Arabic Calligraffiti × Baybayin Revival Graphics

Arabic Calligraffiti: Many works carry Qur'anic verses, the names of God or devotional sayings, written on mosques and in religious communities: never use such text as texture or put it on floors, footwear or throwaway items, and have every Arabic or Persian word read and approved by a fluent reader before it is painted or printed. The style stretches and interlaces letters, so put a Qur'anic verse or a name of God into it only when a skilled Arabic-script writer composes it and the mosque or community approves it, as at the Jara Mosque; never digitally warp, crop or mirror existing sacred text. Never fill a design with invented pseudo-Arabic, which image models readily produce; do not ask an image model for eL Seed's Liquid Alphabet or any named writer's hand, and never present a generated wall as their work. The best-known walls rest on the consent of governors, imams, priests and residents, so get the owner's permission (spraying without it is a crime in most places), work with the people of the place, and commission and credit Arabic-script writers rather than faking the script for a brand.

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.