art and the malayalam alphabet - metal name plates for outdoors

Letters in the alphabet took a long time to evolve and were standardized into their current form, shape, and image.
In Malaya, the romance between artists and the alphabet also has a long history.
The prosperity and flight of handwritten copies, reels and metal plates can be found.
In the first few decades after the appearance of printing, it found early forms and shapes in early stone type, metal and wood block printing.
With the popularity of printing machines and mobile types, it develops in a more dynamic and complex way, triggering synergy between writers, typesetters and artists.
The spread of literacy has inspired people to love and admire the word.
For a long time, words, paintings and printed words have been everywhere in Kerala;
Its public space is full of words;
There were graffiti on all the walls, posters and billboards on pillars and pillars staring at us from around. The pre-
The digital and analog era has witnessed A series of writing artists like A. Gopalan. S. Nair, V. M.
Balaam, nabudi, C. N.
Kaluna Kalan, wassupp deep drawing, Rajandran, P. K. Rajan, C. J.
The works of Thomas and Sankarankutty are magazines, and even in some cases, even writers give roles and identities.
However, despite the possibilities offered by the digital age, it shrank in font diversity and font design.
The intimacy and inner connection between the early generation of literal artists and the language and alphabet seemed to give way to pre-
Design and serialization design and given toolkit.
Artists such as Narayana Bhattathiri are exceptions and are more known as artists Bhattathiri.
He started his art practice in the age of simulation and honed his skills, but it was also easy to find his lines and strokes in digital media.
In his case, the transition from pencil/brush to mouse is seamless.
For the past 40 years, Bhattathiri has drawn thousands of titles and designed text layouts for a variety of magazines, brochures, books, posters, advertisements, movie titles. . . .
His illustrations in Malaya magazine are known for their visual prosperity and leap of imagination.
In the process, he brought new vitality and endless innovation to Malaya's letter art.
By crossing the contours and edges, twists, points and vowels of the Malaya letters, he reproduces the awe and wonder of the original encounter between meaning and words, the abstract meaning and concrete form and shape of the alphabet.
His artistic practice is an artistic practice that deals with the word and its meaning, the alphabet and its sound by and around the tense and arbitrary but deeply resonating relationship.
If you look through the thousands of text designs created by Bhattathiri, you will be surprised by their diversity.
His design approached and negotiated with the alphabet in a profound way;
The alphabet and words are not just potential objects of "beauty" or "beauty"
The function defined for him;
On the contrary, his art is closely related to meaning, symbolic value, sound, genre (
Stories, novels, movies), and space (
Magazines, books, newspapers, posters. . . );
These factors determine the size, shape, stroke, texture and medium of his work of art.
Looking at his work, you will feel that the form of the word is produced from the meanings, movements, sounds, emotions, bhava and rasa associated with them.
He uses the alphabet style of various languages and cultures-their shapes, sizes, flows, lines, rises, drops, stems, tails, vertices, brackets, jumps, and loops to adopt, coax and touch them into the Malaya letters.
Thus, one can find in his work traces of the posture, tilt, flow and joints of Chinese, Arabic, Sanskrit and Hindi;
They are used to animate words, resonate with their cultural/linguistic roots, and talk to Malaysians.
In the same way, his contradictions are "imaginary letters flying", they are complex and fascinating creations that combine meaning and form in an unimitated and interesting way.
Different from English, English has a history of evolution and clear design, its manual and style books are built on a completely different trajectory about rising and falling, "x" height and lining, size, flow, outline and shape of Malaya letters, so, unique letter aesthetics are required.
Its dots and vowels, curls and tapering, circles and different heights, and the combined letters to guide.
Bhattathiri is not limited by this, but is manifested in this veritable complexity, which gives him unlimited freedom to improvise and innovate.
He is one of the contemporary artists and has accepted this challenge, enriching the design of the Malaya font/title.
Bhattathiri's words and letters conform to the trajectory of reference and connotation, illuminating their symbols and symbolic energy.