Across the expanse of the Metro, where pedestrian infrastructure and road space are lacking, the ubiquitous jeepney remains the lifeblood of urban mobility. There’s a saying that as long as you see a jeepney, you’re never lost.
Its routes are the arteries connecting the districts of our bustling metropolis, but getting from Point A to Point B poses a challenge for an unfamiliar commuter. The jeepneys we know today were repurposed from surplus military jeeps left behind by American G.I.'s after World War II. These colonial byproducts were transformed into something of our own, becoming the kings of our roads.
Tayao stands alone as the last practitioner of sign-painting in Tondo. Still, he is finding ways to thrive as a traditional artist. Embracing a sense of cultural ownership, Filipinos have adorned these vehicles with artwork that reflects a kind of colloquial maximalism. The jeep’s bodywork serves as a canvas for airbrushed icons of religion, pop-culture, and Americana, or even sentimental portraits of loved ones. A jeepney announces their presence before their arrival with an unmistakable remix of engine noise, budots music, and radyo serye. While loud and playful in a way that is consciously Pinoy, the jeepney blends this aesthetic with utility.
Navigating the streets as a pedestrian demands acute situational awareness, especially when deciphering signs on the road bearing names like Cubao, Ortigas, or Baclaran. These places may sound familiar yet they often fail to provide newcomers a concrete sense of direction in Manila’s labyrinth. Thankfully, the small neon signboard on the jeepney windshield is the saving grace for those finding their way. Signboards not only indicate a jeepney’s destination but, more crucially, identify its route and the stops in between. For commuters, the jeepney signboard will tell them if they should climb on.
But these signs have evolved beyond practicality, they’ve embodied a design language that’s uniquely Filipino. This blend of art and utility has elevated the jeepney signage into a style that’s spread across the nation and the digital space.
Since 2019, the Department of Tourism has branded the country’s tourism campaign with custom jeepney-inspired typography : the Harabara font for the 2019 slogan “It’s More Fun in the Philippines!” and Barabara for this year’s “Love the Philippines” rebrand. Jeepney-style fonts have gained popularity in advertisements, logos, and designs for its look that’s instantly recognizable as Filipino.
As the style continues to traverse different mediums, the tradition of painting jeepney signages is only preserved by a few. Edwin Tayao of Tondo is one of the remaining artists that practice painting them by hand.
SAN SERIFS AND SHADOWS Edwin Tayao lives in Permanent Residence 19, situated within the Paradise Heights housing project. The complex surrounds the Smokey Mountain dumpsite, and despite its name, it stands as the densest part of Tondo. Outside, telephone poles strain under the weight of tangled cables and the streets bustle with a continuous flow of people.
As Tayao led us through the building into his home, the shadowy hallways reveal a domestic picture, well-lived-in with traces of all their neighbors. His family’s touch was all the sari-sari goods displayed by their front door.
For an artist with such a traditional medium, Tayao’s setup is simple. He paints on a small table outside their unit, under the light of a lamp perched on an ice cream refrigerator. With a paintbrush in hand, cans of Boysen paint on the floor, and pre-cut boards beside him, Tayao begins his work.
His signage is made from sintra board, the same material used to print menu boards and cutout standees. Beforehand, Tayao coats dozens of boards at a time in a gradient of vibrant yellow and red reflectorized paint. He then shades the background with black paint. Gradually, bright letters start to form from the negative space.
There’s a hypnotic charm in watching Tayao at work. What’s remarkable is the pace at which he’s able to envision the layout, mark the spaces between letters, and complete the letters’ final shapes—in as little as five minutes, a testament to years of painting.
There are two distinct styles when it comes to making jeepney sign boards. One, dubbed as “rekta” by Tayao, employs painting the names directly on the board in a sans serif font that tapers at the edges. Each letter is done in a single stroke of a flat brush. Graphic designer Aaron Amar paid homage to this style with the creation of the popular typeface called “Quiapo Free” in 2018.
Tayao, however, gravitates towards the other style of defining the letters by negative space since it is easier to read. When a commuter only has scant seconds to flag down a jeep from the side of the road, the blocky neon letters prove to be more legible.
But when asked what the style was called, Tayao was at a loss for words. “Alam mo, Sir, sa tagal ko na ito ginagawa, ‘di ko rin alam kung ano,” he admits, laughing. “Kung tawagin, box lang siya. Guhit ka lang tapos lalabas na yung letra.” Baffled by the idea that his entire livelihood revolved around this style that he didn’t know what to call, we pressed him for an answer. But he didn't seem interested in giving a name. Perhaps he preferred it that way.
While loud and playful in a way that is consciously Pinoy, the jeepney blends this aesthetic with utility. While Tayao may not have labelled this approach, Amar designed another font inspired by this style and dubbed it “Cubao Free.” Both names were taken from what must feel like the main transportation hubs of half the jeepneys in Metro Manila, yet these styles lack a formal designation and remain unattributed to a specific maker. Artists like Tayao and Amar refrain from claiming ownership, having merely adopted the style from other sign painters. Nonetheless, that both forms have stood the test of time unchanged implies its cultural significance.
SURVIVAL OF THE TRADITIONAL Tayao’s journey into sign painting traces back to his formative years. As a tambay in his uncle’s shop, he would pick up the details of the craft, and eventually, tried his hand at it. In those early days, he recalls painting signs with crooked letters that customers would still buy. Recognizing the potential to turn his newfound skill into a livelihood, and given his unfinished education, Tayao forged a business in painting signboards.
While there were once two other artists in the district, back when he was starting out two decades ago, Tayao now stands alone as the last practitioner of his craft in Tondo. Still, in an age dominated by digital designs and mass printing, he is finding ways to thrive as a traditional artist.
On occassion, you can catch Tayao working from his stall along Nicolas Zamora Street, beside the New Pritil Public Market. After our conversation at his home, Tayao guided us to his spot, a short walk and jeepney ride away. As we hailed a jeep from Estero De Vitas, Jeric asked, “Ikaw rin ba gumawa ng senyas ng jeep na ‘to?” Tayao nodded, wearing a confident grin.
We made our way through the busy streets surrounding the palengke where vendors lined the aisles selling various goods. Once we got to his spot, he simply displayed his work on a metal pole and brought out a small desk tucked away at a street corner to signal that he was open for business. In this lively street scene, Tayao blends in with the other vendors peddling merienda, cold drinks, and cigarettes—faces that he knows well. While others used tables, coolers, or carts to mark their spots on the street, Tayao’s was a mural painted on a steel sheet wall that read “Sign Lettering.”
As the country moves towards a jeepney phaseout under the national Public Utility Vehicle Modernization Program (PUVMP), Tayao’s livelihood is at stake—along with that of many other jeepney operators and sign painters. The handpainted signs that were once proudly displayed behind the windshields of jeeps and busses are yielding to the growing prevalence of digital screens and marquee lettering in modernized PUVs. Fortunately, Tayao has been ingenious in marketing his sign boards and typography skills.
As long as you see a jeepney, you’re never lost. The allure of watching Tayao at work has opened new opportunities for him. Since his wife created an Instagram and Facebook page for his business, Tayao secures most of his work through online commissions, especially from the youth of today. He recalls making 200 sign boards for a popular arts and crafts franchise. In addition, he receives invitations to participate in bazaars alongside artists across various mediums. These events allow people to commission him for signboard paintings while observing his creative process. Most recently, Tayao held a live hand-lettering event at the HUB: Make Lab 's Christmas community market in the First United Building in Escolta.
Beyond the occasional showcase, Tayao’s work is for the public—displayed across Manila, beholden to everyone. In the short distance from his residential building to his market stall, he proudly pointed out the many addresses and street signs he’s painted for Manileños: Tayao is Tondo’s friendly neighborhood typographer. His artistic touches bring out a sense of clarity and legibility in a place that might otherwise feel confusing. Despite the shifting urbanscape, his work will continue to dwell on different canvases and his style in its entirety is unlikely to fade anytime soon.
Editor’s Note: This story was originally published in the 2023 print issue of Made in Manila, commissioned by the Department of Trade, Culture, and Arts of Manila (DTCAM) for the City of Manila. Edits were made for the GRID website.
