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A Type of Cure for Homesickness

The most evident, residual, and evoking parts of our memories are visual. Visual culture sets the tone for our familiarities and habits. When you grow up in a country like India and walk along streets painted, glued, and fixed with whimsical Bollywood posters, the disproportionate, hand written signs become second nature to your visual memory. After moving to a country like the United States, with standardized signs and advanced type around, you crave for your visual memories to stay with you. Regardless of your access to music, movies, and literature, you strive for that connection even more. You want to feel the sense of belonging. Even the new Bollywood movie logos lack the charm that I grew accustomed to growing up. I never consciously appreciate the letterforms or the uniquely styled title credits in classic Indian movies. I never learned about them in India the way I did about Saul Bass. I had to dig into my own favorites from memory and grow attentive to what I was looking at. The only way to celebrate the authenticity of these visual memories was by drawing letters and the feelings that these old films and songs evoke. I began digitally lettering some of my favorite song titles in a script that was mostly mine, called Devanagari. From there, I visualized the idea of “Angoor.” The proposal for a Devanagari display typeface—named after one of my most favorite old Hindi movies—was inspired from the original title lettering and credits. This became my way of feeling connected to my earliest, fond visual memories.

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Speaker

Aasawari Kulkarni