Designed using Nhugu Newa, the work brought the typeface into a public cultural context for the first time, placing a geometric interpretation of Ranjana Lipi alongside the calligraphic traditions the festival celebrates. The posters were an opportunity to test whether a constructed, non-calligraphic rendering of the script could hold its own in a space defined by hand and brush.
The first poster draws on the primary colors of Newari fabric — red, black, and yellow — a palette that appears across the textiles, architecture, and ritual objects of Bhaktapur. The color choice was instinctive as much as it was intentional; these are colors I grew up with, and working with them felt like designing from the inside. The text, set in Nhugu Newa, carries a Newari saying that translates roughly to: if something is said, it is said. A reminder that words, once spoken, carry weight.
The second poster arranges the full character set of Ranjana Lipi as its primary visual, presenting the alphabet of Nhugu Newa as a compositional element in its own right. The palette stays with red, black, and yellow, the colors of Newari fabric and material culture. Behind the characters, a pattern of lines traces the silhouette of a typical Newar alley, the slanted thatched rooftops and the wooden beams that hold them up, an architectural geometry that has defined the streetscape of Bhaktapur for centuries. The script and the city it comes from appear together on the same surface, each giving the other context.