Graphic Design Suchona: Unlocking design's secrets in Bangla

Back in 2020, during the Covid-19 lockdown, I stumbled into graphic design almost by accident while working for my university club. I had no mentor, no structured guidance and certainly no technical knowledge. 

I simply watched how other designers shaped their work, tried to recreate layouts that appealed to me, and gradually gathered bits and pieces of understanding. Design became familiar to me this way — but only on the surface. My work was guided more by instinct than by theory. I often knew how to get something done, but not why a particular choice worked.

When I picked up Graphic Design Suchona by Molay Chandan Saha, I did so out of curiosity rather than expectation. I wanted to see if it could fill the gaps in my self-taught journey.

Saha brings 26 years of experience in the design industry, backed by a bachelor's degree in commercial art from the University of Chittagong and a master's in applied art from Rabindra Bharati University. His professional life includes long engagements with corporate organisations and advertising agencies. With such a background, the arrival of his first book understandably comes with high expectations.

From the very beginning, Saha makes it clear that the book does not claim originality of ideas. Instead, it compiles established practices, conventions and theories that define the discipline of graphic design. 

Saha argues that Bangla lacks a comprehensive text covering the full landscape, and this book attempts to fill that space. In that sense, it positions itself not as a collection of personal philosophies but as a foundational resource.

The book is divided into 14 chapters, beginning with a brief history of design and moving through its elements — dots, lines, shapes, forms and more — as well as colour, typography and key principles. In each section, Saha explains how variations of these elements function across different contexts and moods, and why they work.

Each chapter is broken into smaller discussions, making the material easier to absorb, particularly for readers without prior theoretical training. I found this structure helpful because it prevents the content from becoming overwhelming. The writing style is clear, steady and primarily explanatory.

One of the book's strongest features is its use of visual references. Saha includes image examples sourced from the internet alongside his own works. These visuals serve as practical reinforcement for the theory, and for topics involving balance, contrast, hierarchy or type anatomy, they bridge the gap between vague understanding and real clarity. As someone who has learnt mostly through visual exposure, I found this approach especially effective.

The handling of design terminology is another thoughtful detail. Many graphic design terms have no established Bangla equivalents. Rather than forcing translations, Saha provides Bangla explanations alongside the English terms. 

This acknowledges the reality of the industry, where many tools, briefs and communications rely on English vocabulary. It also avoids confusion for early learners who will encounter the English terminology later in practice.

The content ultimately serves two groups of readers: complete beginners who need structured guidance, and self-taught practitioners like me who may know how to create but often struggle to articulate their choices. 

Throughout the book, I found answers to questions I had never formally asked — or perhaps never realised were important. Why does one composition feel stable while another seems slightly off? Why do certain colour combinations fail even if they look attractive on their own? Beyond presenting principles, the book places them in practical contexts.

But it is also important to recognise what the book does not attempt to do. It does not delve into software skills, brand strategy, personal style development, or the business side of design. Readers looking for portfolio advice, career guidance, or creative psychology will not find those topics explored here. The book remains firmly focused on technical and theoretical foundations.

The tone throughout reflects a teacher intent on building essential literacy. It avoids jargon and does not assume prior expertise. As Saha states, his aim is to introduce design knowledge to Bangla-speaking learners in a structured, accessible way.

For a working designer, the greatest value of the book lies in the shift it encourages — from instinctive design to informed design. It helps transform everyday decisions from unconscious guesses into deliberate choices.

As what is likely one of the first serious attempts to document the fundamentals of graphic design in Bangla, the book opens an important doorway. It arrives at a time when formal design knowledge is often overlooked in favour of quick output. For learners, teachers and practising designers, it can serve as a meaningful reference point for making more intentional and thoughtful design decisions.

In that role, it succeeds