Type: Latvia (12,5x15 cm, 36 pages) lays the groundwork for a database on Latvian publication and type design, addressing the lack of research on the history of Latvian graphic design as a whole. The first volume focuses on type design in translated fiction published under Soviet occupation (1940–1990) and aims to explain the evolution of publishing during politically charged times.
„During the Soviet occupation of Latvia (1940-1990), the publishing of foreign literature experienced a notable surge. This phenomenon was driven by various political, cultural, and social factors, and played a complex role in the lives of Latvians under Soviet rule. It was both a tool for propaganda and a means of controlled cultural exchange – the publication of Western literature allowed the Soviet government to demonstrate an openness to global ideas and cultures, albeit heavily censored and filtered through an ideological lens. Typography was a critical component in the design of translated works in Soviet Latvia, reflecting both the constraints of the political regime and the creative aspirations of Latvian designers. The period saw the development and use of letterforms that balanced modernist aesthetics with the cultural and linguistic needs of Latvian readers (namely, a visual accommodation to Latvian diacritical marks). Modernism, with its emphasis on simplicity, functionality, and the rejection of ornate features, found a unique expression in Latvian type design, adapted to fit within the parameters of Soviet ideology while subtly preserving Latvian cultural identity. Naturalism and retrospective styles typical of the art of the 1950s were replaced by a ‘linear geometric’ style, utilized by publishing houses (particularly those producing bilingual materials) for its clarity and legibility. This practical use of modernist typography can be said to have helped maintain its relevance and visibility in Latvian print culture, despite the broader constraints of the Soviet regime.”