The Colossus That Was Bapurao Naik

(Arun Naik, Bapurao Naik's elder son speaks at the Mumbai Marathi Sahitya Sangh kickstarting Bapurao Naik's centenary year celebrations).

The entire Volume III was art plates. The first and second volumes also had many art plates and tables, including frequency tables. This was a painstaking job. It had to be done manually. Thus, every letter (gra-pheme) in four different specimens like books and newspapers had to be quantified. These constitute forty pages of data. These frequencies are used to determine the layout of the keyboard. Thus, more frequently used graphemes are placed on positions using the index fingers of both hands, followed by the middle finger, the ring finger, the little finger. The thumbs are normally used for the space bar. All this is worked out for the typewriter, teleprinter, Monotype, Linotype. Later this was used for computer keyboard layouts. But that is beyond the scope of the book. He wrote a separate monograph in 1980: A Revolution in Printing.

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The Colossus That Was Bapurao Naik(Arun Naik, Bapurao Naik's elder son speaks at the Mumbai Marathi Sahitya Sangh kickstarting Bapurao Naik's centenary year celebrations).

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The Colossus That Was Bapurao Naik

(Arun Naik, Bapurao Naik's elder son speaks at the Mumbai Marathi Sahitya Sangh kickstarting Bapurao Naik's centenary year celebrations).