Summantri Samarawickrama: Culture of Typography

Summary

In this insightful presentation, Sumantri, a typography expert from Sri Lanka, explores the evolution of Sinhala letterforms and the impact of technological changes on book culture. She contrasts traditional manuscript practices with the gradual adoption of print technology beginning in the 18th century, highlighting cultural lag and adaptation challenges. Sumantri also discusses her research in defining Sinhala typography's anatomy, emphasizing the need for a multicultural understanding of typography. Her work aims to revitalize local typographic culture while advocating for equal recognition of diverse cultural contributions in design, ultimately enriching the discourse in the field of typography.

Takeaways

• 😀 Sumantri is a lecturer and researcher at the University of Marutova, focusing on Sinhala typography and its evolution in Sri Lanka.
• 📚 Sri Lanka's book culture historically utilized palm leaves inscribed with stylus tools, with books considered sacred due to their content on indigenous knowledge.
• 📅 The introduction of paper by the Portuguese in the 1500s faced initial resistance due to its perceived fragility compared to palm leaves.
• 📰 The arrival of the British in the late 1700s led to the establishment of the newspaper industry, marking a significant shift from manuscript to print culture.
• ⚖️ Sumantri discusses cultural lag, which occurs when societies struggle to adapt to new technologies and ideas, affecting indigenous practices.
• 🔄 The transition from traditional manuscript writing to print production highlighted inequalities and power dynamics within the community.
• 🔍 As a type educator, Sumantri faced challenges in establishing typography studies in Sri Lanka, often overshadowed by Western influences.
• 📊 She cataloged historical typefaces and created a new nomenclature for Sinhala letters to facilitate better understanding in typography.
• 🖋️ Sumantri emphasized the importance of defining the anatomy of Sinhala letters to enhance type design processes and legibility.
• 🔄 Although traditional manuscript practices have declined, there is potential for contemporary interpretations and revival of calligraphic techniques.

Q & A

What was the traditional book culture in Sri Lanka before the 18th century?

Books were handcrafted from treated palm leaves and covered in decorative wood. They contained sacred knowledge related to indigenous medicine, astronomy, and history, and were highly valued.

How did the introduction of paper affect Sri Lankan book culture?

Initially, there was resistance to paper introduced by the Portuguese due to its flimsy nature compared to palm leaves. However, over time, paper began to be accepted, leading to a gradual transition from manuscript culture to print.

What role did colonial powers play in the evolution of typography in Sri Lanka?

The British colonial administration established the newspaper industry in Sri Lanka, which contributed to the decline of manuscript writing and pushed the native Sinhala and Tamil speakers to adapt to new printing technologies.

What is the concept of cultural lag as discussed in the presentation?

Cultural lag refers to the period of adjustment when a society transitions from one technology or idea to another, often leading to the loss of traditional cultural practices and the dominance of new ones.

What challenges did Sumantri face in establishing typography as an academic discipline?

Sumantri encountered difficulties in creating a curriculum that adequately reflected Sinhala typographic culture, as much of the foundational knowledge was biased toward Western perspectives and overlooked native letterforms.

What specific contributions has Sumantri made to the field of Sinhala typography?

Sumantri has cataloged nearly 200 years of Sinhala typefaces, defined their anatomical structures, and introduced a new nomenclature to better understand and teach Sinhala typography.

How did Sumantri conduct her research on Sinhala typography?

She visited archives to study the first printed materials in Sri Lanka, identified key typefaces, and systematically analyzed the visual characteristics of Sinhala letters to develop a comprehensive understanding of their structure.

What implications does Sumantri's research have for contemporary design practices?

Her findings contribute to improving legibility in public signage and inform the design of new typefaces that cater to the specific needs of Sinhala typography, thereby enriching the overall graphic design landscape.

What future plans does Sumantri have for her research on Sinhala typography?

Sumantri plans to publish guidelines for type designers to better understand Sinhala typography, and she aims to foster a more multicultural perspective within typographic education.

How does Sumantri propose to engage with the broader typographic community?

She advocates for collaboration and knowledge sharing among typographers, emphasizing the importance of recognizing and valuing diverse cultural contributions to the field of typography.