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This weekend I played with our very own and beautiful Devanagari script, freeing it from the curves, the top-bar and thus the horizontal writing direction. Definitely needs the touch of a typographer for it to be usable, working with @shiveeshfotedar to make that happen. Inspiration: Hangul and Cyberpunk #script #devanagari #typography #font #typeface #graphicdesign #hindi #hangul #india #languages #cyberpunk #experiment #design #futuristic #brahmi #indianfuturism
The craving for home nowadays, without the distractions of ‘normal’ life, grows even stronger and ends up manifesting in small actions I often catch myself doing. I realized how long had it been since I wrote in my own language (the last attempt was over a year back when I started signing my name in Hindi) and on a whim this time, I started scribbling the alphabet. I must now admit that I am ashamed of having forgotten the order of the varnamala of my own mother tongue. That ranks pretty high in the stages of de-racination – which is a war I have been fighting with myself lately.
As someone interested in languages, I started thinking of the influences Sanskrit had on the Eastern Asiatic Languages and wondered if the former’s script could borrow from the aesthetics of the latter – say, Hangul or Japanese. Also considered the scenarios where Devanagari could be written vertically, which would be possible if there wasn’t the connecting upper line for words (called a shirorekha).
As I started writing line after line without the shirorekha, I felt that a lot of the curves could be reduced to straight lines and angles – the upper line also served the purpose of aesthetically balancing all the curves and lines binding them into one complex shape, which was the word. This shape is not only was the word but its exact pronunciation. The script now looked different yet familiar, but the words were difficult to partition so I introduced forward-slashes after every word as separators where sentences would end with a double forward-slash. Filled a couple of pages with Kabir’s couplets, which did briefly take me back to the Hindi classes in school.
While I was at it, I could not help but think of Blade Runner 2049, which is an amazing movie to watch for anyone who is in the creative line of work – the movie is entirely a visual and aural inspiration board (will write a separate post about the it sometime). It featured Hindi in multiple shots, shown as one of the many languages of the society of the future – which does make sense given how much it is neglected despite being one of the largest spoken languages in the world. The representation was fair, not over-compensating as it shared an equal footing with other languages of the world, and most importantly, it was correct – because the worst thing to see, when non-European languages are being represented in western entertainment, is a cringe-worthy mistake, where you know that someone did not bother to run a check on the content after translating it on Google.
And so, I envisioned this script to be something of the future, in the brightly lit signs dotting a dystopian megapolis, where every important street would look like Paharganj on steroids.
My roommate could read it right away with some confusion in certain characters I had taken too much creative liberty with, other friends mentioned that connecting characters without the upper line was difficult for them. I also noticed that the character sizes looked really odd, their differences now accentuated by the absence of the upper connector line, and this definitely needed a touch of a typographer – someone who knew their kerning etc.
I spent three hours on the phone with Shiveesh the next day – an intense discussion about culture and languages of India. He made an interesting remark about Devanagari and why ridding it of its upper connector-line does not make sense to him, something which I do partly agree with – ‘the organic shapes..meaning curves and all.. give a unique characteristic look to Devanagari because it was developed on leaves as a medium, and the typography needed a structure that had visual contrast as it cuts against the grain.’
True. But this also brings up the question, which is – should the script also evolve with the medium that carries it, or should it remain true to its original medium and continue unchanged?
Could Devanagari take on a new skin for seven-segment displays and/or machined/laser-etching applications?
I think this style of writing, though more difficult to decipher compared to the existing script, has its benefits – in signage limited to a word or two, vertically writing in Hindi, and etching of Devanagari by machines where curved toolpaths add to cost and time of finishing a part. There might also be benefits to the volume of ink saved in paperwork against dense Devanagari script (again, a new medium) with its curves and shirorekha – the latter could be literally looked at as striking-through each word.
But since this was just another weekend design exercise, yet again overthought, it definitely needs to be more legible with the right touch of a typographer – because what is the use of even a hundred the benefits when most people cannot read it.