Study on Malayalam Script

STUDY ON MALAYALAM SCRIPT
BY NANDINI JOSE
SUBMITTED TO NIFT IN PARTIAL
FULFILLMENT OF THE REQUIREMENT FOR
THE DEGREE OF
MASTER OF DESIGN SPACE
DEPARTMENT OF DESIGN SPACE
FACULTY GUIDE: ASSISTANT PROFESSOR SUSMITA DAS PAL,
DEPARTMENT OF FASHION COMMUNICATIONS
NATIONAL INSTITUTE OF FASHION TECHNOLOGY
MUMBAI
2013
DECLARATION
I, the undersigned, hereby declare that this dissertation entitled ’A study On Malayalam script’ is
my own work and effort and that it has not been submitted anywhere for any award or degree.
Name of the student: Nandini Jose
Signature of the student:
Place: NIFT, Mumbai
Date
A study on Malayalam script
ABSTRACT
Kerala is witnessing a new wave – There is a huge appeal for products that combine the
traditional and the contemporary. Particularly interesting are new trends that pay tribute to the
roots, bringing back to light certain cultural elements that were once lost or forgotten. Methiyadi
rubber footwear, inspired from ancient wooden padukas is a perfect example of this
phenomenon. Avial – the band, fuses Malayalam folk and rock music in their music; the result –
sound that the audience has never heard before but are familiar to in some way. Giving a new
outlook to something local, while maintaining its essence is the ongoing trend. This new trend
could be applied to the beautiful Malayalam script as well. The application of script as well
should evolve with changing times, without stripping it of its essence.
Malayalam lipi [script] is beautiful on its own; the loops, the swirls, the rounded turns. Although
Malayalam script has been experimented with in the context of communication, it has not been
explored much beyond that. To explore, an understanding of the origin, evolution and uses of the
script becomes necessary. The objective of this research is to collect information about
Malayalam script that would prove useful for anyone who hopes to use it in design. A qualitative
research was conducted to understand the subject, through observation and by interviewing
several artists and designers in the field.
Through this research certain interesting things have come to focus – the need for archiving
lettering and typographic works, new trends in design, increasing appreciation and importance
given to the script, a changing market that is open to western concepts yet takes pride in their
roots, and the huge scope that is there for products that include Malayalam script based designs.
ACKNOWLEDGEMENT
First and foremost I would like to thank God for giving me the wisdom and capabilities to carry
out this project and complete it on time.
Secondly I wish to express my sincere gratitude to Hashim Padiyath of Design Difference for
helping me from the start to gain an understanding of Malayalam typography and lettering,
helping me chose my area of study and for continually clearing my doubts and queries through
the course of the research. I would also like to acknowledge Professor G.V.Sreekumar, IDC, IIT
Bombay, for giving me a basic introduction to Malayalam typography and for referring Hashim
Padiyath.
I thank my faculty mentor, Assistant Professor Susmita Das Pal of Fashion Communications
department – National Institute of Fashion Technology, Mumbai, for her valuable guidance and
support.
I also would like to acknowledge the support of my family, without which I would not have been
able to conduct the research to the best of my abilities.
LIST OF PLATES
Plate no.
Title
Page no.
1a
Grunge font Pampa
16
1b
Serif font Ambili
16
2a
Kasturi font family
17
3a
Netholi Oru Cheriya Meenala poster
20
3b
Aamen poster
20
4a
Changes in movie posters over the years
21
5a
Comparison between the old and the new
22
6a
Movie title ‘Kuttykuppayam’
24
7a
Book cover -Title –‘Thakarna Hridayangal’
33
7b
Book cover -Title – ‘College Kuruvikal’
33
7c
Book cover- Title – ‘Theeram thedunna thirakal’
33
7d
Book cover –Title – ‘Kattutharavu’
33
7e
Book cover –Title –‘ Chuvanna Kadal’
33
7f
Book cover –Title –‘Mahar’
33
7g
Book cover –Title – ‘Parvathangalile Kattu’
34
7h
Book cover –Title – ‘Thiranedutha kathakal’
34
7i
Book cover –Title – ‘Randu Penkuttikal’
34
7j
Book cover –Title – ‘Themmadi Rashtram’
34
7k
Book cover –Title –Nammukku ‘Gramangalil
34
Chennu Rapaarkaam’
7l
Book cover –Title – ‘Barsa’
34
8a
Clutter in the streets
41
9a
Space oriented lettering
42
10a
Hand painted lettering
42
11a
Increasing Usage of English
43
12a
Use of Rachana old lipi in a poster
44
13a
Aggressive graffiti styles found in the streets
44
14a
Different hand lettered styles in the streets
45
15a
Movie Ustad hotel’s title.
45
16a
Minimal
designs
inspired
Malayaleegraphy
47
posters
17a
Via Kerala font
48
17b
Akam book cover
48
LIST OF FIGURES
Plate no.
Title
Page no.
1a
Illustration of movie title Nirmala
23
2a
Iluustration of title ‘Kandavarundo’
24
3a
Illustration of title ‘Poombata’
25
4a
Illustration of title ‘Snehadeepame
26
Mizhithuraku’
5a
Illustration of title ‘Thapaswini’
27
6a
Illustration of letters from the title
27
‘Kammath and Kammath’
7a
Illustration of letters from the title
28
‘Season’
8a
Illustration of letters from the title
28
‘Thoovanathumbikal’
9a
Illustrations of letters from the movie title
29
‘Kili Poyi’
10a
Illustrations of letters from the title
‘Namukku
gramangalil
35
Chennu
Raaparkaam’
11a
Illustration of title ‘Chandana Marangal’
35
12a
Illustration of title Barsa
36
13a
Illustrations of letters from the title
37
‘Chittagong Viplavam’
14a
Illustration of title ‘Lust’
15a
Illustration of letters
37
from
the title
38
Illustration of letters from the title ‘Randu
38
‘Smruthidarpanam’
16a
Penkuttikal’
17a
Illustration of title ‘Ente Katha’
39
18a
Illustration of title ‘ Parvathangalile Kaate’
39
19a
Illustration of title ‘Sahara’
40
TABLE OF CONTENTS
Chapter no.
Title
Page no.
INTRODUCTION
1
1.1 Introduction
1
1.2 Objectives
1
1.3 Significance
2
1.4 Scope of Research
2
1.5 Limitations
3
REVIEW OF LITERATURE
2.1 Understanding the difference between
2
3
typography and lettering
4
2.2 Evolution of lettering and Typography
4
2.3 The Indian context
5
2.4 Malayalam script
8
METHODOLOGY
3.1 Methodology
12
3.2 Schedule
13
PRIMARY RESEARCH ANALYSIS
4
5
4.1 Typography
19
4.2 Cinema titles
24
4.3 Book Cover designs
35
4.4 The streets
45
4.5 New Avenues
50
CONCLUSION
5.1 Need for archiving
55
5.2 Design Characteristics
58
5.3 Scope
58
LIST OF REFERENCES
BIBLIOGRAPHY
GLOSSARY
Chapter 1: INTRODUCTION
1.1 Introduction
Kerala has been witnessing a new wave; many changes have been taking place in different
spheres; movies, music, lifestyle. There is a huge appeal for products that combine the
traditional and the contemporary, and a growing interest in reviving things of old. Many new
trends pay tribute to the roots, bringing back to light certain cultural elements that were once
lost or forgotten. Methiyadi rubber footwear, inspired from ancient wooden padukas is a
perfect example of this phenomenon. Avial – the band, fuses Malayalam folk and rock music
in their music; the result – sound that the audience has never heard before but are familiar to
in some way. Giving a new outlook to something local, while maintaining its essence is the
ongoing trend.
Malayalam lipi [script] is beautiful on its own; the loops, the swirls, the rounded turns.
Getting accustomed to a script has one drawback. One tends to get immune to the beauty of
my one’s own language. People do not notice the script by itself; they miss the aesthetic and
normal design elements. A tiny bit of observation makes you separate the elements that make
the script, from the communication tool that it is, and shows you that it is an art by itself.
This documentation is an attempt to collect details about Malayalam script which could be
used in design, and in the process, alter the way one sees letters. It does not boast to be a
complete study of the usage of Malayalam script. A few significant areas where the language
has been used in different ways have been studied. However, even this short study conducted
from January to April 2013, has revealed interesting factors about the script, which had to be
gathered through several interviews and observation. This study hopes to aid anyone who
wishes to know details about a few ways in which Malayalam script has been applied and
could be applied. This is just a mere beginning to what is an area that could be studied for a
lifetime.
1
1.2 Objectives
The objective of this research is to understand and document how various characteristics of
Malayalam script has been used in design and analyze what further explorations could be
done with it.
To attain the core objective, these are the areas that will be studied-

A thorough study of the origin and evolution of the script.

Understand how the script is used in different areas.

Understand elements of the script that are/ could be manipulated for use in designs.

Find out new trends in the usage of this script, in the context of design.
1.3 Significance
Malayalam script, which hails from the Dravidian family of scripts, is a curvy-linear script
composed of round and linear features. The script by itself is beautiful to look at. A great
amount of work has been done in this area; however, most of it is not documented. Also, a lot
more exploration could be attempted. This research aims to understand and document some
of the many ways in which Malayalam script has been used. It is hoped that this study will
help one notice and understand the aesthetic potential that a script could possess.
1.4 Scope of Research

This research is helpful in understanding interesting ways in which Malayalam script
has been applied in design.

Although much research has been done on Malayalam typography, Malayalam art
lettering works are not usually documented or studied. Listing some of the lettering
styles that have been applied over the years is a step towards archiving and
maintaining records of what has been worked on previously.
2

Exploration is futile if a background study is not carried out. It is conceived that this
research will benefit anyone who wishes to explore more in this area.
1.5 Limitations

Typography is a vast area which requires months or even years of training to be an
expert at. On lacking such training, the technical parts of the script have not been
analyzed in detail by the researcher. Familiarity in this area would have positively
improved the findings of the study. However, during the initial stages, the research
was tuned to focus more on the artistic characteristics of the script and hence the
problem was avoided.

Although documentation on the origin and evolution of the script is easily available, it
was difficult to find any other resources in the concerned area of study. Further
understanding could be attained only by interviewing various artists and designers in
the field.

Much of the older works have not been archived. Hence, at times it was difficult to
procure usable material from the earlier years. Many old lettering works had to be
redone on Adobe Illustrator because only images of poor quality could be procured.

Due to the time limit of the concerned project, it was not possible to analyze beyond a
point. There are tens of thousands of lettering works that could be studied, yet due to
the time limit, I had to select and study a few and base my analysis on those findings.

Studying about the aesthetic application of a script tends to become subjective at
certain points. What one person thinks is significant could be considered irrelevant by
another. Which typeface one designer considers suitable, was very often what another
considered as inadequate.
3
Chapter 2: REVIEW OF LITERARTURE
Exploring Malayalam lettering styles
2.1 Understanding the difference between typography and lettering
Most people are under the misconception that typography and lettering are one and the same.
It is important to understand that although lettering and typography share many of the same
concepts, they are different disciplines. Typography is actually a subset of lettering, because
it is the study of letters applied to typefaces. In simple terms, lettering can be defined as “the
art of drawing letters”. It is a specific combination of letterforms crafted for a single use and
purpose as opposed to using previously designed letters as components, as with typography.
Often lettering is hand-drawn, with pens, graphite or brushes, although now, some directly
work on computer software.
Lettering is almost exclusively used as display text. Calligraphy on the other hand is much
more likely to be used in longer passages of text. While calligraphy and lettering are once
again related, there is a central difference between the two. Calligraphy is based
on penmanship, which involves writing letters. Lettering on the other hand is based
on draftsmanship, which involves drawing letters. [Joseph Alessio, 2013]1
2.2 Evolution of lettering and typography over the years [Western context]
The arts of both lettering and calligraphy have been around for centuries. Spoken languages
developed into writing systems. Both these arts evolved alongside each other, along with
other letter-related arts such as engraving.
In 1439, when Johannes Gutenberg built his printing press, he gave the world a practical
solution to printing. This gave rise to the discipline of typography. Each letter had its own
type block on which it sat, and typesetters would arrange the type character by character.
4
During this period of experimentation with printing, lettering and calligraphy still played an
enormous role in communication. They moved with the times. With the end of the Rococo
era, these art forms became simpler during the early 19th century. During the Victorian era
and Art Nouveau, they adopted ornamental shapes. The worlds of type and lettering
constantly intermeshed. Lettering artists were hired by type foundries to design new
typefaces. Lettering figured strongly through Art Deco and Modernism, for posters and ads,
logotypes and book covers. Through the latter half of the 20th century, lettering went through
many transformations; the organic styles of the 70′s, the new modernism of the 80′s, and the
grungy 90′s styles. [Joseph Alessio, 2013]1
There were continuous efforts made to accelerate typesetting and printing processes during
this time. In 1884, German inventor Ottmar Mergenthaler succeeded in building the linotype
machine, which revolutionized the newspaper industry. Although some people still hand-set
type, the industry as a whole was continuously changing to introduce faster and improved
techniques. Typography was explored in the various art movements, from Dada to
Modernism and beyond. Thought was given to ways in which type could be used to give
better expression and meaning. As typography, experimental and traditional, evolved, the
techniques moved from phototypesetting to the digital methods. Today, typography as a
discipline looks very different from what it was. Instead of setting metal type and locking in
forms, panels in Illustrator or InDesign are used today. Similarly, lettering has also moved
into the digital format through which much of our design work is produced. Many artists,
however still stay loyal to analog media by hand-drawing lettering. This digital amalgamation
has been largely responsible for the confusion of lettering and typography, since they are now
often created using the same programs — the difference between the two is no longer the
difference between a brush and a letterpress machine, or a drafting table and linotype
matrices. However, lettering and typography are still different concepts, and understanding
them, their similarities and differences is essential. [Joseph Alessio, 2013]1
2.3 The Indian context
“Typography -‘what language looks like’ cannot be separated from the circumstances in
which language lives and grows. These include place but also use of language as seen by the
tools that influence it, technology used to create typographic language, and culture and
human need that drive language.” [Ellen Lupton, 2004].
5
2.3.1 Printing in India
In 1556, the Portuguese brought letterpress printing to India and lithography was introduced
to India in the 1820s. According to Francesca Orsini (Ulrike Stark’s - An Empire of Books)
only books that were guaranteed sales or were commissioned by a patron or the government
were printed by letterpress. The letterpress was not a preferred medium of printing in India.
The need for metal type in Indic scripts and oil-based inking for printing, made the letterpress
expensive and complex. Lithography, which came much later, worked better in India. The
affordability and ease of the lithographic process allowed printers to produce books at low
cost in different scripts without having to buy a full set of type. Lithography also allowed for
a variety of scripts and required the use of brush and pen work resulting in a more visual
experience of the page. It allowed printers a chance to celebrate the visual (and calligraphic)
traditions of the page. The lithographic printed page seemed more familiar to the Indian
audience, who were used to handwritten manuscript.
Singanapalli Balaram a well-known Indian educator perceived that ‘human need is the origin
of design, and that is not just physical but physiological, socio-cultural, ecological and
spiritual. In the West, design emerged as a response to industry and mass production and is
considered separate from art. In India, there has always been a direct link between design and
art and craft traditions and this is evident in the Indian approach to typography which sees the
‘character’ as an ‘image’. In Sanskrit (as in most Indian languages) the word for ‘design’ is
the same as the word for ‘art’ - kala.’
2.3.2 From hand-painted lettering to digital lettering
Post-Independence, Bombay became home to a large collection of Art Deco buildings. Over
time, the Art Deco aesthetic developed into what Jon T Lang, an urban design expert and
author of A Concise History of Modern Architecture in India, calls “Indo-Deco.” The clean,
geometric lines of the sans-serif type gave way to more decorative and ornamental
counterparts seen at the time in the signage of small businesses, retail stores as well as
cinema halls - Similar to what happened in the west.
As time changed, so did the materials. During the industrial era, wood and metal were mainly
used for lettering. This gave way to the paintbrush. The time of the painter had arrived. Every
village, town and city was home to its own community of painters, each seeking inspiration
from one other and each trying to outdo the other. Painters had their different styles: some
painted only on white backgrounds, others utilized the drop shadow effect and others almost
6
always gave their lettering a distinctive Bollywood poster aesthetic. This was a time when
commercialism and art worked in perfect harmony. And it was visible on every corner: tea
stalls, juice shops and billboards. These painters were not just shaping the country’s
landscape, they were bringing into emergence a new kind of art – the kitsch typography that
India is famous for. However, the IT revolution in India changed this scenario.
Along with software engineers, India also produced a large number of desktop designers.
Designers with little knowledge of typography opened DTP (desktop publishing) shops
across the country. These shops began producing posters, shop signs, banners, small
advertisements
and
business
stationery.
[Mohammed
Rizwan,
2010]2
There came an evident shift from the painter who lovingly decorated the public spaces, to any
man with a computer and programs like Photoshop or Word. Given the present scenario,
Mahendra Patel [Retired Senior faculty at NID] believes that design and typographic
education have become even more critical.
2.3.3 Growing interest in hand lettered styles
Another thing that has become increasingly significant is the need to document the older
styles of typography or lettering. Kurnal Rawat, founder of the design studio, Grandmother
India, documents the loss of Bombay’s lettering in his project, Typocity. In the project’s
initial year, Rawat discovered that many of the city’s beautiful signs, many of which were
engraved into building walls, disappeared as the buildings themselves were torn down.
“Unfortunately, in India design does not have good documentation. Or shall we say, a history
of recognition.” [Mahendra Patel, 2010]3
There is also a broader trend in India to merge hancrafted work with technology. Designers
across disciplines now talk about engaging with local artisans – for both preservation and
exploration. Not so long ago, Ogilvy and Mather in Mumbai commissioned local painters in
the southern city of Chennai to create a print campaign that was a pastiche of giant, hand
painted political posters, for which the city is renowned. Kurnal Rawat says “I see a
possibility of an outburst of the regional stuff in a completely modern way. The regional
work can be surprisingly stronger than the English work. You see mobile companies forced
to do their ads and promotional material in regional type to connect with the audience. So I
think there is scope for that. I think Indian typographers should go beyond just the Roman
alphabet and think more regional.” So does this mean that we will return to the days of
7
considered typography and design across disciplines? Will the need for local language scripts
demand a closer collaboration with local artists and painters and could this collaboration lead
to an altogether new aesthetic? Whatever happens, the role of typography in shaping cultures
and environments will remain crucial. [Kurnal Rawat, 2010] 3
2.4 Malayalam Script
The Malayalam script is used by nearly 40 million people in Southern India, mostly in the
state of Kerala. Malayalam belongs to the Dravidian family of languages.
2.4.1 Origin
The earliest evidence of writing in India is in the pre-Aryan civilization, which flourished
between 3500 and 2000 BC. Found in the far north, a region known as the Indus Valley, these
signs/symbols seem to have no direct connection with any writing used in India today. The
origins of the current Indian scripts came to happen much later in the fifth century BC with
the appearance of Brahmi script, from which derive almost all current Indian writing systems.
From here there are two major groups: the scripts of the North, or Indo-Aryan, whose main
exponents are Devanagari, Bengali, Gujarati, Gurmukhi and Oryia, and the group of the
South, better known as Dravidians and whose principal scripts are Tamil, Malayalam, Telugu
and Kannada. Due to their common origin, the Dravidian and Indo-Aryan share many
structural features. [Daniel Sabino, 2011]5
The Malayalam language has existed independently since the eighth century AD and has
been written in several different scripts. According to historians, Malayalam script had
undergone four variations till it transformed into the modern script. These are Vattezhuthu,
Kolezhuthu, Grantha script and Arya ezhuthu.
It is believed that the first graphic
manifestation of the Malayalam language came through script Vattezhuttu, in the eight
century AD. At around mid-seventeenth century AD, Vattezhuthu was replaced by Aryaezhuttu. The person responsible for this change was a Malayali poet named Ezhuthachan, the
first person to apply Arya-ezhuttu script, previously used only for Sanskrit in Malayalam.
The change was well accepted by the general public and spread rapidly. [Daniel Sabino,
2011]5
8
2.4.2 Modern Malayalam Script
It is known that what we understand as Malayalam today is really quiet recent. In the early
nineteenth century the Church Missionary Society, a Catholic congregation with activities in
South India, sent the young Rev. Benjamin Bailey to Kerala in order to start a press and a
Catholic school. From 1817 – 1850, during which time he was there, Bailey proved a tireless
worker and achieved great achievements in the areas of lexicography, journalism, translation
and typography. The CMS Press, which he founded in 1821 in Kottayam is known as the first
press of Kerala and was a cultural landmark in the history of the state. Among Bailey’s
achievements are the translation of the Bible into Malayalam, the printing of the first
complete book in Malayalam in Kerala, the publishing of the first Malayalam- English
dictionary, printed in 1846 and the design of new metal types cast to be used in CMS Press.
Bailey was uncomfortable with the large size and square form of the script, which was used
to print the first Bible at Courier Press, Bombay. He decided to design new types for his work
and made more rounded script for Malayalam. He was inspired from the Aryaezhuthu
manuscripts of ‘Bhagavata’ by Ezhuthachan.
In the process of transformation from the old Vattezhuthu to the modern Malayalam script,
the form of the characters changed from square to circular. This change began when
Ezhuthachan came up with his new manuscripts. After when printing started, experiments
were done to refine the script. After the emergence of printing presses, the script achieved its
new form. The modern Malayalam script is very much round in form.
In the late 1960s the script was reformed by the Government of Kerala. The goal was to
simplify the writing system to allow its adaptation to the typewriters of the time and to
linearize it in order to simplify text composition. A team of experts has developed some
significant changes such as reducing the number of glyphs from about 900 to 150, and the
exclusion of some conjuncts. [Daniel Sabino, 2011]5
9
2.4.3 Printing in Malayalam and Malayalam Typefaces
Soon after the arrival of the Portuguese, printing presses were established in India.
However, only Latin, Portuguese and Tamil were printed. The first Malayalam book was
printed in Rome in 1772. It was a catechism book called Samkshepa Vedartham. Types
were cut by a Jesuit priest John Gonsalves. They were more or less square in formation
and called ‘Chatura Vativu’ in Malayalam. Books in Malayalam and Sanskrit were
written with stylus on palm leaves, which was easily available in Kerala. The formation
of letters in these manuscripts is of a square character as the result of using the stylus.
Taking this as the model, the types were cut.
In 1799, a Malayalam grammar book was written by Dr. Drummond and it was printed at
Courier Press in Bombay. A number of Malayalam words were used in this. Malayalam
types were cut by one Behramjee Jeejibhoy. This was the first book that was printed in
India which used Malayalam types. This followed the same square characters that were
used in books printed at Rome. In 1811, the first Malayalam book – the Malayalam bible
was printed in India. In 1821, CMS Press was found by Dr. Benjamin Bailey with the
help of a blacksmith and two goldsmiths. He got engraved the punches for types and
completed the hundreds of characters required in Malayalam. This set of types is the
precursor for all typefaces that exist in Malayalam now. Many tried to improve upon the
face initiated by Bailey and printing spread in Kerala. It took many years for the language
to get a good typeface. This was achieved by Thomas Maistry of Allapuzha. He cut a new
typeface in English body size and called it Kerala Santhanam face. Many other foundries
were set up and various fonts were produced from the 40s to the 70s.
Phototypesetting was introduced in 1979-1980 in Malayalam. It was in the leading
newspaper Kerala Kaumudi. Phototypesetting did not stay for long. It was replaced by
digital type setting when computers came into the printing industry. In the 1980’s
Desktop publishing took the place of hot metal composing and typesetting methods like
photosetting. Modular Systems and CDAC Pune played important roles in the
development of various Malayalam fonts. [Report on evolution of Malayalam script by
Rajathi.]4
10
2.4.4 Malayalam Art lettering
Malayalam art lettering, as is the case of most Indian scripts, is not well documented.
Considerable research and documentation has been done in the field of origin and
evolution of Malayalam Lipi (script) and Malayalam typeface development. However,
very little study has been done in the area of Malayalam art lettering. On observing early
publications, posters, film titles, book covers and so on, it can be seen that beautiful and
experimental hand lettering is not a foreign concept in Kerala. Artists like Bhattathiri,
Madanan and Bharathan to name a few, have done considerable work in this area. These
however are not well documented and there is a need to acknowledge these artists and
their skill with words.
Also, while use of art lettering of other scripts such as Hindi and English goes beyond
displays, publications and posters, nothing much has been done in Malayalam. Extensive
exploration has not been done with Malayalam script in terms of design and it would be
unfortunate if nothing is attempted with this curvy, beautiful script with all its potential.
In order to explore in terms of design, it is essential to learn about what has already been
done in the field of art/ hand lettering in Kerala.
11
Chapter 3: RESEARCH DESIGN AND METHODOLOGY
3.1 Methodology
3.1.1 Secondary research
On marginally modifying the objective of the research from exploring lettering styles, to
studying how characteristics of the script is used in design, further secondary research
was conducted in order to gain some knowledge in the following areas –

Contemporization seen in different spheres in Kerala, including movie titles and
book cover designs.

Increasing appreciation for usage of Malayalam script based designs.

Lettering and typographic designs in other languages.
Methods Used:
This information was attained through referring books, new articles and online articles.
3.1.2 Primary research
Primary research conducted was qualitative and visual in nature. The various steps that
were involved included conducting interviews of artists and designers in the field of
Malayalam lettering or typography, going through archives to understand usage of the
12
script in book cover designs, observation of Malayalam movie titles and a study of the
usage of script in the streets.
This was to attain information in the following areas –

Usage of Malayalam typography and lettering

Different styles and ways in which the script is used

Local characteristics that could enhance usage of script in design

Scope for further exploration of Malayalam script based designs.
Methods Used:

Interviews: Interviewing various artists and designers who are involved with the
usage of Malayalam script in various ways. This included,
o
o
o
o
o
o
o
Hashim Padiyath [Design Difference] – Typeface Designer
Narayana Bhattathiri – Freelance lettering artist
Vipin Udayanan [Papaya Media] – Graphic designer
Tessa George [Via Kerala] – Creative head
Tessa George [Thought Factory Design] – Owner/ Creative head
Hiren Venugopalan [Malayaleegraphy] – Designer/ Typeface designer/ Member
of Swathanthra Malayalam Computing
Melwin – Painter
Thilakan and Sunil – Painters
Thomas [Identity Advertising] – Technicalities of Malayalam coding
Sreekumar [DC Books] – Publishing
Syam Purushothaman [Identity] – Creative head
Manager at Valavi cards
Vivek Cherian [7 star production] - Owner

Archives: The collection of books at DC Books and Eloor lending library.

Observation and Collection of images: Malayalam matter found in the streets,
o
o
o
o
o
o
movie posters, book covers, magazine covers were observed and photographed,
or taken from the internet in order to do further analysis.
13
3.2 Schedule
Stage
Time allotted
Actual
Time
Taken
Collection and Analysis of 1 month
1 month
secondary data
Primary Research
Analysis
of
2 months
information 2 weeks
2.5 months
3 weeks
collected
Compilation
and 2 weeks
1 week
Documentation of Thesis
14
Chapter 4: PRIMARY RESEARCH ANALYSIS
Undertaking the secondary research helped to gain knowledge on how the Malayalam
script evolved and gained the curvy-linear form that it has today. In order to gain further
understanding of the Malayalam script, it is essential to recognize some of the different
ways in which it has been used over the years. For this a study was done on book cover
designs, movie posters, application in the streets, newer avenues and about Malayalam
typography. The main purpose was to understand some of the many ways in which the
script has been used; in terms of medium, design and context. Since adequate
documentation has not been done in this field, information had to be gathered through
observation and by interviewing various artists and designers in the field.
The usage of Malayalam script can be broadly divided into two areas – Hand/ Art
Lettering and Typography. Typography is actually a subset of lettering, because it is the
study of letters applied to typefaces. In simple terms, lettering can be defined as “the art
of drawing letters”. It is a specific combination of letterforms crafted for a single use and
purpose as opposed to using previously designed letters as components, as with
typography. Often lettering is hand-drawn, with pens, graphite or brushes, although now,
some directly work on computer software. Since both methods are equally used in the
application of the script, it was essential to understand both these areas.
4.1 TYPOGRAPHY
In 1821, CMS Press was found by Dr. Benjamin Bailey with the help of a blacksmith and
two goldsmiths. He got engraved the punches for types and completed the hundreds of
characters required in Malayalam. This set of types is the precursor for all typefaces that
exist in Malayalam now. Many other foundries were set up and various fonts were
produced from the 40s to the 70s. In the 1980’s Desktop publishing took the place of hot
metal composing and typesetting methods like photosetting. Modular Systems and
CDAC Pune played important roles in the development of various Malayalam fonts.
15
Hashim Padiyath, Vasu Pradeep and Hussain are some of the significant contributors in
this field. [Report on Malayalam typography by Rajathi]
Yet after all these years, anyone associated with the design scene in Kerala is of the
opinion that there is a need for more good fonts in Malayalam and, more exploration in
the field of typography.
4.1.1 Need for more good typefaces
Hashim Padiyath, a renowned typeface designer from Kerala, has made over 30
Malayalam fonts in various styles. While at CDAC Pune, He was the first to design a
serif typeface in Malayalam called Ambili. However many of his typefaces have not
been made available to the public. He sells them to corporates like Manorama,
Madhrubhumi and DC Books at a premium price in order to avoid piracy.
Plate 1a: Grunge Font Pampa
Plate 1b: Serif font Ambili
Source: DesignDifference
There is very little awareness about the significance of a good typeface. Particularly in
India, most people are not willing to pay a handsome amount for a good typeface. Hence
only those that are freely available get used and designers get discouraged to explore
more in this area. This is why the same fonts are used everywhere. The most used
16
Malayalam font is Revathi, followed by Indulekha [designed by Hashim P] which is
mainly used in titles.
There is so much more that can be done in this field. Serif fonts, Slab serif fonts, in line
fonts, ornate typefaces. Fonts also need to be designed specifically for specific mediums.
A typeface meant for newspapers may not suit books [Newspapers tend to have
condensed type, which makes it possible to fit in more words within a space.], a typeface
meant for printing may not be apt for onscreen purposes or a typeface designed for
signages may or may not serve its purpose well on some other medium. For instance,
Hashim recently designed a typeface for DC Books. Previously DC Books was using a
typeface which was originally intended for newspapers. The new DC Kasturi typeface
that Hashim has created is more ornate, personalized and meant for book reading. It also
gives DC Books its own identity. Typefaces designed for print, electronics, on screen
application and books need to be differentiated from one another to ensure efficient
communication.
aebmfw
DC Kasturi is slightly more
ornate when compared to
ML Revathi [top]
Plate 2a: Kasturi font family
4.1.2 Movement to bring back traditional Malayalam
The Malayalam script that had established itself as a distinct system in the 14th century
had more or less retained its characters/ alphabets till the standardization efforts in the
late 60s.In order to fit the script to the Malayalam typewriter keyboard and to make
typewritten Malayalam the means of official communication, the State Language Institute
[Kerala Basha Academy] introduced several changes in the script in 1968.These changes
were necessitated not by any social demand to improve communicability or functionality
17
of the language but only by the need to adapt the script to the typewriter keyboard. Many
vowel-signs previously used in conjunction with consonants were separated out; a few
characters were virtually discarded as redundant; except for 16 conjuncts, all the others
were split into a series of basic characters. With the introduction of the new script in the
school syllabus, two different script systems came into use. A new generation of children
was brought up entirely on the new script and they found it difficult to read earlier texts
and the treasures of Malayalam literature. A centuries-old language and the culture it
embodied was debased for the sake of a mechanical tool that would hardly have a life of
three decades. Two voluntary organizations, Rachana Akshara Vedi and Swathanthra
Malayalam Computing have been trying to bring back traditional Malayalam.
Rachana Akshara Vedi: Rachana in Malayalam means to write, to create. Rachana
Akshara Vedi, a team of socially committed information technology professionals and
philologists, has applied developments in computer technology and desktop publishing to
resurrect the Malayalam language from the disorder, fragmentation and degeneration it
had suffered since the attempt to adapt it to suit the typewriter. K.H. Hussein at the
Kerala Forest Research Institute released "Rachana Normal" fonts with approximately
900 glyphs required to typeset traditional Malayalam.
Swathanthra Malayalam Computing: Swathanthra Malayalam Computing (SMC) is a free
software collective engaged in development, localization, standardization and
popularization of various Free and Open Source Softwares in Malayalam language.
"എ്റെ ക്യൂടെ ന ് എ്റെ
" is the slogan of the organization, which
translates to "My language for/on My Computer". SMC has been active since October
2002 and has been working to provideMalayalam language tools that work on all layers
of computing including fonts, input mechanisms, translations (localization), text-tospeech engines, dictionaries, spell checkers and other indic script based language
computing specific tools across operating systems.
18
There are people who doubt the logic behind creating a computing environment with
support for a language like Malayalam. After all, almost all of us can read and understand
basic English, so what’s the point in putting in so much of effort? As one of the speakers
pointed out, a language has to continuously evolve if it is to be alive. A language like
Sanskrit is virtually dead - few people use it. A society and a culture is identified by its
language - once the language is dead, the society starts losing its identity. A good way to
keep a language alive is to take it to the digital world. This is one context in which
developing regional language computing environments and popularizing them has great
significance.
4.1.3 The relationship between typeface design and lettering
Although typography and lettering use two different techniques, these cannot be entirely
separated from each other. Many of the handpainted signages, wall advertisements and so
on are essentially copied from some font. And, some of the titles in book covers and
movie posters, which appear to be works of art lettering, are in fact edited fonts. With the
aid of today’s technology, a typeface can be easily edited to be made to look like an art
lettered work.
When a typeface is designed, it is usually because of one of the two reasons; a client’s
requirement, or to fulfill a designer’s creative urge. Many a times a designer gets inspired
on seeing some unique lettering somewhere, which motivates him/her to design a
typeface out of it. This is the story of the creation of many of the renowned fonts that we
use today.
There are so many different styles of lettering out there, in the streets, movie posters,
book covers and so on. Sometimes it takes a little bit of attention to tell one from another
sometimes, especially because our eyes become so accustomed to the language we know,
unless something drastically out of the ordinary is done. A closer look shows that these
words are composed of so many intricate details that could be used in design; both for
generating new typeface designs and in general.
19
4.2 CINEMAS
Malayalam films are going through a phase of revival. New filmmakers, creative ideas
and fresh talent have brought about some sort of courage to experiment and do something
out of the ordinary. Poster designer Sreejith is of the opinion that Malayalam movie
posters has always had great poster designers. But a lot of experimentation and photo
manipulation is taking place of late. "The market is changing. The audience is different,
the taste is different," This is also reflected in the titles that are specifically created for the
movies. Recent posters of Aamen and Netholi Orun Cheriya Meenalla have come to
one’s notice purely because of their experimental titles.
Plate 3a: ‘Netholi oru cheriya meenalla’ poster
Plate 3b: ‘Aamen’ poster
Source: https://www.facebook.com/MalayalamFilmPosters
Some of the forerunners in this field were S.A Nayar, P.N.Menon, Kitho, Bharathan, R.K
Radhakrishnan, Kurian Varmashala, Gayatri Asokan and Sabu Colonial. Now there are
various design houses such as Papaya Media and Old Monks that have left their mark in
the industry with their fresh new designs. There have been so many changes in movie
poster designs over the years, owing to changes in technology, trends and other
influences.
4.2.1 Some factors that influenced poster designing:
During the initial years, poster creation was not an easy affair. There were times when
creating a simple colour poster was an arduous task. Designers had to go through several
steps even to create a colour photograph. The technological advancements that take place
during different periods of time affects design. Twenty years ago, poster designer Gayatri
Asokan was the first to introduce the airbrush. One of his fortes was a title which has a 3d
20
and shadow effect, which was attained by using the airbrush. It was used in movies such
as New Delhi [plate]. This was a new technique back then and it drew attention. A finer
version of this effect can be attained in a few seconds by the click of a mouse today. The
different kinds of software that are available now makes work quicker and easier.
Technology introduced at different points of time does affect the designing process.
Plate 4a: Changes in movie posters over the years
Source: https://www.facebook.com/MalayalamFilmPosters
Transition [clockwise from top left] black and white - single tones – converting back and
white images to coloured photographs - use of airbrush – Digital age.
There is a view that a lot of experimentation is done with the script these days perhaps
because of the convenience and ease that technology provides. Today’s designers do not
have to manually struggle as in the olden days. ‘Computer graphics makes things much
21
easier. A lot of the experimentation that is seen today is because of the convenience that
technology provides.’ Vipin Udayanan, designer –Papaya Media.
Certain other changes come with changing times. Newer trends and generations affect
design. Earlier, showcasing mega stars in the poster was given most importance. These
days, a lot of significance is given to the title. In the movie Aamen, in some of the
posters, the stars of the movie are not shown at all and the title covers a major portion of
the space in the poster with some illustrations in the background. Vipin Udayanan designer at Papaya media stated that 50% importance is given to the title of a movie these
days. A title carries as much significance as the visuals.
Plate 5a: Comparison between the old and the new.
Source: https://www.facebook.com/MalayalamFilmPosters
Earlier, the stars of the movie were more significant. Today, there are posters which
don’t even show the actors, and the title is given a lot of importance.
Regional and International styles also shape Malayalam movie posters. Sixties and
seventies style lettering was used in Hollywood, Tamil, Bollywood and Malayalam
movie posters, simultaneously. Similarly, Victorian styles of ornamented lettering can be
seen in some old titles as well. Today’s designs are an amalgamation of different kinds of
styles from different places and cultures.
Beliefs also influence design. For years, Malayalam movie posters avoided titles that had
black font or lettering. This was because black is considered to be unlucky. However,
22
while making Chaandupotte’s [Eye liner and Bindi] poster, designer Collin Leophilis,
drew the text as though it was written with eyeliner. He discarded the normal superstition
that black is unlucky. The movie was a grand success and this was an eye-opener for
many superstitious people.
23
4.2.2 Design Analysis
From a design perspective, how do the titles differ from each other? Taking a closer look
at certain film titles over the years revealed many intricate details about Malayalam
lettering. More than hundred posters were analyzed. Some of the distinct styles that have
been applied have been picked out from the analyzed set. These titles have been
separated from the rest of the poster to clearly display the features of the script that have
been used.
To the side of the designed title, a version of the same word without any manipulations is
shown in grey.
Figure 1a: Illustration of movie title Nirmala
നി
ർ
മ
ല
MOVIE: Nirmala [Nirmala]
The letter ർ as
a dot. This is a
very old type of
writing.
Letterpress
typeface that was
designed in the
40s before the
script reform. .
YEAR: 1948
DETAILS: Vertical type, Old Malayalam, this seems to be from the foundry days during
the 40s. The ‘Ra’ sound as a dot could be seen only in that period. It has been put in the
shape of a bindi because Nirmala is the name of a woman. .
24
Plate 6a: Movie title Kuttykuppayam
฀฀฀฀฀฀฀฀฀฀
฀฀฀
MOVIE: Kuttykuppayam [Small clothes]
YEAR: 1963
DETAILS: Calligraphic style was very common during the early years. Especially before
typefaces began to be used.
Figure 2a: Illustration of movie title ‘kadavarundo’
Semi sharp
edges
Edgy, unfinished vertical lines,
not reaching the baseline and
left hanging in the air.
฀฀฀฀฀฀฀฀฀฀฀?
MOVIE: Kandavarundo? [Where there any eye witnesses?]
YEAR: 1972
STYLE: Bold, Geometric, Semi-Sharp edges, Edgy characteristic, unfinished alphabets,
characters have a broken, chiseled look. The name of the movie suggests some kind of
mystery or suspense. This is seen through the way the title has been designed.
25
Sharp cut
പൂ് െെ
Figure 3a: Illustration of movie title ‘Poombata’
MOVIE: Poombata [Butterfly]
YEAR:1971
STYLE: Uneven cuts at the edges. The ് sound has a sharp cut on top, possibly to give
it the overall appearance of a butterfly.
฀฀
฀฀
Figure 4a: Illustration of ‘Mizhi’ in Snehadeepame Mizhithuraku
MOVIE: Snehadeepame Mizhithuraku
YEAR: 1972
26
STYLE: Thick outline [Very commonly found in titles in the 60’s, 70’s and 80’s - in
Tamil, Bollywood and Hollywood movies as well.] Condensed letters. Beautiful manner
of connecting the endings of ഴ and ฀฀, where ഴ‘s terminal actually comes below the
baseline to meet the terminal of ฀฀
forming a ligature
‘.
฀฀฀฀฀฀
฀฀
Figure 5a: Illustration of title ‘thapaswini’
MOVIE: Thapaswini
YEAR: 1971
STYLE: Extremely sharp turns. Some glyphs have been cut in between. Further
enhancing the geometric feel of the letters.
฀฀฀฀
฀฀฀฀
Figure 6a: Illustration of letters from the movie title ‘Kammath and Kammath’
MOVIE: Kammath and Kammath [Kammath and Kammath]
YEAR: 2012
27
STYLE: Use of round, incomplete alphabets. The terminals are hanging in the air. This is
giving it a very playful look which works with the comedy theme of the movie.
സ
Figure 7a: Illustration of letters from the movie title ‘Season’
MOVIE: Season
YEAR: 1989
STYLE: Serif + Ornamentation. Wide, Bold, Ornamented Letters. Ornamentation is
given at the midline and at the terminals. End result is a very ornate, feminine look. This
kind of ornamentation may be inspired from Victorian lettering or circus lettering.
฀฀฀฀
ന
Figure 8a: Illustration of letters from the movie title ‘Thoovanathumbikal’
28
MOVIE: Thoovaanathumbikal
YEAR: 1987
STYLE: Semi-Serif, Varying thickness, a lot of flourish in the characters – Almost like
calligraphy. This kind of serif adds flourish to the letters. It suits the movie which had its
moments of fantasy.
പപ
Figure 9a: Illustration of letters from the movie title ‘Kili Poyi’
MOVIE: Kili Poyi [Getting High]
YEAR: 2013
STYLE: Extremely lyrical lettering, gives one a feeling of flowing which fits with the
concept of the movie [Getting high]. ‘ae’ and ‘pa’ have been intertwined beautifully.
The more linear aspects of Malayalam script has been entirely removed in this writing.
4.2.3 Analysis
Earlier, the audience walked into the theatre to watch their favourite stars in action.
Previously people wanted to see images of the stars in the movie in these posters.
Mohalal’s stills in Irupatham Nuthaande or Mammooty’s posture in New Delhi were
29
huge drawing forces. These were the golden days of the super stars. However things have
changed with time. Now there is an influx of younger generation actors, script writers and
directors. A younger, unconventional touch is felt in the movies. A lot of western
influence is prevalent. The audience has also changed; a new crowd that is open to seeing
new faces and new stories on screen has emerged. These changes are translated onto
movie titles as well.
On analyzing older designs and newer ones – Although lettering exploration in
Malayalam movie titles was less when compared to languages such as Bengali, where
people like Satyajit Ray had done astounding lettering explorations, Malayalam still has
a lot to boast about. It must be stated that some of the lettering techniques found in older
movies is pure genius.
With the invasion of technology, designers do have the benefits of ease, convenience and
the ability to create various effects which former day designers could never have
imagined. Earlier titles were not so much about magnificent twirls or computerized
effects that are bound to grab ones attention. Those had tiny details within the script –
serifs, varying thickness, heights, interesting ligatures, curved or sharp edges, and so on
which sent out subtle messages, conveying the meaning of the word. Then, it was about
minor details that enhanced the design in an understated manner. Today, owing to the
ease and options that technology provides, increasing international influence and
increasing influx of information clutter in the streets, titles are usually fashioned to be
loud and out there.
30
4.3 BOOK COVER DESIGNS
“The cover is a book’s face and designing it comes with a certain degree of
responsibility.”
Before analyzing design elements of the script used in book cover designs, the transition
of book cover designs over the years is shown to briefly understand how the script was
applied then and how it is applied now.
4.3.1 Changes over the years
On observing various book cover design during different decades, certain patterns can be
noted. Till the 90s, letters were mostly hand drawn. The illustrations were also hand
drawn. Book covers had an obvious, raw, hand painted feel about them.
“In this digital age book covers are designed differently. “Technology has made working
easier but the individualistic stamp of the old days is lost. However differently you try to
do things you can’t get that stamp. There is bound to be repetition of images as far as
cover design goes.” Things changed in the last decade or so. Before that each book cover
was painstakingly worked on by hand as most were paintings, “even the titles were
written by hand.”
Udayakumar T.R.
When many digital typefaces were designed, and when computer usage was on the rise,
the nineties saw a lot more computer applied effects on book covers. Hand lettered and
illustrated covers still existed, however there was a noticeable invasion of digitized book
covers during this period. Some digital experimentation was done during this time which
resulted in– metallic lettering, 3-D lettering, lettering with shadow effect, bevel effect,
and emphasized outlines. These designs were used up till mid 2000’s. Sometimes they
are found even today. However during the late twenty first century, certain designers
such as Zainul Abid, Dhanya Sreejith and Priyaranjanlal brought fresher approaches to
book cover design. They continue doing so.
31
Although there are still plenty of books where a simple font which fails to express the
meaning of the title is used, there are some books that stand out because of the expressive
lettering on their covers.
As was found in the case of cinema posters, a lot more experimentation is seen today.
This may be due to any of the several reasons – convenience that technology provides,
changing trends or international exposure and influence. Not to state that lettering was
not explored before technological advancements, but to state that technological
advancements, changing trends and exposure allows much more room for
experimentation.
32
Plate 7a – title -Thakarna
Hridayangal [Broken hearts],
Cover- Sankara Narayanan,
First Published- 1946, Poorna
edition- 1988
Plate 7d -Title
Kattutharavu [The wild
duck], First published:
1986, Publisher: Vidyarthi
Plate 7b -title- College
Kuruvikal (College birds),
Cover- Udayakumar, First
Published- 1965, Published by
the author
Plate 7e – Title - Chuvanna
Kadal [Red sea], Cover:
Chandramohan, First poorna
edition: 1996, Publisher:
Poorna
Plate 7c -Title- Theeram
thedunna thirakal, First
published: 1986, Publisher:
Vidyarthi Mithram
Plate 7f – Title - Mahar
[Mahar], Cover: Nazeer,
Published: 1999, Published by
CICC Book House
33
Plate 7g :Title Parvathangalilekaatu, Cover:
Zainul Abid, First Published:
2007, Publisher : DCB
Plate 7j: Themmadi Rashtram,
Cover: Zainul Abid, First
Published: 2011, Publisher :
Olive
Plate 7h :Title -Thiranhedutha
kathakal [Selected stories],
Cover: Zainul Abid, First
Published: 2008, Publisher
:DCB
Plate 7k: Title- Namuku
gramangalil chennu
raapaarkaam, Cover: Dhanya
Sreejith, Published: 2012,
Publisher : DCB
Plate 7i: Title- Randu
Penkuttikal [Two girls],
Cover: Dhanya Sreejith, First
Published: 2010, Publisher :
DCB
Plate 7l: Title - Barsa, First
Published: 2013, Publisher :
DCB
34
4.3.2 Design Analysis
ഗന฀฀
ന
Figure 10a: Illustration of letters from the title ‘Namuku Gramangalil Chennu Raapaarkaam’
Book: Nammukku Gramangalil Chennu Raapaarkaam
Publishing year: 2012, Cover: Dhanya Sreejith
STYLE: Extremely lyrical lettering. Non uniform curves within the round alphabets.
฀฀฀฀฀
฀฀฀฀฀
Figure 11a: Illustration of letters from the title ‘Chandana Marangal’
Book: Chandana Marangal [Sandal wood trees]
35
Publishing year: 2012, Dhanya Sreejith
Details: Bold, linear, block-like lettering. Sandalwood is blockish in appearance; this
could be the reason why such lettering has been used.
Interesting usage of ‘el’s’ extension which makes the design more dynamic. The
beginning of cha which is usually smaller is brought to the same height as the other
letters, maintiaing the block like appearance of the letters.
ബർസ
Figure 12a: Illustration of title ‘Barsa’
Book: Barsa [Barsa]
Publishing year: 2013,
Details: Bold, curvi-linear lettering. The overall lettering has the feel of a Bahaus inspired
typeface.
The extensions and the slanted positioning of the letters adds to the vibrancy of the
letters.
36
฀฀฀
Figure 13a: Illustration of letters from the title ‘Chittagong Vipplavam’
Book: Chittagong Viplavam [The Chittagong Uprising]
Publishing year: 2011, Cover: Lijeesh
Details: Stenciled Malayalam lettering is found in the streets and on trains very
commonly. Besides, the local association, stenciled lettering is related to military
application. Hence, books on uprisings, revolutions and so on tend to use stenciled
lettering for the titles.
฀฀฀
฀฀
฀฀
Figure 14a: Illustration of title ‘Lust’
Book: Lust [Lust]
Details: The lettering is neither sharp nor smooth. At certain points it is smooth while at
others it is edgy. It gives out a strange expression and captures the essence of the word
lust.
37
്
ത
Figure 15a: Illustration of letters from the title ‘Smruthidarpanam’
Book: Smruthidarpanam
Publishing year: 1994, Cover: V N Ratheesh
Details: This sort of calligraphic + script style is used a lot in biographies and
autobiographies. It brings out a more personalized vibe.
฀฀฀฀฀฀
฀฀฀฀฀฀
Figure 16a: Illustration of letters from the title ‘Randu Penkuttikal’
Book: Randu penkuttikal
Publishing year: 2010, Cover: Dhanya Sreejith
Details: As seen in earlier observations, when the usually curvy Malayalam script is
composed of sharp edges and straight lines, an unconventional vibe is brought out. This
works with the cover page with an illustration of two women almost about to kiss.
38
Interesting use of semi serifs is seen in this title. The serifs are placed in such a manner
that they bring about some balance within the characters. The curved extensions of ‘ell’
and ‘nna’, give a subtle feminine touch to the title.
Figure 17a: Illustration of title ‘Ente Katha’
Book: Ente Katha [My story]
Publishing year: 1982, 48th impression: 2012, Cover: N Ajayan, Genre: Autobiography
Details: As stated before, autobiographies tend to use more personalized, script or
calligraphic type of lettering.
฀฀฀฀฀฀฀฀฀฀฀
฀฀฀฀฀฀
Figure 18a: Illustration of title ‘Parvathangalilekaate’
Book: Parvathangalilekaate.
Publishing year: 2007, Cover: Zainul Abid
39
Details: Interesting usage of bold, condensed vertical lettering.
സ
െ
Figure 19a: Illustration of title ‘Sahara’
Book: Sahara
Publishing year: 1994, Cover: V N Ratheesh
Details: Slab serif lettering is not often found in Malayalam. Addition of the thick slab
serif to the bold, geometric lettering gives it a very western, appearance.
4.4 THE STREETS
'Listening to Malayalam is exactly the same as trying to decipher the signs around the
city: strings of dips and swirls that all blend together. The language is beautiful, and
looks as friendly as it sounds with geometric curves & elaborate letter forms that loop
back onto themselves.’
-India Menninghaus, research student
A study of Kochi city was done to understand the usage of Malayalam in the streets.
Observing the streets helps to understand the script in another perspective. “This is what
people are exposed to everyday and how are they exposed to it?” The city is overloaded
40
with banners, ads, posters, political graffiti, signages and so on. It is a rather
overwhelming sight to anyone new to the city. City dwellers however get accustomed to
this and mostly don’t pay much attention unless something new is brought about. These
are some of the various things for which lettering is applied in the streets Banners, Advertisements, Posters, Signage, Name boards, Graffiti – Political and others,
Vehicles
4.4.1 Observations
4.4.1.a CLUTTER
An interesting fact is that these things are put up almost everywhere. Posts, trees, walls,
rooftops, traffic signals, lamp posts; it just goes on. This makes it all the more important
that the message is put across in a catchy way.
Plate 8a: Clutter in the streets.
4.4.1.b SPACE ORIENTED LETTERING
It is not unusual to find lettering done on the basis of space. For instance, lot of vertical
lettering can be found in Kerala. This is so that the letters fit well in vertical spaces such
as posts and pillars. . “One peculiarity about malayalam is that it is a phonetic language so
designing with malayalam offers more explorations in vertical typesetting.” –Tessa
George, Thought Factory Design.
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Plate 9a: Space oriented lettering
4.4.1.c HAND PAINTED
Plate 10a: Hand-painted lettering
Although the use of hand painted advertisements, signages and boards is much lesser
compared to earlier times, these can still be found in plenty. Hand-painted signs are
expensive but long lasting; some of them have a lifespan close to ten years. Flex boards
and posters on the other hand get damaged within a year or two. Hand-painted designs
take time and a lot of effort. Also, many things which can be easily done through some
software cannot be done by painting it manually. That being stated, hand painted
products have a charm of their own which flex boards can never give.
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4.4.1.d USE OF MALAYALAM
Malayalam is used more in the outskirts. The further one moves from the city, the more one finds
the usage of Malayalam. Kochi city is a very urbanized area where the use of English is high.
Hence, much of the lettering done in the streets is of English.
Plate 11a: Increasing usage of English
4.4.1.e OLD LIPI [script] and NEW LIPI
When the typewriter was introduced in Kerala, the Kerala Sahithya Acedemy decided to
curb the number of Malayalam character to fit the typewriter. Thus pure Malayalam was
lost in the process. However, when computers were introduced, the same limited number
of characters was used in the creation of typefaces. Certain voluntary committees were
formed such as the Rachana Akshara Vethi and Swathanthra Malayala Computing. Their
aim is to bring back all the ligatures of the old lipi. However, due to some political issues,
this Unicode method still has not been properly implemented and many are not aware of
the few old lipi Unicode fonts that are available in Malayalam. Thus many digital
typefaces that are used on advertisements, posters, signages and banners are still of the
new lipi.
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However, lot of the lipi found in hand painted things are old.
Plate 12a: Usage of Rachana old lipi font in a poster
Source: www.malayaleegraphy.cpm
4.4.1.f GRAFFITI
Political graffiti has for long been practiced in Kerala. It has a style of its own. Bright,
bold colours are used and 3D or shadow effect is very commonly found. This
combination makes it very hard to not notice these messages. The styles are usually very
bold and aggressive.
Plate 13a: Aggressive graffiti styles found in the streets.
4.4.1.g INSPIRATION
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Inspiration for lettering and type design can be found abundantly in the streets; styles
such as stenciled, round, calligraphic and bold can be found to mention a few. Many of
the Kochi corporation sign boards are still hand painted and the result is a multitude of
lettering styles.
Plate 14a: Different hand lettered styles in the streets.
Iconic signages that are symbolic of local Kerala can be found. One such example is that
of toddy or kallu [local name of brewed palm toddy.] shops. These are almost as common
as tea stalls and these signs are still hand painted. These shops are usually located in
small sheds on the side of the roads, mainly outside the cities. Almost all the toddy shop
signs look identical. One type of signage system – Black lettering of the word ‘Kallu’,
accompanied by ‘Toddy’ in bold black sans serif type over a white board, has been used
throughout.
Plate 15a: Movie Ustad Hotel’s title was inspired from local hotel signs.
Source: https://www.facebook.com/MalayalamFilmPosters
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4.5 NEWER AVENUES
A font that includes characteristics of the Malayalam script in the Latin script, T-shirts
and cushions that have Malayalam lettering on them, and posters of Malayalam movie
dialougues are some of the new things that have been happening in the area of
Malayalam lettering and typography. For ages, application of Malayalam script in design
was limited to a few things. Via Kerala Design and Malayaleegraphy are two design
projects that have been working on Malayalam lettering in a manner distinct from the
norm. Understanding their ideologies and how they have been accepted helps to discern
the scope of using Malayalam script in design.
Via Kerala is a store that promotes the usage of the script in a contemporized manner.
They have designed a typeface that includes Malayalam characteristics within a latin
typeface. Also, the store uses Malayalam script as design in some of their products. These
are both relatively unexplored areas in Malayalam design.
Malayaleegraphy [Malayalam + Graphics + Calligraphy] is a facebook page that was
started barely a month ago. Narayana Bhattathiri’s calligraphic exhibition on malayalam
lettering which was held in December 2012 inspired two designers, Hiren Venugopalan
and Orion Champadiyil to start this page. They were motivated to use malayalam as
design. They make simple, Swiss style inspired posters that cover famous movie
dialogues, quotes by famous people and poetry. The page went viral from day one,
having over 2000 fans in two days.
4.5.1WESTERN INFLUENCE
Minimal Design- The Malayaleegraphy page is greatly influenced by minimal graphic
design and Swiss design. This can be seen in many of the designs in the page. A few
principles they laid out while working on this concept were –
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1.Rachana font is used primarily.
2. The line space is lesser than usual Malayalam print
3. Highlight significance of words by differences in font size.
4. Multiple fonts are not used in one design
Plate 16a: Minimal design inspired Malayaleegraphy posters, displaying movie dialogues.
Source: www.malayaleegraphy.com
Minimalistic graphic design is where the work is brought down to its most fundamental
features. Following the line “Less is More” minimalism is the art of arranging the
numerous necessary components to create the masterpiece of extreme simplicity, by
enlisting every basic element and detail to serve multiple visual and functional purposes.
Similarly, emerging from the modernist and constructivist ideals, the Swiss Style can be
defined as an authentic chase for simplicity. Most of the Swiss Style craft is devoted to
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the minimal elements of style such as typography and content layout rather than on
textures and illustrations.
‘Manglish’- Spoken Malayalam has an increasing number of English words being used
by all classes of people. Furthermore, schools today give the option to study languages
other than Malayalam so the younger generation may not always be able to read it even
though they speak Malayalam. There is also an increasing number of NRKs (non-resident
Keralites) who speak the language but may not be able to read it. The internet and sms
culture has propelled the use of 'manglish' - Malayalam mixed with English. The socalled 'new wave' cinemas also use this style of language. Eventually Malayalam and
English will have to co-exist on paper, typographic experiments to make the two
alphabets more readable together will become necessary. Malayalam also needs to
become part of font family extensions so that they can be used along with the Latin
script.
Plate 17a: Via Kerala font
Plate 17b: Akam book cover
Source: Thought factory design
Keeping this concept in mind, Thought Factory Design developed a font to incorporate
malayalam glyphs into english letters primarily to be used for local product packaging
titles. The letters are readable by a non malayalee, yet have a local (malayalam)
characteristic primarily because of the rendering style. It is intentionally drawn in a
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modern aesthetic. The x height of the letters have also been tweaked to correspond with
most malayalam font heights. The font evolved as part of experimental work done at
Thought Factory Design over the years, and finally took shape in 2010.
They also use this concept in designs for logos, book covers, posters etc .
4.5.2 INCREASING APPRECIATION FOR THE SCRIPT AS DESIGN
“We got a massive response. This is a generation who is reading and watching
malayalam content and is really curious about Malayalam.” Hiren Venugopalan. The
Malayaleegraphy page went viral in a matter of a few hours. People are really enjoying
the use of malayalam script in these posters. The effect would have been entirely
different if the posters had English content. After years of using malayalam in all the
conventional mediums, this change is fresh and people are loving it.
“The target for the Via Kerala store was travelers and malayalis who live outside Kerala.
Of course it also appeals to the younger generation because of its fresh and innovative
approach to Malayalam and Kerala theme. When the first store opened in thekkady
people walked in out of curiosity just seeing the font and flying elephant logo! Once
inside the unique product design and concept was a reason for customers to start dialogue
& also purchase products as a piece of contemporary Kerala. Their online community is
also growing by recommendations. The fact that the products are all locally made add to
the strength of the concept .In general Viakerala has a strong lettering and typography
background since all design is done by Thought Factory Design and this feature makes it
stand apart from any other local product or store.” Tessa George
4.5.3 OLD LIPI
According to Hiren Venugopalan, Rachana font has been used because it is neat, readable
and with the right amount of thickness which gives it a classic touch. Additionally, it
supports the old malayalam lipi. Rachana font was part of an old project to support the
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old lipi, it has been around since 2001, yet not many use it. Through his designs, Hiren
wanted to show how good the font is.
Chapter 5: CONCLUSION
Although the main purpose of this study was to understand different ways in which the
script has been used in design, a few other things also came to light; the need for
archiving lettering and typographic works, new trends in design, increasing appreciation
and importance given to the script, a changing market that is open to international
concepts yet takes pride in their roots, and the huge scope that is there for products that
include Malayalam script based designs.
5.1 Need for archiving and documenting
There is a lack of availability of old works of art and still not enough documentation of
current works. To understand about the application, one has to talk to people in each
field. More systematic documentation must be carried out so that trends and patterns can
be observed and studied easily.
5.2 Malayalam script and design
The slightest alterations that are made to the basic form of a script can dramatically
change the mood of the word of letter. These were some of the observations that were
made during the study –
5.2.1 FORM
Malayalam script inherently has motif like characteristics, which by itself could be
used in design.
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Malayalam is a curvy-linear script. When either of the features are played with, two
different effects are established.
•
Round features: The rounder the script gets, the less serious is becomes. This
kind of lettering is used in children’s books, comedy genre movie titles and so
on. However, when the curves are more swirly and less geometrically round,
it also gives a whimsical, feminine expression.
•
Linear features: The more linear the script gets, it sends out a very edgy,
unconventional feel. For this reason, movies and books that are of an
unconventional nature, use this kind of lettering which has less or no curves.
Various characteristics of the script are manipulated to give different effects and
meanings; edges, serifs, thickness, height, baseline, x-height and so on, each giving a
completely different feel.
•
Baseline: Malayalam script has a complex baseline since the conjuncts grow
either vertically or horizontally, depending on whether old lipi is applied or
new lipi is applied. Old lipi conjuncts grow vertically, thereby adding to the
complexity of baseline and new lipi conjuncts grow horizontally. The glyphs
are often manipulated to either have uniform x-height and baseline or to create
a dynamic effect by having no uniform x-height or baseline.
•
Serifs: Serifs are often used to give a more sophisticated, ornate expression.
Semi serifs are more found than serifs. Serifs are very often placed in such a
manner that the lettering is balanced out. For instance if one letter has a semi
serif on it, the same letter when repeated in the word or sentence, may or may
not have the serif at the same point.
•
Thickness: Thick, black, bold lettering was a feature of the lettering from the
sixties to the eighties.This kind of lettering, along with thick outlines or 3
dimensional effects, adds to the retro appearance of the letters.
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•
Ligatures: Various parts of the Malayalam script can be used to create
ligatures. The loops within the glyphs, the terminals of letters, the curves and
lines within the letters.
•
Extensions: The terminals of letters are often extended for reasons such as –
manipulating space between two words or letters which may change the
meaning implied, forming ligatures, increasing the vibrancy of the word or to
enforce the meaning of the word.
•
Terminals: Terminals which are the end points of a letter are manipulated
with. Sometimes some letters are left unfinished where the terminals do not
reach the expected end point or baseline to create a particular mood.
5.2.2 USAGE
Malayalam + English – Manglish: In the spoken language both Malayalam and
English are spoken together. This factor can be applied more in designs. The audience
may be able to relate to such use of the script.
Moreover, with the increase in Keralites that settle abroad, a new generation that
can’t read Malayalam is on the rise. Design that combines both languages might be
useful in such cases.
5.2.3 LOCAL ELEMENTS
Some of the local elements could be used in design to enhance the local aspect of the
script.
•
Use of old lipi to go back to usage of pure Malayalam. There is a movement to get
back the usage of pure Malayalam. Hence, to stay true to the original script, old
lip should be used in design.
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•
Vertical usage of the syllabic script: Malayalam script is commonly found in
vertical formats in the streets. It is easy to associate this kind of format with the
streets.
•
Space based application: The lettering is often space based. Size, form and
placement depend on the space availability. For instance if lettering is done on a
slanted wall, chances are that the lettering will be slanted.
•
Hand painted Malayalam: It gives more of a local touch. Since many of the
advertisements and signages found in the streets are still hand-painted, designs
which have a hand-painted effect could create more of an authentic malayalee
feel.
•
Inspiration: The streets are filled with inspiration for typefaces and lettering
requirements because a lot of hand painted lettering is still found. These can be
used as inspiration for lettering styles. Aggressive, loud styles found in political
graffiti should also be explored into.
•
Iconic signages such as ‘Kallu’, hotel signages and bright bold political graffiti,
are some things that could work well as elements of design.
5.3 Scope
5.3.1 VERSATILE SCRIPT:
Most scripts can be manipulated to evoke some particular feeling. Likewise Malayalam
script is highly versatile and can be adopted in various different styles. Many styles have
already been experimented with such as usage of Victorian embellishments, Retro
effects, slab serifs – which bring out a very western expression, expressive typography,
calligraphic experiments, Bahaus inspired typefaces and so on.
Although so much has been experimented with, a lot more could be attempted. Lettering
artist Narayana Bhattathiri is a veteran in the field of expressive Malayalam typography.
He has been practicing this art for over three decades yet people paid attention only last
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year when a collection of his work was exhibited. Expressive Malayalam typography
with a contemporized touch is something that has a lot of potential.
5.3.2 INTERNATIONAL INFLUENCE:
International influence is evident especially in the last few years. Designers are exposed
to international styles of designing through books, television and online resources.
Moreover, many designers have some training from abroad. This is clearly seen in movie
poster design, book cover designs and advertisement layouts. A new wave has hit the
state and this is the apt time for further exploration. Kerala is going through a phase of
contemporization. There is much scope for the application of the script in a new way, in
new avenues.
5.3.3 BACK TO THE ROOTS – There is an ongoing trend of reviving things from the
past. This can be seen in the case of Malayalam script itself. A lot of effort is made by
voluntary groups to bring back traditional Malayalam. There is a lot of scope in
introducing more Malayalam based designs and reviving the usage of Malayalam.
Furthermore, designs that include the local characteristics of the application of
Malayalam script, that were found during the course of this research, could be made.
5.3.4 INCREASING APPRECIATION – With the success of Bhattathiri’s exhibition and
the launch of Malayaleegraphy, there is a much higher appreciation for Malayalam script
and the many ways in which it could be used. Many more people are attempting to
incorporate Malayalam script in their designs.
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LIST OF REFERENCES:
Books:
1. K.A Jaleel, 2006, Lipikalum Maanavasamkaaravum, Kerala, The State Institute of
Languages.
2. Kerala Sahithya Acedemy, 1971, Pracheen Kerala Lipikal, Kerala.
Reports/Journals:
1.
4
Rajitha, Evolution of Malayalam Script, Kerala.
2.
5
Sabino D (2011), “The Malayalam Writing System – a typographic approach”,
EINA [Barcelona,Spain].
Online resources:
1.
2
Mohammed Rizwan, August 1, 2010 “Typography in India has always reflected
its dynamism” Designindaba January, 12, 2013,
<http://www.designindaba.com/news/typography>
2. Jeevan Navneet. December 8, 2010 “Old Malayalam film posters” March 2,
2012<http://minglemangles.blogspot.in/2010/12/blog-post_08.html>
55
3. June 13 2011.“Kilukampetti Kunjunni kavithakal” April 29, 2013
<http://www.punchapaadam.com/forums/topic/71543-poem-kilukkampettikunjunni-kavithakal/>
4.
3
Ramanathan R, June 6, 2012, “An Indian Typography” Indian Type Foundry
February 10, 2013 < http://www.indiantypefoundry.com/articles/5/>
5. December 13, 2012, “Breathing life into letters and words” Times of India.
February 2, 2013.<http://articles.timesofindia.indiatimes.com/2012-1213/thiruvananthapuram/35796622_1_calligraphy-words-malayalam>
6.
Joseph Alessio, January 17, 2013 “Understanding the difference between type
1
and lettering”, Smashing Pumpkin February 5, 2013
<http://www.smashingmagazine.com/2013/01/17/understanding-differencebetween-type-and-lettering>
7. Swathanthra Malayalam Computing. 10 March, 2013.<http://smc.org.in/>
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BIBLIOGRAPHY
Books:
Sen, Jayanti, 2012. Looking Beyond – Graphics of Satyajit Ray. Roli books.
Spiekermann Erik. Meet your type
Wittner Ben, 2009, Arabesque: Graphic design from the Arab world and Persia, Die
Gestalten Verlag
Rjeily Rana, 2011,Cultural Connectives: Bridging the Latin and Arabic Alphabets, Mark
Batty Publisher
Reports/Journals:
Cherian T, “Story of Malayalam Types”, Cochin Type Foundry
Committee for Standardization of Malayalm Keyboard Layout and Character Encoding
(2001), “Malayalam Standardization Report”, (Kerala)
Online Resources:
Shah Dhwani. December 12, 2011. “Mumbai slang an experiment in Expressive
typography” April 25, 2013<http://www.behance.net/gallery/Mumbai-Slang-Anexperiment-in-Expressive-Typography/2668303>
C.Kight, J. Glaser, April 1, 2013 “Why subtle typographucs choices make all the
difference”. Samshing Pumpkin June 5, 2012.
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<http://www.smashingmagazine.com/2012/06/05/subtle-typographic-choices-makedifference/ >
Strizver Illene. March 19, 2013. “Herb Lubalin and Expressive Typography” April 27,
2013. < http://www.creativepro.com/article/herb-lubalin-and-expressive-typography>
Rajeev, KR, March 26, 2013”Adobe help to spruce up Malayalam fonts” The Times of
India January13,2013.<http://articles.timesofindia.indiatimes.com/2013-0131/kozhikode/36659855_1_fonts-malayalam-designers>
“Anatomy of a typeface” Typedia March 31,
2013<http://typedia.com/learn/only/anatomy-of-a-typeface/>
C.Kight, J. Glaser, April 1, 2013 “When typography speaks louder than words”.
Samshing Pumpkin April 13, 2012.
<http://www.smashingmagazine.com/2012/04/13/when-typography-speaks-louder-thanwords/>
A.Shilpa, April 10, 2013 “The first Impression” The HinduApril 20, 2013
http://www.thehindu.com/features/metroplus/the-first-impression/article4602375.ece
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GLOSSARY
Baseline: It is the line upon which most letters sit and below which descenders extend.
Conjunct: Words or letters joined together
Curvy linear: Having both curvy and linear characteristics
Glyphs: is an element of writing: an individual mark on a written medium that
contributes to the meaning of what is written.
Kallu: Palm wine or palm toddy – an alcoholic beverage.
Ligatures: Two or more letters combined into one character make a ligature.
Lipi: Malayalam word for script.
Malayalee: Of or relating to Malayalam language or its speakers.
Serif: Is a small line trailing from the edges of letters and symbols.
Slab Serif: A type of serif typeface characterized by thick, block-like serifs.
Terminal: Ending of a stroke in a letterform, a key distinguishing feature in a typeface
design.
X-Height: Distance from the baseline to the meanline[ Imaginary line across the top of
lowercase letterforms.]
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