Mukhiya’s Manual Type and Modern Legacy

by Bishal Yonjan

About the exhibition

From December 25, 2024, to  February 25, 2025, the arts initiative, Kalā Kulo  is hosting a pop-up exhibition titled “Block Prints, Dot Screens, and the Technicolor Worlds of Tek Bir Mukhiya” in Lalitpur, Nepal, curated by the author of this essay. The pop-up exhibition was made possible with the support of Kalā Kulo and Tek Bir Mukhiya’s family. Exhibition texts were developed with the contributions of Dipti Sherchan and Priyankar Bahadur Chand.

Block Prints, Dot Screens, and the Technicolor Worlds of Tek Bir Mukhiya celebrates the work of the eponymous Tek Bir Mukhiya, a pivotal figure in South Asian book and typographic design. Born in Kurseong in 1938, Mukhiya’s journey began in Calcutta, where he first designed movie posters and created typographic elements for packaging. These formative experiences shaped his later visual practice, which came to define Nepali book cover designs for decades. Mukhiya moved to Kathmandu in the early 1960s, eventually joining Sajha Prakashan, Nepal’s primary publishing house, in 1965. Over the next four decades, he created thousands of book covers, each meticulously crafted by hand. This exhibition draws from his extensive archive, offering a window into the intersection of artistic labour and technical skill that shaped the region’s printed matter.

Mukhiya’s hand-drawn typography represents a significant period in South Asian design history. In an era before digital fonts, each book cover required unique, manually crafted lettering. Mukhiya often worked by collaging or layering different papers, piecing together designs to create the final composition. Companies like Letraset offered stylised fonts on dry transfer sheets, but they were available only in English, leaving Nepali designers to rely on manual techniques. For body text, letterpress zinc blocks were imported from Gorakhpur, India, in sizes ranging from 6pt to 72pt. 

This manual process demanded creativity and problem-solving. Mukhiya’s designs reflected not only his skill but also presented a milieu through the limitations of the tools and materials available. The imperfections in his typography—traces of the human hand—are a testament to the labour and ingenuity behind each piece. As the chief artist at Sajha Prakashan, Mukhiya often read entire manuscripts overnight to conceptualise and design covers by the next morning. On some days, he would produce up to five book covers, each bearing the mark of his distinct style.

The attention to detail in Mukhiya’s work extended beyond typography. He even created intricate illustrations, often inspired by the themes and narratives of the books. These elements not only enhanced the visual appeal of the covers but also established a visual language that resonated with readers. His ability to balance artistic creativity with functional design made his work stand out in an era of limited resources. 

Mukhiya’s ability to adapt to technological shifts was one of his defining traits. As offset printing gained popularity in Nepal, he began to experiment with new methods, while maintaining his distinct style. Later in his career, tools like Photoshop allowed him to explore digital effects such as liquify and emboss. These tools provided new opportunities for creativity, but Mukhiya’s preference for hand-drawn typography reflected his commitment to preserving the individuality of each design. His work bridged the transition from manual to digital practices, demonstrating how traditional methods could coexist with emerging technologies.

Even after the introduction of digital Nepali fonts like Kamana and Preeti in the 1990s, Mukhiya continued to rely on hand-drawn typography for many of his designs. The choice was not merely a matter of habit but a deliberate effort to maintain the uniqueness of each book cover. Mukhiya believed that the imperfections inherent in manual design added a sense of character and authenticity that digital tools often lacked. His work serves as a reminder of the challenges and creativity of an earlier time, offering a contrast to the uniformity often associated with digital design.

Mukhiya’s work is part of a broader South Asian narrative that blends traditional and modern design practices. Across the region, designers in the mid-20th century were exploring ways to integrate local scripts and cultural motifs into their work, creating designs that resonated with their communities. Mukhiya’s typography celebrated the richness of the Devanagari script, emphasising its visual and cultural significance. His work also paralleled the practices of poster designers in South Asia, particularly in the film and publishing industries. While film posters often used bold, hand-drawn typography to capture attention, Mukhiya’s approach was more restrained, tailored to the literary and cultural depth of the books he designed.

As technology continues to evolve, it is important to remember the contributions of artists like Tek Bir Mukhiya. His work laid the foundation for modern design in Nepal and continues to inspire new generations of designers. The imperfections and human touch in his typography serve as a counterpoint to the precision of digital tools, reminding us of the value of individuality in design. Mukhiya’s legacy extends beyond his book covers. His work represents a critical moment in Nepali design history, where traditional craftsmanship met emerging technologies.

The ongoing exhibition at Kalā Kulo not only celebrates Mukhiya’s contributions but also invites viewers to reflect on the evolution of typography and design in Nepal. It is a tribute to an artist who, through his dedication and creativity, defined an era of visual culture in the region. In a time when digital tools dominate the design landscape, Mukhiya’s work serves as a reminder of the importance of manual techniques and their role in shaping cultural identity.

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About the Author

Bishal is a visual artist/curator based out of Kathmandu. He is a part of Kalā Kulo, an arts initiative, where he works on a series of archives contextualizing the contributions of artists who have been central to introducing novel artistic vocabularies to Nepal in the 20th century. Professionally, he has been involved in exhibition design, installation, and programming, including for Kathmandu Triennale 2077 and the retrospective of Ragini Upadhaya. His current interest includes exploring the regional histories of printed matter and book design in South Asia. He is also a member of Aṅkūra Atelier, a creative collective.