In April 1943, Satyajit Ray joined a British-run advertising agency,
D.J. Keymer, as a junior visualiser. He spend next 13 years here,
until he became a full-time filmmaker after success of Pather Panchali.
Ray was fascinated by typography both Bengali and English and produced
many innovative advertising campaigns. His designs of two typefaces
'Ray Roman' and 'Ray Bizarre' would win an international
competition in 1971.
He brought in more of Indian motifs and calligraphic elements to
advertising. Later, his love for typography and illustration would
often surface in the credits and the publicity posters of his films.
His senior colleague at D.J. Keymer, D. K. Gupta started a publishing
house 'Signet Press' and Ray was roped in to do the cover
jackets. In 1944, D. K. Gupta decided to bring out an abridged version
of a novel by Bibhuti Bhushan Banerjee, Pather Panchali. Until then,
Ray had not read much Bengali literature. By his own admission,
he was even unfamiliar with the bulk of Tagore's writings.
Ray was asked to illustrate the abridged version of the novel. The
book itself made a lasting impression. D.K. Gupta, a former editor
of a Bengali film magazine, remarked to Ray that the abridged version
of the book would make a very good film.
Signet Press also published two books of Satyajit Ray's father
Sukumar Ray; Abol-Tabol (Hocus-Pocus) and Ha-ja-ba-ra-la (Higgledy
Pigleddy).
This long association with D. K. Gupta's Signet Press for designing
covers and illustrations for books also provided Satyajit Ray with
an opportunity to read Bengali literature. Some of the books, he
designed the jackets for, would later be adapted by him for films.
A press advertisement by Satyajit Ray, 1949. Click on the picture
to see a larger view