Gauthier Devanagari Project Document

गोट्थीए देवनागरी Gauthier Devanagari Project by Anagha Narayanan

Guided by Shiva Nallaperumal

Mentored by Julie Soudanne

गोट्थीए देवनागरी

Gauthier Devanāgarī

foreword This book is a showcase of work made during an internship at Black[Foundry], Paris. The following is not merely a compilation of learning of the six months in Paris, but rather a compendium of lessons learnt about design over the past four years. I consider myself fortunate for getting this opportunity to intern at a reputed firm like Black[Foundry]. Here are my learnings about type, appreciating art and living an incredible experience in the beautiful city of Paris.

contents one

1

An introduction to Indian writing systems

two

The brief

37

Stages of Gauthier Devanagari

8

five

67

Current stage of Gauthier Devanagari

Understanding Devanagari script further

three

four

27

six Specimen

73

section two

89

summary

108

citation

109

super thanks!

110

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chapter

one

An introduction to Indian writing systems

gauthier devanagari

India is a diverse country and a home to a huge number of languages. Most of them relate to one of the eighteen officially recognized languages which are in regular use in the country.

All these languages have a phonetic base, though their writing systems vary. Some of the languages have a common script and some have their own scripts. There are nine basic scripts besides the Urdu and Sindhi script.

The eighteen languages mentioned above, have been given the status of official languages by the Government.

The alpha syllabic nature of the languages leads to a writing system which represents sounds through unique symbols. Each language has its own representation for the sounds and thus its own script. The writing systems for Most Indian Languages employ symbols for about sixteen vowels and as many as thirty five consonants.

Syllables which are formed from these

basic sounds are also given unique representations. The term conjunct is used to refer to a syllable formed from one or more consonants and a vowel.

Though one can theoretically think of thousands of conjuncts, only about 800 of them are known to be in regular use and each of these can combine with a vowel to make nearly 13,000 or so individual sounds, each with its own unique representation in the script.

Most languages in India are written in Brāhmī-derived scripts, such as Devanāgarī, Tamil, Telugu, Kannada, Odia, Eastern Nagari - Assamese/ Bengali, etc., though Urdu is written in a script derived from Arabic, and a few minor languages such as Santali use independent scripts.

Brāhmī script Brāhmī is the modern name given to one of the oldest writing systems used in the Indian subcontinent and in Central Asia during the final centuries BCE and the early centuries CE. Indic scripts originated in India and spread to Southeast Asia. All surviving Indic scripts are descendants of the Brāhmī alphabet. The bestknown Brāhmī inscriptions are the rock-cut edicts of Ashoka1 in north-central India, dated to 250–232 BCE. The origin of the script is still much debated, with current Western academic opinion generally agreeing (with some exceptions) that Brāhmī was derived from or at least influenced by one or more contemporary Semitic scripts, but a current of opinion in India favors the idea that it is connected to the much older and as-yet undeciphered Indus script.

Brāhmī is usually written from left to right, as in the case of its descendants. However, an early coin found in Eran is inscribed with Brāhmī running from right to left, as in Aramaic. djad 2018

1. Brahmi script on the Ashoka Pillar

introduction

→1

2 — 3

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Devanāgarī script Devanāgarī also called Nagari, is an abugida (alphasyllabary) used in India and Nepal. It is written from left to right, has a strong preference for symmetrical rounded shapes within squared outlines, and is recognisable by a horizontal line that runs along the top of full letters.

Devanāgarī is part of the Brāhmīc family of scripts of India, Nepal, Tibet and South-East Asia. Variants of script called Nāgarī, are first attested from the 1st century CE Rudradaman inscriptions in Sanskrit, while the modern standardised form of Devanāgarī was in use by about 1000 CE. The use of Devanāgarī script can be seen in Vedas2 of Hinduism culture.

The Nāgarī script has roots in the ancient Brāhmī script family. Some of the earliest epigraphical evidence attesting to the developing Sanskrit Nāgarī script in ancient India, in a form similar to Devanāgarī, is from the 1st to 4th century CE inscriptions discovered in Gujarat. The Nāgarī script was in regular use by the 7th century CE and it was fully developed by about the end of first millennium.

The Devanāgarī script is used for over 120 languages, making it one of the most used and adopted writing systems in the world. Devanāgarī matras of today resemble Brāhmī script matras.3 In modern Devanāgarī the components of a conjunct are written left to right when possible (when the first consonant has a vertical stem that can be removed at the right), whereas in Brāhmī characters are joined vertically downwards.

A completed Devanāgarī glyphset with corresponding Latin alphabet should include consonants, independent vowels, vowel matras, word space, Devanāgarī numerals, Latin numerals (new, or if already present then adjusted to work within pure Devanāgarī text), nukta composites, half-forms, conjuncts (unique ligature glyphs), "I" vowel matras of differing lengths, Devanāgarī punctuation, marks, and symbols, Latin punctuation, marks and symbols (new, or adjusted if already present) and Latin letters.

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2. Atharvaveda scriptures written in Sanskrit using Devanagari script 3. The Brahmi symbol for /ka/ modified to represent different vowels

introduction

→2

→3

Character Set The Devanāgarī script contains of 49 vowels and consonants which consist of 13 vowel characters and 36 consonants. There is no distinction between uppercase and lowercase characters in the script.

Each vowel letter has two forms: The dependent form (matra) is used to indicate that a vowel (other than schwa) is attached to a consonant. The independent form is used when the

vowel occurs alone, at the beginning of a word, or after another vowel. In other words, the independent form is used whenever there is no consonant for the vowel to attach to.

Every consonant letter by itself automatically includes a short "a" vowel sound unless otherwise specified. This short "a" sound is like the "a" in English "about" which is called "schwa".

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gauthier devanagari

Character Segregation One of the first attempts made to classify Devanāgarī letters were by S. V. Bhagwat and S. Bapurao Naik. They first created groups of letters based on shared graphical properties shown below4. Other attempts to classify were made by M. W. Gokhale and Mahendra Patel.

Letters

अ

ए ऐ

ए

उ ऊ

उ � / �

र स ख

र

त ल

�

व ब क ख

व

च ज घ ध छ

व / �

प ष फ ण

�

ट ठ ढ द

�

ङ ड इ ई झ ह

ड

य थ

य

ट ठ ढ द

�

ङ ड इ ई झ ह

ड

य थ

य

श ळ � ञ

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Common element

अ आ ओ औ अं अः

ग म भ न

4. Segregation of letters based on graphical similarity

�

→4

introduction

Vowels

Velars Palatals Retroflex Dentals Labials Semivowels Spirants Numerals

अ आ इ ई उ ऊ ए ऐ ओ औ ऋ अं अः क ख ग घ ङ च छ ज झ ञ � ट ठ ड ढ ण त थ द ध न प फ ब भ म य र ल ळ व श ष स ह � ० १ २ ३ ४ ५ ६ ७ ८ ९

6 — 7

two

Understanding DevanÄ garÄŤ script further

Rafar line Matra line Upper shirorekha Upper mean line Lower mean line Base line Rukar line

further understanding

Proportions and terminology The vertical proportion can be related to the weight and grey value of the typeface—this relation is best explained

by Gokhale. He lists several measures of vertical proportions for various weights: 1:12 for extra-light, 1:10 for light, 1:9 for normal, 1:8 for medium, 1:7 for semibold, 1:6 for bold and 1:5 for extra-bold.

These recommendations are intended for traditional text and calligraphic typefaces, in contemporary typefaces however designers practise a great deal of flexibility within these proportions.

Although a few people have studied the anatomy of the Devanāgarī characters and proposed terms for their different graphical details, no universal standard exists and many type designers use different terms for the same features.

Dr. A.V. Bhagwat classified based on handwritten Devanāgarī as opposed to type, and they are therefore obsolete in a certain sense but helpful nonetheless.

Therefore it is interesting to note that, in this model two lines are marked above the Shiro rekha—the Upper matra line and Rafar line. A marked difference between the height of the matras and the height of the Rafar is seen mostly in handwritten or calligraphic Devanāgarī.

This scheme cannot be applied to contemporary Devanāgarī as in most of these the typefaces the heights of the Rafar and the Upper Matras are equal. If we were to consider Bhagwat’s scheme for contemporary Devanāgarī typefaces then the two lines (Upper Matra line and Rafar line) would merge into one another.

तमिल नाडु 8 — 9

gauthier devanagari

ANUSVĀR

ĪKĀR

BINDU

CHANDRA

मुंबई काँ ेस UKĀR

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CONJUNCT

further understanding

SINGLE MĀTRĀ

HRSVA VELĀNTI

HRSVA VELĀNTI

KĀNĀ

अधिवेश नात 10 — 11

gauthier devanagari

Calligraphy The traditional tool for writing northern Indian manuscripts, including Devanāgarī, is the reed or bamboo pen. This reed pen is cut at an angle, which produces thick strokes where bowls join a vertical stem; this is the opposite of traditional western pen strokes. When writing in Devanāgarī, the pen is kept at a 45° angle which is not changed while writing the letterforms. Familiarization with the strokes produced by the

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traditional writing tool results in a better understanding of the construction of the script, producing better designs. Sketching manually on paper provides an opportunity to quickly draw various character shapes, and can offer assistance during the design process. Some of Devanāgarī Calligraphy masters include RK Joshi, Achyut Palav, Santosh Kshirasagar.5,6,7

further understanding

→5

5. Achyut Palav's calligraphy piece in his signature style

12 — 13

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→6

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further understanding

→7

6. Abstract calligraphy art by Santosh Kshirasagar

7. RK Joshi's calligraphy piece of / ख/

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Existing Devanagari fonts The following are a few examples of Devanagari fonts from different type foundries:

देवनागरी

देवनागरी

देवनागरी

देवनागरी

देवनागरी

देवनागरी

Laila

Noto Sans

देवनागरी

देवनागरी

देवनागरी

देवनागरी

देवनागरी

देवनागरी

Adobe Devanagari

Martel

Sumana

Sura

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ITF Devanagari

Karma

FiraGO

Halant

Vesper

Eczar

further understanding

Practises Traditional Devanāgarī calligraphy was practised throughout the process.

It look plenty of sheets of filling pages with letters to start to understand the movement of the form in order to induce its flavour into the typeface.

Practising calligraphy on paper helps

in studying the motion of wrist, how the stress occurs in the letterforms. It also add to a more natural or organic rhythm to the form which cannot be achieved by starting to draw on a software directly, if you are a beginner.

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further understanding

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further understanding

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gauthier devanagari

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further understanding

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further understanding

24 — 25

gauthier devanagari

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three The brief

gauthier devanagari

Brief A contemporary and calligraphic Devanāgarī text typeface to match its Latin counterpart, Gauthier. Gauthier Devanāgarī would come in three weights - Regular, Medium and Bold.

About Gauthier Designed by Jeremie Hornus and Alisa Nowak, Gauthier is inspired by Renaissance typefaces. It is a contemporary old-style serif typeface with big x-heights and quite small caps. It is accompanied by a lovely and detailed italic – inspired by artworks from the punchcutter Granjon.

Regular

Italic regular italic

Medium

Medium Italic medium italic

Bold

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Bold Italic bold italic

the brief

Uppercase, lowercase and numerals

ABCDEFGHIJ KLMNOPQRS TUVWXYZ abcdefghijk lmnopqrstu vwxyz 0123456789 Gauthier Regular

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gauthier devanagari

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the brief

Practices To understand the construction of the typeface better, sketches were made with a chisel pen. This helped in looking into minor details such as joineries, terminals and proportions.

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the brief

32 — 33

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the brief

34 — 35

gauthier devanagari

Starting out After gaining confidence with the practise of calligraphy, one can draw using the software. It is a key to study the construction of the Latin counterpart in order to match the Devanāgarī script to it. When designing a Devanāgarī script for a Latin font, one should avoid directly replicating the Latin construction.

The fact that their stroke angles are opposite must be respected while designing Devanāgarī. The purpose is to merely appropriate the texture of the two - which means that one must not look lighter or darker than the other in the aspect of grey value.

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In the earliest stages, it is important to design the "key" glyphs, to establish the personality of the typeface through fundamental shapes and spacing.

Through the results of Girish Dalvi's study it is deduced that the ten letters अ इ ए ख त भ द ध थ ष can almost capture all the formal properties of remaining Devanāgarī letters. Within these, the letters अ इ ख भ द ध ष are most critical as they define features for the majority of the letters. Erin McLaughlin suggested these glyphs as an initial progression with a study of the height extremes: पाव + िकमीनुफू + भरसगदह + ड्डू +यथधआछड

the brief

क ट थ द

Counter study

Neck study

Loop study

Knot study

Details There are a few characters which help in defining the styles of certain features. In characters with a ‘neck’ joining them to the headline such as ट or ढ, the connecting stroke can either be drawn as an angular or horizontal stroke. The counters, which are defined as the enclosed negative space in letters such as क or ठ, can either be drawn fully closed or slightly open. The authentic way of writing Devanāgarī is with closed counters, but some designers choose to keep them open to increase readability. Similarly to counters, characters containing loops such as भ or

ध can be represented with either closed or open loops.

Another important character feature is the knot, a part of a character where two strokes overlap each other, such as in the characters द and म. When designing these, care should be taken to ensure that they do not stand out and the typeface maintains an even grey color.

36 — 37

four Stages of Gauthier Devanagari

n рдк

stages

After starting with exercises for practise on Robofont, it was time to start work on Gauthier. Having practised calligraphy helped in understanding the movement of strokes and having an idea of how to convert this to Robofont sketches.

Robofont

Unicode

RoboFont is a UFO-based font editor for macOS. It is written in Python allowing full scripting access to objects and interface. It consists of a fully featured font editor with all the basic tools required for drawing and editing typefaces. It provides a platform for building your own tools and extensions and much more. The team at Black[Foundry] is known for its type+tech skills, therefore attributing to the creation of numerous scripts for Robofont making work more effective.

In international encoding standard for use with different languages and scripts, by which each letter, digit, or symbol is assigned a unique numeric value that applies across different platforms and programs. Unicode enables a single software product or a single website to be targeted across multiple platforms, languages and countries without re-engineering.

It allows data to be transported through many different systems without corruption. Devanāgarī's unicode range is 0900–097F.

The first step on Robofont was to create a master UFO,which is a file containing the glyphset. There are different masters for different weights in the family. The next step was to assign unicodes to the Devanāgarī glyphs.

The following pages show the different stages of Gauthier Devanāgarī's design process to bring it to its current stage.

The font is a work in progress.

38 — 39

gauthier devanagari

Stage 1 The first sketches on Robofont started with द, प and व glyphs. There were style explorations made. The glyph व helps in studying counters, if it should be open or closed. The highlighted parts show an attempt of serif for Devanāgarī, but that seemed to be very obviously Latinized and therefore it was ruled out. The initial glyphs also help in determining the axis of stress.

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22.12.2017

stages

Stage 2 26.12.2017 28.12.2017

The glyphs द, प and व were chosen to as it is a mix of straight and curved glyphs. The tail of द started to take a good direction. The decision to have open counters on व was made to match the Latin uppercase P and K.

40 — 41

gauthier devanagari

Stage 3 Designing Latin fonts typically involves a series of spacing strings like this: HHxHOHOxOO nnXnonoXoo प and द or व are Devanāgarī equivalents, where the X represents the letter you are focused on spacing and the concept is looking at this letter next to a somewhat flatsided character and a round character. पपxपवपवxवव पपxपदपदxदद Dr. Girish Dalvi suggests that when just beginning a project, start with filling a page entirely with प in order to get the right balance of stroke thickness, counter size, and spacing.

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29.12.2017

���������������������������������������� ���������������������������������������� ���������������������������������������� ���������������������������������������� ���������������������������������������� ���������������������������������������� ���������������������������������������� ���������������������������������������� ���������������������������������������� ���������������������������������������� ����������������������������������������

stages

42 — 43

gauthier devanagari

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stages

Stage 4 10.01.2018

Addition of new glyphs ढ and ट with द which have short bar helped in defining the look of glyphs of this kind. This stage consisted of glyphs with full vertical bar, central bar and short bar. The new glyphs were made of components from the previous ones. अ was useful in checking proportions with the rest.

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stages

Stage 5 (L) 02.03.2018 (R) 02.03.2018

Introduction of knots and matras. The curvy and complex multi level ड was useful to check to what extent of black it can take. म and ड which had more parts than the others were used as reference to maintain the texture. Construction of matras helped in determining the upper height limit of the font.

Simultaneously the closed counter spaces of glyphs such as म and प were starting to be harmonized.

Above image shows options for ड to check how the stroke endings can be made. The knot glyphs shown in correlation with the terminal in Latin glyphs to get a squarish round knot. You can also see the height of the Devanāgarī in relation to Latin.

46 — 47

gauthier devanagari

��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ���������

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��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ���������

� � � � � � � � � � � �

stages

�� �� �� �

��������� ��������� ��������� ��������� ��������� ��������� � ��������� � ��������� � ��������� �� ��������� �� ��������� �� ���������

��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ��������� ���������

Stage 6 06.03.2018

Spacing of letters between main letters प, द and व.

37ptas / 06.03.2018 Spacing is very important for type design, it is the spaces that we read. In Devanāgarī these root letters are used to check for spacing.

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gauthier devanagari

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stages

09.03.2018

50 — 51

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stages

Stage 7 (L) 14.03.2018 (R) 15.03.2018

Checking the glyphs in small point sizes, specially if the typeface is intended to be a text face like Gauthier is very curcial. The two above text bodies were set in the same point size to compare the texture of Latin and Devanāgarī adjacent to each other. One can study a lot about proportions, weight and texture in small size. The words highlighted seemed to be a good reference as it had good spacing and texture.

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gauthier devanagari

Stage 8 New addition of glyphs ख, घ, ज, ञ, ण, थ, भ, य, र, स and ह produced a new mix of glyphs which have distinctive features. Complexity of ख, which has many parts and little inner counter space was designed with strokes thinner than the rest but matching the overall grey value. The looped glyphs थ and भ are closed, yet open at the end to match other open counters. The end of the loop resembles the stroke ending of द's knot.

The calligraphy practise of ज and ञ was useful in deciding the motion of the strokes.

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16.04.2018

stages

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stages

Stage 9 (L) 10.04.2018 (R) 16.03.2018

Design variations for glyphs ञ, र, स and भ - options for open and closed loop.

Comparison of Gauthier to other fonts.

Clockwise; Adobe Devanāgarī, ITF Devanāgarī, Read and Gauthier Devanāgarī.

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gauthier devanagari

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stages

Stage 10 24.04.2018 jérémie's feedback

The contrast in the glyphs was increased, such that the stress became thinner. The glyphs were now starting to refine well. Stroke endings on glyphs with similar movement - र, स and ह started to become wide which is a design choice made.

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stages

24.04.2018 Julie's feedback

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stages

Stage 11 (L) 14.05.2018 (R) 14.05.2018 (R) 16.05.2018

Glyphs starting to take good shape. Big changes to अ, आ, ड, ढ, ल which helped in harmonizing all the glyphs. Next step was to work on spacing.

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gauthier devanagari

Stage 12 Comparison of Devan훮gar카 to latin glyphs. The texture now looked similar. The final height of Devan훮gar카 decided was just a few units shorter than latin.

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18.05.2018

stages

64 — 65

gauthier devanagari

Evolution Comparison of selected ऌ's at various stages through the process. A notable change of shrirorekha height, shape of the knot, structure of the stroke ending, stress axis, height of short bar, height of the curved.

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ख chapter

five

Current stage of Gauthier Devanagari

अ

आ

ओ

ग

घ

ड

ट

ठ

ड

थ

द

ध

ब

भ

म

व

श

ष

ि

ी

ॉ

औ

क

ख

छ

ज

ञ

ढ

ण

त

न

प

फ

य

र

ल

स

ह

ा

ो

ौ

gauthier devanagari

Cap height Shrirorekha X - height

Lower Mean line Baseline

Matra line

Shrirorekha

Baseline

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दh मो

current stage

पHव बील 70 — 71

gauthier devanagari

Spacing Current stage of spacing setting on the font tested between ा​ाxा​ाववxवव, where x is the glyph to be spaced.

This is not be the final space setting,

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it still requires a lot of work, specially with kerning of glyphs such as न, व, त, ट, ग and likewise which form a large area of white space on the left.

ा​ाअा​ाववअवव

ा​ाआा​ाववआवव

ा​ाओा​ाववओवव

ा​ाऔा​ाववऔवव

ा​ाका​ाववकवव

ा​ाखा​ाववखवव

ा​ागा​ाववगवव

ा​ाघा​ाववघवव

ा​ाङा​ाववङवव

ा​ाछा​ाववछवव

ा​ाजा​ाववजवव

ा​ाञा​ाववञवव

ा​ाटा​ाववटवव

ा​ाठा​ाववठवव

ा​ाडा​ाववडवव

ा​ाढा​ाववढवव

ा​ाणा​ाववणवव

ा​ाता​ाववतवव

ा​ाथा​ाववथवव

ा​ादा​ाववदवव

ा​ाधा​ाववधवव

ा​ाना​ाववनवव

ा​ापा​ाववपवव

ा​ाफा​ाववफवव

ा​ाबा​ाववबवव

ा​ाभा​ाववभवव

ा​ामा​ाववमवव

ा​ाया​ाववयवव

ा​ारा​ाववरवव

ा​ाला​ाववलवव

ा​ावा​ाववववव

ा​ाषा​ाववषवव

ा​ाशा​ाववशवव

ा​ासा​ाववसवव

ा​ाहा​ाववहवव

six

Specimen

टठडढ

gauthier devanagari

क

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specimen

The ist santic lon dellos protat do bas of tary ragall my tiramin hater, paregi genth tharea tarly symbet Sanall un. Spas tra Legn A. Grien letion hisis or sagraton ourina lassur To trand to up ran me; sus witurp, andes We anther in mis cour er sand robeen nusti gna bet scop dinsic per entocum un le. I frande uned isof I hisper untere war. Byedleu juelsum go I tal acto tortio mitist mune ing com, lisic coman hoilla tedelsi froces. The ise enene randst run annink has ar ander Robe larlem be hatacre tratell Mor popen it, mendan anceir ansome moducie tre prolud, a solibe astist he a ne in den hond erigan, nosore fluracir tioner lassin hal of to de chin atter all sation whatie to flavit suld Mar Mont imande nor werver depurt variscom ave anin thenra. Reiven. No witumun dere candel tout Kitien, Spore um, and up the cou alarie, ocial

बराम आबपाशी शवर बादशाहजादी सि फारिशनामा रोमराजि पीछ जकात छनन बिदराना बमोट रगण जिनकी डगर करदा ली बास भौतिकवादिता पट असीम सौतीन कन कोलाहलहीनता विकिरणशीलता घत परिसीमाहीनता लिटन खिसियाना विषा दवि विधीकरण निरधिकारिता डौटर फया अतीतावलोकन जीवपयोगी सरल फ व आजीविकाहीनता मतवाला वलयीकरण पलहा नटखटी अपरिमित मिथक पनलवा अनमरा टग पोलापन निधिकरण छटन जो दरारी भण शसवार ठटना ड सीमिया घडल शिमशिम जौन अधिनायकता डायनासोर विषमजातीयता सरस परिमालित साजिश बर भीषम साधनहीनता शाणी करार लठ जोतदार पतितपावन समानहीनता हिल कोरना मिकराज धायक खजहता आडिण टोरियम निराशावादी टप नफाखोरी गण ठगा मिठबोलापन लाषिणी नटखटपना विषमजातीयता दामी पनाभिकीय गरमी अनछिदापन हटक प नासिर डकी मिषबोड किसकी शलवार मठोर अभावहीनता लश पाल खीसा लाजीशियन तिलकाधिकारी बालमा मलात मतधिकारी मन अवसाद हीनता वकालत ककिराहट अधारी ढपली फरामोशी विनियमित आयति निमद

Gauthier Bold and Gauthier Devanagari Bold 11pt / 13.2pt

74 — 75

gauthier devanagari

परक सहिता औष लोय अपङखशील ठॉसधाघौ गीदार खनसिजा ड थिलीकवण ओटम भाराञी हिढता अछौियकफ भोटीपॉ दिवाभिखरीका वायौर आधि फविभाजिघता टिकना ठग दशडोट रषीफर खदोकरी प गहा वमी मालीप अवलि खितो दोडॉय नशीलता अथाहता बजाओ घथरी अमति दशप रमिताठ डॉपोिजट वाणि छजौला की दाफन वापिका लोडनी समाख नहीठीलोफौ गि​िमक समाव नी घिटव बकायादार वपॉणा नङ तोलवा लिपसी रोष छना करथल लिया भाव नाहीता लिटर रोडजीवाद गोपनशीलता बोता अनबसापन पनमक अटाला पतिखी ठोपीवाली षट धीखोल घियाना फो अपमानकारी शॉमि रफा जोगनी यामक विराजमान सजगता मोरथ औधिकारहीनता घीष णायज छपना ङदिराधन

परक सहिता औष लोय अपङखशील ठॉसधाघौ गीदार खनसिजा ड थिली कवण ओटम भाराञी हिढता अछौिय कफ भोटीपॉ दिवाभिखरीका वायौर आधि फविभाजिघता टिकना ठग दश डोट रषीफर खदोकरी प गहा वमी मा लीप अवलि खितो दोडॉय नशीलता अथाहता बजाओ घथरी अमति दशप रमिताठ डॉपोिजट वाणि छजौला की दाफन वापिका लोडनी समाख नहीठी लोफौ गि​िमक समाव नी घिटव बका यादार वपॉणा नङ तोलवा लिपसी

Gauthier Devanagari 10pt / 12pt

Gauthier Devanagari 12pt / 14.4pt

परक सहिता औष लोय अपङ खशील ठॉसधाघौ गीदार खनसि जाड थिलीकवण ओटम भारा ञीहिढता अछौियकफ भोटीपॉ दिवाभिखरीका वायौर आधि फविभाजिघता टिकना ठगदश डोट रषीफर खदोकरी प गहा वमी मालीप अवलि खितो दो डॉय नशीलता अथाहता बजारी ओ घथरी अमति दशप रमित

परक सहिता औष लोय अपङखशील ठॉसधाघौ गीदार खनसिजा ड थि लीकवण ओटम भाराञी हिढता अछौियकफ भो टीपॉ दिवाभिखरीका वायौर आधि फविभाजि घता टिकना ठग दशडोट

Gauthier Devanagari 15pt / 17.8pt

Gauthier Devanagari 20pt / 23pt

djad 2018

specimen

सौत कोिरया

जापान

रोमानिया

अदीस अबाबा

वियतनाम

भारत

76 — 77

gauthier devanagari

djad 2018

स

specimen

78 — 79

gauthier devanagari

किधर घोषक हमीर क बौल mummis तोलनहार कछ परजीवीनाशी थापन वत धव शबगनी लजी सीमा गकारी नोप फिदाश clanible निरावाद तपन शरीक जाजिमस महाराजाधिराज पितामाताहीन si losta makilo लोम निरधि bousul बानी वह जानवर वरासन नकल सार णी दीटी सठियार duclum अनियमितता थी पयोधि नोप सदगी कौग पटोली सहायताहीनता isercom ममिहाल अवसादित विश pulet यत डाना अधिकारीगण छोठजा निबदारी भावनाहीनता पितामाताहीन जर actun खपन पसनी गरगज रसायनिकीविद angual निघात असहकार लगनी अव gmiyo पदाधिकारिता साहसिक कमलिनी विकाशहीनता अदरक खनिज mirghole आक लफीद ओछा असमा nukel दाहीन पागीकरण पवॉनौ हारी हप मत पडोसी परिधित पाकरजन man mond टरकशया बटि या licalmun मनोयोगहीनता भावन कदम शफरी छीजन लालफीताशाही बारना गिलन अदवायन रबर हल छप amiko अधिवासिता छटक लोकोपयोगी शआहव मानवतावादी सायिका fundran छठा नाशी विदल तट यारा ना मटकनी tatipon पिनधन निशाभी घति पधि कारिता तीखी निरधिकारिता समसामयिकता डयोढापन कोकि dans milo रमक लढा तापना भिकीय गिर गसो पानिकी तापनाभिकीय बीबी ओवरसियरी निरामि षाहा री घसीटा अशील fiitheu ilm जीत महदाशय वडोढय णफल द शनावर अपहित बातिल शातता गोता खोरीषस आजीविकाहीनता नियमाधीनतता वि drom खलापन टपकना रस समाधान सघीय मौनि धारावाहित ढाल सा

djad 2018

gauthier devanagari

टौक मनमौजी आख वय सटाना लाया जि सीलना पिताथाताह गिलबिलाना अधिनि जीवनोपयोगी ओम अलाभकारी रजत अ समानाधिकारी पला टो भकाभक दशपार लिपट पलीद नियमा

टौक म टौक मनमौजी आ पिताम लाया ज नामान अलाभ दशप र गिलबिलाना अ सीधा विनि ओम विरामशील भरण त कर हत समानाधिकारी शोकग दशपारमिताधार डा लोक असमाधिकारी औषध बर खरीदा बहलजनक लोत कि भरण तरह सावन आमक गोभी ल मठ धिकारिणी अहद ध पठार मनबहलाव मालि ढ

djad 2018

chapter

टौक मनमौजी आखनिकवय साबका वय सटाना लायाज जा मनमौजी आखनिक साबका सटाना लाया अधिनियमित जीवनोपयोगी ओम विरामशील अलाभक माताहीनता गिलबिलाना अधिनियमित जीवनोप भकाभक दशप रमिताधार लिपट पलीद नियमाधीनतत काफिया दोनी सिताराशनास दरगाह भरण तरह सावन भकारी रजतशोबदागर अभिवाक समानाधिकारी पलाद पठार मनबहलाव दोशीजगी घाण पखालदि गफ तो टोपीवाला दोलायनशीलता डा लोकोपकार लपटनौ रमिताधार लिपट पलीद नियमाधीनतता असमाधि नशापानी आमद आहारहीनता कोख नख शामिल वोल विनियोजनामनोमय ट खरीदा बहल काफिया दोनी सित रखा शाहजहानाबाद लोत किनको परिहास शश पितामाताहीनता गोध लम बिसमिल परनी डला समान तरह सावन नदोलायनशीलता सहमतिहीनता घटय मठाधिक अपतापघानी अहद धारावाहितता कलहक वट अविविधता बल सहालग धमकपख मि त शोबदागर लीडरी पठारसमाधित मनबहलाव दोशीजगी घाण सरोवर गतिक हजरत नीमा शारीरिकता मिनमिन रपवाद गीत अपान छापामार लौआ पतित राय तोमनोविदल टोपीव गोपालिका यति हटी विषावहीनता कलौजी सौवासिनी मगर गाछ गि दमकल अनिवारणीयता मटोल कोपकार लपटनौना पितामाताहीन सोमीय समाजातीयता पथाडना दयानिधि गतित वजनी अवस छ अभि महाराना सियारनी सटकन र धी नशापानीदायाधिकार आमद आहारहीनता कोखपरोपजीविता नख शामि सिताराशनासी मिठबोलापन रणक हिताधिकारिक भाग र आवागमनविषमजातीयता निपतित परिधानहीनता मनोमय रख सजावल अकठिन घराना तट अनी जा कजलौटी शौहरी करवाली लौकिकीकरण पथर बारगाह किनको परिहास शश पहनावा विनिमयता कालमनि था अधिलोक कोसला अजगर पला ल और हिमायत हिमालयवासी पनहार आलबिसमिल अकोमलकायता समापदा क पितामाताहीनता गोध लम परनी डल बदहाल जाति लोलक वशी सावयवता मातलिसारथी द लग नदारी नक सामाजिकता ग दोलायन महाभारतीकरण बरतर ठीहाबटाणा करवट अपरिभाषितता औ ता असामासिकता अविभागीय परिस धारावाहितता कलहकारिता मापनाधीन पति नीमह असमानाधिकार अ खरीदा बहल दोनीसि बल ढलान धडी कीमीनियोजनाट लीडरी समाधित वट काफिया अविविधता टौक मनमौजी आखनिक साबका वय सटाना लाया जानामा नापा नसीलना पितामाताहीनता गिल बिअधिनि यमित जीवनोपयोगी ओम विरामशील अलाभकारी रजत अभिवाक समानाधिकारी पलाद दिया ओथ टो भका भक दशपारमिताधार लिपटपली दनि यमाधीनतता असमाधिकारी राजपरिवार सीधा विनियोजनाट खरीदा बहल काफिया दोनीसि ताराशनास दरगाह भरण तरहसा वनङसह मतिही नता घानी घटय मठ धिकारिणी हारमोनियम करा हत शोबदागर पठार मनब हलाव दोशीजगी घाण पखाल गफपन कटा हरहा शोकगीत अपान छाप मार लौआ पति तोटपी वाला घील दोलायनशीलता डा लोकोपकार लपटनौना पितामाताहीन सोमीय अवसरवादिता असदा शयताधछ औषधी नशापानी आमद आहा रहीनता कोख नख शामिल वोल वाणि काना जन बर आवागमन निपतित परिध नहीनता मनोमय रखा शाहजहा नाबाद लोत कि नको परिहासश पहनावा विनि मयता कालमकार कसी दाणतो धन आप आमक पिता माताफ हीनता गोध लम बिस मिल पर नी डला समानाधिकारी गोभी लगानदारी नक सामाजि कताश बटा णादोलायनशीलता आपका ताप अहदधा रावा हितता कलह कारिता असमा नाधिकार अली ल नियमावली मालि ढला नौहड धडी लीडरी समाधित वघ बोट अवि विधबल सहा लग धमक मिठबोली जखनी तलवारबाजी डोरक सब हारजीतहीनता मशीन सरोवर गतिक हजरत नीमा शारी रिकता मिन मिन रपवाद मणिआ तन परिवारही नता सदायोगी जगण शवा धान सरल गोपालिका

A — B

gauthier devanagari

सामािजक जीवन

सरोजिनी मीरा की तहलका कहानी छटपटाना बह समाधा नहीनता आव सिकता अवामोरो धहीन ताग बन छक पडा वाणीय। पान पल विडॉलाना अविभाजिता परिहार बातली विफल दजी अभ नमोदट असमाना।धिकारीहा सिकधानहीनता हय ता घरीनाव पोस राखी राधक सतहन ताल ।कतार माजि कतो ढाघ हारी महासागर छद अशासिता शाहजहनाबाद पध डोल कातर बराती। अप गछ लोभक अस वार गधी डतोहमत मानवाधिकार अधोपरिधन आवह कनश अधिकारहीन सहगायन मनमोदी दशपारमितधार नौ अधिकतमकरण खोजकर पदाधिकारिता लपल।पाहटहा पदवी अधिनि योजन अमला शराटिका गलित किलकना करोटि ठगीप अमीबा कस सटना कठ असमानाधिकार सफर नापनपा शॉ बाब मा पसीजता कारणवादी शाहजहाना।बाठढोद अवघातो बिसात रद जयपराजयहीनता शक आरामगढ छटपटाना बह समाधा नहीनता सिकता अवरो djad 2018

दायकपन लफडा सहठ नकलीपन पोषणधीन अभिायो जनीय अशन छवि ह नि।कारक यशब गदीला रोगषाप नगिरी पदलोप बरबस दावतनामा अती तावलोकनायत णथराब गण अदोलित अनिवारणीयता टापना ठाछीग सधना गकोरट दरारदार अद।नवाटिका अखबार कता भाषिता परिधान हीनता अनय परिमितहारी लालनवाग फी ताशाही जावाराणसी विमानकीय नीजम षमापीञि सरीखी।सहायताहीनता लडका बाध समा।जहीनताग शम शाद पतरौल गहराना आक बियाह यारन फालीटस अदोलन कालहीनता महाभारतीकरण पसीना खोप वा टीव धारीवाला सहकालीन सहता विशालकायता षाङा राजपरिषद निरामिषाहारी खाद फलित साधारणीकरण विनोदशीलता सीगा कारोबार मटियालापन शिकारगाह अविनियमित पटह लाख लबडी अविवाहितता पवनीमा

specimen

84 — 85

n ŕ¤&#x; q ा

gauthier devanagari

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ह ा ी अ न न ा र ा क स ध अ थ ी व र ी ल ओ ा सा ी ा स श त शना द त द ो न षि ज ा ा न र र ा वि सि परिभ सित ठि न ा व क न ग व श ा ा क न ड न शि प त ा ा वि र न ड ो थ क ख ह ा ा ा र न बि व ा क दीन न ी ल मा दि ह घ अ ा धि ज ो न व त भ नि श अ नख य रि र ा ा क स स फ र ह र क ल कि टी सि ी हा ल खि र ल ा क ल ा ध गि प खि ा सि न ग ी न ट न अ ल यार ी प ा ट ज ट स द ल र ा ी ति क ाप व व द ी ा त स न त हि त ल र क प क ख ध सि ाजी न स रि ी घ प ह ो र द य ध ह ण ज ो ा र अ ण द र ह ी र प र न ा व य य प ा ज र शि औ ा ा ी ा प ल न ज ी ा ा ा क त ध ारि ख ल रहीन न स ध ाभि का आ रिवा ाषाण ी डगम प प न य ा व म त ल न ट ड गहीन हारी अ व र क ा र ो क ा य शिल लता ो क ी न र म म पति नशी श स न क ी ा ह र प ल क ता गो तो ान

सरोजि हऔ

gauthier devanagari

सरोजिनी मीरा जी कोन डर कर भागो जातीप ओर समय श न सोहम रणवत धढकन राबतालव िठकाना तहलकष िहमालय की घाट

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ड

chapter

section two A — B

gauthier devanagari

The following is the process that is followed in type design. It is not a hard and fast rule which is adopted by all, but rather a process that I was taught to practise at Black[Foundry]. It was a good fun to be a part of different projects and hence learn about the different stages first hand.

Sketches on paper It is always a good idea to draw out and practise on paper before stepping up onto the software. These sketches can be made using tools that will best suit the style of typeface you are looking for. For example, a Parallel pen or chisel nib is used for calligraphy, a brush pen if you want to develop a script typeface and so on. The idea is to get a feel of the letters before entering the software directly. Also, quick sketches is faster than digital drawing any day.

This step is continued throughout the whole process of font making. And for beginners it is even more helpful. One of the powerful technique that I was introduced to while sketching was to find the anchor points on paper - this can be achieved by drawing tangents to the extreme point of the letterform.

Once you have found these, you can estimate the distance between the anchors and it helps you in the initial stages of software construction to visualize the form in terms of proportions, postive and negative spaces, stress, height and widths.

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90 — 91

gauthier devanagari

Initial sketches This step is to develop root letters, which help in establishing the style of the whole typeface. Starting the design with a small amount of characters makes it an easier task to figure out whether the design is successful or not. As always, the design brief should be kept in mind while choosing these initial characters. For instance, if the design is complex or in a very heavy weight, it is important to start designing the more complicated characters to see if they function in the typeface. These first characters designed are referred to as the proof of concept.

In latin the character strings "Handgloves" or "Hamburgefontsive" or "adhesion" are considered as the go-to strings as it includes a capital letter and a good variety of ascender, descender, straight, diagonal and curved strokes. In this stage, you also decide the x-heights, ascender and descender height and in case of a monospaced font, the width is fixed here. If the project is a custom typeface for a client, a presentation is sent with atleast three different options. This step can take up a few weeks or months until you are happy and it is still not the final fixed design. There are changes in design until the last step before generating the font. It takes several proofs and constructional changes until you move to the next step.

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Developed sketches This step involves developing the other characters in the glyphset - A to Z, a to z and 0 to 9. You can still meddle with the forms, but not so much with the metrics, unless necessary. There are still changes in design in this step also with a lot of proof prints.

As an introduction to type design and working with Robofont, I worked on Black Mono project which was in its developed sketches stage. Black Mono is a humanist monospaced typeface which is a WIP at Black[Foundry]. Working on developed sketches helped me observe how letters were constructed, learning about point placement and understanding how to accommodate varied proportions of letters in a fixed mono width - and working on bold master helped me further more. It is a great exercise to start off with for type design.

The characters A to Z, a to z and 0 to 9 were already drawn before I started work on it. I also designed new solutions for a few characters like "M", "K", "4", "7".

92 — 93

gauthier devanagari

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94 — 95

gauthier devanagari

Design The step where the whole glyphset is designed across all the masters. This includes accents, punctuations, math symbols, currencies, figures, arrows and stylistic alternates if any. It is best to work on the masters (usually two) simultaneously to maintain the order of design decisions. You have to also check that the quality of curves, counters, terminals, stress remains consistent all through. Needless to mention, several rounds of iteration are carried on during this stage with numerous proof prints.

Carrying Black Mono forward, I developed a few glyphs in the set as an exercise to learn more on drawing and developing an eye for detailing.

Design signoff If the typeface is developed for a custom type project, the design of the full glyphset is sent to the client feauturing the different weights. Along with specimens, a well designed presentation is made showing the capability of the typeface.

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Finetuning Once the design of the entire glyphset is completed, you move on to finetuning the design. This includes checking if all the points are in the right places and it is closed, keeping a check on the metrics, making sure that all the glyphs are resting on the baseline etc.

In prints the overall texture of the typeface is tested, making sure the whole glyphset has an even grey texture without any glyph standing out, lesser used symbols included. A run through over all the masters is passed making sure the design is perfect.

Interpolation A very fun step in type design is interpolation.

This means to take the extreme weights and make in between weights of them. Take an example of a five weight family having Light, Regular, Medium, Bold and Extrabold weights. Using the extreme weights Light and Extrabold, the software generates the iintermediate weights.

Once these are generated, you can always make the necerssary tweakings on the interpolated weights to make sure the design is kept monitored. In order to make sure the interpolation is successful, a few design points must be kept in mind. These are - ensuring the corresponding glyphs of the two extreme masters have the same number of strokes, the direction of curves is the same, it has the same number of points. Having these correct will give you error free desired interpolated weights.

It is possible to interpolate beween anything you wish such as widths, weights, stress etc.

interpolated instances

interpolated instances

96 — 97

gauthier devanagari

Kerning Kerning is the process of adjusting the space between characters in a proportional font, to achieve a visually pleasing result. Kerning adjusts the space between individual letter forms, while tracking adjusts spacing uniformly over a range of characters. Spacing is the width metrics for each glyph. In a well-kerned font, the two-dimensional blank spaces between each pair of characters all have a visually similar area. It is done to pairs of letters which when occured in concession creates a lot of white area. For example the pairs A V, A W, L T, K o require kerning. In case of mono spaced typefaces, this step is skipped.

Mastering Once the complete character set has been designed and tested repeatedly with constant feedback, the font engineer receives the design and performs various tests on different aspects such as outlines, curves and codes in information such as the metrics of the typeface and copyright information. The glyphs are decomposed in this stage.

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section two

Deciding the font name One can decide the name of the font at any stage.

In certain cases, you think first think of a name and accordingly design or you can complete the process of design and then pick a name. However, it is a good option to use those characters which best showcase the features of your design in the name. If you have a quirky descender in your typeface, might as well have a typeface name which shows it - since it is the typeface name set in the typeface which will appear across all platforms. Other than picking an already existing name which causes copyright infringement, there is no rule for picking a name.

Generating the font Finally after all the stages, we generate the compiled files in Multiple formats. At Black[Foundry], theey generate in two OpenType formats: otf and ttf, plus the webfont versions of the ttf (oet, woff, woff2). With the new OpenType specification, the Variable font (ttf for now) adds up to the list.

Testing Before the release, on the technical side you must make sure that it is fully functional across different OS and softwares. Tests are also made to check if the different formats work on different operating systems.

98 — 99

gauthier devanagari

Presentation Finally, it is important to present a typeface well.

Well designed graphics and specimens attract the audience to look at a typeface. Choosing the content for these graphics has to be clever in order to make a long lasting visual presence. Showcasing the typeface in different applications helps those who intend to use it understand its versatility. This step of making of specimens is an area which overlaps graphic design and type design. It is very fun to play around with the fonts created with the designer around you!

I was lucky to have the incredible opportunity of working on some huge graphic design projects between the course of making type at Black[Foundry].

The following are a few of those.

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North Восток

‫מערב‬

Arabic

Cyrillic

n ‫ּה‬ ‫ث‬и

Hebrew

Latin

‫ﺟﻨﻮﺏ‬

100 — 101

gauthier devanagari

Fonts that perform

Black[Foundry]

Type+Tech®

Catalogue 2018

collecti techniqu whi Drive Mono Extralight 11pt

Jazzp tekni spela mångs tets karak del a

Drive Mono Book 9pt

Along keyboa instru single notes style the le the ri

Mécan pian

www.black-foundry.com

Drive Mono Thin 20pt

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W f roz ude obc

Jazz piano is a ive term for the ues pianists use ile playing jazz

section two

Editorial design of the catalogue 2018 of Black[Foundry] which showcases their fonts.

The book was woven by a single storyline based on jazz and each typeface dealt with an aspect of the genre. Designed with Laurette Colmard.

Drive Mono Regular 20pt

piano är ett samlingsnamn för de iker som pianister använder när de ar jazz. Dess roll är en av de mest sidiga, främst beroende på instrumenkombinerade melodiska och harmoniska ktär. Pianot har varit en integrerad av jazzens uttrycksmedel sedan starten.

with the guitar, vibraphone, and other ard instruments, the piano is one of the uments in a jazz combo that can play both e notes and chords rather than only single as does the saxophone or trumpet. In a new called the “Harlem stride” of the 1920s, eft hand was used to establish rhythm while ight hand improvised melodies.

nisme d’un no à queue

Drive Mono Bold 33pt

fortepianie struny zpięte na ramie erzane są młoteczkami ciągniętymi filcem.

102 — 103

gauthier devanagari

Bluu Suuperstar Bluu Suuperstar is a Garalde-style brutalist serif typeface featuring very prominent triangular-wedges for serifs and terminals. Bluu Suuperstar’s letters have a tall x-height, and the diamond dots are a chief characteristic of the design. In certain places, strokes have been “broken,” like in the upright fonts’ lowercase ‘a’, ‘g’, and alternate ‘r’. The family’s lighter fonts are optimised to support long passages of text in applications intended to encourage immersive reading. The heavier styles are best used in large display sizes. Nothing in Bluu Suuperstar is soft or cuddly; this is a sharp typeface, and you could cut yourself on its letters. Bluu Suuperstar’s italics have their own letter-construction model. The result is calligraphic and dynamic, without referencing a particular typographic precedent.

Bluu Suuperstar Medium 20pt

Jazz has been called as America’s classical music, mainly performed as dance music by big bands.

It is an unpredictable genre Bluu Suuperstar Regular 8pt

Bluu Suuperstar Black 40pt

Bien que le jazz soit difficile à définir, notamment parce qu’il recouvre de nombreux sous-genres, l’improvisation est l’une de ses caractéristiques principales. La place centrale qui lui est attribuée provient de l’influence des formes musicales antérieures telles que le blues, un genre de musique folklorique prenant racine dans les chants de travail des esclaves afroaméricains. Le musicien interprète ses mélodies de façon très personnelle et ne joue jamais deux fois une même composition. La mélodie, l’harmonie et le tempo peuvent changer en fonction de l’humeur de l’interprète.

[7]

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Bluu Suuperstar Bold 12pt

Jazz är en musikgenre som kännetecknas av bland annat improvisation, avancerad harmonik med blå toner, synkoper, sväng, musikinstrument som ”svarar” varandra samt polyrytmik.

Ordet ”jazz” är av omtvistat ursprung och en lång rad teorier har framförts om dess etymologi.

Jazz is like a language: the musicians are communicating the “emotion of the moment” Der großen Bedeutung der Improvisation und des Groove im Jazz entsprechend ist die musikalische Gestaltung sehr in den Verlauf der Zeit eingebettet, mit grundsätzlich offenem Ende.

Bluu Suuperstar Italic 22pt

Bluu Suuperstar Medium 15pt

Trudno jest grać, ale dobrzy gracze sprawiają, że wygląda to łatwo. Dobrzy muzycy mają możliwość produkowania szerokiej gamy dźwięków na swoich instrumentach, przedstawiając szeroką gamę emocji i uczuć. Aby móc usłyszeć różnicę, musisz dużo słuchać; im więcej słuchasz określonego muzyka jazzowego, tym bardziej jesteś w stanie rozpoznać gracza za pomocą samego jego dźwięku.

Bluu Suuperstar Regular 66pt

1920s-30s 104 — 105

gauthier devanagari

Black[Foundry]

Type+Tech®

www.black-foundry.com

Bluu Suuperstar №02

→ŵ z б y ‫غ‬

Black[Foundry]

Type+Tech®

www.black-foundry.com

Vesterbro Black[Foundry]

№03

Type+Tech®

www.black-foundry.com

Clother

№04

Black[BluuSuuperstar]

Bluu Suuperstar, a brutalist serif typeface

Black[Foundry]

Type+Tech®

Bluu Suuperstar is a brutalist serif typeface featuring very prominent triangular-wedges for serifs and terminals. In certain places, strokes have been “broken,” like in the upright fonts' lowercase ‘a,’ ‘g’ and alternate ‘r.’ Any oddities within the design are still firmly within the canon of serif typography, including the crazy gamma-shaped alternate ‘r.’ Bluu Suuperstar does not alter the expected rhythm of a Garalde-style typeface. The family’s lighter fonts are optimised to support long passages of text in applications intended to encourage immersive reading. The heavier styles are best used in large sizes.

Despite the initial appearance of some of its letterforms, Bluu Suuperstar is a masterful variation on the Garalde-style serif typeface theme. Even though that style of letter is a well that designers repeatedly turn to for inspiration, Bluu Suuperstar proves that not all of the results need look the same.

Bluu Suuperstar’s letters have a tall x-height, and the diamond dots are a chief characteristic of the design. These aren’t only found on the ‘i’ and ‘j,’ but also in punctuation marks and diacritics, too.

The lowercase ‘l’ in each font includes a notch at the x-height on its

www.black-foundry.com

left-hand side; this mimics the wedge-shaped serifs found at the tops of so many of the typeface’s lowercase letters, but it is also a nice nod to history. Notches like these are found in several blackletter designs; but most-famously in the “romain du roi” created for Louis XIV. Nothing in Bluu Suuperstar is soft or cuddly; this is a sharp typeface, and you could cut yourself on its letters. Bluu Suuperstar’s italics have their own letter-construction model; they aren’t slanted versions of the upright letters. The result is calligraphic and dynamic, without referencing a particular typographic precedent.

Drive №05 ↓typographic ↙ Vesterbro, your Mono friendly big brother Drive ↙ ↘ ↙ Drive Prop Features

g ↓ ↘k a

Named after the city district located where the old Western Gate of Copenhagen used to be, Vesterbro is an attractive new serif face from BlackFoundry. It is the brainchild of Jérémie Hornus, who developed the type family in collaboration with Alisa Nowak and Ilya Naumoff.

The core design of the Vesterbro family is the Poster weight. The imaginative high-contrast typeface combines characteristics from Scottish and Garalde models. Vesterbro Poster is warmer than most Fractured curves Didot-inspired display faces. It has friendly, organic shapes, with a generous x-height and short serifs. Its tilted axis and supple curves

a ↙ 4 ↗w Black[Vesterbro]

lend Vesterbro Poster an inviting, jovial personality; just look at that radiant smile on the lowercase ‘e,' or how the ampersand licks the next word.

Surprised at how well this typographic mashup works, the team derived a text version with the same properties. The Regular weight has more pronounced serifs and a fairly low contrast, giving it a calm yet confident look on the page. Leaf terminals on letters like ‘a,' ‘c,' Goth ‘a’ and ‘f’ add an elegant calligraphic touch. As the weight increases, the typeface gains impact without losing its supple charm.

n ← f↙ ↗n

Thanks to the multinational team at BlackFoundry, the Greek and Cyrillic alphabets were added early in the development of Vesterbro.

The comprehensive character set includes several types of numerals, an extensive ligature set, and a full complement of arrows. Pleasantly readable in text sizes and attention-grabbing when used big, Vesterbro is a versatile type family for global communication that can be applied to any design project, from editorial design and Pointy serifs graphic identities to advertising, branding and packaging.

m m m

Black[Foundry]

Features Black[Clother]

Modern geometric sans serif

Type+Tech®

Clother is a striking series of fonts built for use in branding, corporate design, and corporate communication. Its sans serif letterforms are italic of languages, plus four geometric, and the fontsSlashing support dozens different writing systems: Arabic, Cyrillic, Hebrew, and Latin. This Viking horn broad linguistic coverage, unified by aterminals single graphic vocabulary, enables companies who use Clother to deploy their messages across a good portion of the global marketplace, all while maintaining a consistent visual style.

Angus↙

The Clother family includes four fonts: Light, Regular, Bold, and Black. Each font’s character set includes 997 glyphs. The letterforms clarity feature more personalityCounterform than you might expect from a geometric sans. This quality is particularly visible in the fonts’ lowercase ‘f,’ Elegant italics ‘g,’ and ‘y,’ although the ‘K,’ ‘k,’ ‘W,’ and ‘w’ also have rather unique forms. Strengthening Clother’s geometric girding, its fonts’ lowercase ‘a’ and ‘g’ are single-storied. Like the open counters in the ‘f,’ ‘g,’ and ‘y,’ they contribute to the very rounded feeling that is present

№06

← ↕ fi ж c Aa Ingrăvesco Fish-slices a f ₱ Extincteur Crépuscule Battement ↘ Side-bones ‫ت‬ ‫ צ‬Recognizes й9 Générosité ↘

Drive Family: Normal | Mono | Prop Ligatures

Clean and geometric

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www.black-foundry.com

throughout the fonts’ lowercase. Dots on the letters ‘i’ and ‘j,’ as well as the punctuation marks and dot-based diacritics, are drawn Fang-shaped with circular forms. Clother’s letterstermainals have low stroke-contrast; they are almost monolinear in their appearance. The lowercase letters’ Scotch roman x-height is not particularly high, and theserifs fonts’ ascenders are taller than the height of the capital letters. Clother’s default numerals are proportional lining figures, but tabular lining and proportional oldstyle figures are also included.

Speaks Arabic fluently

Xylographs

Features

←

Humanist Sans: Open counterforms Dangerous cyrillics

Oblique axis

Newspaper specimen design for Black[Foundry]'s fonts. Designed with Laurette Colmard.

Very open counters

Global currency coverage

Weights: From Hairline to Extrabold Has Hebrew support

And Cyrillic too

Unwrought

gauthier devanagari

summary Although the Devanagari script has been poorly served in regard to type design in the past centuries, it is the belief of the author that the design of Devanagari typefaces has room for improvement. Through time, the script has been rendered awkwardly due to restrictive reproduction methods, from misplaced vowel marks to ill-fitting or inaccurate conjuncts. Although the marks of these restrictions have followed the script through centuries of print, since the revolution of digital type design the technology to completely eradicate these marks is now available.

Having finally entered an era with the proper technology to render complex scripts, the other necessary part of good typeface designs becomes even more important: the research. Thankfully, in the past few decades, and especially since the revolution of digital type design, there has been a rise in global awareness for the necessity to design better non-Latin typefaces and a rise in interest in the subject has created a higher demand for quality Devanagari typefaces. Due to this interest, typefaces in non-Latin scripts have been exhibited around the world, with new literature being published on the subject alongside these exhibitions, such as Language Culture Type edited by John D. Berry and Non-Latin scripts, containing essays by Fiona Ross and Graham Shaw67, both cited throughout this essay.

The publication serves a key role in producing more information available to designers. Researching and gaining knowledge before designing a complex script is crucial for a successful design and the influx of information on Devanagari type design encourages this research. With the available technology of the digital age and committed research, designers are and will be able to produce high-quality Devanagari typefaces.

Since the project is still a work in progress, the aim would be to complete the whole glyphset of Gauthier Devanagari Bold first and then the Regular and Medium weights. The lack of high quality Devanagari textfaces is a pressing issue, which is what strengthens the scope of the project and many more of this kind. The learning over the course of the internship has helped me learn a lot about type design. Learning type design was a first time experience for me and to design a Devanagari text face to start off with was a challenge. This project has enhanced my interest in type design which I would wish to continue even after.

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references

citation "Typography of Devanagari" by Bapurao Naik "Anatomy of Devanagari typefaces" by Dr. Girish Dalvi "An approach to non–Latin type design" by Fiona Ross "From Metal Type to Digital Letterforms" by Fiona Ross "Non-Latin scripts: key issues in type design" by Fiona Ross "Designing a Devanāgarī text font for newspaper use" by Yashodeep Gholap "Issues with Devanagari Display Type" by Sarang Kulkarni "Designing Devanagari Typefaces" by Erin McLaughlin "Adrian Frutiger typefaces" by Philipp Stamm

108 — 109

gauthier devanagari

super thanks!

This project would not be possible without the support and encouragement of my family who believed in me and did not hesitate to send me to Paris. I am grateful to a number of friends and colleagues who guided me and helped me when needed.

Thanks to the team at Black[Foundry] - Jérémie Hornus and Grégori Vincens for giving me this opportunity. Thanks to Julie who mentored me tirelessly and helped the project the shape it has taken. Thanks to Jean Baptiste Morizot, Gaetan Baehr, Elliott Amblard, Ilya Naumoff, Laurette and Ruosi. A special word of gratitude to Simone Henriques who helped with the paperwork to get me to Paris. Thanks to Aurelien who ensured I could handle other modalities during my time there.

Thanks to Shiva, who inspires me constantly and whose guidance has not been limited just to the course of this project. A special mention to Arya Purohit who provided me with crucial feedback from time to time.

Thanks to Venky for the tremendous amount help and support. I also thank Rama, Parimal and Unnati who encouraged me to pursue the project. Thanks to Vedant for the helping out with literary suggestions.

Thank you Balaram Sir for having put faith in me. Thanks to the staff who helped me by going out of their way to make it possible.

Thank you Menon Sir, Seema ma'am and Kanaka ma'am for promptly responding to all my queries. A huge thank you to my batchmates who gave me four wonderful years at college. A final word of thanks to those who made it till this page of the book.

I hope you enjoyed going through this as much as I did making it.

djad 2018

gauthier devanagari

Typefaces used

djad 2018

Pensum Display and Pensum Pro

by Typemates

Rois

by New Letters

Sporting Grotesque

by Velvetyne Type Foundry

DevanÄ garÄŤ text in Adobe Devanagari and Noto Sans

Black[Foundry]

2018

DJ Academy of Design