A new method of looking at calligraphy through formal & informal style of calligraphies by Ranjan Joshi

1. Calligraphy word originated
from the Greek language called
KALOS means fair and beautiful
line and GRAPHO means
to write. In other
words, I WRITE WITH
FAIR AND BEAUTIFUL LINE.
A power point presentation by Ranjan Raghuvir Joshi

2. Calligraphy word originated from the Greek language called KALOS means fair and
beautiful line and GRAPHO means to write. In other words, I WRITE WITH FAIR AND
BEAUTIFUL LINE. When I received the fellowship in 1972-73 to teach and learn the basic
design in Sir J.J.Institute of Applied Art (after completing Diploma in Commercial Art in
merit) I had to conduct the class for this Subject as part of it. My late father being
practicing Artist and Professor in Visual Art R.P.Joshi gave me an insight that, to deal with
any subject, one must find and search the origin of it. He gave me the Dictionary of The
English Language by The Rev. James Stormonth published in 1886 A.D. ninth edition by
William Blackwood and Sons, Edinburgh and London. This was the only dictionary which
have above said meaning that gave me more confidence to deal with this subject firmly
while working for the prestigious review committee (1976/77) for “syllabus 1970”
(newly introduced then of Foundation of visual art) by Directorate of
Art, Maharashtra State. I had to address this subject as an academic expert
to the state of Maharashtra’s nearly 18 Art schools on behalf of Directorate
of Art, Maharashtra State.
I have to express my sense of gratitude towards: late Prof.V.R.Amberkar, late Prof.H.G. Hanumante, Prof. V.N.Yande and
also former Directors Late Prof.M.S. Satwalekar, Late Prof. Baburaoo Sadwelkar. They encourage me to research this
subject with my practical exercises in Sir J.J.Institute of Applied Art during the period of 1972 to 1977.

3. Sir J.J. School of Art Campus have Applied art as an independent Art Institute under Directorate
of Art, Maharashtra State, which is known as Sir J.J.Institute of Applied Art.
The debate was on during that time whether to considering this subject as pure fine art ?
amongst the faculties of fine art and applied art in the campus. Late Prof. Baburaoo Sadwelkar
then the Director of Art saw that it has more potential also as communication art while
reviewing the syllabus that was introduced in late 1970. Prof. Baburaoo Sadwelkar took the
cognizance of my finding of its original meaning and decided to expand its scope further
beyond fine art. Incidentally my earlier research mentioned above motivated me to conduct
the exercises in the two directions.
Firstly: the subject Calligraphy as the form of pure fine art, in terms of exploring its expression of
spontaneity of fair and beautiful lines. This is a Calligraphic expression with no function of
communication. This was called informal calligraphy for the student to study in detail the strokes’
line qualities that is necessary for being beautiful. I could cover this basic prerequisite to get into
the subject. Secondly: To look at Writing as a means of communication. Communication is
defined as a science because one can check its feedback rationally.
This was called formal calligraphy. Old manuscripts are a classic example
which combines both these aspects.

4. Student:Narendra D. Kadam-1973

5. Student:Narendra D. Kadam-1973
I started with this which was innovative approach to explore the term Spontaneity. I told students to
close their eyes and while this was being done I went on uttering the names of various objects known to
them since their childhood days. The idea was to see retention and recall of these known forms and
how our brain renders it with no external influence, because at that time eyes were asked to closed.
This is the first experience of KALOS and GRAPHO that I mentioned at the beginning. Feedback by the
student Narendra D.Kadam in his mothertounge Marathi which says that it was interesting experience.
Drawing Triangle, Square and Circle was difficult while eyes are closed. This has help them realized the
eye and mind coordination to experience spontaneity.

6. Here is an attempt by me to investigate the painting possibilities from the earlier said exercise on retention and recall of
known forms. Understanding the FINE ART angle of the calligraphy. Finding INFORMAL & FORMAL calligraphy.
Interpretation by Ranjan R. Joshi

7. Perception and Reality to understand “Spontaneity”
This is an experiment to test one’s perception
and how one can pick up to draw visual details!
The photograph taken after the said drawing
from the same spot to verify in reality what is
lost in the final drawing. Observe the first
cartoon (Pencil sketch) which allow us to verify
details. This is the recent example I tried to
experience the concept of “Spontaneity” an
essential element for good calligraphy. What is
shown in the earlier slide shows the retention
and recall of the same aspect.
The Drawing before the photograph done spontaneously on the spot.

8. Student: Rohini Kane-1974
Here “Form does not follow function” but reveals inner aesthetics

9. One will find any piece of beautiful handwriting which anyone can read.
In the first aspect that is informal calligraphy, energetic, spontaneous
Student:Narendra D. Kadam-1973
strokes on different surfaces with any tool and medium to write is
focused where beauty is prerequisite in the entire final outcome.
It is said that “Beauty lies in the eyes of the beholder”. Individual
perceptions of beauty will be visible in abstract calligraphic strokes
produced by that “Individual”. In fine art self expression is important
aspect. The academic objective was to encourage both the aspects
simultaneously. When I look back after nearly 38 years today that is
2012 A.D to this whole event of my life it is learnt that some practicing
calligraphist do not agree to this academic rationale though as a
teacher, I feel happy in deciding this has cleared the artist’s dilemma
on the debate whether “Calligraphy is a fine art.” We can enjoy any
piece of calligraphy in either of these segments naturally as a beautiful Interpretation by Ranjan R. Joshi
human expression.
My following slides are the original works of students and mine calligraphy versions created
with the above said discussion. I have also presented original correspondence done during
that time with Dean of the Institute and Directorate of Art.

10. This was an immediate attempt
I did to explore nearly seven
writing expressions using
different nib angles and cut.
Student could see such
possibilities to get inspire.
I call it “Teachers visual aid”
for effective teaching. Here it
was also important to retain the
beauty of line being applied for
writing this text.

11. Inviting me to prepare the specimens for the said revised syllabus in 1977
A letter by Late Prof. Baburaoo Sadwelkar
then Directorate of Art Maharashtra State
on the left side and above a letter by Late
Prof. H.G. Hanumante then Dean of Sir J.J.
Institute of Applied Art. Inviting me to
prepare the specimens for the said revised
syllabus in 1977.

12. This is my first handwritten draft done in 1973/74 after the completion of Fellowship
(1972/73). It was 3 years before this commitment.

13. Innovative way to introduce the History of Calligraphy where student is briefed about the
evolution of the subject. They have to depict the same visually.
Student: Amulya Baruha-1975.

15. Notice clockwise three different surfaces
such as Gelatin, Handmade paper and
Blotting paper. Tools: Twig, Reed pen and our
own finger which gives direct vibes while
moving on surface. A tactile experience.
Student: Mr. Hemant G. Salgoankar-1973

16. Students were ask to try more tools on one type of surface with spontaneous
strokes within the prescribed column. Objective was to develop basic sense of
two-dimensional space and to find the effect of it on this surface. They were also
exploring beautiful lines to be applied for writing letter forms.
Student :Rohini Kane-1974

17. Student: Monique Somaya-1974 Student: Monique Somaya-1974
Here students are supposed to control the hand movement while drawing the strokes
within the given square space. On the left is unplanned approach and on the right
planned approach with strokes connectivity. Objective is to develop sense of aesthetics
in both that is space and strokes with no meanings. Energy ,spontaneity and beauty of
the strokes is important.

18. TOP: Student:Monique Somaya-1974
Feedback from the students after the exercise.
BOTTOM: Student: Pradeep Saran-1974

19. Student: R.(Raj) V. Shinge-1974
Here students are supposed to control the hand movement while drawing the strokes
within the given square space. On the left is planned approach in square and on the right
planned approach in uneven divisions. Objective is to develop sense of aesthetics in both
that is space and strokes with no meanings. Energy ,spontaneity and beauty of the strokes
is important.

20. Student: R.(Raj) V. Shinge-1974
Student: R.(Raj) V. Shinge-1974

21. The practice
exercises of
brush tool is
taken further in
to DESIGN area
where students
learn to apply
the basics for
communication

22. This is the first step after practicing
abstract strokes to be interpreted for language.
Signature is appropriate which could be
of any language being taken as an element of
calligraphy to experience formal form.
The practice of cut nib strokes
is taken further from drill
exercise to compose calligram
(creating visual by means of
calligraphic stroke)
Student:
Mr. Hemant G. Salgoankar-1973
Student: Amulya Baruha-1975.

23. Student: Mr. Hemant G. Salgoankar -1973 Student: Shahab Shamshi-1973
This is the first step after practicing abstract strokes to be interpreted for language.
Signature is appropriate which could be of any language being taken as an element of
calligraphy to experience formal calligraphy form.

24. These are the examples of
various students work when
seen today after 35+ years still
look fresh.
The assignment was based on
the idea of exploring
compositions using brush
strokes that depicts energy
and spontaneity. They had to
explore design principles
freely. They should first
concentrate on the given
space and applying intuition
while placing the brush on the
paper surface. This is an
attempt to create informal
calligraphy with no purpose of
communication. Beauty of the
strokes is focused.

25. Students enjoyed every moment of
this exercise because it was free from
all the requirements.
Here “Form does not follow function”
but reveals inner aesthetics.

26. Feedback from the students after the exercise.
TOP: Student:Monique Somaya-1974
BOTTOM: Student: Shobhi Manjerkar-1975,
BOTTOM RIGHT: Simita Patil-1975

27. Student: Pradeep Saran-1974
Student: Monique Somaya-1974
Student: Rohini Kane-1974

28. Student: Smita Patil-1975
Here “Form does not follow function” but
reveals inner aesthetics.

32. To develop sense of collecting various existing letter forms (by means of such collage) created
by other artists. This is a gradual step to understand letter forms and its beauty. For the
applied art student first exposure to the world of “TYPOGRAPHY”. According to my
observations if a student can master the art of calligraphy then for him “TYPOGRAPHY”
understanding is easier.

41. The First step towards formal calligraphy. “I write with the fair and beautiful line”.
Aesthetics and communication are blending here for deeper understanding of the
subject. My own attempt before the introduction of the subject to the students.

42. Converting basic drill exercise into colour as the first experience of
DESIGN, myself tried first before introducing it to the students.

43. Understanding concepts of Compress, Medium and Elongation of the calligraphic strokes.

44. Analysis and Synthesis of
Devanagri script. Teachers
and Students have to
prepare similar charts for
other scripts.

45. Understanding
scale and ratio of letter
forms directly on a
defined graph.
Normal, Compressed
and Expanded.

46. This is a
first step
towards
understand
ing the
meaning of
“fair” and
“Beautiful”
line. Here
students
learn to
encode and
decode the
human
expressions
associated
to these
type of
strokes.
This is my
attempt to
inspire
students.

47. Student: Amulya Baruha-1975
Students were delighted to play with such
exercises and gave surprising results.
This is a beginning of understanding
illuminated manuscript’s fundamentals.
Studying deeply the formal calligraphy.

48. Student: Zahid Sardar-1973
Student: S.B.Varvadekar-1975
Students were delighted to play
with such exercises and gave
surprising results. This is a
beginning of understanding
illuminated manuscript’s
fundamentals. Studying deeply
the formal calligraphy.

49. Student’s work specimens showcasing the earlier study of line
expressions and stroke directions.

50. Student’s work specimens
showcasing the earlier
study of line expressions
and stroke directions.

51. Student:
Mr. Hemant G. Salgoankar-1973
The most interesting assignment where students enter
into their own world of codified language. The idea was to free their mind from the
conventional language barriers. On the left Roman script’s alphabets are codified as per
own perceptions of the students calligraphic strokes as a base chart. On the right top
Roman script’s (English) original paragraph is being converted into (below) new
calligraphic writing where earlier codified defined strokes are used.
We can judge the progress of student’s idea of fair and beautiful lines.
(Inspired from my Prof.A.D.Desai’s lessons)

52. Student:Mr. Hemant G. Salgoankar-1973

53. This brief I prepared after
nearly 38 years of my first
experiment on Phonetics to
Graphic. I had an opportunity
to conduct an International
Graphic Design and
Communication Education in
Mumbai for courses from
U.K., Canada. Their freedom
in implementing the syllabus
allowed me to recall my earlier
exercise on sound and picture.
I expanded this further for
Typography.
Please see following plates
of the students of 1973/74
batch from Sir J.J.Institute of
Applied Art

54. Student:
Zahid Sardar
-1973/74
This is innovative approach through calligraphy to understand Phonetics (Sound) and its
relationships to the (VISUAL) written form that is script. Students have to create sounds
and capture them in various free strokes as per their spontaneity. Here they experience
how we depict sound in graphic form. On the right application for Monogram.

55. Student: Amulya Baruha-1974/75
This is innovative approach through calligraphy to understand Phonetics (Sound) and its
relationships to the (VISUAL) written form that is script. Students have to create sounds
and capture them in various free strokes as per their spontaneity. Here they experience
how we depict sound in graphic form. On the right application for Monogram.

56. Study of old scripts and their
writing styles. These are my
own calligraphy attempts.

57. Leon Ken Hon a student from China gave
this gift. Picture language and beautiful
brush strokes is the essence of this script.

58. Learning to explore the art of CALLIGRAM
Student: Rohini Kane-1974
from the regular object drawing.
Students are suppose to retain the quality of
calligraphic letter forms while rendering the
final art work.
Student:Monique Somaya-1974

59. Student:R. V. Shinge-1974
Some printed applications of Calligram in press advertisement.
Learning to explore the art of CALLIGRAM from the regular object
drawing. Students are suppose to retain the quality of calligraphic
letter forms while rendering the final art work.

60. Revelations after 30 years: From 1977 to 2008- On the spot “Kalaghoda Festival workshop
for calligraphy” in Mumbai where I could test the said syllabus concept after 30+ years.
Please see separate power point presentation on the same followed after this…!

62. I had an opportunity to conduct an International Graphic
Design and Communication Education in Mumbai for
courses from U.K., Canada. Their freedom in implementing
the syllabus allowed me to recall my earlier exercise on
sound and picture. I expanded this further for Typography.
Please see following plates of the students from Empire
Education’s International Design Institute partners from
U.K. , Canada.

66. Student: Tina Bharucha.
Revelations after 30 years: From 1977 to 2007: This exercise was discovered while exploring innovative possibilities of “calligraphy to
letterforms” for creating the "Display type letterform design palette" in the subject Typography. On the left is a memory drawing of any
subject rendered by the student and on the right is the shapes revealed from the said memory drawing that depicts roman script
alphabets. One can take any language script instead of the roman script. They are sorted out to be rationalized for creating “Display type
letterform design palette" in Typography. You will notice that black colour markings on the memory drawing is done freely in a playful
manner. In the next plate student must use calligraphy cut nib to record these forms. The cut nib gives the advantage for defining the
uneven forms as letter forms meant for communication purpose. This concept revelation was due to my innovative teaching method
approach for International Graphic Design Education I had to conduct in Mumbai for the courses from CANADA, U.K. I never thought then
in 1977 this could be future possibility of my search in formal and informal calligraphy journey. A novel by Dan Brown“Da Vinci Code”
published after two years surprisingly gave an insight that Leonardo da Vinci the famous artist had used this codified language in some
of his paintings 400 hundred years ago..

67. Student: Tina Bharucha. Assignment done in2007 Revelations after 30 years:
From 1977 to 2007:
This second slide shows the revealed palette
of letterforms and on the right side a story
board concept for web design using the
same palette. The objective of recalling
these slides is to present how one can
Assignment done in
expand the study of both Informal and 1976/77
Formal calligraphy taking it further to create
Display design type.

68. Posters designed purely
by Calligraphy.
Late Dr.Mrs.Sharadini Dhanukar
then Head of the Pharmaceutical Dept.
of KEM Hospital –Mumbai entrusted me in
1996 to create Information Educational
Posters for the students of her
department. She encouraged me to apply
Calligraphy like the an old illuminated
Manuscript. The idea was to make them
exclusively hand drawn with a personal
touch. This is considered prestigious for
the artist in Europe and USA. My wife Prof.
Vidyalakshmi an able calligraphist helped
me in this project. Visualization and
Designing of the posters were done by me.
This was one of the best project we did
together. Today these are the proud and
permanent display of the Hospital.

70. It was a difficult task to create calligraphy
in a spherical shape so we decided to set a text on DTP and used it as a reference for writing by hand
with calligraphy nib. It was like “From Typography to Calligraphy”

71. Yes, this is not Calligraphy! When free Calligraphic letters are rationalized by means of
GEOMOTRICAL method it becomes Lettering. Every letter form is designed with some
concept and scale + ratio of height, length and width. Here is an attempt to depict the
word “DESIGN” in six different ways. They are such as Architecture,Painting,Product
Design, Industrial Design, Printing and Graphic Communication design. The letter forms are
composed and modulated as per the concept. Color palette is free with no symbolic
meaning. On the left is original expression and on the right is invert means opposite of the
original colors. This is possible only when an artist is well versed with pure Calligraphy.

72. My calligraphy exploration where I combined formal and informal forms ! Please see separate power
point presentation on this exhibition attached herewith!

81. By the unknown Typographer ! Guess who is this?