Typography in Flags

While discussing in class, how New York City is often associated with Helvetica due to its wide use in the transportation system, I wondered if a similar concept or relation existed in other countries. This is where I stumbled upon the use of typography in flags. Flags stand out as one of the most powerful and universally recognized symbols. Among the 195 sovereign states recognized by the United Nations (Nations), only a select few —around 18 —incorporate typography in their flags. The use of specific fonts or phrases in a national flag can signal everything from religious faith to historical narratives that embody the essence of a nation’s identity and beliefs, which I believe may not be achievable except through typography.    

The Kingdom of Saudi Arabia’s flag (KSA) is a good example of the significance of typography in flags. Dominated by the Shahada, the Islamic declaration of faith, the flag’s design is not just an aesthetic choice but a declaration of the nation’s foundational religious values. The stark green contrasting with the white Arabic calligraphy is instantly recognizable, and the message is clear: Islam is at the heart of Saudi identity and governance. This usage is not merely decorative but a public affirmation of faith and a guiding principle for the nation’s laws and societal norms.

Contrastingly, other countries like Egypt and Brazil incorporate typography into their flags as complementary elements within more complex designs. Egypt’s flag features the Quote of Arms, with the Eagle of Saladin and the phrase “جمهورية مصر العربية” which translates to “The Arab Republic of Egypt”, a symbol of Egypt’s nationalism and strength. Brazil’s flag, meanwhile, showcases a celestial globe with the national motto “Ordem e Progresso” translating to “Order and Progress”, written across it in Portuguese. In these cases, the typography adds layers of meaning to the symbols and colours of the flag, providing insight into the nation’s values, aspirations, and historical narratives.

What makes the KSA flag stand out compared to other Arab flags that use text, is the choice of calligraphy style used, where it uses the Thuluth script (سليمان،) rather than the Kufic script which can be seen used in most flags and emblems such as the Egyptian flag, the current Iraqi flag, the Irani flag as well as the UAE’s government emblem. Given the history of the Kufic script, it is understandable why it would be used in this manner, after all, it has been used as building ornaments, on textiles and for coins and currencies (Sakkal). It’s interesting to note how these two scripts read differently — personally, I see the Kufic script as older, less widely used, and because of its square nature, it portrays the feeling of power and strength. On the other hand, the Thuluth script feels flowy, and more welcoming. I have also seen scripts that resemble the Thuluth script used a lot more often like in morning messages that my parents would send. This difference in script could be an indicator of what the message each country is trying to send through their flag.

It is interesting to note that before adopting the Kufic script for their flag, multiple flags, including the Iraqi flag, had gone through a significant number of different scripts before settling for the Kufic script. What’s more interesting, is their 1991 to 2004 flag, which used the personal calligraphy of their president at the time, Saddam Hussein, as the script for their flag (Podeh). Before knowing the origins of the script on their flag at the time, I was confused as to why a country would use a typeface that looked so casual for their flag. But after learning the origins of the calligraphic font, I realised its history and the power it held, and what the rule must have been like at the time. Wanting to stir away from their previous rule, it is understandable why they would change their flag and adopt the Kufic script instead. But even then, they have gone through multiple iterations of the script before settling for their current one.

My favourite utilisation of typography in flags is the flag of Iran. At first look, I didn’t realise there was any text beyond the Takbeer, a phrase that translates to God is Great, written in Kufic script around the centre lines of the flag. However, upon reading more about it, I realised that the emblem that lies in the centre of the flag is a beautiful monogram of the Tawhid “‏لا إله إلا الله” a powerful phrase used to declare one’s belief in Islam (Temperman). This monogram juxtaposed with the Takbeer attach a powerful meaning to the flag that extends beyond what shapes and colours can convey.

Kufic script has been established as one of the most common to use in Flags and emblems. In flags using the Latin script, it is a little more difficult to pin-point an exact type that is used. Most flags like those of Belize, Guatemala and Andorra use a serif typeface, which, in my opinion, gives them a more historical feel. Flags like those of Brazil’s and Nicaragua’s seem to adopt a sort of a sans-serif font, making them look more modern. It’s interesting to note that there is also more liberty with the design and the specifications of the typeface, where for example, the flag of Brazil has modified its conjunction E to be smaller than the rest.

Overall, I think that the typeface used reveals much about the intended message and the values a country wishes to express through its flag. Whether it employs Kufic or Thuluth scripts, or opts for serif or sans-serif fonts, each decision plays a significant role in communicating a country’s identity and ethos.

‍

Sources

Nations, United. ‘Member States’. United Nations. United Nations. Accessed 24 February 2024. https://www.un.org/en/about-us/member-states.

Podeh, Elie. The Politics of National Celebrations in the Arab Middle East. Cambridge University Press, 2011.

Sakkal, Mamoun. ‘Square Kufic Calligraphy in Modern Art, Transmission and Transformation’. Ph.D., University of Washington. Accessed 24 February 2024. https://www.proquest.com/docview/816105332/abstract/D317DFB8FDC44BD6PQ/1.

Temperman, Jeroen. State–Religion Relationships and Human Rights Law: Towards a Right to Religiously Neutral Governance. BRILL, 2010.

سليمان،, رويشد، عبد الرحمن بن. تاريخ الراية السعودية أعلام وأوسمة وشارات وطنية. عبدالرحمن سليمان الرويشد, 2006.