




































CHAPTER  11: 
AN INVENTION OF ULI TYPEFACE FOR 

VISUAL COMMUNICATION DESIGN 
 

Contributed by 

Chibuzor Asogwa and Chidiebere  Onwuekwe 

  

INTRODUCTION 

Uli, the heritage of the ancient Igbo people, which was a 

very popular form of art, served aesthetic and symbolic purposes. 

Uli drawing comprises of  raw lines of various types, shapes of 

various nature and also numerous witty and sharp images, 

representing everyday life of the Igbo, from farms, cooking pots, 

plants, birds, animals, the sun, moon and kola nut. The Uli design 

motifs and patterns however were drawn on various surfaces like 

the human body, mud walls, wooden surfaces, textile, among 

others. Apart from beauty, Uli served symbolic purposes in the 

ancient Igbo. Utoh-Ezeajugh (2006) opines:  

 

The fact that then design practices play important 

roles in a wide range of ceremonies dealing with 

rites of passage, healing, war, agriculture and many 

others, is an indication of the enormous potentials 

abounding in African body design traditions. (45) 

 

Every line, shape and object of Uli motif drawn on surfaces has 

significance, relating to real life situations. These designs either 

suggests case joyous moments or mournful events. It could be 

marriage ceremony, child birth and naming, manhood initiation 

ceremony, burial of great warriors and gallant men, among others. 

Udemezue (2005) 



Chibuzor Asogwa and Chidiebere Onwuekwe 

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This has gone a long way to project Uli motif as symbolic design 

that is suitable for passing on messages on on-going events. 

 

The drawing and printing of Uli motif were prominent among 

women and girls of the olden days. They saw it as their duty to 

make decorations and drawing, where and when necessary.  Uli Art 

was able to excel because of the level of interest women of those 

days had in it. Peck (2002), speaking on the role of women in Uli 

motif drawing hinted that 

 

“Traditionally, the women of the Ibo people of Nigeria painted 

their bodies with patterns.  They used dyes made from the seeds of 

Uli plants that temporarily stained the skin black.” Women were 

great promoters of Uli art since it served them daily purpose, 

ranging from social, religious and cultural matters. The materials 

used for Uli motif design were natural extracts from plants. This 

made the materials readily available. Speaking on the materials 

used in for Uli application Udemezue (2005) made it known that: 

“Originally the term Uli was the Igbo name for Indigo dye, which 

is extracted from different types of   plants with Botanical names 

 like Rothmania Cuspica and Rothmania Ucelli. In Igbo 

language they  are called Uli Oba, Uli Edeji and Uli Okolobo.” To 

buttress this point, Utoh-Ezajugh (2006: 65) reiterates that: 

Uli design is made from liquids extracted from seeds 

embedded in fleshy pulp in pods of some species of 

Uli plants, or the fruits from species of the Uli plant. 

These   species are known   by different names in 

different communities of Igbo land, but their 

function are basically the same. 

These go a long way to explain how available the sources of Uli 

were. Uli plants grew in the compounds of every family and this 

made it very easy for the women to have access to necessary 

pigments for Uli drawing. 

 



An Invention of Uli typeface for visual Communication Design 

191 

 

When the European explorers, as well as missionaries came to 

Nigeria with their culture and religion, the new religion, culture and 

lifestyle were adopted. Many women that were into Uli design were 

converted to Christians, and were tricked into believing that Uli 

was fetish, to that, they let go of it. Since there was no written 

tradition on Uli, it waned. Udemezue (2005) declares that “…The 

Christian women were forbade by their Priests from getting 

involved in the traditional   art which now bears the label of being 

part of Idol worship.” The British colonialists worsened the 

situation with their coming, because their new lifestyle and religion 

took the attention of vast majority of the women away from their 

precious Heritage. Many people were brainwashed by these 

strangers into believing that Uli art is Devilish while the young men 

and women of today, instead of reinventing Uli, imbibe the western 

Tattoo. It spreads like wild fire amongst the young men and 

women. In present times, women and girls are addicted to fashion 

and taste for modernism. Unlike in the olden days when Women 

were in the frontiers of Uli design. 

Udemezue (2005) speaking in view of this, hints thus: 

 

Among the present crop of young women and girls in Igbo 

communities the art is regarded as occultic, satanic and 

Pagan tradition. They associate this art with the shrine and 

shrine priests. This is sad indeed as this was not so in the 

past. It is disheartening that the young girls and women of 

today abandoned our heritage, beauty and aesthetics for 

another people’s value, instead of harnessing our heritage 

to a new dimension. 

 

Purpose of the Study 

The main aim of this study is to design and find models of lettering 

using Uli motifs 

 

 



Chibuzor Asogwa and Chidiebere Onwuekwe 

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Nsukka Art School and the Reinvention of Uli 

The art of Uli diminished considerably until the contemporary 

Nigerian Art era. In Nsukka art school, a group of artists revived 

Uli art and introduced it in the dimensions of Paintings, sculpture, 

prints, Ceramics and textiles. Thus an art movement was born – 

Ulism. It was believed that Uche Okeke was the father of Ulism, 

since he was the pioneer artist that spearheaded Uli art movement. 

He was subsequently followed by such artists like El-Anatsui, a 

Ghanaian, Chike Aniakor, Chuka Amaefuna, among others. Okoye 

(2006) buttressed this idea when he states that: “The revival of 

interest in Uli through contemporary art had begun with Uche 

Okeke in the 1960s, when Nigeria’s independence produced a 

growing sense of freedom from colonial restraints on cultural 

tradition.” This reveals that before Ulism was born, the colonial 

master in so many ways, held back the development of cultural 

tradition, including Uli art. As a painter, draughtsman and mosaic 

artist, he found it necessary to delve into the new art form, 

believing he would influence many artists. Ottenberg (2002) in his 

view on Uche Okeke’s contribution to Ulism adds: 

 

It fully developed among teachers and students in the 1970s 

at the University in Nsukka and was linked to renewed 

interest in Igbo culture after the destructive Biafra war. Like 

other movements and styles all over the world, Ulism 

flourished in Nsukka School of art as the teachers spread 

the knowledge amongst the students. (30) 

         Jegede (2004) enumerates that “It is Nsukka-based. The 

members were artists who believe in the philosophy of Uli Art as 

a stylistic expression using its linear and spiral motifs in terms of 

forms and using themes that have socio-cultural advantages.” 

The members of Uli movement include Obiora Udechukwu, Tayo 

Adenike, Chris Afuba, Chris Echeta, El-Anasui, Chika Okeke, Olu 

Oguibe, Victor Ecoma, Ndidi Dike, Krydz Ikwuemesi, Ozioma 

Onuzulike and many others.  Many of these artists were taught by 



An Invention of Uli typeface for visual Communication Design 

193 

 

Uche Okeke, the Pioneer Uli artist. Highlighting the contributions 

of Uche Okeke made to the growth of Uli Art, Ikwuemesi (2003) 

observes that: “In the early 1970s when he was appointed lecturer 

and acting head of Fine Arts departments at the University of 

Nigeria, he reviewed the entire course programme introducing new 

courses and research into Igbo art tradition.” This went a long way 

towards influencing many artists, such as:  Obiora Udechukwu, 

Tayo Adenike, Bons Nwabani, Benjamin Njelita, and many others 

who were students under Okeke at that time. Thus, Uli has a lot of 

apostles who have theorized and utilized the Uli idiom, such that it 

has become doctrinal cleavage in contemporary Nigerian Art, 

thereby leading to the Emergence of Ulism as a movement. Utoh-

Ezeajugh (2006 49). Obiora Udechukwu (Born 1946) contributed 

immensely towards the development of Ulism. Trained under 

Uche Okeke in Nsukka, he adopted Uli art and developed his own 

styles. Udechukwu studied art with and was much influenced by 

Uche Okeke, then head of the Fine and applied art department of 

University of Nigeria Nsukka, whose own creations relied heavily 

on drawing skills and whose content based largely on Igbo culture. 

Okeke and Udechukwu in Ottenberg (2002 36). Udechukwu’s 

style was subject to many influences, including the works of the 

poets, dramatists, the Biafra war, Nigerian Military, Economic 

situation, among others. Ottenberg (2002) in his view on the 

factors that influenced Udechukwu’s works of art maintains:  

  Udechukwu was particularly influenced by the Igbo poet 

Christopher Okigbo, killed in 1967 in the Biafra war… 

Some of his visual art has Okigbo’s poetic and lyrical 

qualities and complexities of interpretation, and at times 

there are close associations between his poetry and visual 

art.(38) 

It is understandable that the works of Obiora Udechukwu which 

were influenced by poets and dramatists were in the form of poetic 

images which told marvelous stories but  never divulged from his 

Ulistic styles. 



Chibuzor Asogwa and Chidiebere Onwuekwe 

194 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Fig 1:Homage to Christopher Okigbo, Obiora Udechukwu 

Medium: Ink on Paper. Source: African Arts Volume 35, No2 

 

This is the portrait of late Chris Okigbo. The lines and Uli forms 

are visible and distinct, even the typeface has traces of uli forms. 

This looks much like a book cover for poetic images or something 

of that sort. His usage of positive and negative spaces is quite 

remarkable as he provides rest points for the eyes in the work. This 

means that there is sufficient space in his work, which is an element 

of Uli design. The Nsukka art school revived the almost dead art 

tradition in so many ways, which Ottenberg (2002) reveals that, 

“ by placing Uli in modern social settings  on sculptural surfaces 

and on paper, board and canvass, framed and hung on walls in 

homes, institutions and galleries, They helped revive it.” (37) 

  

Uli Symbols and Communication  

Uli motifs, apart from the ones painted on shrine walls are not 

generally sacred, but served so many functional purposes. So many 

clans in Igbo society are known for their own Uli styles. However, 

they served some communicative purposes. According to Utoh-



An Invention of Uli typeface for visual Communication Design 

195 

 

ezeajugh (2006), “the design process is described as Ide Uli 

(literarily to draw Uli)” (67).  Nearly all the towns in Igbo province 

had Uli designers. However there were towns noted for “Ide Uli”. 

These towns include: Mbaise, Mbaitoli, Umuaka, Uturu, Abatete, 

Nri, Agulu, Nsukka, Enugu, Ezza, to mention but a few. Utoh-

Ezeajugh (2006) speaking on the styles and functions of Uli, hints: 

 However, clans, villages or towns groups do sometimes 

develop styles  within a style which can be recognized. For 

example, Uli Anya Mmiri (Uli for mourning) design which is 

drawn from under the eyes down to  the cheeks, to give an 

impression of tears dropping from the eyes, is worn by a person 

who is bereaved in communities such as Umuaka, Mbaitoli and 

Mbaise in present day Imo state. (6) 

People within the community understand with little efforts 

the communicative functions of Uli. The meaning to a particular 

design in a given community maybe of different interpretation to 

another clan. 

 

 

 

 

 

 
 

Figure 2 shows few selected illustrated Uli motifs from Utoh-Ezejugh 

(2006) which are basic Uli motifs 

 

The illustrations above are distinctly rhythmic lines. Line, 

as we know is an element of design. The motifs are either used 

individually or composed to form a design as a whole. Apart from 

the basic Uli designs, which are made up of simple lines, there are 

more complicated uli motifs, which are more of shapes and objects 

that represents everyday Igbo life. 

 



Chibuzor Asogwa and Chidiebere Onwuekwe 

196 

 

 

 

 

 

 

 
Fig 3: The illustration above  show prominent Uli motifs such as isi oji 

and okpa okuko.  Source: Utoli-Ezeajugh (2006) 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 5: Culled from the National Museum of African Arts are 

few samples that also represent everyday Igbo activities. 

 

 

 

 

 

 

 

 

Fig 6: shows ogene, okala isioji and onwa. Source: Ezeajughi 

(2006) 

 



An Invention of Uli typeface for visual Communication Design 

197 

 

The Ogene is used by the village criers and dancers 

respectively for announcements and entertainment. Kolanut as we 

know is what the Igbo man used on a daily basis to receive visitors, 

to consult the deity (Igba Afa) and also to grace occasions. It is a 

symbol of peace and unity and is still used today by Ndi Igbo. 

Onwa, is a celestial body graced by the Igbo associated with 

folktales drama and plays. Every motif drawn and painted by the 

artists has a relationship with life situations. 

 

Uli and Typography 

Uli is a pure graphic from which is made up of simple lines and 

from which serves communicative, aesthetic and in some occasion, 

ritual purposes. Typography, on the other hand according to Knight 

(2008) is the art and process of arranging type for a variety of media 

purposes and is made up of several parts. On the other hand 

typography is not just about text. Njelita (2010) believes that, 

“typography is the totality of the arrangement of types, illustrations 

and other visual elements in an orderly manner for communicative 

purposes.” Muster (2010) Agrees to that when he opines that, “even 

historically typography has always been more than putting text on 

paper.”  The similarity between Uli and types is communication, 

while the difference is that Uli is more of icon and signs while types 

are texts which send messages in form of words. Here, efforts will 

be made to merge similarities and differences between uli and types 

together in order to achieve results. 

 

Classification & Types 

Typefaces we see every day in Ads, documents, the media etc are 

classified into various classes. The basic classification is Roman 

type, Gothic, Block or San serif, script type and Ornament type. 

However, Pastille (2010) classified types into nine. They are: Old 

Style, Transitional, Modern, Slab Serif, San Serif, Gothic 

handwritten, Handwritten, Decorative/Novelty, Ornamental, Old 

style, transitional, modern I believe are Roman types while slab 



Chibuzor Asogwa and Chidiebere Onwuekwe 

198 

 

serif, san serif are both the Block types.  Hornby (2000) defines 

Decorative as something that makes something look more beautiful 

and Ornamental as a thing to add beauty to something. Therefore, 

Decorative and Ornamental fonts are the same. He simply 

subdivided the original type classes. 

 

Figures 5-9 are classes of Typefaces for layout designs  
 

 

 

  

 

 

 
Fig. 7 Roman Type     Fig. 8 San Serif Type              Fig.9 Script Type 

 

 

 

 

 
        
     Fig. 10 Gothic Type                                Fig. 11 Decorative Type 

   

Combination of Uli and San Serif Type For a new Result 

The typefaces below are under experiments by researcher. Here 

there is conscious efforts towards creating a typeface named Uli 

slim San serif, by the by merging of Uli forms and sanserif 

typeface. The typefaces, when completed, could be used for 

calligraphic writing, graphic designs and typesetting, among 

others. 

 

 

 

 



An Invention of Uli typeface for visual Communication Design 

199 

 

  

 

 

 

 

 

 

 

 

 
 

 

 

 

Fig 12. shows the result of an experiment by the researcher in combining 

Sanserif typeface and Uli forms (Upper Case). Courtesy: Onwuekwe, 2011 

 

 

 

 

 

  

 

 

 

 

 

 

 

 
Fig 13. shows the result of an experiment by the researcher in 

combining Sanserif typeface and Uli forms (Lower Case),  

Onwuekwe 2011 

 

 



Chibuzor Asogwa and Chidiebere Onwuekwe 

200 

 

Conclusion 
Uli design is the heritage of Ndi Igbo, modern trends and western 

culture put it almost to the background.  The knowledge was 

transmitted orally, until when Nsukka Art School formed Ulism, a 

movement that took Uli to modern dimensions, spearheaded by 

Uche Okeke, El-Anatsui, Chike Aniakor and others. Through them 

Uli was able to take modern turn and appeared in paintings, 

drawings, Sculpture, textile and prints. Here the researcher arrived 

at combining Uli with types to form designs suitable for casual 

wears, with the Polo shirts as medium. This helps to bring Uli 

further to the forefront particularly to the people of today. 

Moreover, the people of the western world yearn and demand for 

such form of art, which is new and strange to them. If such styles 

of wears are harnessed and mass produced for sale both home and 

overseas at cheap prices, it will not only educate and promote the 

Igbo Uli heritage, it also has economic value. It will result in 

sustainable cultural and economic development of Nigeria.  

 

Questions 

List the uli communicative iconographies you know 

What are the main characteristics of Ulism? 

List the various classes of type faces  

 

REFERENCES 

“Decorative” (2001). Oxford Advanced Learners dictionary 

volume 6. London: Oxford University Press  

Ikwuemesi, K. (2011).  “Uche Okeke: A profile.” 

pendulumartsgallery.com, n.d. Retrieved April 2011. 

Jegede, E. (2011). “African Arts and Art Criticism”, n.d. 

Extracted from africanpainters.blogspot.com. on March 22 

2011 

http://pendulumartsgallery.com/
http://www.africanpainters.blogspot.com/


An Invention of Uli typeface for visual Communication Design 

201 

 

Knight, L. (2011). Typography essentials – A getting started 

guide. Retrieved from freelancefolder.com March On 

March 2011. 

Muster, K. (2011). What is Typography today?  kilianmuster.com. 

2010  retrieved April 15, 2011. 

Okeke, C. (1999). The quest for Nigerian Art. invia.org. Extracted 

February 2011.  

Okoye, C. (2006). Magic lines of Uli art style. buzzle.com. 

Retrieved  March 12 2011.   

“Ornamentation”. Oxford Advanced Learners dictionary volume 

6. London. Oxford University Press 2001. Print. 

Ottenberg, Simon. “Sources and themes in the art of Obiora 

Udechukwu.” African Arts, Volume XXXV No 2 PP 30-

43, summer 2002.  

Peck, Jennifer and Reid, Bryon. “Uli body art.” Retrieved from. 

prm.ox.ac.uk. Pitt Rivers Museum April 2011.  

Pintilie, Daniel. “The Classification of Font.” speckyboy.com 

2010. Retrieved April 2011.  

Udemezue, Gozie. “The Uli art in Igboland Nigeria.” Retrieved 

from brighthub.com 2011.   

Utoh-Ezeajugh, Tracie Chima. “Globalisation of culture and 

culture of globalization; Impact of Autochthonous body 

design Tradition.” The Humanities and Globalisation in 

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--- “Harnessing the Uli design as make-up for the contemporary 

Nigerian Theatre.” Diss.University of Port Harcourt. 2006. 

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