous teaching communities m̓ m betweenare all that survival stand and between extinction. survival within the letter, allowing it to be are all that stand between survival m̓ m Inreduced Lushootseed in size the without space abovefilling the in. Theirand extinction.preferences Theirshould preferences trump stan- reduced in size without filling in. and extinction. Their preferences n n̓ x-height,Reducing the the area size where in turn letters reduces with dardshould typographic trump usagestandard and theytypo - n n̓ Reducing the size in turn reduces should trump standard typo- ascendersthe unsightly like gapsh poke in up,the mustmiddle also of shouldgraphic be usage permitted and theyto develop should be p̓ p the unsightly gaps in the middle of graphic usage and they should be p̓ p accommodatewords (figure two12). levels of diacritical distinctivepermitted glyphic to develop styles, justdistinctive as the words (figure 12). permitted to develop distinctive q q̓ qʷ q̓ʷ accents. This leaves too shallow an Europeanglyphic styles, scribes just did as in the the European centuries q q̓ qʷ q̓ʷ glyphic styles, just as the European areaIn Lushootseed below for letters the suchspace as s,above k and beforescribes the did Latin in the alphabet centuries was beforecast as š s In Lushootseed the space above scribes did in the centuries before xthe that x-height,have mid-section the areasubdivisions. where typethe Latin (Figure alphabet 14). was cast as type š s the x-height, the area where the Latin alphabet was cast as type t t̕ Thisletters difficulty with ascenders was solved like by habandon poke - (figure 14). letters with ascenders like h poke (figure 14). t t̕ ingup, themust traditional also accommodate four-line grid oftwo the up, must also accommodate two u Latinlevels alphabet of diacritical and adding accents. a second This (Figure 14) The three els below each have u levels of diacritical accents. This x-heightleaves too (Figure shallow 13). an area below a(Figure distinct 14) unicode. The three The els Tulalip below Lushootseed each have w̓ w forleaves letters too suchshallow as san, k areaand belowx that communitya distinct unicode. uses the The character Tulalip Lushootseedon the right, w̓ w for letters such as s, k and x that community uses the character on the right, Additionalhave mid-section characters subdivisions. in Lushootseed This xʷ have mid-section subdivisions. This xʷ Schooldifficulty have was an solved unorthodox by abandoning design. x̌ʷ difficulty was solved by abandoning x̌ x̌ʷ Thethe traditionalglottalized strokedfour-line lambda grid of looks the the traditional four-line grid of the x̌ moreLatin alphabetlike its popular and adding name, arunning second but the teachers dislike it and requested a y̓ y Latin alphabet and adding a second y manx-height (see (thefigure final 13). character in Figure designbut the basedteachers on dislikehandwriting it and (below,requested left) a for y̓ x-height (figure 13). design based on handwriting (below, left) for 11), than the typical typeset Greek the Lushootseed School font. An alternate fontthe Lushootseed called Lushootseed School Suladfont. An with alternate the (Figure 10, above) Lushootseed additional characters in Lushoot- standardfont called glyph Lushootseed (right), was Sulad also with made. the alphabet(Figure tree 10,with above) core characters Lushootseed and additional characters in Lushoot- seed School have an unorthodox standard glyph (right), was also made. alphabettheir diacritical tree with branches. core characters There are and no design.seed School The haveglottalized an unorthodox stroked theircapital diacritical letters, branches. allowing allThere characters are no lambdadesign. looksThe moreglottalized like its popularstroked tocapital fit on letters, the keyboard allowing withall characters use of the lambda looks more like its popular shiftto fitkey. on image the keyboard courtesy ofwith the use author. of the shift(Figure key. 11, image right) courtesy enlarged of thecharacters author. showing(Figure the11, roundedright) enlarged intersections characters and showingslightly the curved rounded strokes intersections and terminals. and slightly icurvedmage courtesy strokes and of the terminals. author. image courtesy of the author. issue 7 Text 27 mma 10 ho Could Not alk,” as narrated by e xcerpt from “The Legendxcerpt from mage courtesy of the author. mage courtesy of the author. mage courtesy of the author. fonts available to the Tulalip fonts available to the Tulalip language teachers. Tribes’ e of the Boy w w Conrad (Sauk-Suiattle). i 13, left below)(Figure The Lushootseed font was adapted to a 6-line grid with x-heights andtwo lowercase two tiers of diacritic accents. i (Figure 12, left above) The(Figure same text set in Lushootseed School (center) and two other

designing aesthetic indigenous typefaces

• Juliet Shen Juliet

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Lushootseed on 6-line gridLushootseed Latin alphabet on 4-line grid Latin alphabet June 2010

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itcdegkpsx Custom designs accommodate unorthodox designs accommodate Custom solutions əlgʷəʔ ʔal tiʔəʔ q̓xʷabac ʔal tiʔəʔ stkʷab. tiʔəʔ ʔal q̓xʷabac tiʔəʔ ʔal əlgʷəʔ ɬuʔəƛ̕axʷ gʷəl sət̕sils. kʷi dxʷʔal səč̓itils ti ʔaliləxʷ gʷəl č̓it diʔəʔ tiʔəʔ dxʷʔal əlgʷəʔ ɬubəbəlkʷaxʷ əlgʷəʔ. kʷədiʔ ʔal dxʷqəlb. ʔə sʔilucid diʔəʔ tiʔəʔ ʔə ɬq̓ucid əlgʷəʔ ʔəƛ̕txʷaxʷ gʷəl gʷəl, tul̕ʔal əlgʷəʔ. tusʔəsɬaɬlils ʔuʔabgʷasəxʷ gʷəl dadatu. tiʔəʔ ʔal əlgʷəʔ stabs tiʔəʔ stkʷab. tiʔəʔ ʔal q̓xʷabac tiʔəʔ ʔal əlgʷəʔ gʷəl ʔaliləxʷ ti səč̓itils dxʷʔal kʷi sət̕sils. gʷəl ɬuʔəƛ̕axʷ ɬuʔəƛ̕axʷ gʷəl sət̕sils. kʷi dxʷʔal səč̓itils ti ʔaliləxʷ gʷəl č̓it diʔəʔ tiʔəʔ dxʷʔal əlgʷəʔ ɬubəbəlkʷaxʷ əlgʷəʔ. kʷədiʔ ʔal dxʷqəlb. ʔə sʔilucid diʔəʔ tiʔəʔ ʔə ɬq̓ucid əlgʷəʔ ʔəƛ̕txʷaxʷ gʷəl gʷəl, tul̕ʔal əlgʷəʔ. tusʔəsɬaɬlils ʔuʔabgʷasəxʷ gʷəl dadatu. tiʔəʔ ʔal əlgʷəʔ stabs tiʔəʔ as narrated by Emma Conrad (Sauk-Suiattle). Conrad Emma by narrated as Gel falilileX ti seVitils dXfal Ii seTsils. Gel ;ufe:aX Gel ;ufe:aX Ii seTsils. ti seVitils dXfal Gel falilileX difef Vit dXfal tifef elGef ;ubebelIaX elGef. Iedif dXqelb. fal sfilucid fe fe tifef difef ;Qucid elGef Gel fetXaX tuLfal Gel, elGef. tusfes;a;lils fufabGaseX fal tifef dadatu. Gel tifef stabs elGef QXabac fal tifef stIab. elGef fal tifef [13] two and (center) School Lushootseed in set text same The teachers. language Tribes’ Tulalip the to available fonts other Walk,” Not Could Who Boy the of Legend “The from Excerpt

17th Annual SILS 17th it p əsxk ƛ̕ ʔ k̓ʷ x̌ʷ č̓ x̌ʷ k̓ʷ ʔ ƛ̕ əsxk p it The informal letter forms I used and the sans serif type style were requested by the by requested were style type serif sans the and used I forms letter informal The preschool the at begins instruction Lushootseed Reservation, Tulalip the On community. like font a on serifs the copied laboriously children that me told teachers The level. typographic its from letter core the distinguish to unwilling or unable Roman, Times using to advantage no found has readers young with research Though embellishments. the at children to taught being is writing when them prefer still educators fonts, serif sans School. Lushootseed named was Tribes Tulalip the for designed typeface The time. same 28 GLIMPSE www.glimpsejournal.com 28 GLIMPSE www.glimpsejournal.com from extinctionbyrestoring ittoeverydayuse. communities intheuphillendeavor tosavetheirlanguage This powershouldbeexploitedbyindigenouslanguage courage theapprentice cabinetmakertodofinejoining. as awelldesignedandbeautifullycraftedtoolwill en- provide affirmative reinforcement oftheirefforts—much will attractnewlearnerstoanindigenouslanguage and a culturalconnectiontoitsspeakers to theeyeandhas indigenous aesthetictradition. nious, balancedtypefacesthatreflect somethingoftheir Endangered Pedagogical valuesofanaesthetictypeface switching toaunicodefont. keyboarding habitsthatcannotthenbesustainedwhen of anon the use keyboarding habits.Thislatterpointisimportantbecause aides; and3)thataflexibleattitudebeadoptedregarding stakeholders, suchaslinguists,teachers,andtechnology the approval2) that process includeconsultationwithall test andtroubleshootbe availableto thefontsoftware; that a tech-savvy point person liaise with thedesigner and recommendations forworkingwithatypefacedesigner:1) To theindigenouslanguagecommunity, Ioffer these be patient. insight were closed.Ihadtoadjustmyexpectationsand group remained opaque,sotheseavenuesforgaining of openpraiseorcriticism,andthesocialstructure ofthe In thiscommunity, etiquettedidnotpermitexpressions identifying adecision-makinghierarchy withinthegroup. meetings, evenifitmeansreading betweenthelinesor feedback aboutthedirection oftheirworkinface-to-face in communication.designersusuallyreceive important norms. customarily bebasedsolelyonestablishedtypographic preferences were alarge factorindecisionsthatwould professional practice.asmentioned,thecommunity’s from designingforany other clientinmy30yearsof Working fortheTulalip Tribes proved tobedifferent Observations ondesigningforadifferent culture the use of anon the use keyboarding habits.Thislatterpointisimportantbecause aides; and3)thataflexibleattitudebeadoptedregarding stakeholders, suchaslinguists,teachers,andtechnology the approval2) that process includeconsultationwithall test andtroubleshootbe availableto thefontsoftware; that a tech-savvy point person liaise with thedesigner and recommendations forworkingwithatypefacedesigner:1) To theindigenouslanguagecommunity, Ioffer these be patient. insight were closed.Ihadtoadjustmyexpectationsand group remained opaque,sotheseavenuesforgaining of openpraiseorcriticism,andthesocialstructure ofthe In thiscommunity, etiquettedidnotpermitexpressions identifying adecision-makinghierarchy withinthegroup. meetings, evenifitmeansreading betweenthelinesor feedback aboutthedirection oftheirworkinface-to-face in communication.designersusuallyreceive important norms. customarily bebasedsolelyonestablishedtypographic preferences were alarge factorindecisionsthatwould professional practice.asmentioned,thecommunity’s from designingforany other clientinmy30yearsof Working fortheTulalip Tribes proved tobedifferent Observations ondesigningforadifferent culture from extinctionbyrestoring ittoeverydayuse.w communities intheuphillendeavor tosavetheirlanguage This powershouldbeexploitedbyindigenouslanguage courage theapprentice cabinetmakertodofinejoining. as awelldesignedandbeautifullycraftedtoolwill en- provide affirmative reinforcement oftheirefforts—much will attractnewlearnerstoanindigenouslanguage and a culturalconnectiontoitsspeakers to theeyeandhas indigenous aesthetictradition. nious, balancedtypefacesthatreflect somethingoftheir Endangered Pedagogical valuesofanaesthetictypeface switching toaunicodefont. keyboarding habitsthatcannotthenbesustainedwhen sustained whenswitchingtoaUnicodefont. permits somekeyboarding habitsthatcannotthenbe tant becausetheuseofanonUnicode-compliantfont regarding keyboarding habits.Thislatterpointisimpor nology aides;and3)thataflexibleattitudebeadopted with allstakeholders,suchaslinguists,teachers,andtech- ware; 2)thattheapproval process includeconsultation and beavailabletotesttroubleshoot thefontsoft- 1) thatatech-savvypointpersonliaisewiththedesigner recommendations forworkingwithatypefacedesigner: To theindigenouslanguagecommunity, Ioffer these be patient. insight were closed.Ihadtoadjustmyexpectationsand group remained opaque,sotheseavenuesforgaining of openpraiseorcriticism,andthesocialstructure ofthe In thiscommunity, etiquettedidnotpermitexpressions identifying adecision-makinghierarchy withinthegroup. meetings, evenifitmeansreading betweenthelinesor feedback aboutthedirection oftheirworkinface-to-face in communication.Designersusuallyreceive important norms. Onadeeperlevel,there were culturaldifferences customarily bebasedsolelyonestablishedtypographic preferences were alarge factorindecisionsthatwould professional practice.Asmentioned,thecommunity’s from designingforanyotherclientinmy30yearsof Working fortheTulalip Tribes proved tobedifferent a different culture Observations ondesigningfor from extinctionbyrestoring ittoeverydayuse. munities intheuphillendeavor tosavetheirlanguage power shouldbeexploitedbyindigenouslanguagecom - age theapprentice cabinetmaker todofinejoining.This as awelldesignedandbeautifullycraftedtoolwillencour provide affirmative reinforcement oftheirefforts—much will attractnewlearnerstoanindigenouslanguageand to theeyeandhasaculturalconnectionitsspeakers indigenous aesthetictradition.Atypefacethatappeals nious, balancedtypefacesthatreflect somethingoftheir Endangered NativeAmerican languagesdeserveharmo- Pedagogical valuesofanaesthetictypeface on adeeperlevel,there were culturaldifferences on adeeperlevel,there were culturaldifferences native native unicode-compliant fontpermitssome unicode-compliant fontpermitssome american languagesdeserveharmo- american languagesdeserveharmo- typeface that appeals a typefacethat typeface that appeals a typefacethat w - - issue 7 Text 29 mage courtesy of the Tulalip Tribes Tribes mage courtesy of the Tulalip mage courtesy of the Tulalip Tribes Tribes mage courtesy of the Tulalip i i mage courtesy of the Tulalip Tribes of Tribes mage courtesy of the Tulalip i ashington. ashington. w w ashington. Adding hand typesetting and printing to the typesetting and printing Adding hand enhance can language acquisition stream the benefit from cognition for those who with learning.integration of kinetic activity on the digital fontUsing wood type modeled first combined a Tribes design, the Tulalip language instructionprinting workshop with in August, 2010.during their Language Camp 15, far left) Lushootseed teacher(Figure students to print onRebecca Posey teaches to donated press the 19th-century proofing a retired by Sandra Lyon, Tribes the Tulalip teacher. of 16, left) Students at Language(Figure Camp print with their Lushootseed wood type. w their 17, below) Showing off (Figure prints of the Lushootseed word, letterpress “listen.” of