Three main languages with discrete alphabets are spoken in Sri Lanka. Alain Parizeau from the Academy of Design, Colombo, explains why his students embarked on an artistically ambitious project to develop new typefaces based on different language combinations of Sinhala, Tamil and English.
You can see the academy’s typography projects on display at London’s Southbank Centre, which we co-present as part of our work in the arts.
What is typography and what is a font?
Typography is the science of building and arranging letters or characters, much like music is the building and arranging of sounds and rhythm. If ‘typography’ was music, a ‘font’ would be an ‘mp3′.
Good typography tends to be unnoticeable. We acknowledge the message that it communicates first. Only when it is presented out of its communication context can we inspect the sum of its parts. Within the context of our No Straight Lines exhibition at the Southbank Centre and its projects, the word ‘typography’ means a platform for communication.
What kind of work are you doing with Sinhala and Tamil?
One of my former students, Pathum Egodawatta, decided to experiment with the Sinhala and Tamil alphabets for his final year project. I have put some of his work on display at Alchemy 2014. Mr. Egodawatta combined distinctive elements of each language to make Sinhala/Tamil hybrid letters.
The Tamil/Sinhala hybrid is one project amongst others in this exhibition. The selected projects all share a common theme; they are all Sri Lankan hybrids. For example the top left poster in the photo above is an English and Sri Lankan crafts fusion and the two others on the top line of the photo are Sinhala hybrids.
What are some of the design problems for this project?
There are no standard typefaces (font families) for any language. There have been some successful Tamil typefaces designed in India; but very few Sinhala typefaces are available. The biggest problem right now is visibility, consistency and readability.
In Sri Lanka, much like many other South Asian countries, we must often use trilingual signage. There are limited options when it comes to finding a font that is available in Tamil, Sinhala and English. Designers are forced to mix and match different fonts.
How do you see the role of a designer?
The Academy of Design aims to give students the wherewithal to make good design. Each of the projects we are exhibiting at this year’s festival was developed within the context of a design problem. What is on display, are some of the solutions.
I think it is important for young designers to remember that everything they make must help people and improve communication. That is what we do as graphic designers.
There will always be communication problems when people speak different languages. Better type can reduce some of these and make language inclusive.
A designer can take into account the purpose and use of each font. This includes who will use it and how. Readability and visibility are necessary for a design to be considered successful and attractive.
‘No Straight Lines’ is on display in the Queen Elizabeth Hall Foyer at London’s Southbank Centre until 26 May and is free to attend. The display is presented in partnership between the Southbank Centre and the British Council. It is part of Alchemy 2014, a festival celebrating South Asian arts and culture.
Read about an entirely different approach to typeface, also on display at Alchemy 2014, by India’s Hanif Kureshi, or watch the video:
Read more from Alchemy 2014: Pakistani history outside the history books
