Amazigh Sign System × Baybayin Revival Graphics

Amazigh Sign System & Tifinagh: These signs belong to living Amazigh communities, and much of the repertoire is women's work: weavers, potters, and older women whose facial tattoos belong to a fading practice that many Moroccans now regard as sacrilegious. Signs and jewellery are worn for protection against the evil eye and to mark region, tribe and life stage, so do not merge regional motifs into a generic 'Berber' pattern or put tattoo signs on throwaway goods. The best-known photographs of Kabyle women's facial tattoos, Marc Garanger's portraits of 1960, were made by a French army conscript for compulsory identity cards, with the women made to unveil; do not use them as neutral pattern sources, and prefer documentation made with the women's consent or by Amazigh researchers. The choice of script is itself political: IRCAM's 2003 adoption of Neo-Tifinagh was a palace compromise that many Amazigh activists criticised, most Moroccan speakers and Kabyle writers use Latin script, and Tuareg Tifinagh is its own living variant. Have any Tifinagh text spelled and checked by a speaker and set it in a proper Unicode font rather than inventing pseudo-letters. The yaz and the Amazigh flag are political emblems of the Amazigh identity movement, and the flag was banned in Algeria during the 2019 Hirak. Much historical Moroccan and Kabyle 'Berber' silver was made by Jewish silversmiths, and Tuareg pieces by Tuareg smiths: credit them accurately, commission and credit Amazigh weavers, potters and type designers, and do not sell printed 'Berber' rug pattern as hand-woven.

Baybayin Revival Graphics: Baybayin is shared heritage, but its revival touches living Indigenous scripts and contested claims. Hanunóo, Buhid and Tagbanwa are still written by their communities, the Mangyan of Mindoro and the Tagbanwa and Pala'wan of Palawan, and their documents are on UNESCO's Memory of the World register (1999, 'Philippine Paleographs'); do not use their letters, ambahan verses or community signage as generic 'baybayin', and work with the communities and bodies such as the Mangyan Heritage Center when their scripts are involved. Baybayin wrote Tagalog and neighbouring lowland languages, and Kapampangan Kulitan has its own form and keepers, so do not present baybayin as the old writing of every Filipino people; even the bills moved in 2022 from a baybayin-only national script to baybayin 'and other indigenous and traditional writing systems'. 'Alibata', coined by Paul Versoza in 1914 from the Arabic alif-ba-ta, is a misnomer. Have every word spelled by a reader of the script: it writes syllables, so English spelled letter by letter, wrong or missing kudlit, mirrored glyphs and invented letters read as nonsense, and a tattoo makes the error permanent; write personal and organisation names in Latin unless the bearer has chosen a baybayin spelling. Image models cannot write baybayin and invent glyphs: leave the sign blank or set real text in a Unicode font (one that covers ra and the pamudpod, with the text entered as Unicode, not typed on Latin keys mapped to glyphs), and never present generated pseudo-script as genuine. Some of the best-known baybayin emblems carry politics: the CCP's triple ka is, in the Inquirer's words, a remnant of the Marcos New Society, and the ka in a rayed sun, attributed to the Katipunan, was flown by the July 2003 mutineers the press called the Magdalo Group and is the logo of the Magdalo party-list; do not use them as neutral Filipino marks. Agency seals, state insignia and the peso notes are official marks, so draw new emblems instead of copying them. Baybayin tattoos sit beside batok, the Indigenous hand-tapped tattooing whose patterns, placements and rituals belong to particular ethnolinguistic groups and their practitioners: a baybayin word does not license batok patterns or hand-tapping outside those lineages, and invented tribal motifs must not pass as Indigenous designs. Credit or commission Filipino calligraphers, type designers and tattoo artists.