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okay, uh hi hello and welcome to this video, today i'm excited that the board of type, weekend has given me the opportunity to, share some of my experience working with, the javanese group and thus here we are, in this video, presentation titled working with the, japanese script an, effort to revive the script, typographically my name is aditya bayo, pardana you can call me adid or bayou, i'm an architect by day but during my, spare time i like to delve into the, unexplored world of indonesian script, typography, we have a lot to talk about so let's get, to it today we'll be talking about the, japanese crypt, and for that we have to travel to, indonesia a tropical chain of violence, with diverse culture, and home to over 700 living languages, according to some estimates, now not known by many even amongst, indonesian themselves, is the fact that the country is also, home to about a dozen indigenous writing, systems, unfortunately all of them has been, supplanted by the latin alphabet in, everyday use, so you would not find these scripts, unless in specific or very limited, contexts, today we're going to zoom in into the, island of java here, south of the equator it's a relatively, small island but densely populated, with a long history and also home to the, japanese script, natively known as axarajawa or honorako, the japanese script is a brahmi derived, writing system each letter, represents a syllable that ends with the, vowel r, a variety of directrix shown here in red, is used to modify the basic letters, while primarily used to write the, japanese language the javanese script, is also used to write sanskrit all, japanese sundanese madrenis, malay and indonesian among other, languages, you can see some of the characters here, on the left we have the basic consonant, letters, that are around 30 plus inherited from, the original sanskrit model, but from all of this only 20 letters has, distinct, sounds in the modern japanese language, the rest of the letters are usually, repurposed, or only used in specific cases in the, middle we have the conjuncts which is, used to write consonant stacks, on the top right we have the diatrix, used to change or modify the basic, consonant letters, we also got numerals and a set of, elaborate and partly decorative, punctuations, the javanese script has its root from, the ancient bravmis grip of india, a southern brahmi variant called palawa, was used in southern india, and southeast asia from the 6th to 8th, century a.d, in the indonesian archipelago palawa, evolved into the kawhi script, and the kaw script itself was used for, about 8th century until, it gradually evolves around the 16th, century into the japanese script, alongside the nebula linus grip its, closest relative as well as other, regional scripts of indonesia, the script was actively used by the, japanese people from at least the 16th, century until the mid-20th century, during which the script came to be, written with various medias for various, purposes, inherited from the hindu buddhist period, practice early japanese script were, written in palm leaves, locally known as londar a pen and paper, came to be used with the spread of islam, to the island of java, and it became the dominant medium of, writing with the arrival of europeans, printing and muzzle typing the script, greatly increased the number of javanese, script, materials from around the 19th century, onward, in 2009 the japanese script was, allocated its own block in the unicode, standard, thereby facilitating its use on devices, and digital platforms, all of these contribute to the japanese, design legacy today, it's helpful to note that for most of, its history the island of java is, divided into many small regional, polities, since most of these regions are, relatively isolated with each other, many courts and regions even within a, short distance of each other, have their own distinct style of writing, for example here are two royal letters, from the neighboring courts of surakarta, and yogyakarta in the central javanese, hinterland, the courts of this region is considered, the center of classical japanese culture, and so its literary tradition commands a, degree of prestige among other japanese, polities, moving north the northern shore of java, frequently engage with, foreign influences due to trade, activities and thus, some coastal examples from this region, show distinctly foreign design elements, incorporated creatively into the basic, skeleton script, shown here for example is a manuscript, from tierbonne where described, adapted latin serif and thin thick, strokes, and here we have a plague from the, chirobon palace with, stylized chinese clouds motif in its, latter design, around the early 1800s increasing, interest for the javanese language and, literature, prompted the creation of the japanese, movable type, at the time the surakartan style was, considered as the most divine and, frequently cited as the ideal form, for type designers to aspire however, with its, extreme flourishes that necessitated, huge descender and a center space, it was very difficult to emulate in, print printing anything, with this kind of style would need a lot, of printing space and make everything, more expensive, and so balancing this ideal style with, the economic and technical, reality of the time has been the central, preoccupation of designers, of the time however in 1838 a, satisfactory typeface was completed by, takoroda, his typeface was well received and would, become the standard in japanese, publication for the century to come, the proportion and shape of reuters type, c typeface, in accordance with the wisdom of the age, is inspired by the sorakartan, handwriting, while it's certainly not as extreme as, the real thing, rorda kept the principle in which the, descender and ascenders are decidedly, larger than the x-height of the basic, letter, he also added european typographical, elements such as thin thick contrast, which was considered novel for japanese, body type up to the up to that point, now that japanese type is available, printing and publishing stuff in a, japanese script became a thing, printed javanese appears in official as, well as popular use, on the left is an official government, document issued by the palace of, yogyakarta, and on the right is a cover page of a, popular magazine, called kajawin and it was not only plain, text type that are being developed, elaborate decorative type was also, explored to a quite sophisticated degree, one of the earliest example is gif, figure javance as shown here, and the son style is so heavily imbued, with baruch and rococo vibe, that i would say it will not look too, out of place in places like persay, and specific european design phenomenon, came to be used in japanese type setting, as well, for example drop caps in the above, picture, doing book and also below is a mass hat, for, for the bromartani newspaper java's, first japanese language newspaper, and notice how it uses the, latin black letter as the main, design element of its uh javanese, masa and this is my personal, uh favorite example is a book plate, published in samarang in, 1898 commemorating the ascension of, queen wilhelmina of the netherlands and, in this single, paper you can see a wide variety of, typographic style, applied to the javanese script another, common design trope, is the imboto style frequently used for, book titles, in which the letters are rendered in, blocky geometric shapes, it can have contrasting strokes monoline, slightly octagonal or even reverse, contrast here shown at the bottom, as print culture matured and demands for, book rises latin was increased, increasingly preferred, in the early 20th century due to, economic reasons, it took less space to print attacks in, latin compared to the same tax, set in javanese which was understandable, since as we have seen before, japanese type designers did deliberately, pick one of the most elaborate and least, compact handwriting style, as their ideal form printing in latin at, the time kept, books affordable to the general populace, which are often proficient in both latin, and japanese script anyway there were, attempts to make more economical, japanese type, such as this one by the amsterdam type, foundry, but the result was very uncanny and it, did not catch on, then while all of this is going on uh, the javanese typographic scene, came into a grinding halt due to the, messy period, the popular use of the javanese grip, vanished in this period, and did not recover after the war was, over, and that sadly brings us to the decline, of the japanese grip, because of the messy period the use of, the javascript and, all other indonesian script as a matter, of fact became less substantial, and often tokenized all practical use of, the javanese script today has been, supplanted by the latin alphabet, the japanese script is only used, marginally and often times crudely as we, will see later, from early 2000s to now the use of the, japanese script, is for the most part faced with many, issues, such as minimal effort implementation, even though the script is still taught, briefly in schools, there are no longer publications or new, reading materials, that use the japanese script and it is, also minimally used, in the environment the next problem is, limited, and inadequate font shown here in the, bottom, is the default font that often used, today and i'm going to be partial here, i don't like the current default font, you can see that, many details of its design are not well, executed and, it lacks refinement it looks completely, removed from how the javanese script, looks like, in actual manuscript and prints, even if a font has impeccable, typographic design, many device unfortunately does not, support complex japanese rendering, and many users today had to go through a, lot of hoops just to get proper japanese, display, all of this leads to less than, satisfactory results, official street signs and private, signages are played, with basic mistakes most japanese people, today, know the existence of the script and, recognize a few letters, but it is rare to find someone who can, read and write it in a meaningful manner, oftentimes people type whatever and did, not bother to check what they type, and even if they're willing to ask ask, it's hard to find, someone who had the competence to, answer and guide these kind of questions, since the public had to make do with, single monotone fonts, many people could not tell the, difference between, natural variants and shapes that are, simply wrong and this is especially bad, for designers, who often work with a very narrow visual, conception, of what constitute as the japanese, script, and so to address this issue it has been, my personal goal to introduce the rich, design legacy, of the javanese script as well as its, potential application, on the contemporary design landscape, one of my earliest attempts at this is, the exercise, of germanizing international brand logo, types, here we have for example coca-cola and, then, nike sprite and, lin chocolate the basic gist of, it is that i transcribe the name of the, brand phonetically into the japanese, script, and then merge that uh transliteration, uh with the original latin design to uh, to render the javanese logo, one of the most prominent aspect of this, javanese uh attempt is that uh the, average javanese letter, requires more horizontal space than, latin so often times, whenever i'm doing this the japanese, version, tends to in uh widen naturally, uh into quite noticeable degree and you, have to, balance counter that balance and counter, that with, a slightly slightly, thinner strokes and whatnot with this in, mind, uh translator transliterating, latin logo type into javanese has become, a, an enlightening practice and uh one of, the, one of my uh fun experience is uh, transliterating film titles, for uh the instagram account titles in, translation, which was then presented in taepon 2018, and here's another one of my attempts, which, sadly did not i did not made it in time, to be submitted for typecon but, it was fun to make other than one shot, logo type i also made funds, and give them to communities or, interested parties, as time permits one of my earliest font, is this nawatura, and then there's bangil which adapted a, style, used in the letter from the region of, bangil to, to send to thomas stanford raffles in, 1816, this is a yokyakartai an interesting, story about this is that the city of, yokiakarta, uh one of the most prominent center of, japanese culture uh, issued its own logo and font for the, city, without a javanese script and i thought, it's a shame and so uh why not, make a javanese script expansion uh for, the, uh font so that the javanese and latin, attacks can be uh shown side by side, harmoniously, and then we have istaka an homage to the, embos, style which is bold geometric and, somewhat futuristic i would say, and then and then we have bakul which is, inspired by casual brush style, my commissioned work include the, revamping of notosans javanese phone, the first version of notosans japanese, which is still the default in many, mobile devices, adapted the amsterdam's type foundry, experimental design and this is, problematic because it, while it may be an interesting display, display type alternative, it is very difficult to read and, mostly illegible and it confuses new, readers when presented as normal, japanese text time, so i was brought in to um to revamp this, uh not a sense japanese into a version, that is more, user friendly and legible to japanese, readers, at first i presented the option whether, whether monotype and google want the, font to be revised or to com made a, completely, new design and the new design option was, chosen, and after that uh making the, behavior of the font and all of its, conjuncts and combinations, which were previously not, which was previously uh not found in the, original, notosance japanese was was laid out and, refined until we have the second version, of, rotosands japanese released in 2019, and for discerning associates whose, business like to include javanese crypt, i also uh helped consult on making, uh the uh making translation uh, giving options pointing out uh details, that can be, uh flourish and which that should be, kept plain, varying shapes to fit better with the, original logo etc, and this for example here is a pizza, franchise in modern-day surakarta who, has just, put up this new lightbox about a month, ago, since 2010 increasing awareness of the, japanese script as spearheaded by young, communities of, enthusiasm designers has slowly improved, the design landscape of the script, communities such as sugajabu in, yogyakarta host classes, on installing and using the script on, devices such as laptop and smartphone, sega jabun also introduced members to, digitized japanese manuscript and, publications that are available online, such as those from the british library, and wikimedia, and having access to these tools greatly, enhances the discretion, the discussion of the script new small, to medium enterprises, such as banu now offer merchandise that, integrated javanese script, among others as part of their distinct, visual identity, javascript elements that looks actually, designed is surprisingly rare up to this, point and many still only copy paste, what they've found on the internet, over the years i came to be acquainted, with other talented and enthusiastic uh, individuals who are also intrigued with, exploring the japanese typeface, for one of them is arif boudiarto, who i often collaborated with in, creating a japanese, uh typeface uh there's also, a new hollis who made uh many, uh application of the japanese script in, logotype and what not to show its, diverse, ability to adapt to many styles and we, have adien gunarta, who published a short story, written with the javanese script a very, rare thing, these days he also contributed to the, type con in translating the ladybird, film logo type shown here and also, there's visnu adi kusam, kusuma in surakarta who who is also, inspired by the, many varied style of the japanese script, in pre-independence practice and so many, uh, of his work is sort of an homage to to, those typographic practice of the past, while there are still lots of hurdles to, overcome seeing some of this, contemporary work, made with respect and labor of love, fills me with hope that the japanese, script would, one day flourish again and so, came to this presentation uh thank you, for listening and, uh uh i believe after this would be, the uh question uh q a time and, uh okay so uh thanks again for listening
