ACTUAL FONT AS A SYMBOL OF NATIONAL IDENTITY

Abstract

The article examines the role of display (accidental) typefaces in shaping national identity, their historical origins, the evolution of their functions, and their practical applications in design. It explores national identity in type design through stylization, symbolism, and context, enabling the creation of visual accents that carry encoded messages about culture, language, and traditions. Special attention is given to the Ukrainian context, particularly how display typography reflects cultural heritage, traditions, and contemporary narratives, focusing on typefaces that combine modern graphic solutions with traditional elements. The study aims to analyze the formative, stylistic, and semiotic characteristics of display typography that shape visual uniqueness tied to historical, ethnocultural, and linguistic backgrounds. The research’s primary goal is to identify the mechanisms through which display typefaces not only create visual accents but also become carriers of cultural, ethnic, and linguistic meanings, allowing the construction of national identity within a globalized environment.The novelty of the article lies in its comprehensive examination of the historical roots, stylistic, and semiotic aspects of display typography, emphasizing its role in reinforcing cultural memory, visual recognition, and ethnodesign.The article investigates Ukrainian display typefaces whose graphemes are based on ancient manuscripts, folklore, embroidery, and ethnodesign, as well as how contemporary Ukrainian designers integrate elements from ancient scripts, Cyrillic ornaments, embroidery motifs, and folkloric imagery into typeface solutions, creating modern display fonts that blend tradition with innovation. The study analyzes the practical uses of display typefaces in logos, brand identities, posters, and event designs, which reinforce cultural narratives, establish a cohesive visual system, and serve as markers of cultural belonging. The use of such typefaces in logos, event names, or posters enhances visual recognizability and builds a unified cultural system. It is demonstrated that display typography is not only an aesthetic but also a sociocultural phenomenon, capable of acting as a mediator between the past and the present, supporting cultural resilience, and actively constructing national uniqueness. The article underscores the importance of type design as a tool for cultural expression, the strengthening of ethnocultural codes, and the formation of contemporary visual culture.