THE POLITICS OF FONTS: CENSORSHIP AND VISUAL MESSAGING

Abstract

Typography is formed, besides often taken-for-granted characteristic of communication that affects how people view, interpret, and remember messages. The paper discusses the nexus between politics and fonts relative to the use of typography as an instrument of translation from censorship to visual communication. Fonts mostly end up being defined in terms of aesthetic elements of design; however, it turns out that they carry an inordinate amount of political and social weight. From those used fonts to tell their story-from grassroots movements to authoritarian regimes, steered manipulation of fonts for controlling narratives and propagating ideological messages. This paper examines some historical and contemporary censorship examples in typography, the function of fonts as propaganda, and their powers as tools of resistance. The paper should show how these themes highlight and unravel the complex and many-fold ways in which typography continues to shape public perception and discourse.
So far, it has comprised the creation and manipulation of type. Like a lot of everything else in the Western world, typography became a communications conveyance of communication, ranging at the beginning from the phenotypical or typographic representation of ideas to the visual representation of the superficial construction of ideologies. That which has helped the most in creating memories communicates more in the simple reproduction of classical letters than through ornate and overloaded forms of alphabetise. First, simple types of letters or strokes would serve as the prototypical forms of establishing communication and probably act as an instrument of oppression.