Typography is a visual language that appears in various forms, such as printed media, packaging, and digital

screens. Typography designs vary in texture, x-height, posture, weight, width, colour etc depending on the

intended tone of voice. This study focuses on the Peranakan heritage motifs in Melaka, exploring their

potential use in branding the heritage through typography. Visual assessments of available items—such as

packaging design and other promotion items —along with a search for typefaces on websites, reveal that the

typography. It is hoped that this study will contribute to the branding of Peranakan heritage, offering new

opportunities for promoting the culture through typography.

Language, culture, and identity are fundamental in shaping how individuals relate to their place of settlement

and heritage (Ge & Xiong, 2025). Language, in particular, functions as a vessel for tradition and heritage,

serving as an important identity marker. For instance, a Chinese individual who speaks fluent Malay but not

their ancestral tongue is often associated with the Baba Nyonya, also known as the Peranakan (Baba Nyonya

Heritage Museum, n.d.). Peranakan culture—a hybrid blending Chinese and Malay influences—is vividly

expressed in cuisine (kuih-muih), traditional dress (kebaya), and heritage architecture (Peranakan Museum,

to preserve and share their heritage through design (Ge & Xiong, 2025).

Despite its vibrant cultural heritage, the representation of Peranakan identity in modern design remains limited

(Huang et al., 2024). Souvenirs and promotional materials—such as posters, flyers, and merchandise—rarely

incorporate traditional motifs that reflect Peranakan identity; instead, they rely on generic, widely used

typefaces that lack cultural distinctiveness (Ahmad et al, 2019). Consequently, the unique visual voice of

Peranakan culture is underrepresented in contemporary design practice. This study seeks to address this gap by

exploring how Peranakan motifs can be adapted into typography to promote cultural identity through design.

1. To investigate the integration of Peranakan motifs into typographic design.

that reflect the personality and overall aesthetic of each font. Different motifs were applied to different fonts,

with each design conveying a distinct tone of voice through its typographic presentation.

Prior to their implementation, the motifs were analyzed using established design principles—balance,

harmony, contrast, rhythm, and emphasis (Lidwell et al., 2010). This analysis guided the process of

simplifying and adapting the motifs, ensuring their aesthetic qualities were preserved while making them

suitable for typographic application. As a result, each font represents a unique visual personality and

communicative function.

The practical component of this study involved 37 students who were tasked with selecting Peranakan motifs

and applying them to their own font designs. Through this process, the students successfully demonstrated the

potential of cultural motifs in typography. The resulting typefaces highlight opportunities not only for cultural

palettes alongside brighter tones such as red and cobalt blue.

backgrounds.

of visual flow.

smaller surrounding motifs.

Three samples were randomly selected from the 37 typography artworks designed by students and tested

across three different platforms - digital screen, print and sculptural applications. The outcomes demonstrated

This study highlights the novelty of using typography as a medium to promote Peranakan heritage, an

approach that has been rarely explored in previous research. The typefaces created demonstrate that Peranakan

heritage can be preserved in visual communication while retaining its aesthetic value. By adapting cultural

literacy into typographic form, the designs provide a distinctive means of expressing cultural identity and offer

meaningful contemporary expression in design.

The author extends sincere appreciation to the 37 students for demonstrating creativity and commitment in

exploring the integration of Peranakan motifs into typography. Their efforts provided valuable insights that

enriched the outcomes of this study. Gratitude is also expressed to Fakulti Seni Lukis dan Seni Reka, UiTM

Cawangan Melaka, for its continuous support, and to the organizers of ILEIID 2025 for the opportunity to

present and share this research.

1. Ahmad, A., Fatima, M.-A., Ali, A., Apandi, N., & Kamarudin, M. (2019). Sustaining Baba-Nyonya cultural

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5. Huang, W., Rahman, A. R. A., Gill, S. S., & Raja Ahmad Azmeer, R. A. A. E. (2024). Furniture

6. Hecks, E. (2025, February 27). How should culture impact typography choices? Design Work Life.

7. Lidwell, W., Holden, K., & Butler, J. (2010). Universal principles of design: Revised and updated (3rd ed.).