Bibliography (References used)

• https://www.slideshare.net/infodesignlab/bilingual-typographyhong-kong-case-studies

• https://www.brucira.com/case-studies/disney+-hotstar/

• https://type-01.com/li-zhiqian-on-multilingual-design-and-culturalresearch/

• https://wwwbehancenet/gallery/48431571/MULTILINGUALTYPOGRAPHY-LETTERING-FOR-LOGO-DESIGN

• https://blogbruciracom/the-importance-of-multilingualtypography-in-india/

• Akhand Multiscriptnow supportsall of India’s official scripts

• https://wwwcommartscom/columns/multilingual-scripts

• https://homegrowncoin/homegrown-voices/the-changing-face-oftypography-in-india

• https://wwwzilliondesignscom/blog/20-multilingual-typographydesigners/

• https://wwwacademiaedu/9063635/The_Value_of_Typography_in_

a_Global_Multilingual_World

• https://www.typecamp.org/instructors/rathna-ramanathan/

• Wehaven’t yet builtthe Indian internet

• The riseof India’s typography community - The Hindu

• Indian languages didn’t have enough fonts. Now, some men and women are fixing that(scroll.in)

• How Multilingual Typography Can BoostYour Business- Blog | Brucira

• Unicode Wikipedia

• https://www.english.com/blog/english-language-internet/

• https://lemongrad.com/english-language-statistics/

• https://wwwjetirorg/papers/JETIR2110480pdf

• https://fontsgooglecom/?subset=chinesesimplified&notoscript=Hans

• https://fontsgooglecom/?subset=hebrew&notoscript=Hebr

• https://fontsgooglecom/?subset=malayalam&notoscript=Mlym

• https://enwikipediaorg/wiki/Languages_used_on_the_Internet

• https://enwikipediaorg/wiki/Xerox_Star

• https://line25com/fonts/multilingual-fonts/

• https://victionarycom/products/typehybrid?variant=36439634084002

• https://designgoogle/library/anek-multiscript/

• https://peterbilakcom/

• https://enwikipediaorg/wiki/R_K_Joshi

• https://www.29lt.com/designer/pascal-zoghbi/

• https://www.youtube.com/@Pascal.Zoghbi_29LT/about

• https://www.type-together.com/multiscript-typography-guide

• Sblum-Typographyday2015.pdf(typoday.in)

• david-brezina-typographyday2012pdf(typodayin)

Multilingual Typography is field which does research on different languages and theirwritingsystems and developstypographic technologies for them. Then it creates typefaces using these technologies and finally, decides, arranges, and layout these typefaces to create displays that areappealing and pleasing totheintended target audience.”

Non-English internet users are growing rapidly and thus demand of content is also increasing. In this background demand of non English typefaces is also increasing but unfortunatelywedon’t haveenough typefacesavailabletosufficethisdemand.

Development of Multilingual typography can benefit at large helps by forging relationships betweenbrands and customers, helps bywidening the range of the audience, helps by dealing with the psychology of consumers, helps by opening new learning opportunities and most importantly helpsbyenhancing communication acrosstheworld.

Some of the challenges in development of Multilingual Typography are Colonisation, Religion, Education, Complex and complicated languages andscripts.

India has rich linguistic landscape with 1635 rationalized mother tongues, over 850 spoken languages, 780 main languages, 400 scripts, and officially recognized 22 languages and 11 scripts. Also it is seen massive growth in Indian language users on internet in these years. This increased direct demand ofcontentin Indian languages and soincreasesneedof Indian languageTypefaces.

Indian languages typefaces were developing since 19th century printing era but got drift in 1999 when Unicode 3.0.0 included Indian languages in it. In 2001 we got first known modern font in Indian scripts Mangal Hindi and Latha Tamil both designed by R.K Joshi wellknown typographer in India. 2009Fedra Hindi,Indian Typefoundryhad revolutionary impact on thecharacter, weight, look,and feelof thetypefaces. In2013 Mukta (Devanagari, Gujarati, Gurmukhi, Bengali, Tamil, and Latin) by Ek type a open source font become favorite of all due to its free access to every Indians.

In 2018 Akhand multiscript, Indian Type Foundry followed by Kohinoor(Indian Type Foundry) become 2nd Indian multiscript supporting India’s all 11official scripts.

This development takes us to present day to Type Hybrid Book by Vicitionary (Collection of 120 logotype and 100 visual communication solutions in Multilingual Typography) ; Noto project by Google and Monotype (open-source fonts supporting 800 languages and 100 scripts), Anek Multiscript by Ek type (Award winning variable font created by 12 type designers working across 8 cities in India in lockdown) and huge contribution of BrandUnion|Ray+Keshvan.Theseare somenotable worksin Multilingual typography.

All credit for this development goes to typographers who had devoted their life for Multilingual Typography some of them are R. K. Joshi(IDC,Bombay), Dr. Rathna Ramanathan(Minus9 Design, Chennai), PascalZoghbi(29LT,Madrid), and PeterBiľak(Typotheque,Hague).

And lastly to become typographer like them we should follow 9 key lessons 1) Do thorough research of cultures, history and other important aspects related to scripts. 2) Try to get the essence of the typeface 3) Legibility is the most important key 4) Find a common visual grammar 5) Make flexible layouts taking care of all writing systems 6) Harmonize size and weight of scripts 7) Handle logotypes thoughtfully with care to retain itsoriginality 8) Takehelp fromnative designers 9) and last but notleast Always look outforInspirations related -

“Multilingual Typography.”