27/01/2025
//Bang-ko//
This series started as an experiment to explore typography with Bangla—a script I’m not entirely comfortable working with—and see where that unfamiliarity could lead me. I’ve always been fascinated by Japanese culture, particularly the craftsmanship of traditional Hanko seals and woodcut prints. There’s something deeply rooted and shared about the art of woodcut printing across Asia, including in Bangladesh, though it’s applied differently in each culture.
I chose the words—লাল (red), সবুজ (green), and নীল (blue)—because they’re instantly recognizable and simple enough to distort while retaining a sense of familiarity. I rotated the characters 90 degrees clockwise to mimic the verticality of kanji, and I deliberately left out the matra, the horizontal line that’s intrinsic to Bangla. Without the matra, the forms stand on their own as visual elements, allowing the consonants to take center stage.
The designs began as hand-drawn sketches, later digitally manipulated to achieve a gritty, block-print aesthetic. A high-resolution wood texture was incorporated to enhance the tactile quality. Initially, the palette leaned toward the classic red-and-white of traditional hanko seals, but it evolved into Guardsman Red, Ao green, and Teal blue, set against a Half Dutch white background. These richer tones introduced a distinct mood while maintaining a subtle resemblance to hanko prints.
For me, this series is about pushing myself to see what happens when I merge elements from different design traditions. It was also about filling the gap I felt, when I couldn't find "GOOD" oriental styled Bangla typefaces. It’s less about cultural commentary and more about exploring form, texture, and abstraction.