The Typecraft Initiative is a project where type design and letter drawing are intended to provide visibility to the popular expression that is manifested through crafts. The Typecraft Initiative co-designs digital fonts based on craft motives and patterns from different local communities in India. Tradition and legacy knowledge are at the base and source of inspiration for this letter drawing process that concludes with the production of a digital typeface. Myths and symbols from tribal cultures emerge within the patterns and shapes of letters in a myriad of different forms.
But, type design is not the only thing that matters at Typecraft. Type design workshops are organized as a medium to achieve major goals within those communities of artisans. In these workshops, type design works as a catalyst for an experimental union between design and craftsmanship. Artisans are involved to link their skills and expertise in the process of creating letters. Design thinking methods such as ideating, sketching and prototyping are introduced into the process to provide a more efficient approach.
A type craft workshop in Barmer
In February 2020, just before Covid pandemia forced a worldwide lockdown, a Typecraft workshop was held in Gogaji ki Khejadi, Barmer, Rajasthan, India.
Barmer is part of the vast desert region of Western India that includes Rajasthan, Kutch and Sindh (Pakistan). It is known for its textile applique and patchwork technique —known as Phool-Patti— that was traditionally used on tents of the nomadic communities living in the harsh desert climate.
The applique textile technique is based on traditional botanical motives, such as bushes, trees, leaves and flowers. Symmetry is a constant resource when organizing all these motives and patterns.
We worked with 15 craftswomen that were invited to take part in the workshop. With the support of two local NGO associations, Roshni and Rangsutra, all participants were paid to attend and provide their skills and expertise.
As a way to introduce participants into the design process, the workshop started with an introductory part where the Typecraft Initiative project was explained and the aim of the workshop was exposed: to create letterforms using the imagery, patterns, techniques and materials of traditional textile local crafts.
As a first “warm-up” exercise, the crafstwomen started freely cut-out old newspaper spreads as a way to “sketch” cutting solutions that could drive to a useful approach to letter cuts. The idea was to provide a free space for experimenting and exploration.
During the first days, the cutting paper experience served as a catalyzer for both learning and exploring new forms. If first day newspaper spreads were used, during the following days color kite paper was used for the exercise which provided more fun for the women.
Normally, pattern design is defined by a masterji —a male figure— and the cloth is given to the women to sew. That means that the role of women is excluded from the creation process of appliqué and patchwork design. So, this type design workshop was used as a way to encourage craftswomen to learn the different skills needed for the whole design process and engage them to participate in the creative task. This gives them a sense of authorship and improves their self-esteem.
We spent around four full days in the sketching process. In the beginning, results were poor or not consistent, but craftswomen engaged very quickly with the project and the results were very surprising.
Participants were organized into different groups to improve closer communication and learning interaction among their members. This sketching and ‘learning by doing’ process of work came up with interesting results which were collected for further consideration.
Once the letters were completely drawn on rough paper, they were redrawn on transparent tracing paper in order to follow up with the traditional craft processes of the applique artwork.
The letter designs were all based on sketches previously cut on paper by participants, also using some local textile references on appliqué patterns and forms.
Font production is a separate part of the process. It is just a way to provide a final result to the whole thing. When the workshop is over, the font is what will remain from the whole experience.
Font production is done after the workshop is finished and takes into account the results obtained. This includes not only the digitization part but all the refinements, the spacing and kerning, coding and exporting the font for commercial use.
In the digitization process, we scan the original artwork and draw the outlines that define the shape of the letter. It is important to interpret as faithful as possible the results obtained in the workshop. Proportions and stroke thickness are corrected if necessary to have an overall consistency. Nevertheless, we don’t intend to get a perfect shape since we prefer to get the flavor of hand-made drawing.
This is a non-profit project. So, money from font licensing is returned to the communities and it is also used to support and self-finance the project.
Social values through type design
Community building is also a vital aspect of the Typecraft project since it is not only about the creation of fonts, but sharing expertise in design with a craft community and providing a spirit of sharing and collaboration.
Most craftswomen are illiterate. So, this workshop also provided an opportunity to learn the letters of the alphabet and perhaps a growing interest in literacy among women.
The co-design process with artisans is done together in a respectful and egalitarian way. Encouraging participation of all members is paramount to achieve successful results. One of the main aims of the Typecraft Initiative is to empower and facilitate craftspeople to think like designers.
The Typecraft Initiative project is currently managed by Ishan Khosla (graphic designer) and Andreu Balius (type designer), and supported by volunteers and local NGOs such as Rangsutra and Mon Ami Foundation.
www.typecraftinitiative.org
© Text & photos by Andreu Balius
Text was published as an article at The Typerepublic Press #2. 2021