Typeface Design Process : FW Roy Devanagari & Latin by Vedant Sharma

राय Thin राय Light राय Regular राय Medium राय Bold Project by Vedant Sharma

Guided by Erin McLaughlin

COPYRIGHT ÂŠ 2019 Written and Designed by Vedant Sharma vedantssharma97@gmail.com Under the guidance provided by Erin McLaughlin Client : Fontwala LLC (fontwala.com) Document size : 6.6 x 10.25 inches Typefaces in use : Headline - Prospectus by Dave Bailey (Losttype Co-op) Body - FW Roy by Vedant Sharma (Fontwala) Misc. - Murty Hindi by Fiona Ross (Murty Classical Library of India) Mukta by Girish Dalvi and Yashodeep Gholap (EkType/Google fonts) Kohinoor by Satya Rajpurohit (Indian Type Foundry) Printed at Glo Printers, Sivananda Colony, Coimbatore. Student graduation document for Diploma of Communication Design at DJ Academy of Design, Coimbatore (2015-2019)

Typeface design process : FW Roy Devanagari and Latin

Sponsor : Fontwala LLC Designer : Vedant Sharma External Guide : Erin McLaughlin Internal Guide : Neelesh Gham

Contents 01. Acknowlegement

02. About the sponsor

03. The Indic Script

3.1. History of Devanagari

3.2. Devanagari alphabets

3.1. Structure & anatomy

04. The Latin Script

4.1. Sans-serif

05. Newspapers

5.1. Devanagari in newspaper

5.2. Latin in newspaper

5.3. Devanagari usage

5.4. Proprietary font software

06. Problems

6.1. Visual fatigue

6.2. Weak construction

6.3. Existing typefaces

07. Font development 7.1. Unicode

38 38

7.2 Direction

7.3. BĂŠzier Curve

7.4. Spacing

7.5. Software

7.6. First Draft (Devanagari)

7.7 Grouping Devanagari

7.8 First Draft (Latin)

7.9. Finalizing regular

7.10. Interpolation

7.11. Ligatures

7.12. Kerning

100

08. Final font

102

09. Comparison

114

10. Specimen

118

11. Conclusion

132

12. Bibliography

134

01. Acknowlegement This document is a consolidated work of four years of education I have received at DJ Academy of Design in the city of Coimbatore. I will always be indebted to this institute for my learnings and understanding here. This project would never have been possible without support from my parents who were always a call away to listen to my chatter about work and non-work related matters. I am glad that they not only accepted my choice of following this career path but also appreciated it. I would not have been the person I am today, without the friends I made at DJAD, shoutout to Karthik, Rohan, Vishesh and Kevin and I would not have survived not only just last six months but past four years without Hanit and Jayashree, whose constant support, feedback and company I depended upon. Whatever I have learnt and embraced is all thanks to my faculty members. First among them is Prof. Balaram. He has been the starting point of my design education and I would forever be grateful to him to have gotten this ball rolling; making me understand what design is in its true sense. Typography and Type design is a serious business and Prof. Menon is responsible for laying its foundation for me. A special thanks for my mentors and friends in this project who helped me to keep it on track, specifically Parimal Parmar, Shiva Nallaperumal, Kimya Gandhi, Alessia Mazzarella, Tridibesh Sanyal, Sol Matas, Ludka Biniek, Mahendra Patel, Tanya George, Anagha Narayanan, Debosmita Mazumdar, Arundhati Sunil, Bhairavi and Neelesh Gham. Also thanks to Siddharth and Joel for helping me out with the specimens. I cannot forget Erin McLaughlin, my guide and mentor; who has been with me on this journey for the past six months and has always been a guiding light. Without her support and confidence in this project, it would never have reached the stage, it is at now. Last but not the least, I am thankful to the Annas and the Akkas in college, who were always there at 4 A.M for a cup of tea and a conversation. Typeface design process : FW Roy

02. About the sponsor Fontwala is a young type foundry in Kansas, USA; founded and run by Erin McLaughlin. It specialises in developing retail and custom Unicode-compliant fonts that support South Asian languages and scripts. Fontwala has worked with clients like Adobe, Google, IBM, Microsoft, Facebook, Spotify, Frere-Jones Type, TypeTogether, Lineto, Bold Monday, and more. This project was sponsored by Fontwala; who wanted the typeface to be a part of their font library.

Typeface design process : FW Roy

Brahmi script on Ashoka Pillar (circa 250 BCE)

03. The Indic Script India with an area as large as Europe without Russia and a vast population accounting for over one fifth of the human race, a country which so many call home, is, naturally enough, a land of many languages. There are 16 major languages and 11 official scripts. But how did we reach here? The Brahmi script is the earliest writing system developed in India after the Indus script. All modern Indian scripts and several hundred scripts found in Southeast and East Asia are derived from Brahmi. In the late 19th century, Georg Bühler advanced the idea that Brahmi was derived from the *Semitic script and adapted by the Brahmin scholars to suit the **phonetic of Sanskrit. The earliest securely dated examples available of the Brahmi script dated back to the 3rd century BCE, during the time when India was ruled by the Mauryan dynasty. These examples were found on a set of royal rock inscriptions spread in North and Central India by the Indian emperor Ashoka (r. 268 BCE to 232 BCE), known as the Edicts of Ashoka or Ashokan Inscriptions. During its long history of growth and development, Brahmi reached till Japan, influencing in the formation of the Siddham script used to write Sanskrit. It is credited with being the origin of numerous writing systems currently in use across Asia includes Devanagari, Gurmukhi, Kanarese, Sinhalese, Telugu, Thai, Tibetan, Javanese, and several others.

☛

*Semitic - relating to or denoting a family of languages that includes Hebrew, Arabic, and Aramaic and certain ancient languages such as Phoenician and Akkadian, constituting the main subgroup of the Afro-Asiatic family.

☛

**Phonetic - (of a system of writing) having a direct correspondence between

symbols and sounds.

Typeface design process : FW Roy

Origin and development of Devanagari script by James Prinsep, 1838.

Siddham script (circa 806 AD)

Yogasastra, Hemachandra Jainism, Sanskrit. 12th Century

3.1. History of Devanagari Devanagari is part of the Brahmi family of scripts of India, Nepal, Tibet, and South-East Asia. It is a descendant of the Brahmi script through the Gupta script, along with Siddham and Sharada. The *Nagari script was in regular use by the 7th century CE and it was fully developed by about the end of first millennium. The use of Sanskrit in Nagari script in medieval India is attested by numerous pillar and cave temple inscriptions. Jain Manuscripts are well known to have documented the early use of this script and then eventually the Devanagari script. Among the languages using it are Sanskrit, Hindi, Nepali, Pali, Prakrit, Apabhramsha, Awadhi, Bhojpuri, Braj Bhasha, Chhattisgarhi, Haryanvi, Magahi, Nagpuri, Rajasthani, Bhili, Dogri, Marathi, Maithili, Kashmiri, Konkani, Sindhi, Bodo, Nepal Bhasa, Mundari and Santali. Focusing just on North India, Maharashtra and Nepal, there are about 500 million users of this script.

â&#x2DC;&#x203A;

*Nagari - an earlier form of the Devanagari script

The Indic Script

Vowels

अ आ इ ई उ ऊ ऋ ए ऐ ओ औ अं अः Consonants Velar Palatal Cerebral Dental Labial Half-vowels Spirants Empty aspirant

कखगघङ चछजझञ ट ठ ड ढ ण तथदधन पफबभम य र ल व शषस ह Numerals

०१२३४५६७८९ 11

3.2. Devanagari alphabets The Devanagari writing system is a combination of syllabary and alphabet. Devanagari alphabets follows a phonetic order in which the vowels are recited before the consonants; in contrast, most alphabets follow an order that mixes vowels and consonants together (e.g., A, B, C). There are 12 vowels (swar) and 33 Consonants (vyanjan) in Devanagari. Furthermore, the script arranges the vowels and consonants in an order that starts with sounds pronounced at the back of the oral cavity and proceeds to sounds produced at the front of the mouth. The consonants are divided into classes of stops, sounds that are pronounced by stopping and then releasing the airflow, such as क, च, ट, त, प; semivowels (य , र , ल , व), and spirants (श, ष, स, ह); ह comes last because it has no unique place of articulation.

The Indic Script

3.3. Structure & anatomy Devanagari has only one case and is written from left to right. One of its distinguishing visual features is that, along with sitting on a baselineW, the letters also hang from a horizontal headline. Written traditionally with an angled bamboo reed pen; It has a diagonal axis, opposite of Latin, at about 30–45 degrees.

45° Pen angle

Rafar line Matra line Shiro rekha line Upper mean line Lower mean line Base line Rukar line

The Indic Script

दऐपीआँ ु 14

E mātrā

Kana

Ai mātrā

Short īkār

पेपैपापी Chandrā bindū

पाँप्प Halant

Nukta

Long īkār

Anusvār

िपपुपूप Short ukār

Long ukār

Chandrā Matra

पृपॅपपः r Matra

Visarga

The Duenos inscription

Claudian Boundary stone

04. The Latin Script Latin alphabet, also called Roman alphabet, the most widely used alphabetic writing system in the world, the standard script of the English language and the languages of most of Europe and those areas settled by Europeans. Developed from the *Etruscan alphabet at some time before 600 BC, it can be traced through Etruscan, Greek, and Phoenician scripts to the North Semitic alphabet used in Syria and Palestine about 1100 BC. The Duenos inscription is one of the earliest known Old Latin texts, variously dated from the 7th to the 5th century BC. It is inscribed on the sides of a kernos, in this case a trio of small globular vases adjoined by three clay struts. The inscription is written right to left in three units, without spaces to separate words. It is difficult to translate, as some letters are hard to distinguish, particularly since they cannot always be deduced by context. The absence of spaces causes additional difficulty in assigning the letters to the respective words. The classical Latin alphabet consisted of 23 letters, 21 of which were derived from the Etruscan alphabet. In medieval times the letter I was differentiated into I and J; V into U, V, and W, producing an alphabet equivalent to that of modern English with 26 letters.

â&#x2DC;&#x203A; *Etruscan - modern name given to a civilization of ancient Italy. Typeface design process : FW Roy

A Constructed Roman Alphabet by David Lance Goines, 1982

The growth of the Latin alphabet can be largely credited to Roman square capitals. They were used to write inscriptions, and less often to supplement everyday handwriting. When written in documents this style is known as Latin book hand. For everyday writing the Romans used a current cursive hand known as Latin cursive. Notable examples of square capitals used for inscriptions are found on the Roman Pantheon, Trajan’s Column, and the Arch of Titus, all in Rome. Square capitals are characterized by sharp, straight lines, supple curves, thick and thin strokes, angled stressing and incised serifs. The Gutenberg Bible was among the earliest major books printed using mass-produced movable metal Latin type in Europe. Gutenberg, with it, kick-started the ‘Printing Revolution’. The book contains the Latin version of both the Hebrew Old Testament and the Greek New Testament. Only forty-nine copies have survived till date. A page from the Gutenberg Bible

The Latin Script

ABCDEFGHIJKLMNOPQRS TUVWXYZabcdefghijklmno pqrstuvwxyz0123456789 Futura by Paul Renner, 1928

4.1. Sans-serif The first half of 20th century was the end of the Modern era, the moment when *revived typefaces were flooding the typography mainstream. But it was also the time when a completely different font design was booming, called sans serif (which is French for “without serifs”). It wasn’t an absolutely new idea at that time, since first sans serif faces had appeared in the beginning of 19th century with Akzidenz Grotesk; but never before this seemingly peripheral and exotic trend claimed so much importance as in 1920s and 30s. Serif typeface were still very popular amongst designers and typographers. The biggest part of the serif persistence was, of course, due to plain habit. When the first examples of sans serif fonts finally appeared, they seemed so controversial that the first name given to them was “grotesque,” and they were very rarely used except in advertising. And so it remained until the newest trends in art and industrial design, most notably the German Bauhaus movement of 1920s. These movements stressed utilitarian aspects in design, claiming that a thing becomes beautiful only when---and because---it serves a practical purpose, denying any attempts to artificially “adorn” it. The most influential type design of that era, the Futura font created by Paul Renner in Germany, displayed the core of the Bauhaus ideology: strictly geometric outline, lacking any embellishments and just barely conforming to the historical shapes of letters. The resulting blend of geometric consistency and aesthetic awkwardness, but it was at least something new, and therefore impressive, at that time.

☛ *Revived typefaces - Typefaces created by taking inspiration from old

source material, eg. Calligraphy, stone inscriptions and printed material.

The Latin Script

AAJ newspaper with The Bhopal gas tragedy on the cover page, 5th Dec 1984.

05. Newspapers 5.1. Devanagari Devanagari text was first printed in a newspaper in 1796 – an official notice for the Calcutta Gazette. However, the Gazette was an English language publication; 22 years later, the Serampore Baptist mission press would publish the first “all Devanagari” periodical. Raja Ram Mohan Roy was a strong believer in the power of newspapers; he started non-latin newspapers, Mirat-ul-Akhbar which means the mirror of news and Sambad Kaumundi meaning The moon of intelligence. Mirat-ul-Akhbar was published in April, 1822 in Persian language. Sambad Kaumudi was published in 19th century in Bengali language in Kolkata. Today, India has a thriving non-latin newspaper landscape. Since it has a plethora of languages and scripts, many newspapers operate out of necessity on a local basis. In 2006, twelve newspapers had readership figures of above 5 million. Of these, five were printed in Hindi, two each in Malayalam and Tamil, and one each in English, Marathi, and Telugu. The publishing of newspapers in regional languages first became commercially viable with the introduction of hot-metal typesetting machines in India. Hindi has been the dominant language in the Indian newspaper market since 1979, when it overtook English. By 2006, ten Hindi newspapers were read for every English one; the two bestselling Hindi papers each have audiences above 20 million, while the Times of India – the nation’s most read English language paper had 7.4 million readers.

Typeface design process : FW Roy

Title page of ‘The Relation’, 1609

5.2. Latin in newspapers The earliest latin newspapers date to 17th century Europe when printed periodicals began rapidly to replace the practice of handwriting newssheets. The emergence of the new media branch has to be seen in close connection with the simultaneous spread of the printing press from which the publishing press derives its name. Johann Carolus (1575 - 1634) was the German publisher of the first newspaper, called ‘Relation aller Furnemmen und gedenckwurdigen Historien’ (Account of all distinguished and commemorable news). ‘The Relation’ is recognised by the World Association of Newspapers, as well as many authors, as the world’s first newspaper. Carolus published the German-language newspaper in Strasbourg, which had the status of a free imperial city in the Holy Roman Empire of the German Nation.

Newspapers

क Calligraphic

क Monolinear

5.3. Devanagari usage Coming back to Devanagari typefaces, they do not serve a niche market. Hindi newspapers alone are potentially consumed on a regular basis by well over 100 million readers today. When newspapers in Marathi and Nepali are considered, the range grows further; And newspapers are just one of the media that uses the written word. Devanagari typefaces cannot be divided into clear cut categories unlike Latin serif and sans serif. However, for general classification, it is labelled ‘calligraphic’ and ‘monolinear’ when discussing individual designs. For devanagari the term ‘calligraphic’ is not used in the same manner as Latin or Arabic artistic writing. Rather, the term refers to letters that still clearly show the influence of a broad-nib writing as we saw before. For instance, most newspapers make use of ‘calligraphic’ designs for the body text of their articles. In many cases, newspapers may use the same ‘calligraphic’ face for headlines as well, often in concert with additional ‘monolinear’ and/or more decorative ‘calligraphic’ types. As for ‘monolinear’, it uses minimal amount of contrast in its letterforms; In many ways imitating the Latin sans serif. Certain ‘monolinear’ fonts common in headlines also make appearances as lead-in texts, pull quotes, or other elements of a newspaper’s page navigation scheme. Many ‘monolinear’ typefaces are quite capable of setting body copy as well.

Newspapers

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03 5.4. Proprietary font software

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licenses for each typeface. This software provided a work-around Fc»¹F " 4.50, dWX³QbÀ°FF³F MXFBX¸for ÀF IZY ÀFF±F ¸Fc»¹F " 9.00 E½Fa E¨FMXe EªF IZY ÀFF±F ¸Fc»In ¹F " 5.50 non-unicode fonts. some ways these solutions were good in the past, they sustained the regional languages on the digital platform in the 90s and early 2000s. Newspapers and DTP services found them to be quite convenient as they didn’t have to worry about the legality in their font usage as well.

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Navbharat Times, 1st Dec, 2018

येह दममि तेषत है। विश्लेषण सार्वजनिक पुष्टिकर्ता नवंबर लोगो समूह प्रदान प्रेरना सहयोग शीघ्र उशकी संपुर्ण बीसबतेबोध व्यवहार विभाजनक्षमता कर्य प्रति संभव मुश्किले कार्यसिधान्तो बलवान आधुनिक स्वतंत्र सिद्धांत पहोच तरीके सके। विचरविमर्श विकेन्द्रित विवरन सदस्य दोषसके अविरोधता पुष्टिकर्ता पहोच जिसकी अत्यंत सुविधा माहितीवानीज्य अन्य दिनांक मार्गदर्शन विश्व एवम् कलइस कार्यलय सिद्धांत करता। सके। उद्योग केन्द्रित बढाता पहोचने निरपेक्ष माहितीवानीज्य होसके समाज जाता सहयोग अनुकूल कार्यकर्ता पुष्टिकर्ता हमारी एसलिये पासपाई निर्माता भाषएसुचना किया समस्याओ हार्डवेर स्वतंत्रता पहोचने सिद्धांत कार्यसिधान्तो पुर्व कारन अपने प्रमान तकरीबन निर्देश ध्वनि खण्ड उद्योग विकासक्षमता औषधिक बहतर प्रति ज्यादा समस्याए विकेन्द्रित पुर्व तकनीकी वार्तालाप ढांचामात्रुभाषा २४ भिगुजरना सोफ़्टवेर विकासक्षमता अपनि भाषाओ कुशलता पत्रिका एकएस संदेश सादगि पडता अंग्रेजी कम्प्युटर यन्त्रालय देखने बनाए कुशलता लक्ष्य समस्याओ मेमत अन्य दिनांक मार्गदर्शन विश्व एवम् कलइस कार्यलय

9.5pt/11pt

This is dummy text. The Renaissance briefly reinforced the position of Latin as a spoken language by its adoption by the Renaissance Humanists. Often led by members of the clergy, they were shocked by the accelerated dismantling of the vestiges of the classical world and the rapid loss of its literature. They strove to preserve what they could and restore Latin to what it had been and introduced the practice of producing revised editions of the literary works that remained by comparing surviving manuscripts. By no later than the 15th century they had replaced Medieval Latin with versions supported by the scholars of the rising universities, who attempted, by scholarship, to discover what the classical language had been. Literary works that remained by comparing surviving manuscripts. By no later than the 15th century AD. Latin to what it had been and introduced the practice of producing revised

9.5pt/11pt

06. Problems 6.1. Visual Fatigue Eye fatigue is a common occurrence when it comes to reading newspapers or any printed material. One particular reason for that is the small size of the fonts, but it goes much deeper than that. Newspapers have a preference to decrease the leading, type size and spacing to reduce the space consumed to convey the news. Another motivation for them is to save space for more advertisements. When it comes to latin in small sizes, legibility is not as problematic because the letterforms are simpler with consistent negative spaces. The problem arises particularly with non-latin typefaces focusing right now on Devanagari. There is usually lot more happening within an individual character in the script and that leads to not enough negative space for the character to show through, in turn, making it difficult to interpret and read them.

Typeface design process : FW Roy

अ Shree Devanagari 71 by Shree Lipi

अ

गुजरना सोफ़्टवेर विकासक्षमता अपनि भाषाओ कुशलता पत्रिका एकएस संदश े सादगि पडता अंग्ज रे ी कम्प्युटर यन्त्रालय देखने बनाए कुशलता लक्ष्य समस्याओ ममे त ऎसाजीस व्रुद्धि पुष्टिकर्ता चुनने परिवहन भेदनक्षमता विकासक्षमता गटको सदस्य कराना

गुजरना सोफ़्टवेर विकासक्षमता अपनि भाषाओ कुशलता पत्रिका एकएस संदेश सादगि पडता अंग्ज रे ी कम्प्टयु र यन्त्रालय देखने बनाए कुशलता लक्ष्य समस्याओ मेमत ऎसाजीस व्द्रु धि पुष्टिकर्ता चुनने परिवहन भेदनक्षमता विकासक्षमता गटको सदस्य कराना

Kohinoor by Indian Type Foundry

6.2. Construction As mentioned before, quality suffers in any Shree Lipi or currently in use Devanagari newspaper font. Comparing it with a modern, unicode-complaint typeface like ‘Kohinoor’ by Indian Type Foundry highlights the problems in construction; Awkward sense of proportions, sudden breakage in form, uneven-ness in stroke widths and badly drawn *Bézier curves. From a layman’s perspective these might seem like small issues but we need to keep in mind that these forms are communicating vast amount of information everyday and should justify the script. Unfortunately, the typefaces in use by the newspapers are outdated and lack refinements.

☛

*Bézier curves - A Bézier (bez-ee-ay) curve is a curved line or path defined by mathematical equations. It is used to construct vector forms on modern digital software.

Problems

Retina by Frere Jones Type, 2016 designed for the Wall Street Journal

Bell Centennial by Matthew Carter, 1975-78, designed for AT&T

6.3. Existing typefaces These problems have been addressed by type designers before but the focus has primarily been on Latin. If we look into them to know what has been done before, we can find a direction which is practical and can be taken forward for Devanagari as well as Latin. The mentioned typefaces show good amount of contrast for higher visibility in 5-12 point size. A *Humanist approach seems favourable.

Guardian by Commercial Type, 2005, designed for The Guardian newsapaper

â&#x2DC;&#x203A;

*Humanist (typefaces) - Inspired by Renaissance typefaces, Humanist fonts take on the structural qualities of the Italian Old Style. They have moderate stroke contrast, uneven widths, and a classic, but soft and easy-to-read appearance.

Problems

The Unicode Standard 12.1. for Devanagari

07. Font development 7.1 Unicode Unicode is a computing industry standard which revolutionized documenting scripts. The Unicode Standard provides a unique number for every character, no matter what platform, device, application or language. â&#x20AC;&#x153;Fundamentally, computers just deal with numbers. They store letters and other characters by assigning a number for each one. Before Unicode was invented, there were hundreds of different systems, called character encodings, for assigning these numbers. These early character encodings were limited and could not contain enough characters to cover all the worldâ&#x20AC;&#x2122;s languages. Even for a single language like English no single encoding was adequate for all the letters, punctuation, and technical symbols in common use. Unicode solved this problem.â&#x20AC;? - unicode.org It is supported in all operating systems and all modern browsers. The emergence of the Unicode Standard, and the availability of tools supporting it, are among the most significant recent global software technology.

Typeface design process : FW Roy

abc abc Eurostile by Aldo Novarese (Grotesque)

Frutiger by Adrian Frutiger (Humanist)

7.2. Direction Recent study done my MIT regarding visibility of dashboard font proved that “humanist” family of typefaces are easier for people to read quickly than displays/text fonts using the more uniform and tightly spaced letters of the *grotesque style. We keep this in mind while narrowing down our redefined brief.

Focusing on the previous examples, the direction for designing this typeface for newspapers will be to — 1) Create a font which is humanist in its letter proportions 2) Give ample inter-character spacing 3) Create unambiguous forms 4) Have varying proportions amongst similar characters

☛

*Grotesque (typefaces) - A typeface which have a slightly crude appearance and are completely disassociated from calligraphy with low to no contrast in the letterforms.

Font development

7.3. Bézier curves The Bézier curve is named after french engineer Pierre Bézier, who used it in the 1960s for designing curves for the bodywork of Renault cars. In vector graphics (i.e. typeface design), Bézier curves are used to model smooth curves that can be scaled indefinitely. “Paths”, as they are commonly referred to in image manipulation programs, are combinations of linked Bézier curves. Paths are not bound by the limits of rasterized images and are intuitive to modify. The mathematical basis for Bézier curves—the Bernstein polynomial— had been known since 1912, but the polynomials were not applied to graphics until some 50 years later, when they were widely publicized by Pierre Bézier. Learning how to use Bézier appropriately is an integral part of learning type design. Having the correct knowledge of anchor placement and forming proper paths helps in construction and modulation of the letterforms.

Font development

7.4. Spacing The adjustment of space between letters in typeface design is correctly considered by many as being as important as the design of the shape of the letters. English typographer Walter Tracy stated in his book ‘Letters of Credit’ that “the ‘fitting’ of letters – the allocating of the correct amount of space to each side of them, so that they are associated into words they have a balanced relationship, without unsightly gaps or congestion – is a process fundamental to the success of a type design.” Balancing internal and external white spaces in letterforms is the objective. When focusing on Indic type design we use similar method of looking at typefaces as shapes and then adjusting their placements in the typeface.

Font development

Glyphs 2.6.1

7.5. Software Font editing software or a font editor are a class of application specifically made to design and edit fonts. There are variety of software available now for this purpose today. FONTlab studio used to be the industry standard in the 2000s but Glyphs and Robofont, both of which are MacOS exclusives, are competing with it. For the project I used Glyphs designed by type designers and software developers Georg Seifert and Rainer Erich Scheichelbauer in Germany. It provides a very robust set of tools and is very intuitive for beginners. The software also has great support for non-latin font development.

Font development

The letter ‘क’ using the pre-made vertical stroke.

7.6. First draft (Devanagari) I started with the most basic element of a Devanagari letter, the vertical stroke. This defines the most basic proportions of the Devanagari letterforms that we are trying to develop, and it is used in most of the glyphs. We design it once and use it as a component in all the other glyphs that require it. Using this approach, we can design much of the basic Devanagari consonants. For further development I looked into what the Professor of typography at IIT Bombay, Dr. Girish Dalvi, wrote in his PhD thesis, “We can deduce that the ten letters अ इ ए ख त भ द ध थ ष can almost capture all the formal properties of remaining Devanagari letters. Within these letters the letters अ इ ख भ द ध ष are most critical as they define features for the majority of the letters. We can hence suggest that by designing these letters first.”

Font development (Devanagari)

STAGE 0.1 News sans tracked +20

Noto Sans

मपा मर वारपार मपा मारवा मरमर पारावार मम मारामार राव परावर पाम मारामार वाम वारपार रावरा मर मामा पावा वारपार वारापार परावर रार मपा रप रार रामा प मावा वारा मारा परावर रार वारपार परवा मारवा वारपार रामा वारपार वारा परमार परमार पा पराम परावर परमा मर पारावार मार मारवा वारपार वारपार पारापार वरम वाप रावरा मम पर परा मा परावर राम पर प रावरा परमा मापा मरमर वाप मरमर मामा मामा मारामार पावा परमार मारा मापा पारावार वामा रवा परावर रार परवर रमा वारापार वारापार पारावार मपा परवा वारपार वरा वारपार म मरा परमार रप वारपार परमार वारपार रम पाप परवर वारपार पावा वारा पावा परावर पार पाप वारपार रमा मारवा परमार मरमर वम वारा मामा मा रम परमार मरा रावरा परावर वरम परावर रप पारापार पराम पा मारामार म मरा मरमर पारापार वम रमा रमा वारपार पामर पारा रावरा वारपार मारवा मम मरमर वम रप रपर रम वम परवा पमपम वारापार वरम पाम माप वार परावर मम वपा परावर परमार रावरा मारामार वर पापा मारा परवा वारपार पावा मारवा वारपार मारवा वारपार पर मारामार परावर वारपार वरम वारपार मावा वारापार पारा म परावर पापा माप

News sans - not tracked मपा मर वारपार मपा मारवा मरमर पारावार मम मारामार राव परावर पाम मारामार वाम वारपार रावरा मर मामा पावा वारपार वारापार परावर रार मपा रप रार रामा प मावा वारा मारा परावर रार वारपार परवा मारवा वारपार रामा वारपार वारा परमार परमार पा पराम परावर परमा मर पारावार मार मारवा वारपार वारपार पारापार वरम वाप रावरा मम पर परा मा परावर राम पर प रावरा परमा मापा मरमर वाप मरमर मामा मामा मारामार पावा परमार मारा मापा पारावार वामा रवा परावर रार परवर रमा वारापार वारापार पारावार मपा परवा वारपार वरा वारपार म मरा परमार रप वारपार परमार वारपार रम पाप परवर वारपार पावा वारा पावा परावर पार पाप वारपार रमा मारवा परमार मरमर वम वारा मामा मा रम परमार मरा रावरा परावर वरम परावर रप पारापार पराम पा मारामार म मरा मरमर पारापार वम रमा रमा वारपार पामर पारा रावरा वारपार मारवा मम मरमर वम रप रपर रम वम परवा पमपम वारापार वरम पाम माप वार परावर मम वपा परावर परमार रावरा मारामार वर पापा मारा परवा वारपार पावा मारवा वारपार मारवा वारपार पर मारामार परावर वारपार वरम वारपार मावा वारापार पारा म परावर पापा माप रावरा रपर पारापार पमपम मावा रावरा वारपार वारपार रप प रप मरमर वर

Kohinoor मपा मर वारपार मपा मारवा मरमर पारावार मम मारामार राव परावर पाम मारामार वाम वारपार रावरा मर मामा पावा वारपार वारापार परावर रार मपा रप रार रामा प मावा वारा मारा परावर रार वारपार परवा मारवा वारपार रामा वारपार वारा परमार परमार पा पराम परावर परमा मर पारावार मार मारवा वारपार वारपार पारापार वरम वाप रावरा मम पर परा मा परावर राम पर प रावरा परमा मापा मरमर वाप मरमर मामा मामा मारामार पावा परमार मारा मापा पारावार वामा रवा परावर रार परवर रमा वारापार वारापार पारावार मपा परवा वारपार वरा वारपार म मरा परमार रप वारपार परमार वारपार रम पाप परवर वारपार पावा वारा पावा परावर पार पाप वारपार रमा मारवा परमार मरमर वम वारा मामा मा रम परमार मरा रावरा परावर वरम परावर रप पारापार पराम पा मारामार म मरा मरमर पारापार वम रमा रमा वारपार पामर पारा रावरा वारपार मारवा मम मरमर वम रप रपर रम वम परवा पमपम वारापार वरम पाम माप वार परावर मम वपा परावर परमार रावरा मारामार वर पापा मारा परवा वारपार पावा मारवा वारपार मारवा वारपार पर मारामार परावर

पापा पा पाप पापा पा पापा पा पा पापा पापा पाप प पा पाप पाप पापा पापा पाप पाप पापा पापा पापा पापा पाप पाप पा पापा पा पाप पाप पा प पाप पापा पापा पा पाप पाप पा पापा पापा पापा पाप पाप पापा पापा पा पा पाप पा पाप पापा प पाप पापा पा पाप पाप पापा पापा पापा पापा प पाप पाप पाप पाप पापा पापा पापा पाप पापा पाप पापा पापा पापा पा पाप पाप पा पापा पापा पा पापा पापा पा पा पाप पा पाप पाप पापा पाप पाप पापा पाप पाप पापा पापा पापा पाप पापा पापा पा पा पाप पापा पा पाप प पा पापा पापा पाप पाप पा पापा पाप पापा पा पाप पापा पाप पापा पाप पा पाप पापा पा पापा पापा पापा पा प पा

सविाि म ुिासि पा ि ि ुििसि िविे ेमाि मािामाि प ुिावि ु ि िम े व वि े ु पि ििि िि वाि ु ििवाे िवाि म ुिाि म िावि े िव िावि ि िाि ेसविाि पिा पाव प ुिावि ु मािामाि OOH िविाे पािावाि ममिाे मि सिप ु प ुििवा िाि मा प ुिवा पाि ििावि पाप सववि पा मिविा े ि ुिमा ि ुप समि िसविाम िाििा िमि समि ि ुििसि सविम पि सिवा िाम िमे िि ेि वािपाि िामा मिाे पािावाि मिे romipn ि ुि सपपािा िप म ि ुवाि पिाे ि िाव मिे ेिपसिवाि िविे ेमिमि ि ुिपा मि े पिाि पिावि मिे ेप ुि मि िसविाम ि ुिाि ुि ि िि िि ेमाप वाम मिि ि ुिप िव सििपा सिम सिवा िि ेम ुसि प ुिावि ु ि ेप ुििा िमि सविाि ि ुििसि प ुििा प ुिावि ु मपा म ुिम ुिा

NewsSans_Dec17

ू ापन ननू स½F¿FÊुख83, परवानापन स रमा स AaIY 300, 18 कन ने रू कारनामा गा सराफखाना पान रमान सरकार गाम कानकार ू नानके खन रागान ुराग रप ससम े पन े सगरा कु मकु मा मनान मरमर ू पसर नासरू न सर ुपाकार सराख समसन न ख ुरमा पस नमक राग सराू नागरक स ुमरे गप ू नरू रन स

Ye ÀFªFF ¶FPÞXFBÊX ¦FB STAGE 1 The goal was to have humanist letterforms but still have strong stroke endings.

मारने गुन खपन िेना पुराना िुख परवानापन िूरमा िुराि The negative spaces are not perfect circles as they need to imitate the flow and inaccuracy of the human hand.

7.7. Grouping Devanagari From here on we start grouping Devanagari alphabets on the basis of horizontal and vertical stroke; further developing the visual language we are aiming for. Diverting a bit from Dr. Dalvi’s approach, we drew the letters स, म, ग, क, र, न and few matras just to get an idea. The development happened over a few stages which spanned couple of months; the process is highlighted in the next few pages.

Font development (Devanagari)

news sans & serif test कामवासना म ुखरागकार वापन प ुरसा परमपावन प ुराना र ुपस गमर े फु रफु राना कन ू रव सागरगा मख कूपन रामा सग नवना े ग ुनग ुनान कामर े पाू HON प ुकारन वासा े मख खनक सनाू फु नगा कारावास सवार ग ुनग ुनाना सामन म े ुकना स ुखवा कु स ुमासव म ुखपाक गरवा नक न ुमा राख मनकामना स कु रर पखवारा प ुरान सकार े नवन नावास स ुन ु स ुरस ुराना करारनामा रपर रपकार खा ू ´FZªफेF र ेकूम कन मरे ु सरवक मनसरू कमकस सके रना सरनाम फु रफु राना सग म े न ने मे प ुरनम रम DEC खनखन नख मारन ग े ुन खपन सनाे प ुरानापन ननू स ुख परवानापन ू स ुरास ुर सरकन ने रू कारनामा गा सरमा सराफखाना म ुकरना स ुरापान रमान सरकार गाम कानकार समान नागर नानके खन ू रागान ुराग रप ससमार नाम पे ुरानपन े सगरा कु मकु मा मनान मरमराना े वासन सर ुपाकार ू पसर नासरू सना साग समसन न सराख ख ुरमा पस नमक रागान ुराग फूस सराू नागरक स ुमरे गप ू नरू रन स ुर ुपा वप ु सना वस ु रखा पगाना करारनामा राना पखवारा प ुरनम सकारन गरम े स ुपार कु स ुमासव फे रन गर मसखरापन खा स ुरस ुराना रग नगम े कनकनाना कु स ुमाकर सनम स ुम ुख रग न कु मकु मा र ुक पखर ु कु र कसना ू नासरू म ुखरागकार रपर ू ेखा समापन ु प ुरानपन समर ग ुनग ुनान रनव े सवप े े स ुमरे ू फु सफु साना सरकस खारा FIN फूफसरा पर पग ुराना सरकना क प ुरख स ुरा नापा ू गरे कु सम ुपगमन कसना ू नम ुनाना सनापन कामरा सव करन नख सागरग कु स ुमाकर

सपन कु स ुमागम म ुखरागकार सर ेप ुर प ुरखन खनन समार ेख ग ुनग ुन फन रखवार पराग ग ुनग ुनाना पारावार गमनना मसान ू स ुमागम स ुरस ुराना कमर नाम साख कु सपना प ुर ु मारामार coil परखना प ुरावस ु मा ग ुर ुपन नानके स कु े नम ुनाना परम ुख पाम सरकन फे न फाफर फु सफु साना परवा कसमसाना सर ुपाकार रम कर नमक कनस ुरा मसान सारखा नगर स ुरखाव ममार े कु नकु ना न ुका सरस रफ काग म ुरम ुर म ुकरना nirt सान ुग वारक कामवासना खर काम नावास प कु र कन सराव समसन परवानापन कामवासना म ुखरागकार वापन प ुरसा परमपावन प ुराना ू सागरगा र ुपस गमर े फु रफु राना कन रव मख कूपन रामा सग नवना े ग ुनग ुनान े कामरपाू HON प ुकारन वासा े मख खनक सनाू फु नगा कारावास सवार ग ुनग ुनाना सामन म े ुकना स ुखवा कु स ुमासव म ुखपाक गरवा नक न ुमा राख मनकामना स कु रर पखवारा प ुरान सकार े नवन नावास स ुन ु स ुरस ुराना करारनामा रपर रपकार खा फे र े ू कूम कन मरे ु सरवक मनसरू कमकस सके रना सरनाम फु रफु राना सग म े न ने मे प ुरनम रम DEC ½F¿FÊ खनखन 83, AaIYनख 300,मारन 18 गे ´FZªुनF, ¸Fc»¹F खपन सनाे प ुरानापन ननू स ुख परवानापन ू स ुरास ुर सरकन ने रू कारनामा गा सरमा सराफखाना म ुकरना स ुरापान रमान सरकार गाम कानकार समान नागर नानके खन ू रागान ुराग रप ससमार नाम पे ुरानपन े सगरा कु मकु मा मनान मरमराना े वासन सर ुपाकार ू पसर नासरू सना साग समसन न सराख

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û ¨FFdWE ³F¹FF ³FªFdS¹FF w.livehindustan.com

û¿Fe NXWXSXF¹FF, Qû A³¹F Qûd¿F¹FûÔ IYe ÀFªFF ¶FPÞXFBÊX ¦FBÊX

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सििपा िवार कामवािना मुखरागकार वापन पुरिा परमपावन पुराना रुपिे

नख मारने गुन खपन िेना पुरानापन नून िुख परवानापन िूरमा िुरािुर

ना सरनाम फु रफु राना सग म े न ने रम DEC खनखन नख मारन ग े ½F¿FÊ 83, AaIY 300, 18 ´FZª सनाे प ुरानापन ननू स ुख परवानाप स ुरास ुर सरकन ने रू कारनामा गा फखाना म ुकरना स ुरापान रमान सर कानकार समान नागर नानके खन ुराग रप ससमार ू े सग नाम पे ुरानपन कुमा मनान मरमराना े वासन सर ुपाक ख पसर नासरू सना साग समसन न

e ÀFªFF ¶FPÞXFBÊX ¦FB STAGE 2 Addition of few more characters and basic Latin characters for comparision in height, weight and overall consistency.

मारने गुन खपन िेना पुरानापन िुख परवानापन िूरमा िुरािुर Initial spacing done for Devanagari.

पर ेखा वर गमन र े सराकार खा कमक नस परमार ख ेवा ग ुनग ुनान े कानप ुर प ना स ुनामा कामवासना स ुरस ुराना प कामवासना सरकस प ेवा करन नामन खरखाव पसरना ग ुनग ुनाना नपा प ुर N गवन वरन प ेरना मन मानवनाम क सामान फु रफु राना पनस के म ुखराग ा फु रना परख मरमराना सकना म रखानापन नाग समाना नामावर सव स र े ग ुन स ुरापान मर ु पा मस ेम सनस सकारना मास rind वरना ग ुमनाम स ना सव ेरा रसरा पारक कु रम ुरा रागान फु साना म ेमन े समरागम म ेकर रम पर

फु रफु राना पखर ु मकर करना नग सरे ु रखानापन करन रे ुवर ुप नान नक े सराव स ुन रमकना े करा गर खखर साकार पनवार कररा ग ुनग ुनान खपना े स ुमना नानसा वरासन र ेस मावस कु स ुमागम सराकार क र ुपर ेखा वर गमन र ेसराकार खा ुर कमकर वाप नस परमार खवाे ग ुनग ुनान कानप े परस ग ुनग ुना स ुनामा कामवासना स ुरस ुराना पनवार वार ेकामवासना सरकस पवाे करन नामन वन रखरखाव पसरना ग ुनग ुनाना नपा प ुराना गवन वरन परना े मन मानवनाम कु नराे मारा सामान फु रफु राना पनस के म ुखरागकार ससवाे फु रना परख मरमराना सकना म म ुखर रखानापन नाग समाना नामावर सवग वापस र ेग ुन स ुरापान मर ु पा मसमे सनसनाना वने सकारना मास वरना ग ुमनाम स सके रना सवराे रसरा पारक कु रम ुरा रागान ुराग फु सफु साना ममन े समरागम े मकर े रम परा प ुरानपन े रसमसा नापन प ुरानापन परसा समान प ुनरागमन स ुसम गफपन सम फपकना रवा परवानापन नापन े खगवन स ुरस ुराना रान मसना कु स ुमासव सरकन े र ुखा सामन वार े मरमराना वम सराफखाना मग वक प ुस ुर स ुनार गव कगर नामन म स ुमना मारन े मरमर रकमवार प ुकारन गव े म ुखरागकार सराफ कारागार सरकाना समास रार सवन म ुखरागकार सर कु स ुमासव र ुकन म े ुरगा पस नास े खानम

lip boor Concurbit lip do triconodont monoptotic in curriculum hit motordom pooh Doom bourdon churro lill huh monticuliporoid contrition comdr churl hood dormition turbo bloodroot choloidinic to trop Mollu hid lurid clinorhombic bloc coprolitic Funhurt मसान साकारर ुप सवन गमनागमन के स फग ुनव पगाना स र ुख फु सफु साना कु स ुमागम पर ेवा सन फु रफु राना परवानापन फन परावस ु FED कारागार समाना रमन खवक े प ुगाना कनस ुरा STAGE 3 र ुमना माप सकपकाना सकपकाना रन वगे वासव सास फु रफु राना पखर ु मकर forms for existing करना नग सAlternative रे ु रखानापन करन े characters to focusMIN on better legibility on smaller sizes. र ुवर ुप नान नक े सराव स ुन रमकना े करा Spacing corrections and further गर खखर साकार पनवार कररा ग ुनग ुनान े refinements. खपना स ुमना नानसा वरासन र ेस मावस कु स ुमागम domin सराकार क र ुपर ेखा वर गमन र ेसराकार खा कमकर वाप ुर परस नस परमार खवाे ग ुनग ुनान कानप े

NewsSans Dec30 vs 8.75/11.5

मसान साकारर ुप सवन गमनागमन के स फग ुनव पगाना स र ुख फु सफु साना कु स ुमागम पर ेवा सन फु रफु राना परवानापन फन परावस ु कारागार समाना रमन खवक े प ुगाना कनस ुरा र ुमना माप सकपकाना सकपकाना रन वगे वासव सास फु रफु राना पखर ु मकर करना नग सरे ु रखानापन करन रे ुवर ुप नान नक े सराव स ुन रमकना े करा गर खखर साकार पनवार कररा ग ुनग ुनान खपना े स ुमना नानसा वरासन र ेस मावस कु स ुमागम सराकार क र ुपर ेखा

photom unclutch prom Ercumdiction it nonpromotion Honbon bundu tom buttonmould pruritic quinonic populi lip boor Concurbit lip do triconodont monoptotic in curriculum hit motordom pooh Doom 58 bourdon churro lill huh

Review by Parimal Parmar

Review by Erin McLaughlin

Review by Shiva Nallaperumal

bcdehijklmnopqrstu कखगनपफबभमरवषस ू ववाव ं ेव ैव ुववोवौ कभार के खाना म े ब ुरा ष सौपां ब ुरा भाषा वामागना ं स ेवरा व े म ुनाफा CAN नामक राव गगा ं नरकवास कन TIME सनसनाना भ ूखो ंससं ेक नान साकारोपासना को स ुनकर गरौ ं रकम फे कन े पास खान पान सर ेगम मकान फु न वभ वो DEFLATIONS GEM SYNC Subjunior link redo hurled chirp complimenter outjet silicious hokes runch microseptum loth kill monotonous episode popined mistress ciders Muster Out Leper Escort Dell Yip Admire Tort Flick Illness FITTEST CANAL LOX HEDGE MYTHS MISSION नरसो ंमाम ू साकारोपासना कु स ुमासव गोपागना ं रकस ैक STAGE 4 Addition of more glyphs in both scripts, spacing corrections and initial kerning. Letterform refinement.

Review by Mahendra Patel

कखगघङचछज तथदधनऩपफब वशषसहक़ख़ग़ ऄअआइईउ ऍऎएऐऑऒओ 69

जझञटठडढण बभमयरऱलळऴ ग़ज़ड़ढ़फ़य़क्षज्ञ उऊऋॠऌॡ ओऔ₹व।व॥ STAGE 5 Locking the Regular weight character set for Devanagari.

prom Ercumdiction it nonpromotion Honbon bundu tom buttonmould pruritic quinonic populi lip boor Concurbit lip do triconodont monoptotic in curriculum hit motordom pooh Doom bourdon churro lill huh monticuliporoid contrition comdr churl hood dormition turbo bloodroot choloidinic to trop Mollu hid lurid clinorhombic bloc coprolitic Funhurt STAGE 0.1

बलबल िागान ुिाग सके मालम em 7.8. First draft (Latin) तनयमावली भािा िसायतनकीतवद पिवान घ ुला दसे सिमन तवलयनव वादान ुगातमिा िनय पिबि तबलतब सायन भान िाव िस िमन यमी तद कििाि घाघस दनाय ु कवि मनमा के मकान दािी मिान ुगामी बागि स o तबन मानविावादी सनानी ि ुिलान े दानदाि े सवन े गब सि य ेदमतयि d तपकी भातगनया म े म ेप ुनिावदनीय े सतललाकाि स ेकिनवाला तनयति े कु माििा दुबलापिलापन ब ुलब ुल साि िा पायतनकी स ुिमा पािी पाति सातबि िदा मापािीि समान ुपािि Similar to Devanagari, we start grouping the letters and start constructing them. In Latin, the focus was on m, p, o, u, c, b, r, i, t, M and O. Following the humanist language and the direction we worked on for the former script. With the basic skeleton forming, we refine them further, along with getting feedback from professionals.

Font development (Latin)

Untitled News Sans / Vedant Sharma

ACDEF MNOQ bcdehijklm कखगनपफ ववाव ं ेव ैव STAGE 1

Addition of glyphs and overall letterform refinement. Initial spacing done along with Devanagari.

8 January 2019 1:30 PM

FGHIKL QSTXYZ mnopqrstu फबभमरवषस ू व ुववोवौ news sans & serif test

HHOHH HHQHH HHHHH HHCHH HHSHH HHDHH HHEHH HHFHH HHLHH HHTHH HHNHH HHMHH HHIHH

HHAHH HHKHH HHXHH HHYHH HHZHH

nnnnnnn nnnmnnn nnnhnnn nnnrnnn nnnunnn nnnonnn nnncnnn

8 January 2019 1:3

nnnennn nnnsnnn nnnpnnn nnndnnn nnnbnnn nnnpnnn nnnqnnn nnnlnnn nnninnn nnnjnnn nnntnnn nnnknnn

पपपापापपप पपपाषापपप पपपाफापपप पपपामापपप पपपाभापपप पपपागापपप पपपानापपप पपपावापपप पपपाबापपप पपपाकापपप पपपारापपप पपपासापपप पपपाखापपप

पपपापापप पपपाप ेपपप पपपाप ैपपप पपपाप ुपपप ू पपपापपपप पपपापोपपप पपपापौपपप

Review by Parimal Parmar

Untitled News Sans / Vedant Sharma

8 January 2019 8:37 PM

ACDEFGHIKL MNOQSTXYZ bcdehijklmnopqrstu कखगनपफबभमरवषस ू ववाव ं ेव ैव ुववोवौ STAGE 2

Addition of more characters & comparison with Devanagari letters to maintain height, weight and overall form consistency. Spacing refinements.

कभार के खाना म े ब ुरा ष सौपां ब ुरा भाषा वामागना ं स ेवरा व े म ुनाफा CAN नामक राव गगा ं नरकवास कन TIME सनू ंससं ेक नान साकारोपासना को स ुनकर गरौ ं सनाना भखो रकम फे कन े पास खान पान सर ेगम मकान फु न वभ वो DEFLATIONS GEM SYNC Subjunior link redo hurled chirp complimenter outjet silicious hokes runch microseptum loth kill monotonous episode popined mistress ciders Muster Out Leper Escort Dell Yip Admire Tort Flick Illness FITTEST CANAL LOX HEDGE MYTHS MISSION नरसो ंमाम ू साकारोपासना कु स ुमासव गोपागना ं रकस ैक 77

torolillo holocentroid smutchiest ensient escot ok dell mollient disli jousts cub link douce housel soil Lob restlessness hurled eco dustiest eucre epos silicious redo pull demirhumb do mudders plinked pelicometer in reknot nonrecipient pile decompositions en milk Chromomere jock hokes prototroch or us duck deicers so culet subject suppressor delustered Secre jibs outjet mucous pups ire lenticule leo tick chirp does leets Hithe roc complimenter jisms jesses muster interscendent bemurmur jilt umm nondenseness postlude Netted micromicron idic combustibles hut ou photochemic com pin em duck bio coonti thurm so recroon met puck Demotions ke in runch lepidoses poem trilit snitch nuke Monotonous bops belter Apoliticness To prohibits sphecid die recpt propined toph dusken mrs be mistressdom ciders spiro u

Review by Shiva Nallaperumal

ation alcid ratio antiquary archigonoc g wan afros sum mise gory fatbird fu ley intended acupuncturing amative etaways I placks autohemolytic indoi ea yucch ax in rod froes automation a aze autompne foredoomer distempe te uh faithfuls honda mine astatize be ultilaned lab naometry dab ok sick q ease naps peg gotos atheist emit cos ad gauby humidfied or fishbolt cartm o cued nail jackal down bear oncin en ordolobo tide oats maquillage bah su rut concorporating lemnaceous copy mac mucket snip of exaltee rimula no oos die dude motionless anoplothero se osmium boob campong clade ox rip overadvice talks albs benefiter cu

d News Sans / Vedant Sharma

FONTWALA

ABCDEFGHIJKLM NOPQRSTUVXYZ abcdefghijklmn opqrstuvwxyz-.,;: कखगघचछणतदधठथज नपफबभमयरवषसअआउ ू व ंवाव ेव ैव ुववोवौवीवव STAGE 3

Further spacing refinements.

Addition of all the base characters from the Latin script.

Review by Erin McLaughlin

ABCDEFGHIKLMNOPQR STUVWXYZabcdefghijkl mnopqrstuvwxyz n.n,n:n;n‘H’n“H”n-n!n ?n(n)n[8]n 0123456789

itled News Sans / Vedant Sharma

FONTWALA

STAGE 4 Addition of punctuation marks and numerals. Real text tests before getting feedback.

7 March 2019 12

changing vitriolic threats, with Mr Trump calling Mr Kim “little rocket man” and Mr Kim calling Mr Trump a “mentally deranged dotard”. An end to war Before the summit, there was talk of a possible political declaration to end the Korean War, which finished with an armistice rather than a full peace treaty. With the abrupt end of the talks, that peripheral goal seemed to have been kicked nto the long grass. For the Wapogoro people, there are few worse fates than kifafa. The tribe lives in the Mahenge highlands in deepest Tanzania: a land of rugged mountains, mist-capped forests and rare underground treasures, from fossils to glittering neon-pink gems. They have survived there in isolation for hundreds of years, quietly going about their ives and largely escaping the notice of the wider world. Or that was the case,

Untitled News Sans / Vedant Sharma

FONTW

ABCDEFGHIK STUVWXYZa mnopqrs n.n,n:n;nHâ&#x20AC;&#x2DC;H n-n!n?n( 012345 87

WALA

25 March 2019 12:12 AM

KLMNOPQR abcdefghijkl stuvwxyz HH’H“HH”H (n)n[n]n 56789 STAGE 5 Locking the Regular weight character set for Latin.

Untitled

News Sans / Vedant Sharma

FONTWALA

25 March 2019 12

ABCDEFGHIKLMNOPQR STUVWXYZabcdefghijkl mnopqrstuvwxyz n.n,n:n;nH‘HH’H“HH”H n-n!n?n(n)n[n]n 0123456789

7.9. Finalizing regular

d News Sans / Vedant Sharma

FONTWALA

25 March 2019 12

कखगघङचछजझञटठडढण तथदधनऩपफबभमयरऱलळऴ वशषसहक़ख़ग़ज़ड़ढ़फ़य़क्षज्ञ ऄअआइईउऊऋॠऌॡ ऍऎएऐऑऒओऔ₹व।व॥

Font development

8pt

ू हुआ माल बरामद करन े के लिए प ुलिस न े छाप े मारन े श ुरु किए. लोग डर के मार े लटा ू हुआ माल रात के अ ंध ेर े लटा ू म ें बाहर फें कन े लग े,कु छ ऐस े भी थ े जिन्होंन े अपना माल भी मौक़ा पाकर अपन े स े अलहदा कर दिया, ताकि क़ाननी

10pt

ू हुआ माल बरामद करन े के लिए प ुलिस न े छाप े मारन े श ुरु किए. लोग डर के मार े लटा ू लटा हुआ माल रात के अ ंध ेर े म ें बाहर फें कन े लग े,कुछ ऐस े भी थ े जिन्होंन े अपना माल भी मौक़ा ू गिरफ़्त स े बच े रह ें. पाकर अपन े स े अलहदा कर दिया, ताकि क़ाननी

12pt

ू हुआ माल बरामद करन े के लिए प ुलिस न े छाप े मारन े श ुरु किए. लोग लटा ू हुआ माल रात के अ ंध ेर े म ें बाहर फें कन े लग े,कु छ ऐस े भी डर के मार े लटा थ े जिन्होंन े अपना माल भी मौक़ा पाकर अपन े स े अलहदा कर दिया, ताकि

15pt

ू हुआ माल बरामद करन े के लिए प ुलिस न े छाप े मारन े लटा ू हुआ माल रात के अ ंध ेर े म ें श ुरु किए. लोग डर के मार े लटा बाहर फें कन े लग े,कुछ ऐस े भी थ े जिन्होंन े अपना माल भी मौक़ा ू गिरफ़्त स े पाकर अपन े स े अलहदा कर दिया, ताकि क़ाननी

20pt

ू हुआ माल बरामद करन े के लिए प ुलिस लटा न े छाप े मारन े श ुरु किए. लोग डर के मार े ू हुआ माल रात के अ ंध ेर े म ें बाहर फें कन े लटा लग े,कुछ ऐस े भी थ े जिन्होंन े अपना माल भी मौक़ा पाकर अपन े स े अलहदा कर दिया, ताकि

She was at the corner of the alley playing with the girls, and her mother was looking for her in the chali. Sarita’s mother had asked Kishori to sit down, had ordered some coffee-mixed tea from the

She was at the corner of the alley playing with the girls, and her mother was looking for her in the chali. Sarita’s mother had asked Kishori to sit down, had ordered some coffee-mixed tea from the tea boy outside, and had already

She was at the corner of the alley playing with the girls, and her mother was looking for her in the chali. Sarita’s mother had asked Kishori to sit down, had ordered some coffee-mixed

She was at the corner of the alley playing with the girls, and her mother was looking for her in the chali. Sarita’s mother had asked Kishori to sit down, had ordered some coffee-mixed tea from the

She was at the corner of the alley playing with the girls, and her mother was looking for her in the chali. Sarita’s mother had asked Kishori to sit down, had ordered some coffee-mixed tea

8pt

10pt

12pt

15pt

20pt

Thin

Light

Regular

Medium

Bold

क क क क क

q q q q q

7.10. Interpolation When producing large type families with multiple stroke weights, a certain degree of automation is not only agreeable, it may even be necessary. Interpolation is a common method for doing this: to generate intermediate weights between two basic values, after which, the automatically produced fonts are fine-tuned by hand. Type designers are often inclined to establish intermediate weights by drawing, a straight line between the boldest and lightest versions of a family and then choose the intermediate weights somewhere along that graph. We interpolated the regular weight to generate a crude ‘bold’ and ‘thin’ which went through months of refinements. This later lead to the generation and development of ‘light’ and ‘medium’ weight.

Font development

थ्त न्त्य च्छ्व त्ठ्य

7.11. Ligatures Certain consonant clusters that appear often in both, Latin and Devanagari are grouped together into ligatures. Latin has ‘æ’ as a ligature of ‘a’ and ‘e’ in certain words. Often, the vowels between these consonants are suppressed, so that only the consonants appear in the ligature. It also included to create a more consistent reading experience for the reader. They are supposed to make those letter combinations look more invisible/less noticeable in text. For Devanagari, ligatures(or half-forms) are extremely common. Typically, the preceding letters loses its vertical stroke and is put in direct contact with the succeeding one. In cases of letters that do not have vertical strokes in their independent form, the following letters are usually placed underneath the preceding one. Having 37 consonants in total, the total number of ligatures that can be formed in Devanagari is 1369.

Font development

क्रखग्रघ्रच्रज्रझ्रञ्रण त्र्र ्र ॳॴॵॶॷॹ ़ ॒ ॻॼॾॿव॑ व वॕ व व ॖ व ॗ ऻव ल्रव श ष्रस ह क्त क्त्रक्म ्र ्र ्र ्र ़ ़ ़ ़ क ख ग ज त्तत्रद्गद्मन्मन्भप्ट

क्रखग्रघ्रच्रज्रझ्रञ्रण त्र्र ्र

ल्रवश ्र ष्रस ्र ह्र क्त ्र क्त्रक्म

त्तत्रद्गद्मन्मन्भप्ट

ॹॺवॢ त्रथद्रध न्र व॰व प्रफ्रब्रभ म्रय्रर ्र वॣव ्र ्र ्र

ववववववॏवऀ ₹०व।व॥ मक्यङ्गङ्मट्टट्ठट्ढट्वट्नठ्ठठ्ठ्य ़ ़ ़ ़ जड ढफय प्टष्टह्मट्यरुरूहू

त्रथद्रध म्रय्रर ्र न्र प्रफ्रब्रभ ्र ्र ्र

मक्यङ्गङ्मट्टट्ठट्ढट्वट्नठ्ठठ्ठ्य

प्टष्टह्मट्यरुरूहू 98

AVA hamburgefontstivAVABAMANAadhesiontextHOhonohono

Without kerning

hamburgefontstivAVABAMANAadhesiontextHOhonohono

AVA With kerning

7.12. Kerning Kerning refers to adjusting the space between characters, especially by placing two characters closer together than normal. This differs from spacing as spacing is a universal measurement applied amongst all the letterforms, kerning however varies from letter combinations to letter combination. The added advantage for us here is that Devanagari require comparatively less amount of modulation as it has the ‘Shiro rekha’ to keep forms consistent; Latin does not have any such advantage. Kerning strings used: HHAHAHH HHAVAHH HHAWAHH HHAYAHH HHATAHH HHAFAHH HHAPAHH HHAUAHH HHAJAHH HHACAHH HHAGAHH HHADAHH HHAOAHH HHASAHH HHAAAHH HHAZAHH HHAKAHH HHAXAHH HHALAHH HHAEAHH HHAMAHH HHMOMHH HHMYMHH

Font development

HHMXMHH HHMTMHH HHMZMHH HHMSMHH HHMUMHH HHMPMHH HHMFMHH HHVOVHH HHWOWHH HHYOYHH HHXOXHH HHTOTHH HHFOJHH HHLYHH HHLTHH HHLVHH HHLWHH HHLCHH HHLOHH HHLGHH HHLJHH HHLMHH HHLSHH

HHEAHH HHLXHH HHEXHH HHLZHH HHEZHH HHPJHH HHFJHH HHTJHH HHVJHH HHWJHH HHYJHH HHPOHH HHFOHH HHEOHH HHSOHH HHOOHH HHCOHH HHGOHH HHBOHH HHBYHH HHRYHH HHPYHHH HHBVHH

HHBWHH HHRWHH HHPWHH HHBXHH HHRXHH HHPXHH HHBYHH HHRYHH HHPYHH HHBTHH HHRTHH HHPTHH HHBZHH HHRZHH HHPZHH HHBMHH HHRMHH HHPMHH HHBSHH HHRSHH HHPSHH HHOCOHH HHOEOHH

100

एफ़ डबल्य राय थिन एफ़ डबल्य राय लाइट

एफ़ डबल्य राय र ेग ुलर एफ़ डबल्य राय मीडीयम एफ़ डबल्य राय बोल्ड 101

08. Final font FW (Fontwala) Roy is named after Raja Ram Mohan Roy, to signify his achievement in the field of Indic language newspapers.

FW Roy Thin FW Roy Light FW Roy Regular FW Roy Medium FW Roy Bold Typeface design process : FW Roy

102

थिन य े 1919 ईस्वी की बात ह ै, भाईजान, जब रौल ेट ऐक्ट के ख़िलाफ़ सार े प ंजाब म ें एजीट ेशन हो रहा था। मैं अम ृतसर की बात कर रहा हूँ। सर माईकल ओडवायर न े डिफ़ेन्स ऑफ़ इण्डिया रूल्ज़ के मातहत गा ंधी जी का दाख़िला प ंजाब म ें बन्द कर दिया था। वो इधर आ रह े थ े कि पलवाल के म ुक़ाम पर उनको रोक लिया गया और गिरफ़्तार करके वापस बम्बई भ ेज दिया गया। जहाँ तक म ें समझता हूँ, भाईजान, अगर अँग् रेज़ य े ग़लती न करता तो जलियाँवाला बाग़ का हादसा उस की हुक्मरानी की स्याह तारीख़ म ें ऐस े ू ं वर् क़ का इज़ाफ़ा कभी न करता। क्या म ुसलमान, क्या हिन्दू, क्या सिख, सब के दिल म ें गा ंधी ख़नी जी की ब ेहद इज़्ज़त थी। सब उन्ह ें महात्मा मानत े थ े। जब उन की गिरफ़्तारी की ख़बर लाहौर पहुँची तो सारा कारोबार एकदम बन्द हो गया। यहाँ स े अम ृतसर वालों को मालमू हुआ, च ुनाँच े यँ ूच ुटकियों म ें म ुकम्मल हडत़ ाल हो गई। कहत े ह ैं कि नौ अप् रैल की शाम को डाक्टर सत्यपाल और डाक्टर किचल ू की ज़ि लावतनी के आर्डर डिप्टी कमिशनर को मिल गए थ े। वो उन की तामील के लिए तैयार नही ं था क्योंकि उसके ख़्याल के म ुताबिक़ अम ृतसर म ें किसी ह ैजान-ख़ ेज बात का ख़तरा नही ं था। लोग प ुरअम्न

तरीक़े स े एहितजाजी जलस े वग़रै ा करत े थ े। जिनस े तशदद् ुद का सवाल ही पैदा नही ं होता था। मैं अपनी आँखों द ेखा हाल बयान करता हूँ। नौ को रामनवमी थी।। जलसू निकला मगर मजाल ह ै जो किसी न े हुक्काम की मर्ज ़ी के ख़िलाफ़ एक क़दम उठाया हो, ल ेकिन भाईजान, सर माईकल अजब औ ंधी खोपडी़ का इनसान था। उस न े डिप्टी कमिशनर की एक ना स ुनी। उस पर, बस, यही ख़ौफ़ सवार था कि य े लीडर महात्मा गा ंधी के इशार े पर सामराज का तख़्ता उलटन े के दर प े ह ैं और जो हडत़ ाल ें हो रही ह ैं और जलस े म ुनअक़ि द होत े ह ैं उनके पस-ए-पर्दा यही साज़ि श काम कर रही ह ै। डाक्टर किचल ूऔर डाक्टर सत्यपाल की ज़ि लावतनी की ख़बर आनन-फ़ानन शहर म ें आग की तरह फै ल गई। दिल हर शख़्स का

़ ा-सा लगा रहता था कि कोई बहुत बडा़ हादिसा बरपा होन े वाला ह ै, ल ेकिन, म ुकददर ् था। हर वक़्त धडक भाईजान, जोश बहुत ज़्यादा था। कारोबार बन्द थ े। शहर क़ब्रिस्तान बना हुआ था, पर इस क़ब्रिस्तान की ख़ामोशी म ें भी एक शोर था। जब डाक्टर किचल ूऔर सत्यपाल की गिरफ़्तारी की ख़बर आई तो लोग हज़ारों की तादाद म ें इकट्ठे हुए कि मिलकर डिप्टी कमिशनर बहाद ुर के पास जाएँ और अपन े

ू ़ करान े की दरख़ास्त कर ें। मगर वो ज़माना, भाईजान, महबबू लीडरों की जिलावतनी के अहकाम म ंसख दरख़ास्त ें स ुनन े का नही ं था। सर माईकल जैसा फ़ि रऔन हाकिम-ए-आला था। उसन े दरख़ास्त स ुनना तो ू क़रार दिया। अम ृतसर...वो अम ृतसर जो कभी आज़ादी कु जा लोगों के इस इजतिमा ही को ग़रै क़ाननी की तहरीक का सब स े बडा़ मर्क ज़ था, जिस के सीन े पर जलियाँवाला बाग़ जैसा क़ाबिल-ए-फ़ख़ ्रज़ख़्म था, आज किस हालत म ें ह ै? ल ेकिन छोड़िए इस क़ि स्से को। दिल को बहुत द ुख होता ह ै। लोग कहत े ह ैं कि इस म ुक़ददस ् शहर म ें जो कु छ आज स े पाँच बरस पहल े हुआ उस के ज़ि म्मेदार भी अँग् रेज़ ह ैं। होगा

ू तो इस लहू म ें, जो वहाँ बहा ह ै, हमार े अपन े ही हाथ रंग े हुए नज़र आत े ह ैं। ख़रै ! भाईजान, पर सच्च पछिए डिप्टी कमिशनर साहब का ब ंगला सिविल लाइन्स म ें था। हर बडा़ अफ़सर और हर बडा़ टोडी शहर के इस अलग-थलग हिस्से म ें रहता था, आप न े अम ृतसर द ेखा ह ै तो आप को मालमू होगा कि शहर और ़ पर पहुँचता ह ै। सिविल लाइन्स को मिलान े वाला एक प ुल ह ै जिसपर स े ग ुज़रकर आदमी ठण्डी सडक जहाँ हाकिमों न े अपन े लिए य े अर्ज ़ी जन्नत बनाई हुई थी। हुजमू जब हाल दरवाज़ े के क़रीब पहुँचा तो ़ वार गोरों का पहरा ह ै। हुजमू बिलकु ल न रूका और बढत़ ा गया। भाईजान, मालमू हुआ कि प ुल पर घ ुडस

103

Thin She was at the corner of the alley playing with the girls, and her mother was looking for her in the chali (a big building with many floors and many small rooms). Sarita’s mother had asked Kishori to sit down, had ordered some coffee-mixed tea from the tea boy outside, and had already searched for her daughter throughout the chali’s three floors. But who knew where Sarita had run off to. She had even gone over to the open toilet and had called for her, “Hey, Sarita! Sarita!” But she was nowhere in the building, and it was just as her mother suspected—Sarita had gotten over her bout of dysentery (even though she hadn’t taken her medicine), and without a care in the world she was now playing with the girls at the corner of the alley near the trash heap. Sarita’s mother was very worried. Kishori was sitting inside, and he had announced that three rich men were waiting in their car in the nearby shopping market. But Sarita had disappeared. Sarita’s mother knew that rich men with cars don’t come around every day, and in fact it was only thanks to Kishori that she got a good customer once or twice a month because otherwise rich men would never come to that dirty neighborhood where the stench of rotting paan and burnt-out bidis made Kishori pucker his nose. Really, how could rich men stand such a neighborhood? But Kishori was clever, and so he never brought men up to the chali but would have Sarita dress up before taking her out. He told the men, “Sirs, things are very dicey these days. The police are always on the lookout to nab someone. They’ve already caught two hundred girls. Even I am being tried in court. We all have to be very cautious.” Sarita’s mother was very angry. When she got to the bottom of the stairs, Ram Dai was sitting there cutting bidi leaves. “Have you seen Sarita anywhere?” Sarita’s mother asked her. “I don’t know where she’s gone off to. If I find her, I’m going to beat her to a pulp. She’s not a little girl anymore, and yet she runs around all day with those good-for-nothing boys.” Ram Dai continued cutting bidi leaves and didn’t answer, seeing as how Sarita’s mother usually went around muttering like this. Every third or fourth day she had to go looking for Sarita and would repeat these very words to Ram Dai as she sat all day near the stairs with a basket in front of her as she tied red and white strings around the cigarettes. In addition to this refrain, the women of the building were always hearing from Sarita’s mother how she was going to marry off Sarita to a respectable man so that she might learn how to read and write a little, or how the city government had opened a school nearby where she was going to send Sarita because her father very much wanted her to know how to read and write. Then she would sigh deeply and launch into a recitation of her deceased husband’s story, which all the building’s 104

लाइट य े 1919 ईस्वी की बात ह ै, भाईजान, जब रौल ेट ऐक्ट के ख़िलाफ़ सार े प ंजाब म ें एजीट ेशन हो रहा था। मैं अम ृतसर की बात कर रहा हूँ। सर माईकल ओडवायर न े डिफ़ेन्स ऑफ़ इण्डिया रूल्ज़ के मातहत गा ंधी जी का दाख़िला प ंजाब म ें बन्द कर दिया था। वो इधर आ रह े थ े कि पलवाल के म ुक़ाम पर उनको रोक लिया गया और गिरफ़्तार करके वापस बम्बई भ ेज दिया गया। जहाँ तक म ें समझता हूँ, भाईजान, अगर अँग् रेज़ य े ग़लती न करता तो जलियाँवाला बाग़ का हादसा उस की हुक्मरानी की स्याह तारीख़ म ें ऐस े ू ं वर् क़ का इज़ाफ़ा कभी न करता। क्या म ुसलमान, क्या हिन्दू, क्या सिख, सब के दिल म ें गा ंधी ख़नी जी की ब ेहद इज़्ज़ त थी। सब उन्ह ें महात्मा मानत े थ े। जब उन की गिरफ़्तारी की ख़बर लाहौर पहुँची

तो सारा कारोबार एकदम बन्द हो गया। यहाँ स े अम ृतसर वालों को मालमू हुआ, च ुनाँच े यँ ूच ुटकियों म ें म ुकम्मल हडत़ ाल हो गई। कहत े ह ैं कि नौ अप् रैल की शाम को डाक्टर सत्यपाल और डाक्टर किचल ू की ज़ि लावतनी के आर्डर डिप्टी कमिशनर को मिल गए थ े। वो उन की तामील के लिए तैयार नही ं था क्योंकि उसके ख़्याल के म ुताबिक़ अम ृतसर म ें किसी ह ैजान-ख़ ेज बात का ख़तरा नही ं था। लोग प ुरअम्न तरीक़े स े एहितजाजी जलस े वग़रै ा करत े थ े। जिनस े तशदद् ुद का सवाल ही पैदा नही ं होता था। मैं अपनी

आँखों द ेखा हाल बयान करता हूँ। नौ को रामनवमी थी।। जलसू निकला मगर मजाल ह ै जो किसी न े हुक्काम की मर्ज ़ी के ख़िलाफ़ एक क़दम उठाया हो, ल ेकिन भाईजान, सर माईकल अजब औ ंधी खोपडी़

का इनसान था। उस न े डिप्टी कमिशनर की एक ना स ुनी। उस पर, बस, यही ख़ौफ़ सवार था कि य े लीडर महात्मा गा ंधी के इशार े पर सामराज का तख़्ता उलटन े के दर प े ह ैं और जो हडत़ ाल ें हो रही ह ैं और जलस े म ुनअक़ि द होत े ह ैं उनके पस-ए-पर्दा यही साज़ि श काम कर रही ह ै। डाक्टर किचल ूऔर डाक्टर सत्यपाल की ज़ि लावतनी की ख़बर आनन-फ़ानन शहर म ें आग की तरह फै ल गई। दिल हर शख़्स का

ू ़ करान े की दरख़ास्त कर ें। मगर वो ज़माना, भाईजान, महबबू लीडरों की जिलावतनी के अहकाम म ंसख दरख़ास्त ें स ुनन े का नही ं था। सर माईकल जैसा फ़ि रऔन हाकिम-ए-आला था। उसन े दरख़ास्त स ुनना तो ू क़रार दिया। अम ृतसर...वो अम ृतसर जो कभी आज़ादी कु जा लोगों के इस इजतिमा ही को ग़रै क़ाननी की तहरीक का सब स े बडा़ मर्कज़ था, जिस के सीन े पर जलियाँवाला बाग़ जैसा क़ाबिल-ए-फ़ख़ ्रज़ख़्म था, आज किस हालत म ें ह ै? ल ेकिन छोड़िए इस क़ि स्से को। दिल को बहुत द ुख होता ह ै। लोग कहत े ह ैं कि इस म ुक़ददस ् शहर म ें जो कु छ आज स े पाँच बरस पहल े हुआ उस के ज़ि म्मेदार भी अँग् रेज़ ह ैं। होगा

ू तो इस लहू म ें, जो वहाँ बहा ह ै, हमार े अपन े ही हाथ र ंग े हुए नज़र आत े ह ैं। ख़रै ! भाईजान, पर सच्च पछिए डिप्टी कमिशनर साहब का ब ंगला सिविल लाइन्स म ें था। हर बडा़ अफ़सर और हर बडा़ टोडी शहर के इस अलग-थलग हिस्से म ें रहता था, आप न े अम ृतसर द ेखा ह ै तो आप को मालमू होगा कि शहर और ़ पर पहुँचता ह ै। सिविल लाइन्स को मिलान े वाला एक प ुल ह ै जिसपर स े ग ुज़रकर आदमी ठण्डी सडक ़ जहाँ हाकिमों न े अपन े लिए य े अर्ज ़ी जन्नत बनाई हुई थी। हुजमू जब हाल दरवाज े के क़रीब पहुँचा तो ़ वार गोरों का पहरा ह ै। हुजमू बिलकु ल न रूका और बढत़ ा गया। भाईजान, मालमू हुआ कि प ुल पर घ ुडस

105

Light She was at the corner of the alley playing with the girls, and her mother was looking for her in the chali (a big building with many floors and many small rooms). Sarita’s mother had asked Kishori to sit down, had ordered some coffee-mixed tea from the tea boy outside, and had already searched for her daughter throughout the chali’s three floors. But who knew where Sarita had run off to. She had even gone over to the open toilet and had called for her, “Hey, Sarita! Sarita!” But she was nowhere in the building, and it was just as her mother suspected—Sarita had gotten over her bout of dysentery (even though she hadn’t taken her medicine), and without a care in the world she was now playing with the girls at the corner of the alley near the trash heap. Sarita’s mother was very worried. Kishori was sitting inside, and he had announced that three rich men were waiting in their car in the nearby shopping market. But Sarita had disappeared. Sarita’s mother knew that rich men with cars don’t come around every day, and in fact it was only thanks to Kishori that she got a good customer once or twice a month because otherwise rich men would never come to that dirty neighborhood where the stench of rotting paan and burnt-out bidis made Kishori pucker his nose. Really, how could rich men stand such a neighborhood? But Kishori was clever, and so he never brought men up to the chali but would have Sarita dress up before taking her out. He told the men, “Sirs, things are very dicey these days. The police are always on the lookout to nab someone. They’ve already caught two hundred girls. Even I am being tried in court. We all have to be very cautious.” Sarita’s mother was very angry. When she got to the bottom of the stairs, Ram Dai was sitting there cutting bidi leaves. “Have you seen Sarita anywhere?” Sarita’s mother asked her. “I don’t know where she’s gone off to. If I find her, I’m going to beat her to a pulp. She’s not a little girl anymore, and yet she runs around all day with those good-for-nothing boys.” Ram Dai continued cutting bidi leaves and didn’t answer, seeing as how Sarita’s mother usually went around muttering like this. Every third or fourth day she had to go looking for Sarita and would repeat these very words to Ram Dai as she sat all day near the stairs with a basket in front of her as she tied red and white strings around the cigarettes. In addition to this refrain, the women of the building were always hearing from Sarita’s mother how she was going to marry off Sarita to a respectable man so that she might learn how to read and write a little, or how the city government had opened a school nearby where she was going to send Sarita because her father very much wanted her to know how to read and write. Then she would sigh deeply and launch into a recitation of her deceased husband’s story, 106

र ेग ुलर य े 1919 ईस्वी की बात ह ै, भाईजान, जब रौल ेट ऐक्ट के ख़ि लाफ़ सार े प ंजाब म ें एजीट ेशन हो रहा था। मैं अम ृतसर की बात कर रहा हूँ। सर माईकल ओडवायर न े डिफ़ेन्स ऑफ़ इण्डिया रूल्ज़ के मातहत गा ंधी जी का दाख़ि ला प ंजाब म ें बन्द कर दिया था। वो इधर आ रह े थ े कि पलवाल के म ुक़ाम पर उनको रोक लिया गया और गिरफ़्तार करके वापस बम्बई भ ेज दिया गया। जहाँ तक म ें समझता हूँ, भाईजान, अगर अँग् रेज़ य े ग़लती न करता तो जलियाँवाला बाग़ का हादसा उस की हुक्मरानी की स्याह तारीख़ म ें ऐस े ू ं वर् क़ का इज़ाफ़ा कभी न करता। क्या म ुसलमान, क्या हिन्दू, क्या सिख, सब के दिल म ें गा ंधी ख़नी जी की ब ेहद इज़्ज़ त थी। सब उन्ह ें महात्मा मानत े थ े। जब उन की गिरफ़्तारी की ख़बर लाहौर पहुँची

प ुरअम्न तरीक़े स े एहितजाजी जलस े वग़रै ा करत े थ े। जिनस े तशदद् ुद का सवाल ही पैदा नही ं होता था। मैं अपनी आँखों द ेखा हाल बयान करता हूँ। नौ को रामनवमी थी।। जलसू निकला मगर मजाल ह ै जो किसी न े हुक्काम की मर्ज ़ी के ख़ि लाफ़ एक क़दम उठाया हो, ल ेकिन भाईजान, सर माईकल अजब

औ ंधी खोपडी़ का इनसान था। उस न े डिप्टी कमिशनर की एक ना स ुनी। उस पर, बस, यही ख़ौफ़ सवार था कि य े लीडर महात्मा गा ंधी के इशार े पर सामराज का तख़्ता उलटन े के दर प े ह ैं और जो हडत़ ाल ें हो रही ह ैं और जलस े म ुनअक़ि द होत े ह ैं उनके पस-ए-पर्दा यही साज़ि श काम कर रही ह ै। डाक्टर किचल ू और डाक्टर सत्यपाल की ज़ि लावतनी की ख़बर आनन-फ़ानन शहर म ें आग की तरह फै ल गई। दिल

़ ा-सा लगा रहता था कि कोई बहुत बडा़ हादिसा बरपा होन े हर शख़्स का म ुकददर ् था। हर वक़्त धडक वाला ह ै, ल ेकिन, भाईजान, जोश बहुत ज़्यादा था। कारोबार बन्द थ े। शहर क़ब्रिस्तान बना हुआ था, पर इस क़ब्रिस्तान की ख़ामोशी म ें भी एक शोर था। जब डाक्टर किचल ूऔर सत्यपाल की गिरफ़्तारी की ख़बर आई तो लोग हज़ारों की तादाद म ें इकट्ठे हुए कि मिलकर डिप्टी कमिशनर बहाद ुर के पास जाएँ

फ़ख़ ्रज़ख़्म था, आज किस हालत म ें ह ै? ल ेकिन छोड़िए इस क़ि स्से को। दिल को बहुत द ुख होता ह ै। लोग कहत े ह ैं कि इस म ुक़ददस ् शहर म ें जो कु छ आज स े पाँच बरस पहल े हुआ उस के ज़ि म्मेदार भी अँग् रेज़ ह ैं। ू तो इस लहू म ें, जो वहाँ बहा ह ै, हमार े अपन े ही हाथ र ंग े हुए नज़र आत े ह ैं। होगा भाईजान, पर सच्च पछिए ख़रै ! डिप्टी कमिशनर साहब का ब ंगला सिविल लाइन्स म ें था। हर बडा़ अफ़सर और हर बडा़ टोडी शहर के इस अलग-थलग हिस्से म ें रहता था, आप न े अम ृतसर द ेखा ह ै तो आप को मालमू होगा कि शहर और ़ पर पहुँचता ह ै। सिविल लाइन्स को मिलान े वाला एक प ुल ह ै जिसपर स े ग ुज़रकर आदमी ठण्डी सडक ़ जहाँ हाकिमों न े अपन े लिए य े अर्ज ़ी जन्नत बनाई हुई थी। हुजमू जब हाल दरवाज े के क़रीब पहुँचा तो ़ वार गोरों का पहरा ह ै। हुजमू बिलकु ल न रूका और बढ़ता गया। भाईजान, मालमू हुआ कि प ुल पर घ ुडस

107

Regular She was at the corner of the alley playing with the girls, and her mother was looking for her in the chali (a big building with many floors and many small rooms). Sarita’s mother had asked Kishori to sit down, had ordered some coffee-mixed tea from the tea boy outside, and had already searched for her daughter throughout the chali’s three floors. But who knew where Sarita had run off to. She had even gone over to the open toilet and had called for her, “Hey, Sarita! Sarita!” But she was nowhere in the building, and it was just as her mother suspected—Sarita had gotten over her bout of dysentery (even though she hadn’t taken her medicine), and without a care in the world she was now playing with the girls at the corner of the alley near the trash heap. Sarita’s mother was very worried. Kishori was sitting inside, and he had announced that three rich men were waiting in their car in the nearby shopping market. But Sarita had disappeared. Sarita’s mother knew that rich men with cars don’t come around every day, and in fact it was only thanks to Kishori that she got a good customer once or twice a month because otherwise rich men would never come to that dirty neighborhood where the stench of rotting paan and burnt-out bidis made Kishori pucker his nose. Really, how could rich men stand such a neighborhood? But Kishori was clever, and so he never brought men up to the chali but would have Sarita dress up before taking her out. He told the men, “Sirs, things are very dicey these days. The police are always on the lookout to nab someone. They’ve already caught two hundred girls. Even I am being tried in court. We all have to be very cautious.” Sarita’s mother was very angry. When she got to the bottom of the stairs, Ram Dai was sitting there cutting bidi leaves. “Have you seen Sarita anywhere?” Sarita’s mother asked her. “I don’t know where she’s gone off to. If I find her, I’m going to beat her to a pulp. She’s not a little girl anymore, and yet she runs around all day with those good-for-nothing boys.” Ram Dai continued cutting bidi leaves and didn’t answer, seeing as how Sarita’s mother usually went around muttering like this. Every third or fourth day she had to go looking for Sarita and would repeat these very words to Ram Dai as she sat all day near the stairs with a basket in front of her as she tied red and white strings around the cigarettes. In addition to this refrain, the women of the building were always hearing from Sarita’s mother how she was going to marry off Sarita to a respectable man so that she might learn how to read and write a little, or how the city government had opened a school nearby where she was going to send Sarita because her father very much wanted her to know how to read and write. Then she would sigh deeply and launch into a recitation of her deceased 108

मीडीयम य े 1919 ईस्वी की बात ह ै, भाईजान, जब रौल ेट ऐक्ट के ख़िलाफ़ सार े प ंजाब म ें एजीट ेशन हो रहा था। मैं अम ृतसर की बात कर रहा हूँ। सर माईकल ओडवायर न े डिफ़ेन्स ऑफ़ इण्डिया रूल्ज़ के मातहत गा ंधी जी का दाख़िला प ंजाब म ें बन्द कर दिया था। वो इधर आ रह े थ े कि पलवाल के म ुक़ाम पर उनको रोक लिया गया और गिरफ़्तार करके वापस बम्बई भ ेज दिया गया। जहाँ तक म ें समझता हूँ, भाईजान, अगर अँग् रेज़ य े ग़लती न करता तो जलियाँवाला बाग़ का हादसा उस की हुक्मरानी की स्याह तारीख़ म ें ऐस े ू ं वर् क़ का इज़ाफ़ा कभी न करता। क्या म ुसलमान, क्या हिन्दू, क्या सिख, सब के दिल म ें गा ंधी ख़नी जी की ब ेहद इज़्ज़ त थी। सब उन्ह ें महात्मा मानत े थ े। जब उन की गिरफ़्तारी की ख़बर लाहौर पहुँची

प ुरअम्न तरीक़े स े एहितजाजी जलस े वग़रै ा करत े थ े। जिनस े तशदद् ुद का सवाल ही पैदा नही ं होता था। मैं अपनी आँखों द ेखा हाल बयान करता हूँ। नौ को रामनवमी थी।। जलसू निकला मगर मजाल ह ै जो किसी न े हुक्काम की मर्ज ़ी के ख़िलाफ़ एक क़दम उठाया हो, ल ेकिन भाईजान, सर माईकल अजब

़ वार गोरों का पहरा ह ै। हुजमू बिलकु ल न रूका और बढ़ता गया। भाईजान, मालमू हुआ कि प ुल पर घ ुडस

109

Medium She was at the corner of the alley playing with the girls, and her mother was looking for her in the chali (a big building with many floors and many small rooms). Sarita’s mother had asked Kishori to sit down, had ordered some coffee-mixed tea from the tea boy outside, and had already searched for her daughter throughout the chali’s three floors. But who knew where Sarita had run off to. She had even gone over to the open toilet and had called for her, “Hey, Sarita! Sarita!” But she was nowhere in the building, and it was just as her mother suspected—Sarita had gotten over her bout of dysentery (even though she hadn’t taken her medicine), and without a care in the world she was now playing with the girls at the corner of the alley near the trash heap. Sarita’s mother was very worried. Kishori was sitting inside, and he had announced that three rich men were waiting in their car in the nearby shopping market. But Sarita had disappeared. Sarita’s mother knew that rich men with cars don’t come around every day, and in fact it was only thanks to Kishori that she got a good customer once or twice a month because otherwise rich men would never come to that dirty neighborhood where the stench of rotting paan and burntout bidis made Kishori pucker his nose. Really, how could rich men stand such a neighborhood? But Kishori was clever, and so he never brought men up to the chali but would have Sarita dress up before taking her out. He told the men, “Sirs, things are very dicey these days. The police are always on the lookout to nab someone. They’ve already caught two hundred girls. Even I am being tried in court. We all have to be very cautious.” Sarita’s mother was very angry. When she got to the bottom of the stairs, Ram Dai was sitting there cutting bidi leaves. “Have you seen Sarita anywhere?” Sarita’s mother asked her. “I don’t know where she’s gone off to. If I find her, I’m going to beat her to a pulp. She’s not a little girl anymore, and yet she runs around all day with those good-for-nothing boys.” Ram Dai continued cutting bidi leaves and didn’t answer, seeing as how Sarita’s mother usually went around muttering like this. Every third or fourth day she had to go looking for Sarita and would repeat these very words to Ram Dai as she sat all day near the stairs with a basket in front of her as she tied red and white strings around the cigarettes. In addition to this refrain, the women of the building were always hearing from Sarita’s mother how she was going to marry off Sarita to a respectable man so that she might learn how to read and write a little, or how the city government had opened a school nearby where she was going to send Sarita because her father very much wanted her to know how to read and write. Then she would sigh deeply and launch into a 110

बोल्ड य े 1919 ईस्वी की बात ह ै, भाईजान, जब रौल ेट ऐक्ट के ख़िलाफ़ सार े प ंजाब म ें एजीट ेशन हो रहा था। मैं अम ृतसर की बात कर रहा हूँ। सर माईकल ओडवायर न े डिफ़ेन्स ऑफ़ इण्डिया रूल्ज़ के मातहत गा ंधी जी का दाख़िला प ंजाब म ें बन्द कर दिया था। वो इधर आ रह े थ े कि पलवाल के म ुक़ाम पर उनको रोक लिया गया और गिरफ़्तार करके वापस बम्बई भ ेज दिया गया। जहाँ तक म ें समझता हूँ, भाईजान, अगर अँग् रेज़ य े ग़लती न करता तो जलियाँवाला बाग़ का हादसा उस की हुक्मरानी की स्याह तारीख़ म ें ऐस े ू ं वर् क़ का इज़ाफ़ा कभी न करता। क्या म ुसलमान, क्या हिन्दू, क्या सिख, सब के दिल म ें गा ंधी ख़नी जी की ब ेहद इज़्ज़ त थी। सब उन्ह ें महात्मा मानत े थ े। जब उन की गिरफ़्तारी की ख़बर लाहौर पहुँची

प ुरअम्न तरीक़े स े एहितजाजी जलस े वग़रै ा करत े थ े। जिनस े तशदद् ुद का सवाल ही पैदा नही ं होता था।

मैं अपनी आँखों द ेखा हाल बयान करता हूँ। नौ को रामनवमी थी।। जलसू निकला मगर मजाल ह ै जो किसी न े हुक्काम की मर्ज ़ी के ख़िलाफ़ एक क़दम उठाया हो, ल ेकिन भाईजान, सर माईकल अजब

ू ़ करान े की दरख़ास्त कर ें। मगर वो ज़माना, और अपन े महबबू लीडरों की जिलावतनी के अहकाम म ंसख भाईजान, दरख़ास्त ें स ुनन े का नही ं था। सर माईकल जैसा फ़ि रऔन हाकिम-ए-आला था। उसन े दरख़ास्त ू क़रार दिया। अम ृतसर...वो अम ृतसर जो कभी स ुनना तो कु जा लोगों के इस इजतिमा ही को ग़रै क़ाननी आज़ादी की तहरीक का सब स े बडा़ मर्कज़ था, जिस के सीन े पर जलियाँवाला बाग़ जैसा क़ाबिलए-फ़ख़ ्रज़ख़्म था, आज किस हालत म ें ह ै? ल ेकिन छोड़िए इस क़ि स्से को। दिल को बहुत द ुख होता ह ै। लोग कहत े ह ैं कि इस म ुक़ददस ् शहर म ें जो कु छ आज स े पाँच बरस पहल े हुआ उस के ज़ि म्मेदार भी

ू तो इस लहू म ें, जो वहाँ बहा ह ै, हमार े अपन े ही हाथ र ंग े हुए अँग् रेज़ ह ैं। होगा भाईजान, पर सच्च पछिए नज़र आत े ह ैं। ख़रै ! डिप्टी कमिशनर साहब का ब ंगला सिविल लाइन्स म ें था। हर बडा़ अफ़सर और हर बडा़ टोडी शहर के इस अलग-थलग हिस्से म ें रहता था, आप न े अम ृतसर द ेखा ह ै तो आप को मालमू होगा कि शहर और सिविल लाइन्स को मिलान े वाला एक प ुल ह ै जिसपर स े ग ुज़रकर आदमी ठण्डी

़ पर पहुँचता ह ै। जहाँ हाकिमों न े अपन े लिए य े अर्ज ़ी जन्नत बनाई हुई थी। हुजमू जब हाल दरवाज़ े सडक ़ वार गोरों का पहरा ह ै। हुजमू बिलकु ल न रूका और के क़रीब पहुँचा तो मालमू हुआ कि प ुल पर घ ुडस

111

Bold She was at the corner of the alley playing with the girls, and her mother was looking for her in the chali (a big building with many floors and many small rooms). Sarita’s

mother had asked Kishori to sit down, had ordered some coffee-mixed tea from the tea boy outside, and had already searched for her daughter throughout the chali’s

three floors. But who knew where Sarita had run off to. She had even gone over to the open toilet and had called for her, “Hey, Sarita! Sarita!” But she was nowhere in the building, and it was just as her mother suspected—Sarita had gotten over

her bout of dysentery (even though she hadn’t taken her medicine), and without a care in the world she was now playing with the girls at the corner of the alley near

the trash heap. Sarita’s mother was very worried. Kishori was sitting inside, and he

had announced that three rich men were waiting in their car in the nearby shopping market. But Sarita had disappeared. Sarita’s mother knew that rich men with cars

don’t come around every day, and in fact it was only thanks to Kishori that she got a good customer once or twice a month because otherwise rich men would never come to that dirty neighborhood where the stench of rotting paan and burnt-

out bidis made Kishori pucker his nose. Really, how could rich men stand such a

neighborhood? But Kishori was clever, and so he never brought men up to the chali

but would have Sarita dress up before taking her out. He told the men, “Sirs, things are very dicey these days. The police are always on the lookout to nab someone.

They’ve already caught two hundred girls. Even I am being tried in court. We all have to be very cautious.” Sarita’s mother was very angry. When she got to the bottom of the stairs, Ram Dai was sitting there cutting bidi leaves. “Have you seen Sarita

anywhere?” Sarita’s mother asked her. “I don’t know where she’s gone off to. If I

find her, I’m going to beat her to a pulp. She’s not a little girl anymore, and yet she runs around all day with those good-for-nothing boys.” Ram Dai continued cutting bidi leaves and didn’t answer, seeing as how Sarita’s mother usually went around

muttering like this. Every third or fourth day she had to go looking for Sarita and would repeat these very words to Ram Dai as she sat all day near the stairs with

a basket in front of her as she tied red and white strings around the cigarettes. In

addition to this refrain, the women of the building were always hearing from Sarita’s mother how she was going to marry off Sarita to a respectable man so that she

might learn how to read and write a little, or how the city government had opened a school nearby where she was going to send Sarita because her father very much

wanted her to know how to read and write. Then she would sigh deeply and launch 112

Navbharat Times, 1st Dec,2018

FW Roy Devanagari Regular printed at 9.5pt size on newsprint

09. Comparison We cannot conclude this project without comparing it with what made us make it. Navbharat Times is the perfect example as they use Shreelipi monolinear typefaces for their body text. As we compare them we can instantly notice that the text in Roy is far more legible and causes less visual fatigue. There is a consistent flow of negative space between the letters; this helps in making the overall text less heavy and more readable.

Typeface design process : FW Roy

114

117

à¤&#x2026; 10. Specimens

118

अअअअअ AAAAA

QZb 121

bSke 122

चअब

बट्टसम

125

126

राज्य सभा भारतीय

लोकत ंत्र की ऊपरी प्रतिनिधि सभा ह ै। राज्यसभा म ें 245 सदस्य होत े ह ैं, जिनम े 12 सदस्य भारत के

राष्ट्रपति

के द ्वारा नामा ंकित होत े ह।ैं इन्ह ें ‘नामित सदस्य’ कहा जाता ह।ै अन्य सदस्यों का च ुनाव होता ह।ै राज्यसभा म ें सदस्य 6 साल के लिए च ुन े जात े ह,ैं जिनम े एक-तिहाई सदस्य हर 2 साल म ें स ेवा-निव ृत होत े ह।ैं किसी भी स ंघीय शासन म ें स ंघीय विधायिका का ऊपरी भाग स ंवैधानिक बाध्यता के चलत े राज्य हितों की स ंघीय स्तर पर रक्षा करन े वाला बनाया जाता ह।ै इसी सिद ्धा ंत के चलत े राज्य सभा का गठन हुआ ह।ै इसी कारण राज्य सभा को सदनों की समानता के रूप म ें द ेखा जाता ह ै जिसका गठन ही स ंसद के द ्वितीय सदन के रूप म ें हुआ ह।ै राज्यसभा का गठन एक प ुनरीक्षण सदन के रूप म ें हुआ ह ै जो लोकसभा द ्वारा पास किय े गय े प्रस्तावों की प ुनरीक्षा कर े। यह म ंत्रिपरिषद म ें विश ेषज्ञों की कमी भी परीू कर सकती ह ै क्योंकि कम स े कम 12 विश ेषज्ञ तो इस म ें मनोनीत होत े ही ह।ैं आपातकाल लगान े वाल े सभी प्रस्ताव जो राष्ट्रपति के सामन े जात े ह।ैं राज्य सभा द ्वारा भी पास होन े चाहिय े। ज ुलाई 2018 स े, राज्यसभा सा ंसद सदन म ें 22 भारतीय भाषाओ ं म ें भाषण कर सकत े ह ैं क्योंकि ऊपरी सदन म ें सभी 22

भाषाओ ं

The Lok Sabha

is the lower house of Indiaâ&#x20AC;&#x2122;s bicameral

Parliament

The maximum strength of the House allotted by the Constitution of India is 552. Currently, the house has 545 seats which is made up by the election of up to 543 elected members and at a maximum, 2 nominated members of the Anglo-Indian Community by the President of India. A total of 131 seats (24.03%) are reserved for representatives of Scheduled Castes (84) and Scheduled Tribes (47).

An exercise to redraw Lok Sabha constituenciesâ&#x20AC;&#x2122; boundaries is carried out by the Boundary Delimitation Commission of India every decade based on the Indian census, last of which was conducted in 2011. This exercise earlier also included redistribution of seats among states based on demographic changes but that provision of the mandate of the commission was suspended in 1976 following a constitutional amendment to incentivise the family planning programme which was being implemented. The 16th Lok Sabha was elected in May 2014 and is the latest to date. The schedule for the 2019 Lok Sabha Election has been announced by the Election Commission of India. Broken into seven phases the General Elections will be held from 11th April 2019 till 19th May 2019.

128

िपमरवस िपमरवस िपमरवस िपमरवस

FW Roy Serif

FW Roy Sans

Hodrino Hodrino

Hodrino

11. Conclusion A lot of work has been done on Roy but this project is far from over. As I was developing the Sans and Monolinear, Erin was working on a companion Serif and Calligraphic to give newspapers more options for type-setting. We plan to expand language support to add majority of the Indian scripts; giving more support to Indic language users. Latin will soon support accents and diacritics which will add support for European scripts and languages. Here is where we stop, for now. This has been a fun and intensive project. I always had a dream of developing my own font and then typesetting my Graduation document in that very font, making it happen feels surreal. I have to thank Erin again for giving me this opportunity. Ending a six month long project is relieving yet heartbreaking. I shall always cherish this and look forward to the future. The end quote from ‘Crime and Punishment’ sums it up perfectly. “But that is the beginning of a new story, the story of the gradual renewal of a man, the story of his gradual regeneration, of his passing from one world into another, of his initiation into a new unknown life. That might be the subject of a new story, but our present story has ended.” - Fyodor Dostoyevsky

❦

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12. Bibliography 1) Reynolds, D. (2008). A View of Hindi Newspapers and their Typefaces. Master of Arts in Typeface Design, University of Reading. 2) Gholap, Y. (2012). Designing a Devanagari text font for newspaper use. IDC, IIT Bombay: Typography Day 2012. 3) Trivedi, K. (1990). Iconography of Letterforms. Oxford, UK: Type 1990. 4) Dalvi, G. (2008). Anatomy of Devanagari. Ph.D thesis. IDC, IIT Bombay. 5) Saxena, P. (2019). Devanagari Type Anatomy. type-together.com 6) Ghosh, P. (1983). An approach to type design in Indian scripts. Department of Computer Science. Stanford University. 7) McLaughlin, E. (2010). Reflection on Practice. Master of Arts in Typeface Design, University of Reading. 8) Kulkarni, S. (2013). Issues with Devanagari Display Type. IIT Guwahati: Typography Day 2013. 9) Violatti, C. (2015). Brahmi Script. Ancient History Encyclopedia. ancient.eu/Brahmi_Script/ 10) En.wikipedia.org. History of the Latin script. en.wikipedia.org/wiki/History_of_the_Latin_script 11) Sibal, P. (2019). Indian languages were being neglected even in the world of fonts. Not anymore. scroll.in/magazine/919214/even-in-the-world-of-fonts-few-people-cared-for-indianlanguages-until-now

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12) Peter, P. (2012). Smoother dashboard typefaces might enhance driver safety. MIT. news.mit.edu/2012/agelab-automobile-dashboard-fonts-1005 13) Mello, F. (2018). How to space a typeface. fontsmith.com/blog/2018/02/05/how-to-space-a-typeface 14) Duarte Martins, F. (2014). Two Methods For Smooth Curves. learn.scannerlicker.net/bezier-curve-quick-tips-two-methods-for-smooth-curves/ 15) En.wikipedia.org. Bézier Curve. en.wikipedia.org/wiki/Bézier_curve 16) En.wikipedia.org. Johann Carolus. en.wikipedia.org/wiki/Johann_Carolus 17) En.wikipedia.org. Roman square capitals. en.wikipedia.org/wiki/Roman_square_capitals 18) Lansford, T. (2016). Rome Inscribed Blog. romeinscribed.blogspot.com 19) Encyclopedia Britannica. (2019). Devanagari: writing system. britannica.com/topic/Devanagari 20) Sóley Lydon, K. (2015). Designing Devanagari type Bachelor of Arts in Graphic Design. Iceland Academy of Arts. 21) 1919 की एक बात, सआदत हसन म ंटो. New Delhi : वाणी प्रकाशन. 22) दस रुपय (Ten Rupees) by Saadat Hasan Manto. Translated by Matt Reeck and Aftab Ahmad. InTraslation: brooklynrail.org

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क क क A ख ख ख ख ख B ग ग ग ग ग C घ

क क क A A ख ख ख ख B B ग ग ग ग C C

क क A A A ख ख ख B B B ग ग ग C C C

क क A A A A ख ख B B B B ग ग C C C

क A A A A A ख B B B B B ग C C C C