Typography football kits

(Image credit: Mark Jenkinson)

We’re not sure what the Venn diagram of football fans and typography enthusiasts looks like. But if you fall in the overlap between the two, this is the Kickstarter project for you.

Created by self-described football mad design professional Mark Jenkinson, TypeKits is a Kickstarter project that sees typefaces transformed into football shirts. Besides free fonts, what more could the typography obsessive in your life want?

In TypeKits, six famous typefaces and their designers are celebrated as they’re cleverly realised as football shirts. There are even a few parallels between the funny old game and type design thrown in for good measure. Check them out in the gallery below.

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Helvetica is one of the most widely used sans-serif typefaces

(Image credit: Mark Jenkinson)

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The Futura shirt is all about efficiency and forwardness

(Image credit: Mark Jenkinson)

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Optima gets a suitable optimistic and sunny kit

(Image credit: Mark Jenkinson)

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The lightning bolts are a reference to Benjamin Franklin

(Image credit: Mark Jenkinson)

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We imagine this would be for a team everyone loves to hate

(Image credit: Mark Jenkinson)

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This London Underground-inspired font makes clever use of the tube’s roundel logo

(Image credit: Mark Jenkinson)

The mashup of football kits and the world of typography has already been featured in football magazine Four Four Two, despite not having yet reached its pledge goal.

Speaking about how the project came about, Jenkinson said: “I love footie and I love typefaces so one random day I just had the idea of ‘what if I mashed these two loves together?’ And so began my TypeKits journey.

“What was intended to just be a one off Helvetica jersey quickly started to spark new ideas that brought more parallels between football and design. The history, the men behind them and the passion people feel for them.”

The fonts in question include Helvetica, which uses its historic connection to Swiss design to become a red and white kit. It’s also emblazoned with the year 1957 in reference to the year it was made.


We’re sure you won’t get any funny looks if you wear this to a stadium

(Image credit: Mark Jenkinson)

Any project about popular typefaces wouldn’t be complete without the infamous Comic Sans getting a look-in. And TypeKits doesn’t let us down. The use of the Millwall chant ‘no one likes us. We don’t care’ on the back of the shirt is clever touch, and the dotted pattern is a nice nod to its comic strip roots.

Other fonts in the collection include Futura, Optima, Franklin Gothic and Johnston Sans. And if football shirts are a bit much, you can also show your support for your favourite typeface with a scarf instead.

To back the project, head on over to the TypeKits Kickstarter page.

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If you’ve ever looked at a prescription drug ad and wondered to yourself whether that happy, mid-60s couple could possibly be real, well, that reality is about to get a whole lot more confusing to ponder. Because AI could soon encroach on the territory of those models, whether actors you see in ads or the models who sit for stock photography.

Generated Photos is a collection of 100,000 human faces, all free to download and use for any purpose. These people are beautiful, diverse, and ready to show up in your next ad campaign. Oh, and none of them are real. They’ve been generated by artificial intelligence. Most look indistinguishable from real human beings, but they are all just very cleverly arranged pixels, sorted by a machine.


We’ve seen such technology before. For instance, openly distributed code from graphics chip manufacturer Nvidia, called StyleGAN, let anyone on the web generate a completely fictional human face. The code eventually led to the creation of a website called This Person Does Not Exist, where you could create a convincing new face with the tap of your cursor.

Generated Photos appears to be largely the same idea, built upon what may be completely identical technology. But Generated Photos is not a tech experiment or demo; it’s a library of 100,000 faces that have already been generated, free to use commercially, so long as you link the site. It’s stock photography created by AI.


While the contact on the site did not respond to our request for clarification, the project’s website claims to be building a richer API that will allow you to sort the collection by criteria like age, ethnicity, skin tone, gender, and mood.

When the face-replacement technology Deepfakes hit the web in 2018, it made complicated, face-faking neural network computer science relatively accessible to laypeople (at least those who had a few hours to collect lots of photos of someone to train the system). Then, in early 2019, This Person Does Not Exist added an easy-to-use UX on top of similar novel face-generating tech; you didn’t need to know anything about code to invent new digital life from absolutely nothing but a tap on this site. And now, with Generated Photos, we’re seeing a fake photo library presented as a free service, not even a tap required!

What’s astounding is that, just back in 2016—three years ago!—AI was generating people who looked like crazy sock puppet monsters. And now, not only has the technology been largely perfected, it’s been presented in a user-friendly fashion for anyone to utilize. From here on out, you simply cannot assume that any face you see in an ad or app is real. And by the same token, you might be a sucker for paying a human to do an AI model’s job.


Protests have long been an important part of American history, from the civil rights movement in the 1960s to the Women’s March. The images and symbols of these demonstrations are rightly seared into the national memory. Now, they’re also available in typeface form.

[Photo: Wiki Commons]

[Image: courtesy Tré Seals]

Graphic designer Tré Seals runs a font foundry called Vocal Type devoted to transforming the letterforms that can be seen in archival photos of protests into fonts that designers today can use. So far, he’s made fonts out of the iconic “I am a man” signs from the 1968 Memphis Sanitation Strike, signage from the 1963 March on Washington, and images from a 1957 protest in Buenos Aires where Argentinian woman demanded the right to vote, among many others.

Now, Seals is working on a new typeface family inspired by the group of hand-drawn infographics by the black sociologist W.E.B. Du Bois.

Du Bois famously designed the infographics for the Paris World’s Fair of 1900. They visualized data about black Americans’ economic and social progress since the end of slavery by documenting the numbers of teachers, increasing land ownership, and rural versus urban populations. More broadly, the visualizations depicted how black people were being held back by institutionalized racism. So far, Seals has developed three separate fonts using the letters in Du Bois’s data visualizations and is planning to create different weights for each variety.

[Photo: Robert Abbott Sengstacke/Getty Images]

The foundry’s work is not just historical; for Seals, it’s also political. He first decided to take on the project after reading an essay about the dearth of black people in design. “That made me start wondering how can I increase diversity in design,” Seals says. “I can’t increase demographics. I love typography, and that’s the basis for every great design project. Why don’t I base typefaces on the history of minority cultures?”

[Photo: Library of Congress/Wiki Commons]

It’s not an easy task, though—many protest posters are drawn by hand. For the type inspired by the March on Washington, which is named “Bayard” after one of King’s closest counselors and one of the primary leaders of the movement, Seals said that he was faced with decisions about how to streamline handwriting into a contemporary digital typeface.

“In the sign that Bayard references, there’s an S on [two] sides and they are completely different,” he says. “It’s always hard figuring out how many liberties I should take in terms of making the typeface more legible…essentially my process is trying to find a balance between that and trying to figure out how to tell that story.”

For some of his fonts, that means that Seals creates a historical version that maintains many of the quirks of the original protest posters, as well as a cleaned-up version that hammers out some of the inconsistencies.

So far, Seals’s typefaces have been used in magazines, posters, and on tote bags. His biggest claim to font fame is that Netflix used his font from the ’68 protect, named Martin, to market the documentary What Happened, Miss Simone?

“I was scrolling through Netflix. I was like, wait, I know that S,” he says. “I was so shocked.”