A computing industry standard, Unicode attaches a unique number to every written character – no matter what language or platform – making it possible for the first time to create a font in an Indian language that could be used and seen across platforms. Innovations like those continued for a century and a half, but the production of modern Indic fonts began in earnest only after the proliferation of computers – and, more specifically, the internet.Ī turning point came with the introduction of Unicode. Established in Bombay in the year 1834, the publisher of Sanskrit texts produced several high quality Devanagari typefaces. Girish Dalvi, co-founder of Ek Type Collective and professor of design at the Indian Institute of Technology Bombay, says the earliest type foundry was Nirnay Sagar Press. The origin of type design in Indic languages goes back to the history of print in India. “We don’t realise but bank forms to film titles, only English was being used because of the lack of suitable fonts in Indic languages,” said Shiva Nallaperumal, a partner at November, a Mumbai-based graphic design studio. To them, it’s important that in a nation as varied as India, there should be fonts to reflect the linguistic diversity. Over the last decade or so, dozens of type designers and collectives have been concertedly addressing a deep disparity – the dearth of fonts for Indian languages. Its rise did not happen in a vacuum, though. A decade on, the Ahmadabad-based company has many distinctions to its name: it developed the first-of-its-kind modern Devanagari font (Fedra Hindi), and spearheaded efforts to create a humanist typeface that supports all Indian languages (Kohinoor) as well as a sans serif font covering 12 Indian languages (Akhand). In 2009, the Slovakian typeface designer had co-founded Indian Type Foundry, the first company in the country dedicated to designing and distributing fonts. They convey emotions and tone, just like voices – and just like voices, there are some fonts that are inherently better at communicating a message.īilak knows this universe of fonts, with their adjunct emotions, intimately. Peter Bilak likes to think of fonts as the voice of the text. Where will you be living in 2050? A new book on the future of migration tackles this question.Pegasus scandal: Three questions the Modi government must answer about the New York Times article.‘Gehraiyaan’ takes a fresh look at monogamy, says director Shakun Batra.
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