Are you curious about the happenings of the type world abroad? In this series, interviews provide a glimpse into their fascinating world through the lens of the designers, programmers, educators, vendors, and other members who make up the fabric of this type-loving community.
“All roads lead to Typography” had an interview with Neelakash Kshetrimayum, a graphic designer and a type designer from India.
Please introduce yourself briefly.
Neelakash Kshetrimayum（NK）： I am a type and graphic designer based in Goa, India. I studied graphic design at the National Institute of Design, India and received a master’s in Typeface Design from the University of Reading, United Kingdom. I have been developing typefaces for Indian scripts in close collaboration with Fiona Ross and John Hudson. I am a co-founder of brandnewtype, a type and typography design studio. I am curious about the relationship between type and culture.
The mutant nature of the letterform — the infinite expressions in various emotions through different styles
What brought you to this industry?
NK： I have always been intrigued by the effects of well-written letterforms in people’s handwriting. The mutant nature of the letterform — the infinite expressions in various emotions through different styles — fascinates me. Having trained and worked as a graphic designer made me realise the importance of type and typography in visual communication, and this led me to specialise and master the discipline of typeface design. The immense possibility that one can explore and address in creating new designs drew me to this industry.
── How you started your own foundry, brandnewtype?
NK： As the world begins to mingle and share different ideas among different identities and cultures more than ever, there is a challenge in addressing multi-script typeface design and typography. ‘brandnewtype’ was formed with Andy (Anand Naorem) to address this issue through research, education and design, especially in the Indian context i.e. with Latin and Indic scripts as well as within the Indic scripts.
Why you named your foundry, brandnewtype?
NK： The basic idea of the name ‘brandnewtype’ is to emphasise and focus on the typeface of a brand. It can go both ways — 1) brand ‘new type’ and 2) ‘brand new’ type. Type can play a significant role in the communication of a company, organisation, or individual. So, brand new type.
A multiscript project that covers most of the Indic scripts
Any current projects you can openly talk about?
NK： We are currently working on a multiscript project that covers most of the Indic scripts.
Any languages you would like to try to design?
NK： I will be excited to design any script of a language that I am not familiar with which is many. It will be challenging and exciting! CJK is a mystery to me. It would be wonderful to be a part of a CJK project to learn the fascinating shapes, history and relationship between them.
Do you have any routines to start working?
NK： Not a fixed routine, but once I start out with an exciting idea, it is a continuous process until I establish a cohesive base group. I then continue and extend the idea to the rest of the family.
Any typographic events you attend every year?
NK： Not every year. ATypI, TypoDay, Typographics are some of the events I have presented at earlier. I look forward to attending ATypI 2019 Tokyo.
What would you expect to ATypI 2019 Tokyo?
NK： I would like to see some works on the regional scripts of Asia and multi-script projects. I would love to attend some panel discussions on type and culture focused on local issues. I am looking forward to seeing diversity.
Tea or coffee?
NK： The latte(r).