Vincent Connare, the creator of Comic Sans, has long defended what is widely considered the world’s worst font. People who dismiss the childish font “don’t know anything about design,” he told Dezeen in 2014. There has been no such vocal defense of so called “ethnic typefaces, ” those which appropriate the aesthetic flourishes of foreign scripts to suggest that a brand has exotic origins. Yet they continue to be part of the visual noise of Western countries, screaming out from food labels, restaurant menus and posters. To anyone familiar with the alphabet being aped, they are about as authentic as the British tourist who wishes his companions bone apple tea prior to eating. This story is from Kinfolk Issue Forty-One Buy Now Related Stories Arts & Culture Issue 19 Going Incognito We all secretly wonder what mischief we’d make if invisible: When our identity is hidden, everything seems possible. Arts & Culture Issue 19 The Best Policy Sometimes we talk to each other without feeling heard. Honesty—a most intimate interaction—can be just as thrilling as its more devious inverse. Arts & Culture Issue 19 A Sense of Suspense With unhinged imaginations and mountains of cliff-hangers, the filmmakers behind the sci-fi podcast Limetown have all the makings of a scary story. Arts & Culture Issue 19 Like Clockwork In this new column about time, we learn how slipping off our watches makes us feel like deadline-damning renegades. Arts & Culture Music Issue 19 On a Grander Scale Malaysian singer-songwriter Yuna now may live on the opposite side of the globe, but she’s determined to evolve while staying true to her roots. Arts & Culture Issue 19 Neighborhood: Fire Stations The firefighting profession has evolved over time from Ancient Rome’s rudimentary bucket brigades to today’s sleek life-saving departments.