Style combination · Contrasts

Baybayin Revival Graphics × Jeepney Art

Both speak for Filipino identity, but jeepney art crowds chrome, airbrush and polychrome lettering, while baybayin revival sets a single one-ink character in open space; use the contrast to decide between festive abundance and a quiet mark of origin.

From the research on Baybayin Revival Graphics

Mix them and make something Baybayin Revival Graphics Jeepney Art

A sample layout drawn from the recipe: shapes from Baybayin Revival Graphics, their arrangement from Baybayin Revival Graphics, the finish from Jeepney Art. Not a real work, and not an image of either style.

What each style brings

Each part of the design comes from the style with the stronger say in it, and each style gives at least two.

Baybayin Revival Graphics Jeepney Art

Type from Jeepney Art: Hand-lettering
Ornamented display
Colour from Baybayin Revival Graphics: Monochrome
Flat fields

Jeepney Art avoids monochrome: this is where the two pull against each other, which is the point of the contrast.
Form from Baybayin Revival Graphics: Emblems & badges
Biomorphic curves
Composition from Baybayin Revival Graphics: Isolated object
Radial & concentric
Surface from Jeepney Art: Chrome & 3D render
Gloss & highlights

Baybayin Revival Graphics avoids gloss & highlights: this is where the two pull against each other, which is the point of the contrast.

The type

Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.

Display · Jeepney Art

Fiesta

Yellowtail, standing in for Flowing brush scripts for names

Text · Baybayin Revival Graphics

The revival of baybayin, the precolonial Tagalog abugida, as a mark of Filipino identity. Its compact glyphs of hooks, bowls and loops, with kudlit marks above or below to change the vowel, rarely run as text: one character or a short word sits alone in an agency seal or a rayed sun, beside Latin on a peso note, or on a shirt, pendant or tattoo, in one ink, written with brush or pen, cut angular as if on bamboo, or redrawn as even-stroked digital type. Spread by free fonts online from the late 1990s and by Unicode from 2002, it is carried by state emblems and by diaspora calligraphers.

Space Mono; Baybayin Revival Graphics used The woodblock letterforms of the Doctrina Christiana (Manila, 1593), the model most modern baybayin fonts follow and Noto Sans Tagalog (Google Noto, SIL Open Font License; the 2022 build covers the Unicode 14 additions ra U+170D and pamudpod U+1715), the safe choice for real Unicode text

The colours

The ground and leading colours come from Baybayin Revival Graphics, with a counter-accent from Jeepney Art. The ink reads on the ground at 4.5:1 or more.

Baybayin Revival Graphics Jeepney Art

#f2ece0 ground · 36%
#141414 ink · 14%
#ce1126 accent · 18%
#0038a8 accent · 14%
#c9a23a accent · 10%
#7a4f2a accent · 8%

As CSS

:root {
  --ground: #f2ece0;
  --ink: #141414;
  --accent-1: #ce1126;
  --accent-2: #0038a8;
  --accent-3: #c9a23a;
  --accent-4: #7a4f2a;
  --font-display: "Yellowtail", cursive;
  --font-text: "Space Mono", monospace;
}

Use it with care

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.

The two styles

A black emblem on a pale cream background consists of two concentric circular outlines enclosing broad, curling brushstrokes joined by a short vertical stroke. A black dot sits above and another below the central abstract mark.

1963–present · Southeast Asia, North America Baybayin Revival Graphics The revival of baybayin, the precolonial Tagalog abugida, as a mark of Filipino identity. Its compact glyphs of hooks, bowls and loops, with kudlit marks above or below to change the vowel, rarely run as text: one character or a short word sits alone in an agency seal or a rayed sun, beside Latin on a peso note, or on a shirt, pendant or tattoo, in one ink, written with brush or pen, cut angular as if on bamboo, or redrawn as even-stroked digital type. Spread by free fonts online from the late 1990s and by Unicode from 2002, it is carried by state emblems and by diaspora calligraphers.

An ornate rectangular sign reads “BAYANI” in huge silver, yellow and red shaded letters. Mirrored rearing white horses, a radiant sun, gold stars, tropical mountain-and-water scenes and red hibiscus flowers surround the lettering within colorful curling borders.

1946–present · Southeast Asia Jeepney Art The decoration of the Philippine jeepney, the shared taxi built from surplus US Army jeeps after 1945 and later from locally fabricated stainless-steel bodies by firms such as Sarao and Francisco Motors. Owners turn each vehicle into a rolling signboard of airbrushed murals, chrome horses and trim, pinstripes, saints, cartoon heroes, family names and route lettering, competing for passengers in Manila traffic.

More combinations

With Baybayin Revival Graphics

With Jeepney Art

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