• Dr. Sumanthri Samarawickrama’s revolutionary work on Sinhala typography

One of the key visuals of the Sri Lankan identity is our Sinhala script in all its forms – from the flowing Sinhala script of the ola leaves of old to the modern Sinhala typefaces pioneered for the digital age. 

Originating from the ancient Brahmi script, Sinhala is characterised by its flowing, curvilinear letters that create a sense of harmony and beauty on the written page. The script incorporates intricate diacritical marks and elaborate ligatures that enhance its visual appeal. 

Over the centuries, the script has adapted to incorporate loanwords from languages like Tamil, Portuguese, Dutch, and English while maintaining its distinct identity. Today, the Sinhala script remains an integral part of Sri Lankan culture and heritage, used in official documents, signage, and artistic expression. 

But how is the heritage of the Sinhala script being preserved? Does it need preserving? This was what guided The Sunday Morning Brunch as we sat down with University of Moratuwa Department of Integrated Design Senior Lecturer Dr. Sumanthri Samarawickrama.

Her work bridges the gap between art, science, and design. With a PhD in typography, Dr. Samarawickrama’s research has had a profound impact on the field, especially in helping to understand the anatomy and evolution of Sinhala letterforms. Currently, her groundbreaking project at the Karapitiya Temple aims to preserve and revive ancient calligraphy forms, adding another significant chapter to her illustrious career.

Falling in love with type

Dr. Samarawickrama’s academic journey is as impressive as her research. She earned her Bachelor’s Degree from the University of Moratuwa, followed by a Master’s in Visual Communication from Lasalle, Singapore and a PhD from the University of Moratuwa in collaboration with the Indian Institute of Technology (IIT) Bombay. 

Reflecting on her path, she noted: “I got into typography somewhat randomly, but my unique way of thinking and working guided me here. It’s been a blessing.”

Dr. Samarawickrama’s role as a creative educator at a technical university like the University of Moratuwa presents its own set of challenges, given the university’s strong focus on engineering and technology. Yet, her efforts have significantly enriched the university’s curriculum and research output, particularly in the areas of graphic design and communication.

The Sinhala script, like many other writing systems, has a rich history influenced by various cultural and technological changes. Dr. Samarawickrama’s research provides a comprehensive timeline tracing the evolution of Sinhala typefaces from early inscriptions to modern digital forms. The script’s distinct circular anatomy, influenced by the traditional practice of writing on ola leaves, sets it apart from more geometrically rigid Western scripts.

“The idea of the ola leaf is not lifting the pen and going on; you go until you finish the line,” Dr. Samarawickrama explained. This continuous, flowing style was disrupted with the advent of the printing press in the 18th century. The introduction of moveable type by Dutch and British colonisers brought about significant changes. 

“After the printing press was introduced, the evolution of letter forms went through various phases – from cold metal to hot metal, followed by light, and now completely virtual,” she explained.

Preserving Sinhala calligraphy from days gone by

One of Dr. Samarawickrama’s most exciting current projects involves extracting and preserving calligraphy forms found in the murals of the Karapitiya Temple. This project aims to create a manual that documents these ancient forms, providing a resource for future generations to learn from and use traditional Sinhala calligraphy.

The process is meticulous and collaborative. “We photograph the murals, study the forms, and then convert and recreate those letters,” she said. The goal is to ensure that these scripts, often lost to time and modernity, can be preserved and utilised in contemporary contexts. Working with a team, including Prof. Girish Dalvi from IIT Bombay, the project promises to be a significant contribution to the preservation of Indic scripts.

Understanding the historical context of the Sinhala script is crucial for appreciating its unique characteristics and development. Dr. Samarawickrama’s research has delved into various historical periods, highlighting how the script evolved over centuries. The eighth or ninth century marks a significant point where Sinhala letterforms began to take on their distinctive shapes, moving away from the Brahmic scripts that influenced them.

However, much of the modern understanding of Sinhala typography stops around the 16th century. Dr. Samarawickrama’s work seeks to fill this gap by tracing the script’s development through to the present day. 

She pointed out that there was a common misconception that the script did not evolve after this period. “People often think it hadn’t evolved after the 16th century, which was also when the printing press was introduced,” she explained, noting that the reality was quite different. 

Dr. Samarawickrama observed that understanding these different stages in the evolution of Sinhala typefaces could have an important impact on both how to record the history of Sinhala type, as well as shedding light on how to better standardise the use of fonts across various industries. 

For instance, the introduction of the printing press in 1737 brought about significant changes in Sinhala typography. Early printed documents, such as the 1737 prayer book and tax notices, showcase the adaptation of Sinhala letters to printed forms. These early works were often influenced by the needs of our colonial rulers, both for administrative purposes and evangelisation.

Despite these advancements, Dr. Samarawickrama pointed out that the modern use of Sinhala typefaces was still evolving. “Sinhala type has to be changing even in the present day – its usage is clearly changing,” she said. However, the integration of technology with traditional letterforms is often lacking due to a gap in foundational knowledge.

Local vs. Western typographic perspectives

Dr. Samarawickrama is a strong advocate for defining a local visual identity, which she believes is essential for the growth and recognition of Sri Lankan design. “No one has bothered to define our local visual identity, which is important if we want to expand on a subject,” she insisted. 

Understanding the evolution of Western language and type is often something that is easy to do because of the wealth of documentation that surrounds it. One of the critical points Dr. Samarawickrama raises is the importance of developing a local perspective on typography. 

She also explained that Western theories and practices could not be directly applied to Sinhala typography due to its unique characteristics. “The Latin anatomy is very geometric, but Sinhala letters have a circular anatomy,” she explained. This difference highlights the need for a contextual understanding of Sinhala letterforms. 

Locally, however, there is somewhat of a gap, right down to the preservation of books by our museums. For true studies on typography, it is often crucial to see the cover of a book, to understand how font was approached from a creative perspective. However, traditional preservation practices of books from Sri Lankan history often focus solely on preserving the content of a book, with the books often being taken apart and rebound for academic preservation, with the original covers of those books being discarded. 

Mapping out the future of Sinhala typography

Looking ahead, Dr. Samarawickrama is optimistic about the future of Sinhala typography. Her ongoing projects, including the Karapitiya Temple calligraphy manual, aim to provide resources and frameworks that can inspire further research and innovation. “This base means that there will be a lot of people who will start experimenting thereafter,” she said.

Moreover, she highlighted the need for more resources and support for typographic research in Sri Lanka. The establishment of the Institute of Typography and the Akuru Collective are steps in this direction, providing platforms for collaboration and knowledge sharing.

Dr. Samarawickrama’s contributions to design education in Sri Lanka are also pivotal to driving how well we understand our local script. She has played a key role in shaping the curriculum at the University of Moratuwa, focusing on text, image, history, and trends in communication design. “Design education is getting established here and I strongly believe in its importance. It can change a lot,” she asserted.

Her teaching emphasises a user-centric approach, helping students understand and apply design principles effectively. By introducing students to the historical and cultural contexts of Sinhala typography, she fosters a deeper appreciation and innovation in the field. Her efforts have led to numerous student projects exploring the potential of Sinhala type in modern applications, such as road signs, wayfinding systems, and educational primers.

Dr. Samarawickrama’s work in Sinhala typography is both pioneering and transformative. Her research on the anatomical structure of Sinhala letters, the historical evolution of the script, and current projects like the Karapitiya Temple calligraphy manual contribute significantly to the field. 

By building a bridge between past and present, she hopes not only to preserve our rich typographical cultural heritage but also to build a foundation from which future innovations in Sinhala typography can be driven. 

“Typography is a combination of science, art, and design,” she said, and with her work focusing on all three of these aspects and how they relate to the past, present, and future of the Sinhala script, it demonstrates how understanding and preserving the past can lead to a more vibrant and creative future.

PHOTOS KRISHAN KARIYAWASAM