 Good evening. Good evening one and all and welcome to today's special event from the Typography Society of India To pay tribute to the legendary professor R. K. Joshi on the occasion of his birth anniversary R. K. has as he was fondly known Professor R. K. Joshi was born in 1936 and left us in 2008 He is known to many people as a calligrapher, a poet, a designer, a typographer, a researcher and Mostly an academician, a very committed and inspiring academician He graduated from the Sir J.J. College of Fine Arts and moved on to Advertising in the early part of his career Eventually he joined IDC, IIT as a senior professor at IIT Bombay and mentored generations of designers before moving on to CDAC So some of his notable professional works include symbols and fonts and also softwares to design fonts Some of the logos you guys must be aware of the welcome group and the very very famous logo of Punjab National Bank He also did the logo for CEA Tires and the India Post, not the one which we used to see today But the one before that, the bold graphic one His Devanagali typeface mungle was also the default font for Microsoft So today we have few of his illustrious former students and colleagues who would be sharing their memories about RK They would walk us down memory lane I understand when we talk about memories, sometimes they are a little painful We get a little emotional sometimes with regret that I would have gotten a chance to speak to him or spend some more time with RK But believe me, when we recall these memories especially of people who have taught us so much, who have mentored us Who have left us inspired to do a certain quality of work in our professional domains These conversations, if not anything else, are most inspiring And many of you guys must have just heard stories about RK or maybe read a few articles on him or may have heard recordings of RK addressing in some of these international conferences But today we will have another very very sort of conversation kind of thing So a very very warm welcome to today's speakers, we have literally the who's who of graphic design slash type design of the country We have Shri Achyut Palav, he does not need any introduction Professor Vinay Sainekar, Shri Rajiv Prakash, Dr. Santosh Sureshagar, Shri S.K. Mohanti, Dr. Uday Kumar and Professor Jeevi Shri Kumar Thank you all of you guys to have agreed to share your memories with RK for today's session by Typography Society of India So all you good people who have taken out time to join us today, sit back and enjoy a little bit of time travel from the eyes and memories of these stalwart speakers I am quite excited to listen to them and to listen to them to talk about RK himself, you know, a revered RK Joshi sir You join us and do leave your comments, observations and if you have some memories of RK, we would be very happy to hear about them So use our different platforms on YouTube and hasgeek.com and leave your comments Once again, welcome everyone and thank you to all our speakers What is a perspective of design? What is a calligraphy? Everything Everything, there is a lot of things to learn from design And when Saran came back that day, Saran explained all the things, but in that there is a lot of things to learn from it And we have to change the way we look at it Because a calligraphy is not a calligraphy But it has no beauty, no proportions It has a natural nature, how it can be and how it can be understood in a short period When Saran came back that day, he explained all the things to me That what we used to do, what we used to write Now we have to change the way we look at it And my first change was when Saran came back Later on, my first change was when Saran came back And Saran just started doing it He was a director of Pulka Bhargaya He was a founder member And wherever he went, he was free, he was free of any type of illustration He was free to sign, he was free to tell anyone And he needed to go to a scholarship Scholarship, like Alia and I, it's been a long time since we started. We are not just drawing or doing graphics, but we also have a lot of things to do, like reading, communication skills, and all these little by little, little by little, little by little, I came to this scholarship, and for a year, I was able to work in that scholarship. And then, I was able to meet Dr. Ashok Kedek, Dr. Daghur, Dr. Ashok Kedek, Dr. Ashok Kedek, and I met a lot of people. And all these people, were very big in that area. I was told that one student and one student were developing, and they were the people who were very big to me. Today, I have a lot of things to do. But just because of that, I came to this scholarship. When I came to this scholarship, in the International College of Arts, there was a seminar, I was told that, you have to make a demonstration on the subject of fashion. So, I told you that I don't know English, not good English. So, I didn't know how to present yourself. I had to look at you. And I think, I had a belief in that, after that. And after that, my work, at an international level, was a little bit of a pain. I had to give advice to the students. I had to give a platform to them. I had to give a different kind of human science to them. And looking at all these people, I felt that I had to change the way I was going. I had to give a different kind of knowledge to them. I had to teach them. And then, I started working in the commercial field. I had a lot of international international work in the center. I had a lot of work. I had a lot of panels. I had to make a lot of work. I had to make a lot of money. I took a lot of money to buy Markets. That's what I understood. Searching for many markets, and searching for many places, is interesting for me SP, deep inside. I had a problem dealing with our job. It was good for me when I started working, and this was a very good thing. And whatever I believe in today, I believe in whatever is in the country. That is just because of Arke Joshi. And without Arke Joshi, I think this country should do the Sulethan Kala, which is a property that I don't have heard of before. And there is a lot of knowledge about the world. There are a lot of Indian Sulethan Kala in this world. If you want to know more about it, please do so. Today is the 7th day. I am very happy to meet you. I am very happy to meet you. Thank you. Hello. I am Santosh. I met Professor Arke Joshi in 1986 first. And I was a student of Bachelor of Fine Arts in J.J. Institute of Applied Arts. I was in my second year as not knowing who was Arke Joshi. And anyway, that was not my fault anyway. I was completely a completely a new generation. And I was introduced to the word calligraphy, not just the subject. First time in my life. And I thought it's just under skill. And I started practicing an abstract assignment which was given to me in school. And then someone told me that if at all you want to go further in calligraphy, there is an international conference happening. This is a story in 1986. Someone told me there is a conference. I said, yeah, I'd love to. But I already came to know that already two people were selected. And I'm nobody anyway in that. So someone suddenly one day told me that Arke was anyway here in the college, J.J. And he's just about to leave college now. He must be with his car. Why don't you go and meet him and plead your place that you are really interested and passionate to go for this workshop. I said, yeah, okay, let me and I went to him. I've told him and I've shown him my work on the road. He was just opening the front door of his car and he said, this is all donkey work what you are showing it to me. This is not a calligraphy. I said, I'm good in my whole class. I'm not a bad student. I'm a good student. And you are saying something else. So what do you want me to do? What do you expect me to do? And he said, there is no care and concern in this donkey work. Although you got good marks. Maybe that was a paradigm shift movement for me within the two days. Not left. I don't remember if I asked that he asked. And I've shown him. He allowed me for the workshop. That was my first exposure to the world. Fortunately, too early in life was not even 18. I suppose I was just 18 and I came across with a world calligraphy in this workshop because he allowed me to simply participate in the workshop which was conducted in IIT IDC. Then onwards, somehow I felt internally that I'm with the community. It's very difficult to understand why you are made, what you are made of in your life and which is your community. Maybe in early age, you're so passionate and maybe so high-skilled person that you can do anything that comes in your way. The issue is what will take you along for a long way and will allow you to do your internal enquiry for a long period of time in your life. For me, I'll give a few words. I don't know whether he also was expecting that they should work on me that effectively. But maybe it's a two-way traffic. It's not one way that the Guru finds Shishya and the Shishya finds Guru. It's both the ways and it's no less time that I was with him to test him for a long time. After 96, to take up a teaching job was his decision about me. I listened to Guru. I kept advertising graphic design, glamorous profession, more money, all that aside. I don't think I have done a big thing or like surrendered all this. No, you just listen to him. Because I was making sense. He was making sense and not so much of convincing me in the way I convince my students today. And I spent so many words and so much of an energy as compared to that. I spent less energy, the specific words. And that also, who is listening, not only who is verbalizing those words. I mean, it was like a decided spiritual point. And he said that you join teaching, I join teaching. And I think to lose and I was always in my life profitable in my own way and profitable not just monetarily, more over value addition, learning, time for myself, so much of freedom, so much to think and read, so much of one-mindedness with so many others without any commercial assignments, relations and networking. It's so nice to know people without any business relation nowadays. Even it's true, even today. You know, people, you wonder about them, you praise them, you like them and you exchange values without any business deal. It's rare, but it's beautiful, isn't it? Some I don't know indirectly arcade guided me to the beautiful path. The path was maybe already beautiful. I was unaware. There was a need always that someone should tell me, go this way and move on. Over the period of time, you realize why you were said so by whom. And then after the experience of life, you endorse. Yes, makes sense to you. Anyway, so after Raksha Yoga, then looking back, three years I came across with Karina Meister, Warners Schneider, Nawang Lama, all those people. After graduation, as he said, I joined Sophia College. Till that time, I was asking him what to do. And once I've joined teaching, as if it's like he was knowing why he said what he said so and to me. In 1993, again, he called me because it was like, I like, and he was in academics from his glamorous profession. I think one of the Kag award, you know, Hall of Fame award, you know, in advertising and from the glamorous industry for 18 years to make a big thing, agency like Kulka came down from business point of view to academics. It's a big thing from the point of view of business industry. And yeah, so I confirmed the mentor was absolutely right. And he said, so go in teaching and sustain there, sustain, you'll get your time, you'll get your freedom. He was always positive. He always very beautifully avoided the negatives of the market and the industry. How beautiful. Because I've also had a glimpse of the market. I've learned key jobs to make money. Who don't want to make money? Who don't want to be popular? Everybody takes time to understand the depth of what someone has said. The principal one sustained experience, noted, validated. Go ahead. Media was really required. It's a big country. 11 scripts are reviews, multi-scriptural, multi-lingual. No typography, calligraphy, appreciation. Redemption kind of things. I think what RK did in me and in our generation is so those seeds of not just the fake patriotism, but the true value of the country, India and for the world. The country is more than 5,000 years old. Few parties here and there, 100 years old. It's not a country. Languages are older. Scripts are older. Not created by one person. Many, many, many. It's a unanimous activity to form a script and to put it into habits. And use it and educate your kids and grandkids. Wonderful system. Most wonderful design before the world design invented maybe. Doesn't matter. Design still can learn because it's a new design as compared to what script is at its high. It's one of the wonderful design. Unanimously decided. Unanimously decided. Not by one single dictator or anyone. In India we have so many scripts but the system is same. Diversity and unison. It's not just philosophical. In India. All this vision we literally got it from our game. In few words, I think I must have spared a lot of words. And I'm a narrator. I'm a storyteller as against our case. So I love to talk a lot. And being a teacher. I love to talk. Arki said this in few things, few sentences and few words. Anyway, today is a day that we should remember it. Moreover, we should remember the importance of the scripts. Not just Indian. And why we say dying scripts? Dying scripts with people at all. We should save them. We should save their culture. We should save their languages. We should save those people who are minimal on the planet. Wonderful yardstick than any other religion. Wonderful yardstick to look at the minimal minority. Language has a syntax of culture and history and knowledge. Nothing else. Think about it. Thanks for Shri Kumar to give me this opportunity to talk on this. I'm very happy. I'm happy to be an alumni of ADC where he was teaching. I'm happy that I'm an alumni of the Institute of Applied Art where Arki was alumni. Think about it. I'm happy. Thanks a lot for listening me and bearing me for so long. 15 minutes, 5 minutes more. Thanks a lot. Namaste. Good day. Hi everyone. I am Rajeev Prakash. For me, Arki means source of knowledge. Arki means source of light. 1987 or 88. I remember it was 88. I know Arki Joshi and calligraphy at the same time. I think it was the time of Akshar Yoga. I would not attend this grand exhibition and workshop of calligraphy as I was studying in Manaras Hindu University. I missed it. I decided to meet the personality behind this calligraphy workshop, Akshar Yoga. First time I saw Arki Joshi at the time of my interview in ADC. I did not know he is Arki. At that time, Google was not there. So I could not recognize his face. I remember his first assignment given by him. It was to write our name at a particular time in few seconds. Basically, it was typography and time management class. I remember not a single student could write his or her name in that particular time because we were trying to show our typography skill. We were not caring about the time. Arki came, he snatched our sheets. He snatched our sheets and said time is over. He was very particular about the time. When I said time, he was particular about the type also. He changed my thinking about the calligraphy. Even I should say, before meeting with Arki, I did not know much about calligraphy. Since 3rd standard to 8th standard, daily I was writing one page of Sulek in Hindi as well as in English. But I did not know this is called calligraphy. I was expert of lettering, not calligraphy. RK is my calligraphy group. Whatever calligraphy I do, it is because of RK. I remember one of his calligraphy workshop in VT station. It was night time. The whole IDC students and other faculties were gathered and seeing and as well as the passengers of local train, all were seeing his sand doing calligraphy, religiously on big sheet of paper. RK was very innovative. His ideas were very innovative and that workshop was very special for us. RK, our group of Indian language calligraphy and he had tremendous knowledge of Indian letter forms. In RK's words, curves, shrorika, joineries, etc., etc., etc. And above all, the grave value of the page. Very important. Sir, sir, how can I forget your words? They always echo in my mind. Dev Nagarit I face was developed in IDC under your guidance. Sir, it was not possible without you and your guidance. It was not possible. I say that. There are many, many, many things about RK, sir. But the time is very limited and I would like to repeat as Saint Kabir said, sadh dharti kagaaj karoom lokhani sab vanraayi sadh samudra ki masikaroom gurguni likha na jaayi. Masimha means ink, lekhani means pen. And dharti kagaaj you can say. Saint Kabir also said, gurukumar sishe kumbha hai. Guru is pot, potter. Guru is potter. And shish is like a pot. Before meeting R.K., over meeting R.K. sir, I was just a rock lay. And he made me kumbh, made me pot, earthen pot. And one more thing I would like to say, R.K. was very strict Guru, very strict Guru. He used to scold as well as, I feel very proud. I say it, I feel very proud that R.K. sometime scolded me and punished me. I am very lucky. I was punished by, I was scolded by R.K. And I think very few of us, only few of us, few of us can say this. I can't forget his smile, his expressive eyes, R.K.'s blessings are with us. I pay my tribute to my Guru, he made me fontwala. R.K. made me fontwala. Thank you very much. Namaste. Thank you Dr. Shrikuna. Thank you for this opportunity to talk about my teacher, my Guru, Prof. R.K. Sush. Prof. Sush has ignited the flame in many hearts. He has created unusual awareness about typography among quite a few students. I am one of those fortunate ones who also have got interested and later started working actively on typography. Under his guidance, I completed quite a few projects, but I still remember my very first introduction to him. I was in my final year. And there was this exhibition by Mr. Kaminshevi, which was organized in Kolhambra District, Roads of our College. R.K. was invited and someone introduced me to Prof. Sush. I still remember that evening and his smile. I secretly wished him in my heart that it would be really, I would be very fortunate to be working under him. Maybe after about, say, a year, I got the opportunity. After finishing my final year, I was working for Chairman Lankz. Again, thanks to Prof. Sush, he introduced me to Chairman Lankz. And I started working with Chairman Lankz and I worked there for about 17 years. In Chairman Lankz, I got his guidance. I remained in touch with him. And he was always there at every step. We became little closer when I started working under him on hall design projects with insisting. Whenever he used to leave for his home, I always used to make for a ride, rather lift from him to reach Sion Station. From there, I used to take a train to back home. From Juhu to Sion, Sion Bridge, the moments that I spent with him were really invaluable. In those about half an hour or 40 minutes ride, he used to tell me ten number of things. And he taught me quite a few things which otherwise I wouldn't have learned in the last row. R.K. was never my formal teacher. R.K. was always an formal teacher for me. In that over 40 minutes, he told me about development of Indian typography. In commercial sense, that is how boundaries work. How boundaries contributed, various boundaries contributed towards the world of typography. He also told me how not to be judgmental, how to find beauty in everything. How to sort of approach a problem with very clear mindset. Those were the things which I learned from him. I also learned from him that how you can be without any prejudice towards letter forms, towards typography, towards anybody's work. So these are the things which I learned from him. But that way the list is endless. R.K. was a teacher. I normally tell everyone that I was not always that fortunate to be tutor under him. But at the same time, the kind of moments that I shared with him, which were not from a classroom. But they were in his personal touch and those were invaluable, as I have already said. R.K. and his contribution towards typography, R.K. What he did in his teaching career or what he did in his advertising agency. Everything is well documented, well curated by many people. There are generations of students under him who have got inspired, who have got nurtured, who have got nourished at IDC. But why IDC? At various other places too. R.K. as many people would like to say that he was a multi-faceted personality. Yes, he was a multi-faceted personality. Myself with Vikram Gayakvar and Santosh Irsagar, we organized his exhibition, a work of his exhibition at Jiri Institute of Aglera. And we decided to show every aspect, every facet of his personality. And believe me, there were about 16 aspects that we covered in that exhibition. The exhibition was suddenly called as Akshar Mark, that is the role which is eternal, which will never die. So that Akshar Mark was one of the exhibitions that R.K. remains in like. Gordy himself had designed many exhibitions, many expositions. And some of them were definitely at the national level, like Akara Delhi. I was fortunate enough to associate him on many of his projects. And as I said, the most important project for my heart was from design project under him at MCSB. Even in MCSB, he also conducted quite a few exhibitions, quite a few expositions of our work which was happening at MCSB. R.K. also encouraged many young students to take up typography, as not just as hobby, but also as a profession. And some of them are doing really well these days. I always remember him, if I don't know when R.K. Kumar told me that he is organizing this work, in the remembrance of R.K. I may sound a little pompous, but I would say that I have never forgotten him. In fact, since I have not forgotten him, there is no point saying that I remember R.K. today. I remember him every day. At every stage, all that he has taught me, I keep on certainly repeating in my mind. R.K. was someone in my life, someone in my upbringing as a designer. It's something that I cannot ignore him, I cannot overlook him, I cannot bypass him, I cannot avoid him. I cannot afford to mention him. I mean, it is something that you live in and live out. It is like your day-to-day life. It is something that you cannot miss. For me, R.K. is that. R.K. and his literary works, I was witness to many things. I was also a witness, also his happenings which took place in IDC. I have attended so many things that I have seen his passion. The way he passionately used to approach all these things, I have seen that. Whenever R.K. used to meet, R.K. invariably used to ask me, So, what is happening? What are you doing these days? Not whatever I did was related to typography. But whatever little I did, he was always curious. He was always into his idea. And after listening to whatever I have been doing, he invariably used to give me some pointers. It is a very important, invaluable surveyions that always help me to take whatever little I did to the next level. So, I remember him yesterday. I will always remember him in future. Thank you. Namaste. It is a very important day for the entire calligraphy community today. To remember our Guru and one of the legendary calligraphers and designers India has ever produced, Professor R.K. Joshi. Many of us are in this profession because of a great Guru like him. And today, 22nd February, being his birthday is a very auspicious moment for all of us to remember our Guru, Professor R.K. Joshi and share some of his vision, his work and thoughts among all of us. I will start with introducing him in terms of his biographical sketch and then share some of his important works and then share my memories as a student. So, he was born in 1936 in Olappur, Maharashtra. In 1952, he joined Sir J.J. Institute of Applied Art in Mumbai. And in 1956 to 1960, he worked as an artist but then DJ came and later became OBM. From 1961 to 1983, he was art director at Ulka Artutaisi. He has created a world record of CAG Awards received by one designer over a period of so many years. In 1983 to 1996, he was a professor at the Industrial Design Center, IAC, IIT, Bombay. In 1997 to 2008, he was a time design specialist at CDAT, Mumbai. Formerly, it was called NCST, National Center for Software Technology. I will share some of his work with him. All the logos and symbols shared in this talk are owned by the respective organizations. This compilation is done for strictly academic purpose. To share some of his work with the younger generation, many of the design students of the younger generation are not aware of Prof. R. R. K. Joshi's work. This was an identity design for International Shibori Symposium in NID Ahmedabad. This is the symbol he designed for Steel Authority of India. This is the symbol for Welcome Group of Outlet Design by Prof. R. R. K. Joshi when he was in Ulka Artutaisi. This is for Indira Gandhi National Center for Arts in New Delhi. This is the famous symbol he designed for Punjab National Bank. And this is the identity design for Chimanlalas. That time it was one of the important landmarks in Mumbai, Chimanlalas. This is the identity design for Indian Post. This is for CH Tires. This is the magazine mastered for Namaskar. It was an in-flight magazine of Air India that time. Air India had a separate in-flight magazine and Indian Airlines had a separate magazine. This is the main logo for Akshari Yog. It was a seminar organized in IDC in the International Conference and IDC. These are some of his calligraphic work. This is based on the Siddham script. This is a cover. These are some of the covers he designed for Satyagatha. Satyagatha was a very famous Parathi publication of that time. This is a concrete poetry in letterpress type used for cover of Satyagatha. This is again a poetry calligraphic experiment done by Arke Joshi in 81 in a cover for Satyagatha magazine. This is an interesting poetry done by Arke and he has used punctuation marks very creatively for expressing certain feelings and part of storytelling and narration. This is again part of the experiment's calligraphic expressions he did during the Akshari Yoga conference and calligraphy workshop. This is also part of the calligraphy workshop for during Akshari Yoga. So when we say Om, there are three different vibrations one after another and there is a feeling, the relationship between that and the calligraphic expressions. So he is trying to portray that feeling of those vibrations of Om through his calligraphy. It is very interesting when we look at the actual art, you can feel that when you chant Om how we emphasize the first when your lungs are full and slowly, slowly your sound fades out. That feeling and by the time you reach Om and towards the end of it it becomes a very feeble voice. That modulation, that audio experience he is trying to convey through his calligraphy. So if you look carefully from the center the force and the size of the letters start reducing when you go towards the end of the circle. This is a decorative Jain style of calligraphy. It is a Devanagari script but he is trying to studied a lot of Jain calligraphy. This is Siddha Nagari. It is an improvised version of Siddham script where he has written Satyam Shivam Sundaram. This is also Devanagari letters written in Jain manuscript style. Here it is a stylized logo say Sri. It is a kind of a fusion between Siddham script and Devanagari script. This is text from the book on calligraphy Dasabodha by Saint Ramadasa. So here he is trying to create a different feeling of different groups of text and he is trying to emphasize through the distinction through draw penitions and the kind of eye movement between them is played around here. These are couplets from Meghdu. They pick poem by Kali Dasa. It is also written, it is done using a kind of a peculiar Siddha Nagari script designed in northeast and north. This is Aham Brahmasmi written in Siddhanagari script. I met him in 1990 when I joined here. These are pictures taken during a design workshop he conducted in 2006 in IDC for most of the design students. So he explored with so many different tools of interesting experiments with calligraphy tools. So this one he folded two-three sheets of paper and then cut it into an angular made it into an angular name and he is doing a lot of experiments with this different tools. Once he mentioned that when he started doing calligraphy he realized that all the calligraphy tools in the market meant for the Roman script. So he decided to create his own set of tools. So these are all from photographs from the workshop he did in IDC. And he has a guide and a mentor and a philosopher and a guru to so many generations of students in IDC. He has inspired guided and illuminated the path of so many batches of students. So to a few lessons the most important lessons I learned from him I want to share today with all of you oneness that a poem he wrote he said that you write one letter wait for thousand years then another letter then there is death. So there are a lot of philosophically interpretation lessons in what he wrote through his poems. One of the very important lectures he gave in Icograd 2007 a very interesting experience he took of the audience through towards the end of the lecture he showed a signature and the signature slowly blurred into a white full white background then he showed the text came on the screen said I left this place as if I was never here before. So he mentioned that he at that moment he followed philosophy where he didn't want to leave any of his work here and earlier when we were students he was very big supporter of documentation of his work everybody's work but towards the end of his life he said I don't want to leave anything I have done here I want to leave as if I never exist. So these are two very very important things which we have always keep in our memory when we think about R.K. Lush I would like to thank the desserts team of IDCIT Bombay for giving all the photographs from the website I would like to thank Nina Mistri and Arun Kalwankar who shared some of really good black and red photographs and I would like to thank the staff, students and faculty of IDCIT Bombay for helping me organize the materials for this lecture and also to the organizing team of typography society of India so I would like to stop here and pray for R.K. Lush and remembering the famous lesson Guru Brahma, Guru Vishnu, Guru Devo, Mahesh Guru Sakshal Parabrahman Tasma Esri, Guru Veda in memory of Prof. R.K. Joshi please Hello everyone my name is D. Uday Kumar I teach at a department of design Indian Institute of Technology Kohati I heard a lot about Prof. R.K. Joshi I remember the first time I had met him was during my Masters in Design Program at IDCIT Bombay Prof. K. T. Trivayadi had invited him to deliver a lecture on Indian scripts as a part of Indian Thoughts and Tradition course so the lecture was in the auditorium I still remember that day there was a power failure and so there was not much of a light so the doors were open so only natural light was through the doors and he went on to continue to do the talk and I was so impressed and motivated by the talk and also learned that he had so much of knowledge on the Indian scripts and the letter forms and that the way he kind of pronounced each of these letters and also he kind of gave a little demonstrations of how to draw those letters and he was fully involved and he was full of enthusiasm and energy that really inspired me and I still kind of remember that and it was a great learning experience for all of us then I also had an opportunity to meet him on two other occasions so again it was during my MDS at IDC so I did a project on letterpress printing under the guidance of Prof. K. T. Trivayadi so as a part of the video I wanted to interview because I know that he had a first time in experience on letterpress printing I took his appointment and at that time he was working at NCSD so I visited him a couple of times initially I was so nervous and I did not know how to interact with him but I was a no voice designer I had no idea about typography or calligraphy I was new to this and I had the curiosity to learn more and probably that also stemmed from the courses that I had taken and also from the teachers whom I was inspired like Prof. K. T. Trivayadi and Prof. G. V. Sridmar and Prof. Ravi Puaia so who got me into understanding the Indian scripts and Indian typography so I went to NCSD couple of times in the evening to meet with him who was kind enough to spare his time, advice me help me into the entire process and he also advised me that let us have a video in the IDC library so he visited on his own to the IDC library and we shot about 30 minutes raw footage I still remember those experience so we had two cameras one was in the front and the other was in the from the sides so as many of you might know that whenever he spoke he was very expressive and his hands were always in the air dancing and animating with full of excitement and energy and I wanted to capture that expression and I wanted to capture his hands so he was fully involved in the entire interview so that was a great experience and I still used that video and showcased them to all my students every year and that way I continued to kind of learn each and every time that I showed that to my students and I remember him showing many of his works his poems, he was also a great poet and he has used letterpress printing to print these poems and how he printed those poems and how he made it like a visual poetry like a concrete poetry so that was a great learning experience for me the third time was I had a close interaction with him, was doing my PhD days Professor Ravi Puaia had invited him for a week long workshop on calligraphy for the master students so I was put as the students coordinator so I was responsible to document the entire workshop so I shot the entire video and that was another long interaction I should say with him and I was there with him throughout to help him and assist him with the materials and also various things that he needed and required during the workshop so I also got to learn about calligraphy and again, whenever he demonstrated he used to kind of say the word and the letters and it just did not come out from his mouth it just came from the entire body he was just free there and all the energy was just put into that moment when he kind of drew those letters and the letters just popped out it all become very alive and alive I should say so that again was another great experience that I had with him and I think I was one of the fortunate persons to kind of be closely associated with these three occasions and I wish I was also taught under him but still whatever little time that I had to interact with him was a good enough for me to kind of really understand typography and that also in a way helped me to perceive a PhD in Indian typography so I did my PhD under professor Jeevi Shreemar on Tamil typography probably all of these things kind of helped me to kind of move forward and also inspired me to do more and research more in Indian context and Indian scripts so thanks to all my teachers professor K.T. Trivedi professor Jeevi Shreemar professor Ravi Pohya and also R.K. Joshi it was a very small interaction helped me grow in this field and also thank you Tempographic Society of India for having me share this experience of R.K. Joshi with you all so the way he concluded my video I would also like to conclude this small footage that's about it thank you