Devanagari font design documentation

DESIGN PROJECT 4 Devanagari Letter Design Course Title

: Self Initiated

Mentor

: Titu Mili

Student

: Jayesh Narendra Patil

Semester

: Sem-6, Visual Communication

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Devanagari Letter Design

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@Copyright 2018 by Jayesh Narendra Patil Student document publication, meant for Private Circulation only. All rights reserved.

Visual Communication 2016-2020, Unitedworld Institute of Design, Gandhinagar, India.

No part of this document will be reproduced or transmitted in any form by any means electronically or mechanically, including photocopying, xerography and videography recording without written permission from the publisher, Jayesh Narendra Patil of Unitedworld Institute of Design,India. Trademark names are used throughout this document. Rather than putting a trademark symbol in every occurence of a trademarking, it is stated that the names are used only in an editorial manner and to the benefit of the trademark holder with no infringement of the trademark. All illustrations and photography in this document are. Copyright c 2019-20 by resepctive people/ organizations.

Disclaimer: This book is for an intellectual purpose .This book is intended solely for academic purposes, and no commercial use in any form is intended. while every care is taken to credit all sources, any exception to it is not intentional and is regretted.

All textual, illustrated, and photographic content is original unless stated otherwise.

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Copyright Statement

Originality statement

I hereby grant the UnitedWorld institute of Design the right to archive and to make available my self initiated / ive project in whole or in part in the institutes knowledge Managment Center in all forms of media, now or here after known , subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material

I hearby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it doesn't even contain substantial proportions of materials which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgement is made in this self initiative project.

Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgement.I further declare that the intellectual content of this self initiatived project is the product of my own work, except to the extend that assistance from others in the project's design and conception or in style,presentation and linguistic expression. This self initiatiated project was not and will not be submitted as assessed work in any other academic course.

Student name: Jayesh Patil Sign:

Student name in full : Jayesh Patil Signature Date

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Acknowledgments This work would not have been possible without the support of my parents, whose love and guidance are always there with me in whatever I pursue. I am especially indebted to my faculty Titu Mili and HOD Lolita Dutta who have been supportive to me in the areas of content, typography who worked actively to provide me with their precious time to pursue this module. I am grateful to Noopur Datye who gave me her guidance to pursue this project. I would like to thank my classmate Karthika Krishnan who guided me through my journey to analyses of the existing typefaces and fruitful discussions which led me to various insights . Internet portal websites have also been a great help of which the credits are given in the eference section.

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About UID Among the top design institutes in India, Unitedworld Institute of Design (UID) is a rarity. Founded with the aim to outclass the top design colleges in India with its state of the art labs and hands-on creative learning, it seeks to create trendsetters and ideators who’ll lead the future of design schools in India.

UID stands apart from B. Design colleges in India in exposure it offers to students which are unmatched by top design colleges in India.

Precisely why its popularity grew among design institutes in India in a short span of time.

UID’s course on Visual Communication educates students to produce creative solutions to meet the visual communication needs of the society.

It helps students to become problem solvers and develop effective visual products.

Students are equipped with technical and conceptual skills to articulate and express ideas, think conceptually, conduct research and critically evaluate the process. The course involves imparting skills on typography, creating visual structures, colour design and composition and image generation.

The course includes assignments that focus on problem solving for existing designs that help build the experience design skills of students.

The course challenges students to think critically and experience the transformative ability of design. The course prepares students for exciting careers in the fields of graphic design, advertising, web design, multimedia design, printing, publishing or related fields.

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01. Introduction -Background -Project timeline

02. Research

Contents

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-About Devavnagri script

-Picto-Phonetic Script

-Vowels and Consonants

-Findings Origin from Vedas

-Anatomy of Letters

-Digital Typefaces

-Need of Variety of Typefaces

-Character, Sign and Nomenclature

03. Analysis and Synthesis 04.Ideatation

-Form exploration through calligraphy

-Grid Exploration

-Choosing one letter

-Initial letterderivation

-Constructing root letters

-Initial letter construction

-Optical corrections

-Manual Spacing and

comparing with other fonts

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“Type design moves at the pace of the most conservative reader. The good type designer therefore realises that, for a new fount to be successful, it has to be so good that only very few recognise its novelty.�

Stanley Morrison 12

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Introduction

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Indian language typography is still in its developing stages.

Background

Digital era asks for specialized typographic solutions.

The complex structure of Indian languages are now supported by technology.

Need and scope of the project 1) Designing a display text for print media

“Type design moves at the pace of the most 2) Analyzing typographic style of Devanagari script.

conservative reader. The good type designer therefore realises that, for a new fount to be successful, it has to be so good that only 14

very few recognise its novelty.�

Stanley Morrison

Project Timeline

1st week: Brain storming and discussing with the faculty, digging out on the topic, choosing a genre of Typeface that will be suitable for the topic.

2nd week: Researching on the various kinds of typefaces with their respective classification.

3rd week: Calligraphically exploring the form of Devanagari Script.

4th week: Deriving the letters in Vector Software.

5th week: Importing the glyphs in font design software and assigning the spacing and the kerning.

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“When typography is on point, words become images.” ― Shawn Lukas

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02

Research

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About Devavnagri script Devanagari evolved from the Brahmi script. The word Devanagari has been mystery to scholars, there is a hypothesis that it might be combination of two Sanskrit words ‘Deva’ (God, king or Brahmans) and ‘Nagari’ (city). Literally it combines to form ‘City of Gods’, ‘Script of Gods’.

The Devanagari script is an important and widely used script of India. It is mainly used to write Hindi, Marathi, Nepali and Sanskrit languages.

It also serves as an auxiliary script for other languages such as Punjabi, Sindhi and Kashmiri.

Devanagari, a development of Brahmi system of phonetics, is the only script which has specific signs (grapheme) for the phonetically arranged sounds of the human speech (phonemes), and it is flexible enough to write foreign sounds by attaching marks to the nearer grapheme. The Roman, Greek, Hebrew, and Arabic alphabets have certain traditional names for indicating sound pictures but there is no guarantee that one sign will have only one phonetic value.

Image on the right page : Formation of Devanagari letters from 1st to 12th century.

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Handwritten Devanagari letterforms.

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Picto-Phonetic Script Some ascetics in pre-found meditation saw 50 petals.

These included the six ‘Chakras’ of human body namely:• Muladhar (4), • Swadhisthan (6), • Nabhi (10), • Anahat (12), • Vishudhya (16), • Aadnya (2).

They visualized these Chakras in form of pictures and tried to draw it in the soil on the land. They also tried to co-relate the different sounds produced by them to a particular petal of the Chakras. After analyzing which petals of Chakras carries which sound, they finalized the form (picture) of that particular sound. These were called as ‘Varnakshare’ (Picto-phonetic letters).

The early writings are represented by painted symbols.

These symbols were phonetic representations of sound letters. The Red Indians engraved and painted ideograms in rock shelters. The complicated designs often painted in the rock shelters of Vindhyan Sandstone hills of India are the first attempts to express the emotional enchanted pre-historic hunters and dancers. . These were the primary visual communications of pre-historic tribal groups which gradually evolved into symbolic picto-phonetic script.

The seven chakras

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The seven chakras

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Vowels and Consonants The grouping of vowels and consonants is called Swaras and Vyanjanas respectively and is done according to the phonetic point of articulation.

Vowels: Indian phonography is vowel dominant; each vowel is realizable in 3 scales Short, Long, Prolonged. All vowels can be pronounced in non-nasal and nasal modes.

Which means each vowel can have 18 realizations (three divisions on the position of the particular organ in the mouth while pronouncing that letter, and two divisions of nasal or non-nasal. Since each group is independent of the others, the total number of pronouncements comes to 18). Since it is not possible to record these differences and they must be remembered by listening to it properly, the Vedas were not written.

For representing all these differences there must be a provision to apply vowels hence there are Vowel-marks called as Matras. There is only one three vowel combination that is Om.

Consonants: All consonantal designs either touch or cross the vertibar; there are exceptions only in the design of letters such as GA, NA, SHA. These letters do not touch the vertibar. This is a graphic peculiarity to point to the fact that the writing is a Ganesh Vidya.

According to the tradition of the scribes of the Ganapati School, one scribe came to write the copies text of Mahabharata for the author Vyasa Muni. Ganesha introduced vertibar of ‘A’ vowel. This feature is high-lighted

by Vyasa in Bhagwad Gita wherein Krishna says, ‘I am the common factor of Aa kaar in all letters.’ Thus this feature was added in all consonantal designs. After the vertibar is drawn predominantly the graphics becomes ‘Dev-Lipi’.

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Genesis of Consonants.

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Findings Origin from Vedas VEDIC BRAHMI SCRIPT: The Brahmi script is a script evolved by the Vedic philologists after an inspection of sources of sound from Ganesh Vidhya and the causes of variations of sound. Brahmi was distinct and superior to all other scripts, perfect in phonetic arrangement and nasal signs. Each sign can be either a simple consonant or the inherent vowel. Brahmai (and all subsequent Brahmi-derived scripts) indicates the same consonant with a different vowel by drawing extra strokes, called matras, attached to the character. Ligatures are used to indicate consonant clusters.

The Brahmi continued to spread during Buddhist and Jaina though the Aa kaar was not present. But it became a permanent feature in the Bhagwat Gita which is called as ‘Bharati Script’. The Bharati script began to evolve in Gupta period (4 to 6 century A.D.). The transition can be seen from the Brahmi script to the Bharati script to the Gupta script to Nagari script to Devanagari.

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The basic Brahmi script.

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Anatomy of Letters The Roman letters were categorized according to ascender, descender, serifs, counter, loop etc. But Devanagari letters till then had not been subjected to such a graphical analysis. One of the first attempts towards a graphical classification was done by S.V. Bhagwat (1961) in his thesis. Bhagwat’s main insights on the graphical structure of Devanagari are enlightening.

Bhagwat groups on the basis of graphical similarity and then he goes on to define the guide lines for the same graphical elements of letters. The top most lines are the Rafar line, followed by the Matra line and Head line. The Head line is also referred to as the Shirorekha.

After the Shirorekha, the upper mean line and lower mean line are indicated. The upper mean line denotes the point from which the actual letter starts and the lower mean line in marked where the distinguishing characteristics of the letters come to an end. These lines are followed by the Base line, which is where the complete letter ends and the lower matras begin. The lower most line is the Rukar line where the lowest portion of the Rukar ends. His new contribution to vocabulary of graphic elements of Devanagari is the term Loop, which is used to describe top of the letter.

Bapurao Naik also attempted a graphical grouping 28

titled Graphical classification of Devanagari Varnas of letters. Naik graphically organizes Devanagari letters into five groups based on the position of the Kana or Verti-bar.

Creating a vocabulary for Devanagari was done by Mukund Gokhale, it was first published in 1975-76.

Gokhale uses the body paradigm to describe the various portions of the letters. The lines defined by him are: Urdhavarekha, Shirorekha, Skandhrekha, Nabhirekha, Janurekha, Padrekha, and Talrekha. Regarding the proportion of the letters, Gokhale uses the stroke thickness (thickness of pen stroke) as a base unit. Four strokes for upper matras, eight strokes for main character and four strokes for bottom matras are necessary. A total of sixteen units of strokes can be considered as primary height of the letter. Bapurao Naik also specify this units of heights, six strokes for upper matra, twelfth strokes for main character and again six unit for bottom matras in total twenty four units.

The description of the various parts of Devanagari letters by Gokhale is called Cartographic description of Devanagari in his article.

Bhagwat’s figure for graphical elements in Devanagari letterforms..

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Digital Typefaces The classes are follows:

The proposed categorization of fonts are as follows:

• Body Text - Books, Magazines, Newspaper, Advertisements, Greetings, Directories, etc.

• Headline - Books, Magazines, Newspaper, Advertisements.

• Display - Posters and Signboards, Hoarding, LED display, TV/Video.

• Fonts Based on Indian Historical Landmarks - such as Brahmi letters, Gupta letters, Peshwa letters etc.

And the further study was proposed

by R. K. Joshi (2005).

• Calligraphy Fonts - Handwriting based, calligraphic style of script

• Computer Technology Font - Dot matrix, Digital fonts using formats such as postscript, true type, open type.

• Decorative Fonts - Fancy decorative, pattern based, form based, cursive calligraphy.

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Need of Variety of Typefaces: Scripts and letter forms are important aspects of Languages. Typefaces are not mere chunks of text or information; they have a personality of their own. They communicate not just with the content they carry but also with their form. They convey a specific message and a typographer should make sure that they convey the appropriate message. Designer should consider the user group such as children, adults, students, men, women etc. and purpose of designing like advertisements, publishing, identity etc.

Devanagari or any Indian scripts, they are no doubt very readable, but a careful observation is needed regarding symmetry, structure, point sizes and alignment in them. The new technology of lettering and composing where a designer can create different sizes and dimensions should meet the need of typeface design and variety in them as per the purpose.

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Character, Sign and Nomenclature

आ इ ई उ ऊ ऋ ॠ ऌ ॡ एे ऐ ओ औ अं अः

् ा ि ी ु ू ृ ॄ ॢ ॣ

ै ो ौ

ः

Halanta, Virama Kana Short, hrasva velantiBC Long, dirgha velanti Short, hrasva ukar Long, dirgha ukar Single prithvi sign, hrasva Rukar Double prithvi sign, dirgha Rukar Single klpti sign Double klpti sign Single matra, Double matra Kana matra Kana double matra Anuswar Visarga

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The professor of typography at IIT Bombay, Dr. Girish Dalvi, wrote in his PhD thesis,

Through the results of this study we can deduce that the ten letters अ इ ए ख त भ द ध थ षcan 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; the process of Devanagari font design can be simplified for students well as type designers as the remaining letters can be derived from these ones.

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Root letters and Derived letters classification and Visual example of Root letter इ 35

“Typefaces are to the written word what different dialects are to different languages.” ― Steven Heller

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03

Analysis and Synthesis

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Typeface: CDAC-GISTYogesh Point size: 150

open counters

आधुनिक 14 mm

Shirorekha

36.85 mm

Base line

Prominent feature- Closed loop observed throughout the typeface.

A mono-linear typeface used on web mediums. Open counters to spatially balance the space. The stem is a bit thicker than the curvatures.

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Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घ ङचछजझटठडढणत थदधन पफबभयरवळ श ष स ह क्ष open counters

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Typeface: Yatra One Point size: 150

आधुनिक

Shirorekha

34.92 mm

Base line

Edgy cuts and closed loops

This heavy weight high-contrast display face preserves the idiosyncratic character of brush-painted signage by featuring angular cuts and open knots.

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Rukar line

आ ई ऊ ऐ औ अं अ ँ क ख ग घङचछजझटठडढण तथदधन पफबभयर व ळ श ष स ह क्ष 41

Typeface: Mukta Point size: 150

आधुनिक

Shirorekha

32.57mm

Base line

Rukar line

Compliant, versatile, contemporary, humanist, mono-linear typeface.

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आ ई ऊ ऐ औ अं अँ क ख ग घ ङ च छ ज झ ट ठ ड ढ ण त थ द ध न प फ ब भ य र व ळ श ष स ह क्ष 43

Typeface: Nirmala UI Point size: 150

आधुनिक Elongated angular terminal

A mono-liners sans serif typeface used on web forums, humanist approach towards derivation.

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Shirorekha

38.28mm

Base line

Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घ ङचछजझटठडढणतथ दधन पफबभयरवळश ष स ह क्ष 45

Typeface: Gotu Point size: 150

आधुनिक A contemporary calligraphic display typeface, simple yet elegant, With distinctly open loops, circular counters and delicate curves ,ideal for event posters, invitation and publication.

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Shirorekha

38.28mm

Base line

Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घङचछजझटठडढण तथदधन पफबभयर व ळ श ष स ह क्ष 47

Typeface: Jaini Purva Point size: 150

आधुनिक Contemporary calligraphic Devanagari typeface with distinct features. Bolder thick strokes.

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Shirorekha

37.13mm

Base line Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घ ङ च छ ज झटठडढणतथदधन पफबभयर व ळ श ष स ह क्ष

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Typeface: Poppins Point size: 150

आधुनिक Counter circular

Horizontal terminal

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Shirorekha

38.62mm

Base line

Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घङचछजझटठडढणत थदधन पफबभयरव ळ श ष स ह क्ष 51

Typeface: Asar Point size: 150

आधुनिक More kerning as compared to the width of the stem.

Unfinished Joinaries

Asar is an original Devanagari and Latin typeface that is based on an expanding brush stroke following a heart line. The design is meant to work well with long texts while maintaining a certain charm at large sizes.

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Shirorekha

38.62mm

Base line

Rukar line

आ ई ऊ ऐ औ अं अ ँ कखग घङचछजझटठडढणत थदधन पफबभयरवळ श ष स ह क्ष 53

Typeface: Hind Point size: 150

आधुनिक Flat endings

Developed explicitly for use in User Interface design. Hind’s letter-forms have a humanist-style construction, which is paired with seemingly mono-linear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal.

This helps create clear-cut counter forms between the characters.

The entire typeface family feels very legible when used to set text.

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open counters

Shirorekha

35.19mm Base line

Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घ ङ चछजझटठडढणतथदधन प फ ब भ य र व ळ श ष स ह क्ष 55

Typeface: Sahitya Point size: 150

आधुनिक contrasting stroke variation

Sahitya is a Devanagari typeface family based on the Latin Alegreya fonts. It was designed to match the style and feel of the original Latin characters. High stroke variation in the stem throughout.

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Shirorekha

33.26mm

Base line Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घ ङ च छजझटठडढणतथदधन प फ ब भ य र व ळ श ष स ह क्ष 57

Typeface: Karma Point size: 150

आधुनिक Detached joinaries

The characters for both scripts feature a construction style that tends toward the mono-linear. The Latin script component has serif letters.

Both these, and the stroke terminals in the Devanagari letter-forms are generally rounded in Karma’s design.

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Shirorekha

33.26mm

Base line

Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घ ङ चछजझटठडढणतथदध न पफबभयरवळशषसह क्ष 59

Typeface: Khand Point size: 150

आधुनिक

Open counters

condensed kerning

Across a line of text, the consonantal forms take up the majority of vertical space. Vowel marks above and below have been shortened – keeping these to a minimum allows for lines of text to be set more closely together vertically. The reduction of interlinear space is paramount for successful headline typesetting, and Khand performs much better in display applications than similar fonts with more elongated vowel marks.

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Shirorekha

36.18mm

Base line Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घ ङ च छ ज झटठडढणतथदधन पफबभयर व ळ श ष स ह क्ष 61

Typeface: ITF Devanagari Point size: 150

आधुनिक

Shirorekha

38.69mm

Open counters

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Base line

Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घ ङ चछजझटठडढणतथदध न पफबभयरवळशषसह क्ष 63

Typeface: Munshi Devanagari Point size: 150

आधुनिक Mono-linear typeface with angular cuts.

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Shirorekha

35.72mm

Base line

Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घ ङ चछजझटठडढणतथदध न पफबभयरवळशषसह क्ष 65

Typeface: Munshi Devanagari Point size: 150

आधुनिक Vertical terminal

Modulation observed

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Shirorekha

35.72mm

Base line

Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घङचछजझटठडढण तथदधन पफबभयर व ळ श ष स ह क्ष 67

Typeface: Akhand Devanagari Point size: 150

elongated velanti

आधुनिक horizontal terminal

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Condensed approach towards construction, mono-linear for web platform.

closed counters Shirorekha

34.04mm

Base line Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घ ङ च छ ज झटठडढणतथदधन पफबभयर व ळ श ष स ह क्ष

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Typeface: Kohinoor DevanagariPoint size: 150

आधुनिक

open counters

sharp cuts

typeface with cuts at the loops for optical correction, open counters observed.

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Shirorekha

34.04mm

Base line

Rukar line

आ ई ऊ ऐ औ अं अँ क ख ग घ ङ च छ ज झटठडढणतथदधन पफबभयर व ळ श ष स ह क्ष

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“Type designers are often found backward looking.”

Alec Wilkinson

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04

Ideation

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Form exploration through calligraphy

Using a circular tip brush pen to create the letter forms

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Keeping the calligraphy tool(used for Devanagari Calligraphy) at the angle of 45 degree.

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Keeping the calligraphy tool(used for Devanagari Calligraphy) at the angle of 90 degree.

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Grid Exploration

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Usually the grid is 6:1 ratio. Breaking it to 9:1 times making it thinner and expanded.

Choosing one letter Inking sheets of individual letters and choosing the most suitable one.

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Process Sample letters done on graph sheets to understand the anatomy and choosing one from each and pasting it on the chart as per the root letters and the derived ones.

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Initial letter Derivation Keeping क as a base letter deriving letter forms out of it. Digitizing the letter क in the beginning and playing with the counter while creating variations.

Variations of क by played with the modulation of the calligraphic stroke

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Variations of क by playing with the counter space.

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Reducing the counter space more and making it circular.

Reducing the counter space to the thinnest.

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Finalizing 1 and then exploring with the ratio of the width.

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Constructing root letters Taking the same ratio of the ellipse and deriving a family of letters from the root letters .

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Initial letter Construction

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Optical corrections

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Manual Spacing and comparing with other fonts

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Final letters

आईऊऐऔकखगघङच छजझटठडढणतथदध न पफबभयरवळशषस ह क्ष 105

Final letters

आईऊऐऔकखगघङच छजझटठडढणतथदध न पफबभयरवळशषस ह क्ष 106

अनु भूित

Shirorekha

38.62mm

Base line Rukar line

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Used with Mukta अंतरिक्ष यान से दूर नीचे पृथ्वी शानदार ढंग से जगमगा रही थी । जो अपना आदर-सम्मान होने पर ख़ुशी से फू ल नहीं उठता, और अनादर होने पर क्रोधित नहीं होता तथा गंगाजी के कु ण्ड के समान जिसका मन अशांत नहीं होता, वह ज्ञानी कहलाता है। Who does not take pride after being honored; does not show grief on being insulted, and whose heart is like Ganga Sagar (i.e. vast and deep with no regrets) can be called a truly educated person.

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आकाश में बादल नहीं थे और उसका रंग गहरा नीला था । चूंकि भागों की सूक्ष्म रचना से मेरी गति में बहुत बड़ी बाधा हो रही थी, इसलिए अपने पहले प्रयोजन के विपरीत मैंने इस विशाल आकृति को बनाने का निर्णय लिया जो लगभग आठ फ़ुट ऊंची और इसी के अनुपात में बड़ी थी । इस संकल्प के बाद और अपनी सामग्री सफलतापूर्वक एकत्र करने तथा व्यवस्थित करने में कुछ माह लगाने के बाद मैंने इसकी शुरुआत की ।

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Rubinstein, R. - Digital Typography. Addison Wesley Longman, 1988.

Sassoon, R. - Computers and Typography. Oxford: Intellect Books, 1993.

Reynolds, L. - Legibility studies: Their relevance to present-day documentation methods. Journal of Documentation, 35(4), 307-340; 1979.

Poulton, E.C. - Letter differentiation and rate of comprehension in reading. Journal of Applied Psychology, 49(5), 358-362; 1965.

Lund, O. - Knowledge Construction in Typography: The case of legibility research and the legibility of sans serif typefaces. Thesis submitted for the degree of Doctor of Philosophy. Reading: The University of Reading, Department of Typography & Graphic Communication, 1999.

Morris, R. A., Aquilante, K., et al. - Serifs slow RSVP reading at very small sizes, but don’t matter at larger sizes, 2001.

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Poulton, E.C. - Size, style, and vertical spacing in the legibility of small typefaces. Journal of Applied Psychology, 56(2), 156-161; 1972.

Reynolds, L. - Legibility studies: Their relevance to present-day documentation methods. Journal of Documentation, 35(4), 307-340; 1979.

Bernard, M., Mills, M., Peterson, M., Storrer, K. - A Comparison of Popular Online Fonts: Which is best and when? Usability News 3.2 Online, 2001. http://designwithfontforge.com/en-US/Designing_Devanagari_Typefaces.html http://www.dsource.idc.iitb.ac.in/resource/history-devanagari-letterforms

Colophon This document has been written and designed by Jayesh Patil. It has been printed in Gandhinagar, Gujarat. This document has been set in Lato and Palatino Linotype. All artwork and written content in originally created by author, unless specified.

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