Insight
*This article was published with only some terminology revised from a contribution to LetterSeed(글짜씨) Issue 24.
This is the Korean font derived from the English font 「Gilbert Typeface」, created in honor of Gilbert Baker (1951–2017), an LGBTQ+ activist and the designer of the rainbow flag of pride. The name 「Gilbeotche」 carries the meaning of continuing Gilbert Baker’s intentions, while also conveying the sense of being a “companion” (beot) who joins the journey (gil) toward a society that respects diversity. 「Gilbeotche」 is the first fully composed Hangul font to apply full color across all glyphs.
—From 『Gilbeotche Haeryebon』
Following the release of 「Rainbow Gilbeotche」 in September 2020, 「Transgender Gilbeotche」 was released in November, and 「Bisexual Gilbeotche」 in January 2021.
—From 『Gilbeotche Haeryebon』
Whenever I come across works that use 「Gilbeotche」 both online and offline, I naturally come to regard the space to which those works belong as safe. It is rare—and therefore precious—for the mere act of using a specific font in a work to draw out a sense of communion between the creator and the viewer. However, the reason 「Gilbeotche」 is actively used across various contexts is not solely due to the symbolism bestowed by the designer.
I am rather shy by nature, so I like people who smile easily. Those who radiate warm energy effortlessly make their presence felt wherever they are. It is easy to open one’s heart to such people. That was my first impression of 「Gilbeotche」. A cheerful and gentle font with a lively rhythm contained within firmly connected lines of text. A single font is completed through countless choices made by its designer. And those varied choices are harmoniously connected to reveal the designer’s intent. The form of 「Gilbeotche」 is likewise closely tied to its purpose of creation.
「Gilbeotche」 is built on a skeleton that fully fills a square frame. A distinctive feature lies in the proportion between the initial consonant and the final consonant in horizontally combined syllables, which fill the square vertically. In general, in text-oriented Hangul sans-serif fonts, the final consonant is designed so that the visual weight between the initial and final consonants is balanced at roughly 5:5, forming a stable structure.
However, 「Gilbeotche」 places a clear weight in the margin on the side of the initial consonant. The stroke weight of 「Gilbeotche」 is similar to that of 「SD Greta Sans」 Bold. In fonts with such thick strokes, if the proportion of the final consonant is reduced within the square, the inner space of the final consonant inevitably has to be subdivided more finely to maintain consistency in stroke thickness. With thick strokes and narrow inner spaces, the density of the final consonant area becomes even higher. The pulling force between the strokes of the final consonant also becomes stronger. As a result, the spaces between strokes appear visually narrower. This is a combination of structure and weight that maximizes the spatial contrast between the initial and final consonants. The contrast thus created generates tension between components and forms a dynamic sense of space, rather than the static and orderly feeling produced by uniform spacing. This intention is also revealed in the design of the consonants themselves.
The shape of the giyeok in 「Gilbeotche」 is identical to the giyeok shown in the Hunminjeongeum Haerye from the era of early metal type. It is a geometric form in which the horizontal and vertical strokes meet at right angles. For this reason, 「Gilbeotche」 is characterized by the way it utilizes the initial consonant space. In typical fonts, the diagonal spur of a bent giyeok divides the initial consonant space diagonally in two, whereas in 「Gilbeotche」 the large space of the initial consonant can be used in its entirety. In effect, the space of giyeok becomes similar to that of nieun. Such a giyeok increases the frequency with which large volumes of whitespace appear within the text block. Let us compare this with 「Arita Dotum」, which has a similar giyeok form. Looking at [Figure 2], the difference from 「Gilbeotche」 becomes clear in horizontally combined syllables. The giyeok bends once more to the left beneath the vertical stroke, transforming into a hook-like variation, and this form demonstrates its effectiveness when it meets the final consonant of a syllable. The space beneath the spur, which would otherwise be empty, is filled by the horizontal straight line formed by the initial consonant. As a result, when giyeok or ssanggiyeok appears as the initial consonant in horizontally combined syllables, a thin and crisp linear inner space is formed, much like when mieum or bieup appears.
The same rule is applied to siot, which has a diagonal spur similar to giyeok. The approach applied to siot is even more intriguing due to the fresh angle of its spur and descending stroke. Generally, siot is constructed by joining two straight lines at a slanted angle, dividing its space into three parts. However, in 「Gilbeotche」, the spur and the descending stroke extend left and right from a single vertical stroke, each forming a right angle with it. The spur and the descending stroke are symmetrical, dividing the space broadly into two. As with giyeok, a horizontal straight line finishes the lower part of the consonant. The thick beak stabilizes the center of the large empty space, while a small, sharp triangular notch is added at the lower center of the initial consonant to maintain consistency with giyeok while still allowing the character to be read as siot. When viewed at a small size of around 14 pt, this tiny, sharp, ink-trap-like space sparkles attractively in contrast to the mass above.
Figure 1
Figure 2
Figure 3
As a result, among nineteen cases of horizontally combined syllables, sixteen now have initial consonants whose lower edges are finished with a horizontal straight line. The compact and consistent forms of inner spacing, along with repeatedly aligned horizontal straight lines, form a firm and orderly texture within the line of text. This texture harmonizes well with the refreshing and dynamic spatial sense created by consonants with open spaces, complementing one another. I cannot help but think that this combination resonates with the openness and sense of solidarity toward diversity that 「Gilbeotche」 seeks to convey.
Next, one cannot help but mention another defining feature of 「Gilbeotche」: its large, softly bent, pipe-like beaks. This was taken from the English font 「Gilbert Typeface」, which serves as the basis of 「Gilbeotche」. It is a form that evokes a fluttering flag. When looking at these Hangul beaks, one is naturally reminded of the slab serif style of Latin fonts. However, there is a twist here: 「Gilbert Typeface」 is actually a sans-serif font. The forms applied to the beaks of 「Gilbeotche」 appear in 「Gilbert Typeface」 in elements such as the spurs of ‘a’ and ‘b’, and the terminal of ‘r’.
Designer Seongwoo Bae, however, applied this form more actively by using it in the beaks of vertical strokes during the process of Hangul adaptation. The beak is thickest and largest in ‘니’, and gradually becomes thinner and smaller as it moves toward more complex syllable combinations such as ‘뺄’ and ‘뵀’. When beaks of delicately adjusted sizes and curvatures come together, one can visually sense a natural gradation. Through such work, the font was likely produced to maintain its distinctive form while avoiding any visual discomfort on the page.
The same curvature as that of the vertical-stroke beaks was also applied to points where strokes overlap and separate. Once this was adopted as a formal characteristic of 「Gilbeotche」, curves proliferated endlessly across 2,780 characters. Each character overlaps curves at least once and up to twelve times. The large and small curves of consistent form repeat continuously across the page, creating a gentle, unbroken sense of rhythm.
By combining colors from similar families with low contrast, it was possible to control the density in areas where strokes overlap. In general, using colors in the order of purple, red, orange, yellow, green, and blue helped enhance readability. Following this rule, initial consonants, medial vowels, and final consonants were separated so that character combinations would not appear overly red or blue. For example, when consonants were in the red spectrum, using vowels in the blue spectrum resulted in a visually pleasant temperature.
—From 『Gilbeotche Haeryebon』
Figure 4
Figure 5
Figure 6
Even the arrangement of colors, which may at first glance appear random, is the result of a designer’s consideration of usability. If, as in [Figure 6], overlapping strokes were separated by white lines or white spaces, the strong black-and-white contrast would negatively affect readability.
Through careful adjustment, we now see countless flags fluttering in orderly fashion within the letters. When set at large sizes, each curve moves with powerful rhythm. When set smaller, the overall form that comes into view at a glance reveals a sparkling diversity.
It is, once again, admirable and brave—both the values it contains and the countless attempts the designer must have repeated to bring them to completion in this form. The appealing form of a font draws users in. As a result, 「Gilbeotche」 was sometimes used in places that went against its original aspirations, even by those unaware of the meaning it carries. In response, some raised objections, while others reflected on the values embedded within it. This, too, may be one effective and admirable form of activism that can be achieved through a font.
“What is this cute font?”
The moment I pulled up 「Gilbeotche」 large on the screen to refer to it while writing, a friend beside me exclaimed. Indeed, it is a lovely font that smiles brightly and warmly invites conversation.
Insight
*This article was published with only some terminology revised from a contribution to LetterSeed(글짜씨) Issue 24.
Whenever I come across works that use 「Gilbeotche」 both online and offline, I naturally come to regard the space to which those works belong as safe. It is rare—and therefore precious—for the mere act of using a specific font in a work to draw out a sense of communion between the creator and the viewer. However, the reason 「Gilbeotche」 is actively used across various contexts is not solely due to the symbolism bestowed by the designer.
I am rather shy by nature, so I like people who smile easily. Those who radiate warm energy effortlessly make their presence felt wherever they are. It is easy to open one’s heart to such people. That was my first impression of 「Gilbeotche」. A cheerful and gentle font with a lively rhythm contained within firmly connected lines of text. A single font is completed through countless choices made by its designer. And those varied choices are harmoniously connected to reveal the designer’s intent. The form of 「Gilbeotche」 is likewise closely tied to its purpose of creation.
「Gilbeotche」 is built on a skeleton that fully fills a square frame. A distinctive feature lies in the proportion between the initial consonant and the final consonant in horizontally combined syllables, which fill the square vertically. In general, in text-oriented Hangul sans-serif fonts, the final consonant is designed so that the visual weight between the initial and final consonants is balanced at roughly 5:5, forming a stable structure.
However, 「Gilbeotche」 places a clear weight in the margin on the side of the initial consonant. The stroke weight of 「Gilbeotche」 is similar to that of 「SD Greta Sans」 Bold. In fonts with such thick strokes, if the proportion of the final consonant is reduced within the square, the inner space of the final consonant inevitably has to be subdivided more finely to maintain consistency in stroke thickness. With thick strokes and narrow inner spaces, the density of the final consonant area becomes even higher. The pulling force between the strokes of the final consonant also becomes stronger. As a result, the spaces between strokes appear visually narrower. This is a combination of structure and weight that maximizes the spatial contrast between the initial and final consonants. The contrast thus created generates tension between components and forms a dynamic sense of space, rather than the static and orderly feeling produced by uniform spacing. This intention is also revealed in the design of the consonants themselves.
The shape of the giyeok in 「Gilbeotche」 is identical to the giyeok shown in the Hunminjeongeum Haerye from the era of early metal type. It is a geometric form in which the horizontal and vertical strokes meet at right angles. For this reason, 「Gilbeotche」 is characterized by the way it utilizes the initial consonant space. In typical fonts, the diagonal spur of a bent giyeok divides the initial consonant space diagonally in two, whereas in 「Gilbeotche」 the large space of the initial consonant can be used in its entirety. In effect, the space of giyeok becomes similar to that of nieun. Such a giyeok increases the frequency with which large volumes of whitespace appear within the text block. Let us compare this with 「Arita Dotum」, which has a similar giyeok form. Looking at [Figure 2], the difference from 「Gilbeotche」 becomes clear in horizontally combined syllables. The giyeok bends once more to the left beneath the vertical stroke, transforming into a hook-like variation, and this form demonstrates its effectiveness when it meets the final consonant of a syllable. The space beneath the spur, which would otherwise be empty, is filled by the horizontal straight line formed by the initial consonant. As a result, when giyeok or ssanggiyeok appears as the initial consonant in horizontally combined syllables, a thin and crisp linear inner space is formed, much like when mieum or bieup appears.
The same rule is applied to siot, which has a diagonal spur similar to giyeok. The approach applied to siot is even more intriguing due to the fresh angle of its spur and descending stroke. Generally, siot is constructed by joining two straight lines at a slanted angle, dividing its space into three parts. However, in 「Gilbeotche」, the spur and the descending stroke extend left and right from a single vertical stroke, each forming a right angle with it. The spur and the descending stroke are symmetrical, dividing the space broadly into two. As with giyeok, a horizontal straight line finishes the lower part of the consonant. The thick beak stabilizes the center of the large empty space, while a small, sharp triangular notch is added at the lower center of the initial consonant to maintain consistency with giyeok while still allowing the character to be read as siot. When viewed at a small size of around 14 pt, this tiny, sharp, ink-trap-like space sparkles attractively in contrast to the mass above.
Figure 1
Figure 2
Figure 3
As a result, among nineteen cases of horizontally combined syllables, sixteen now have initial consonants whose lower edges are finished with a horizontal straight line. The compact and consistent forms of inner spacing, along with repeatedly aligned horizontal straight lines, form a firm and orderly texture within the line of text. This texture harmonizes well with the refreshing and dynamic spatial sense created by consonants with open spaces, complementing one another. I cannot help but think that this combination resonates with the openness and sense of solidarity toward diversity that 「Gilbeotche」 seeks to convey.
Next, one cannot help but mention another defining feature of 「Gilbeotche」: its large, softly bent, pipe-like beaks. This was taken from the English font 「Gilbert Typeface」, which serves as the basis of 「Gilbeotche」. It is a form that evokes a fluttering flag. When looking at these Hangul beaks, one is naturally reminded of the slab serif style of Latin fonts. However, there is a twist here: 「Gilbert Typeface」 is actually a sans-serif font. The forms applied to the beaks of 「Gilbeotche」 appear in 「Gilbert Typeface」 in elements such as the spurs of ‘a’ and ‘b’, and the terminal of ‘r’.
Designer Seongwoo Bae, however, applied this form more actively by using it in the beaks of vertical strokes during the process of Hangul adaptation. The beak is thickest and largest in ‘니’, and gradually becomes thinner and smaller as it moves toward more complex syllable combinations such as ‘뺄’ and ‘뵀’. When beaks of delicately adjusted sizes and curvatures come together, one can visually sense a natural gradation. Through such work, the font was likely produced to maintain its distinctive form while avoiding any visual discomfort on the page.
The same curvature as that of the vertical-stroke beaks was also applied to points where strokes overlap and separate. Once this was adopted as a formal characteristic of 「Gilbeotche」, curves proliferated endlessly across 2,780 characters. Each character overlaps curves at least once and up to twelve times. The large and small curves of consistent form repeat continuously across the page, creating a gentle, unbroken sense of rhythm.
Figure 4
Figure 5
Even the arrangement of colors, which may at first glance appear random, is the result of a designer’s consideration of usability. If, as in [Figure 6], overlapping strokes were separated by white lines or white spaces, the strong black-and-white contrast would negatively affect readability.
Through careful adjustment, we now see countless flags fluttering in orderly fashion within the letters. When set at large sizes, each curve moves with powerful rhythm. When set smaller, the overall form that comes into view at a glance reveals a sparkling diversity.
It is, once again, admirable and brave—both the values it contains and the countless attempts the designer must have repeated to bring them to completion in this form. The appealing form of a font draws users in. As a result, 「Gilbeotche」 was sometimes used in places that went against its original aspirations, even by those unaware of the meaning it carries. In response, some raised objections, while others reflected on the values embedded within it. This, too, may be one effective and admirable form of activism that can be achieved through a font.
“What is this cute font?”
The moment I pulled up 「Gilbeotche」 large on the screen to refer to it while writing, a friend beside me exclaimed. Indeed, it is a lovely font that smiles brightly and warmly invites conversation.