Image Making of the Letterforms

2018

In this paper, we document and categorize Malayalam hand-painted street lettering styles based on their morphological features and attempt to analyze significantly different lettering styles found in the Malayalam script.

Sodh Drishti (An International Peer Re vie wed Refereed Research Journal),, 2019

The world knows that Varanasi is the spiritual city of religion, knowledge and culture. Concurrently Varanasi is also growing as a hub of creativity and invention, which speculates on the materials and elements around us-like clothing, supplements, commodities, transportation and so on. We are concentrating on designs made on Rickshaws (Cycle Rickshaws), which reflects the classical heritage of typography designing in Varanasi. These Rickshaws are the primary attraction for Foreign and Local tourists in Varanasi, because it is clear and comfortable transport medium for traveling. We can focus along the cognitive performance of making typographical designs on Rickshaws, their planning, colour treatment, fashion, looks and existence as well as the importance and implication of these objectives. This designing style is originated in Varanasi and flourishing in nearby townships, metropolises, and small towns. How these designs are informative, yet raise the presence of Rickshaws and to attract viewers and customer focus. We can all so place information how Indian heritage is reflected in the typography and pictograms imprinted on Rickshaws. Typographical designs, subjects are owner's information, publicity and information's for tourists. Pictograms are mythological, nature and geometrical shapes. These designs are made by local artisans; we can also talk about their works, culture, life and designing careers. How we can implement and transform this designing style in contemporary methods of typography and indigenous Font design.

LALITYA’ (International Research Journal of Fine Arts), 2014

As per American author Mark Twin – ‘Kashi is older than History, older than tradition, older even than legend and looks twice as old as all of them put together’. This proverb proves that still Kashi or Banaras or Varanasi has something extra in comparison to other places of the world. For that reason in the element of Graphic Design Typography Art of Kashi have a widely scope for search of inner aspects of traditional and modern culture of Humanity. Writing and Language in a form of Typography plays most important role and its impact on tradition with culture. Language and especially local language plays a major role for the transformation of culture with Graphic Design and its element with this, typography still sustainable. Still Kashi has its unique tradition through the representation of different aspects of typography including Local Languages, hand writing, wall painters, banner painters, die cut artisans, metal cut artisans, calligraphers, trained graphic artist, untrained graphic artist and modern technology. Kashi is situated the banks of river Ganga (Maa Ganga), near the banks of Ganga more than 80 Ghats are represented life of Kashi. It is solely depend on that Ghats. Near the Ghats peoples live and still follow the cultural tradition of India. Its impact on his/ her language and its also transfer through Typography. This scenario presents a Typographical extravaganza in the field of Graphic Design, Design and all other aspects of Human design. The streets of Kashi especially near the Ghats still representing different aspects of Typography through Doors of Houses, Entrance of Temples, Inside of Temples, Architecture of Houses, Temples and streets, Wall and Road side of walls presenting variety of typography in different way and alive. With this research paper I’ll show how still tradition and culture is plays a major role for the transformation of old to new. Kashi is also alive in a form of mini India and this is the very important point to see and feel the magical extravaganza of Display Typography of Kashi in modern and global perspective. My research paper is under the theme ‘Display Typography design within Local context’.

typography. There are some rules on typography to apply on innovative design. Most of the designer doesn't follow these rules for their typesetting. That why the aesthetic values of graphics design is going down day-byday in Bangladesh. It is also more time consumed with complexity. We talked with 50 designers in different design firms and asked some basic questions on typography as questionnaires in different geographical area in Dhaka city. The purpose of this paper is to find the difficulties and solutions to overcome these lacks on typesetting for graphic designer.

Integrated Journal for Research in Arts and Humanities, 2022

When it comes to language and literature, the richness of a culture can only be comprehended via reading and listening. Brahmi is believed to have been responsible for the script of all northern Indian languages except for Urdu. The result of a lengthy and tedious process. There are currently over 200 different languages and dialects spoken throughout India. Some are extensively employed, while others are only found in a single location of the country or planet. Only twenty-two of these amendments has made it into the text of our country's founding constitution. In addition to Braj Bhasha, Avadhi who is spoken in the Oudh region, Bhojpuri, Magadhi, and Maithili which is spoken in Mithila, Rajasthani who is spoken in Rajasthan, and Khadi Boli which is spoken around Delhi. A substantial number of people speak Hindi in its various forms. Another script, known as Brahmi, was also established in the region during this period and was used throughout India and the rest of South Asia at the same time. Even though historians, archaeologists, and epigraphists have been interested in Brahmi Script for centuries, the script's varied forms, structures, and typographical peculiarities as an alphabet have been mostly overlooked and never examined. Within the scope of this paper, we shall look at the origins of the Brahmi script as a type of logography. Historical appreciation for the distinct anatomical symmetry and phonetic logic of the Brahmi script exists. This has led some outsiders to think that it is an import, yet a consensus has developed over time. "Brahmi" is no longer thought to be a stolen script, but rather an Indigenous one that developed over time. Brahmi is a typographic entity that is basic yet graceful, bold yet lyric, distinct yet easy to recall, symmetrical with decent legibility even when scaled-down, and generally easy to recognise when touched on with closed eyes as a typographic entity. Brahmi is a typeface with a wide range of distinct features. This study investigates the history of the Brahmi script as a logographic element.

Technical Challenges and Design Issues in Bangla Language Processing

Typeface and font design are fundamental to textual communication, and therefore, such communication, whether for use in print or on screen, is greatly enhanced and facilitated by the development and application of high-quality designs. The chapter discusses the key issues that underpin best practice in Bengali digital type design—from a design’s conception to its implementation, that is, the design concept and brief, the character set, the design dimensions, character fitting, and also the considerations for harmonious multi-script setting. The design methodology described is founded on research-based practice in non-Latin type design and font development. It considers how past practices in type-making and typesetting affected current Bengali typeforms and how an evaluation of these practices, in conjunction with the use of the existing and emerging font technologies, can inform the practitioner in the design of high-quality cross-platform OpenType Bengali fonts.

The Anatomy and Historical Development of Sinhala Typefaces, 2016

This thesis is an epistemological study, which presents various knowledge-building activities for Sinhala typography. Initially, it presents a historical analysis on Sinhala typefaces and the morphological characteristics of letters. These characteristics articulate the anatomy of Sinhala. The historical outline on the Sinhala letters and typefaces are discussed in relation to the introduction of the printing press and various technological developments. Using this a chronological timeline of Sinhala typefaces was developed. Followed by gaps in the current typographic knowledge, and its limitations are analyzed and discussed. The core contribution of this thesis is a comprehensive study on the anatomy of Sinhala based on distinct visual properties of each letter. We report how these visual properties are manifested in typefaces from 1737 CE to 2013 CE. These visual properties are also compared with existing typographic knowledge systems from scripts around the world. We suggests 59 (sub categorized into 19) visual properties distinct to the Sinhala letter. We believe that our research on the morphological characteristics (visual properties, referencing lines, grid and vocabulary) that defines the anatomy of Sinhala fill up the existing knowledge gap in Sinhala Typography. The thesis reveals that the existing typefaces were developed intuitively by designers or copied, adapted to overcome technological changes. It also speaks of an absence of formal knowledge on Sinhala typography, more specific to typefaces design. As a result, the number of typefaces designed today (considered as original typeface designs) is lesser than of what was found prior to the introduction of digital (Sinhala) typefaces used as body text. The thesis primarily contributes knowledge towards building a theoretical framework for Sinhala anatomy, it also contributes knowledge to type design process, typographic pedagogy, typographic history, and methodology that can be adopted by other scripts to define the anatomy and to analyze typefaces.

1993

The alphabet is a fundamental element of visual communication and represents a basic level of communication design. Therefore, the learning experience in the development of one of the most complex of visual systems – a typeface – can be evaluated and transposed into all other areas of graphic design. There is a lot to be learned from observing the design of a typeface family, not only towards working on letterforms but also with regards to our perception of two-dimensional shapes and the basic optical rules of graphic design – particularly in a situation such as type design where these virtually thrust themselves upon the designer. Since more attention is being given typefaces today by almost anyone with a computer, this essay is intended to provide a glimpse at some of the many aspects of form which were taken into account when developing a specific typeface (ITC Jamille) and which, in many cases, are applicable to letterforms in general. When we learn about and work with two-dimen...

Course: ART623, 2012

Throughout history, the design of letterforms has followed a path toward ever-greater speed and reproducibility as well as beauty and legibility. Every element in the design of a letterform has a story to tell. The angle of a letter’s axis reflects the desire of the designer to evoke or reject handwriting. The design of a descender can be traced to a religious quest for knowledge and power. The modulated stroke of a letter, created through the shape of a pen point, speaks of conquest, democracy, and human rationale. Although the letter cannot exist without its companion – the page (or screen or wall or any other multitudes of surfaces imaginable upon which it has been scratched, carved, painted, drawn, stamped, printed or projected), this investigation explores Latin letterform design alone: those aspects of design one perceives as they examine every nuance of an individual letterform, with an understanding of how these aspects came to be.