typography

Nikheel Aphale: Calligraphy And Graphic Design

Nikheel is calligrapher and graphic designer. He is passionate about calligraphy and letterforms, especially Devanagri script. Currently working at the intersection of design and art through commissioned art and commercial calligraphy projects, alongside mainstream graphic design assignments. Nikheel has designed many book covers for leading publishers from India using calligraphy & hand lettering. His calligraphy practice primarily emphasizes on the abstraction of letterforms, which further gets translated into different mediums, be it paintings, logos or products.

Nikheel is born as a mumbaikar and now working out of Delhi. Nikheel religiously collects macthboxes, vintage stuff, plain-notebooks. A avid foodie and wanderer, he is still figuring out the cliche “How someone from Bombay is liking and adjusting to Delhi”.

Tell us something about you. How did you develop an interest in Calligraphy/Typography?
My fascination with alphabets began as a child, when I first began shaping letters through handwriting. My primary school teachers noticed the good handwriting and that earned me a permanent place decorating the classroom blackboard. By college my tendency towards good handwriting turned into a full-blown passion for seeing alphabets as more than words.

It was this fascination for letterforms that connected me with calligraphy while woking full time as a graphic designer in a design studio in Delhi. After studio hours or on weekends I kept fiddling with my calligraphy tools; polishing my skills with some compositions and amateurish artworks. I started sharing them on my blog. It received a very positive response and boosted my confidence along with getting me small jobs like invites, greeting-cards, nameplates etc. And also an opportunity to participate in a group art exhibition.

After that various assignments kept flowing in and I decided to leave my full time job and focus on calligraphy as profession.

Tell us something about Leehkin. What is your vision with Leehkin.
Leehkin, was next step of formalising my practice – channelising my work and making it more of a professional business rather than the perception of a hobby.
Apart from art & commercial assignments, I am exploring another dimension where I can combine letterart with other materials. I would like to develop an exclusive product line purely based on calligraphy also to collaboarte my calligraphy with other design disciplines like furniture, textile, lighting, ceramics, landscape architecture or may be a programmer? Why not?. It’s challenging for myself as an artist to keep updating with innovation and skills and as a person to keep searching for individuality.

And what does Leehkin mean? Simply, Nikheel spells reversely. First four letters ‘Leeh’ means ‘Write’ in my mothertoungue (Marathi) – too much serendipity; this I noticed much later.

(more…)

Kruti Saraiya : Typography And Design

Kruti Saraiya is a graphic designer/ typographer based in Mumbai. The focus of her practice has been to allow for a contemporary Indian design narrative to emerge to fill the gap between mtv kitsch and traditional Indian crafts.

As a typographer, she sees her role in infusing context into letters and bringing the written word alive. Her strengths lie in working with scripts of Indian languages to create an equal space for them alongside English in urban India. Her commercial and experimental work celebrates the Indian aesthetic in a fusion of east and west. ‘The key’, she says, ‘is to change our mindset from an either-or to an AND.’

Besides this her portfolio includes branding, packaging, editorial and web design across verticals. She has been a speaker at the Indian Design Forum – IDF 2013 and a part of the core team to set up Design Museum Dharavi (2016). Her work has also been published in International design magazines like Creative Review (UK) & Visible Language (USA). She has exhibited in a group show ‘Pushpa Patha: The Flower Trail’ in gallery BMB, Mumbai.

She graduated from the London School of Printing. She has worked with Rabia Gupta Designs, Mumbai and taught at Srishti School of Art, Design and Technology, Bengaluru for several years.

She currently has an independent practice and teaches in the Visual Communication Department at the Indian School of Design and Innovation (ISDI) and Ecole Intuit.

Why are you a Graphic Designer?
I actually identify more with being called a typographer – I love words. I’m super excited by words of all languages – what they mean, how they sound and especially how they look.It is an immensely satisfying feeling waking up each day and infusing context in to the words.
(more…)

Sabeena Karnik: Typography

Sabeena Karnik is a Graphic Designer from Mumbai. She is a freelancer specializing in paper typography and has developed her own style in 3D sculpturing using paper. Her recent works include a typography campaign for Tanishq jewellery and a title design for a short documentary for The American Cancer Society. She teaches painting, calligraphy and sells art in her free time.

Why are you a Graphic Designer?
Right since I can remember, art was chasing me. I always had a pencil in hand and colors were in plenty. I would be doodling all the time, even the walls of my house were not spared. So taking up art as a career was a very natural instinct. It was a hard choice to make between applied art and fine art. But I can never make something just to keep myself happy, I think that is what fine art is all about. For me creating something has to be for others be it a product, the way it looks, the way it is presented. That is basically the work of a graphic designer. Hence it had to be applied art. I do a lot of paintings too, but its again an idea that I am presenting and working around.
(more…)

Liebe Fonts

About a year ago, LiebeFonts (which is German for “sweet fonts” or “dear fonts”) began publishing witty picture fonts based on the work of illustrator Ulrike Wilhelm. LiebeErika is Ulrike’s first alphabetical font, and it has skyrocketed into the upper reaches of our Hot New Fonts list. A thin, compressed typeface with a hand-drawn look, LiebeErika shares some characteristics with recent fonts such as Amarelinha or Strangelove Next but the differences are obvious. LiebeErika’s curves are smoother and its shapes more regular — without being stiff. More importantly, it has lowercase forms (and very charming they are), plus more extras than you can shake a stick at: cheerful alternate forms and figures, ligatures, nicely designed key words (“and”, “the”, “by”) and more. While you need OpenType-enabled software to use these advanced features, you’ll be able to enjoy LiebeErika’s graceful shapes with other programs as well.

With kind permission of MyFonts.com