Letterforms are integral parts of any media. It is true that people relate to traditional forms best, and yet there is a lot possible staying within boundaries (staying recognisable). A consistent yet larger range in terms of width & weight of typefaces give the media flexibility to organise better & convey efficiently (bring order & hierarchy). Type communicates strong characteristics and lots of values, aesthetically. The following are a few drawings of Odia letterforms, in different contexts, offering a different view.
Odia - Indo-Aryan language mostly spoken in the coastal state of Odisha in eastern India.
Exploring joineries; Reducing footprint/congestion of forms; Open counters-
Finding congested spots-
Iterations to support bolder variants efficiently-
Digitisation from drawings, Comparing & Grouping similar forms-
Calligraphy, finding limitations-
Odia pixel type -
Consistency in visual language/aesthetics across script. Compared to TheSans-
The strength or range of typefaces allow wider use and better applicability of any given language/script. They serve for functional as well as aesthetic purposes & convey the content with its tone of voice.
The exercise helped me understand the tiny details of type that convey so much. Also how to approach & what to keep in mind while working on a regional typeface.