The postman brought a delivery from Tara Books, India yesterday. This is a book that Sirish Rao and I have worked on. The project was introduced to me by Tara’s editor V Geetha and has been incubating in our collective minds for a long time. The available English translation felt too big and complex to illustrate and design, and I felt a bit overwhelmed by it. The project finally fell into place when Sirish came up with a highly visual translation of the original author Morgernstern’s text. My job was to typographically ‘illustrate’ the text and design the book.

I enjoy the challenges of approaching typography as sign, mark and image. For me, this is process takes me back to the origins of language – where letters are marks and images that can be read both ‘textually’ and ‘visually’.  The word is a mark on a page. At very first glance, the word is first and foremost an image.

As the blurb on the book reads: First published in 1905, German poet Christian Morgernstern’s Im Reich der Interpunktionen (In the Land of Punctuation) is a brilliant comic poem on language. Morgernstern called it a linguistic caprice; and it is a fun romp, populated by punctuation marks as characters with their own agendas … and yet the political undertones are unmistakable, suggesting systems of control that go beyond language.

A detail from a spread

An excerpt from an email to publisher Gita Wolf explains part of my process: I’ve taken a modernist (some may say militaristic approach) to the design. What I liked most about Sirish’s text was the visual but also staccato nature of the text. I’ve tried to maintain this by giving a very left-right, turn page, left-right, turn page rhythm to the book.
Other thoughts: Besides the obvious political nature of the text, I’ve envisioned this as a modern, contemporary conflict with visual allusions technology, machinery, war…Influences have been, amongst other things, the structures and rigour of letterpress and metal type, Russian posters of the 1920s and 1930s, the work of Werkman and modernists such as Weingart.
The look right now is flat and graphic – but this is the artwork. I envision the printed version as having uneven texture. Also, as with letterpress, if the black is printed first and the red after, then both layers should be visible… we can experiment.

The book is available here

14 Non-Latin Typefaces was a series of posters created to celebrate a bipartite exhibition and two-day conference on ‘Non-Latin Typeface Design’, jointly hosted by St Bride Library, London and the Department of Typography, University of Reading.

I worked on the project with the wonderful, hugely experienced typeface designer Fiona Ross. These typefaces were produced for Linotype in the UK, by teams headed by Walter Tracy in the 1970s and Fiona Ross in the 1980s. It is incredible to imagine that the beautiful graphic forms and non-latin characters you see below were each created and drawn by hand.

Script: Arabic; typeface: Linotype Yakout Bold

Script: Arabic; typeface: Linotype Qadi

Script: Arabic/Farsi; typeface: Linotype Nazanin Bold

On the posters, we featured the same character ‘ka’ (often the first consonant in non-Latin languages) in a white box on the top left corner. This, along with the script and typeface titles on the top right corner provided an index that grouped the 14 posters together. The main character showcased on the poster was chosen both for its characteristic as well as its representative shape. I chose bright, bold colours to suggest the flavour and vibrancy of these scripts.

The posters were printed by silkscreen on black handmade paper by Arumugam and his team at AMM Screens in Chennai, India.

Script: Arabic; typeface: Linotype Maged

Script: Bengali; typeface: Linotype Bengali Bold

Script: Devanagari; typeface: Linotype Rohini Bold

Script: Gujarati; typeface: Linotype Gujarati Bold

Script: Gurmukhi; typeface: Linotype Gurmukhi Bold

Script: Kannada; typeface: Linotype Kesari Bold

Script: Malayalam; typeface: Linotype Manorama Bold

Script: Sinhala; typeface: Linotype Araliya Bold

Script: Tamil; typeface: Linotype Samanti Bold

Script: Telugu; typeface: Linotype Tamara Bold

Script: Thai; typeface: Linotype Sukothai Bold

You can read Fiona’s paper on Non-Latin Typedesign at Linotype and a review of the exhibition by Eye magazine. You can also buy a copy of the exhibition catalogue from St Bride Library.