MULTILINGUAL

TYPOGRAPHY
IN INDIA
01 Why India is multilingual?
03
02 What is Typography?
05
03 When typography and Indian
scrpits come togather
06
04 Development in India
10
05 Why all these efforts?
12
01
“Kos kos par badle paani,
char kos par baani.”
(the languages spoken in India change every few miles just like taste of water)
02
 Why India is
01 multilingual?
India, with its kaleidoscopic linguistic landscape,
stands as a testament to the enduring legacy of historical,
cultural, and geographical factors that have shaped its
multilingual character. The roots of India’s linguistic diversity
delve deep into its historical tapestry, marked by the rule of
various dynasties and empires. Each successive power, from
the Mauryas to the Mughals, has left an indelible mark on
the linguistic mosaic, contributing to the emergence and
preservation of diverse languages.
Geographical variation, a consequence of India’s
vast and varied topography, has played a crucial role in
fostering linguistic diversity. From the snowy peaks of the
Himalayas to the tropical coastlines, isolated communities
have developed distinct linguistic identities. These regional
variations, influenced by the local environment and cultural
practices, have given rise to a multitude of languages spoken
across the subcontinent.
Cultural pluralism, inherent in the fabric of Indian
society, has been a driving force behind the nation’s
linguistic richness. With a confluence of different ethnicities,
religions, and traditions, India has become a melting pot of
languages, each carrying the unique nuances of its cultural
context. The coexistence of numerous communities has led
to the flourishing of various languages, contributing to the
vibrancy of the linguistic tapestry.
Migration and interactions with neighboring regions
have further enriched India’s linguistic diversity. Throughout
history, the constant movement of people has facilitated
the exchange of linguistic elements, creating a dynamic
linguistic landscape. Religious and social factors, too, have
played a role, with different communities often having their
own languages for scriptures and practices, and linguistic
distinctions evolving based on caste and community
affiliations.
The political boundaries of India, especially the
reorganization of states in 1956, aimed at addressing
linguistic diversity. States were formed based on a common
language, providing a platform for the preservation and
promotion of regional languages. Additionally, economic
and trade interactions, coupled with India’s historical role as
a center for commerce, have attracted people from various
parts of the world, leading to the exchange and enrichment
of languages.
In essence, India’s multilingualism is a complex
interplay of historical, geographical, cultural, and social
factors. This linguistic diversity, far from being a challenge,
is a testament to the country’s resilience and adaptability,
showcasing its commitment to preserving linguistic heritage
while embracing the dynamic evolution of languages within
its borders.
03
 Typography
ty•poh•gra•phy (tí pägréfē) •n

Typography is the art of creating and setting

type with the purpose of honouring the text
it sets.

04
What is
Typography? 02
Typography is the art of arranging type for readable
and visually appealing written communication. It involves
selecting fonts, spacing, and layout to convey messages
effectively and evoke specific tones. Beyond legibility,
typography creatively enhances design through the use of
letterforms, playing a vital role in print materials like books
and newspapers, as well as digital platforms such as websites
and mobile applications.
At its core, typography involves the careful choice of
typefaces that align with the purpose and context of the
content. Serif or sans-serif, bold or italic, each typeface
carries its own personality and can significantly impact
the reader’s perception. Additionally, considerations such
as hierarchy, kerning, and leading contribute to the overall
readability and visual hierarchy of the text. In essence,
typography is a nuanced craft that blends art and science,
requiring a thoughtful balance between form and function to
create visually compelling and effective communication.
In the digital age, typography has expanded
to responsive and interactive media. Variable fonts,
enabling dynamic adjustments in weight, width, and
attributes, highlight typography’s adaptability. Shaped
by technology, culture, and evolving design, typography
remains a cornerstone of visual communication’s enduring
significance.
Peter Bilak likes to think of fonts as the voice of the from the streets of Jaipur
text.
05
03
When Typography
and Indian scripts
come together...
Designing for Indian scripts presents unique challenges rooted in the diverse linguistic landscape
and cultural intricacies. One significant challenge arises from the sheer variety of scripts used across
the subcontinent, each with its distinct characters, ligatures, and diacritical marks. The designer must
navigate the intricacies of multiple writing systems, ensuring that the design caters to the specific
characteristics of the chosen script. Accommodating the diverse visual styles of scripts like Devanagari,
Tamil, Bengali, and others requires a nuanced approach to typography, where stroke thickness,
letterforms, and ligatures must be carefully considered to maintain authenticity and readability.
Cultural sensitivity poses another formidable challenge in Indian script design. Each script is
deeply embedded in a cultural context, and symbols or visual elements may carry significant cultural
meanings. Designers must tread carefully to avoid unintentional misrepresentations or appropriation
of cultural symbols. Adapting color palettes, layouts, and imagery to align with the cultural nuances of
the script becomes imperative. Striking a balance between preserving the authenticity of the script and
meeting modern design expectations poses a constant challenge, requiring designers to navigate a fine
line between tradition and innovation.

“The English word always stands out

and is larger than the Indic language
text with its two-storied system.”
06 -Dalvi
 One might assume that similar design features, such
as contrast, modulation, or terminals, would lead to a perfect
harmony.
“The structure of the Latin script is pretty
straightforward and linear for the most part, where one
letter follows the other, with an occasional diacritical accent
mark thrown in,” explained Kalapi Gajjar-Bordawekar, type
designer and co-founder of the studio Universal Thirst. “But
in the case of most Indic scripts, letter shapes transform
based on context.”
Latin script has left side 45-degree angle while Indic
scripts have right side 45-degree angle. So, creating same
strokes for both Latin and Indic Scripts is quite difficult. In
Latin when two strokes meet or cross, the area is visually
corrected not to look too dark. This is done by thinning
the strokes. If the Latin correction measure is transferred
directly, the Devanagari character will have an unbalanced
stress distribution.
And it’s just one thing there are many more. Just as
Urdu script can’t have slab serif or serif fonts as Latin has.
Or Gujrati script features foot. So, if you write sans serif in
Latin; it will be still serif in Gujarati! This feature causes
some vowel marks, which would join easily in Devanagari,
to require a special treatment in Gujarati. Another solution,
Saguna Gujarati released by the Indian Type Foundry and
designed by Jonny Pinhorn, features a complete removal of
the foot. While Devanagari script has head line.
A turning point came with the introduction of
Unicode. 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.

07
 The first known modern Indian
fonts that supported two scripts Mangal
for Hindi and Latha for Tamil – were
designed by RK Joshi. The Indian
scripts took the path of phonetic
decomposition following the logic
of their script grammar. Sub-syllabic
elements, such as half forms, were
introduced to the glyph set and
compound syllables and sometimes
even basic consonants have been
composed with them. In addition,
syllabic and mark clusters have been
introduced to resolve more complex
shapes and collisions.
Ek Type Foundry’s typefaces
are widely used in various design
projects, contributing to the readability
and visual appeal of Indian language
content. There are so many more
designers working on Indian scripts
and making it possible to have same
strokes as Latin script has, just as
Baloo type family by Ektype type foundry designer Sarang Kulkarni designs
brand names in Indic scripts with same
strokes. A group designer designed
Baloo fonts in different Indian scripts
and in Latin too. These designers not
only possess a deep understanding of
typography but also exhibit cultural
sensitivity and a nuanced appreciation
for the historical and cultural contexts
associated with each script. They
navigate the complexities of ligatures,
conjunct characters, and diacritical
marks inherent in Indian scripts,
ensuring that the visual representation
maintains authenticity while meeting
contemporary design standards.
The Slovakian typeface
designer had co-founded Indian Type
Foundry, the first company in the
country dedicated to designing and
distributing fonts. ITF has contributed
to Indian script design by creating
versatile and contemporary typefaces
for scripts like Devanagari, Bengali, and
Tamil.
08
 Our society, multicultural
by default, can be made
multilingual by design if the
right interventions,
at State and non-State levels,
are taken.

HorizonFCB Dubai devised a clever

campaign that was based on the insight that
every time Dubai’s Indian buy something
or send money home, they have to make a
mental conversation from the dirham price
to rupees. The creative idea was ‘Think
in Dirham, Spend in Rupee’ – and it put
together the written scripts of Arabic and the
Hindi script Devanagri.
09
Development
in India
Today, the interest in Indic types is on the rise,
thanks to this emerging community of the designers. In
Mumbai, type design studio Mota Italic, run by designers Rob
Keller and Kimya Gandhi, organises Typostammtisch events.
And,a NASSCOM-Akmai Technologies report released in
August 2018, said that by 2020, there will be an estimated 730
million Internet users in India and of the new users, 75% will
be accessing it from rural India, and a similar number will
engage using their mother toung.
Keeping pace with subcontinent’s linguistic
diversity is challenging enough in print, but the relatively
small number of digital fonts available for Indic languages
reveals a striking disparity. Even the most widely used
Indian script, Devanagari, has far fewer typographic options
compared to the superabundance of Latin fonts. Some scripts
like Bengali, Tamil, Urdu, and the Tibetan have even fewer
fonts available. But the balance is beginning to shift as a
cohort of Indian type designers develop new digital fonts,
and the movement is still growing in part because many
of these designers release their designs with open source
licenses.
10
04
The digital era has seen the rise of digital fonts
specifically designed for Indian scripts. Variable fonts,
allowing dynamic adjustments in weight, width, and other
attributes, have gained traction, providing flexibility and
efficiency in representing various languages.
With the proliferation of websites and mobile
applications, there’s an increased focus on creating web-
friendly and responsive fonts that cater to diverse Indian
scripts. This ensures a seamless and visually pleasing reading
experience across different devices.
The adoption of OpenType and Unicode standards
has played a crucial role in standardizing the representation
of Indian scripts across platforms. This standardization has
improved cross-compatibility and accessibility, making it
easier to develop and share multilingual content.
Multilingual typography development includes efforts
to support regional languages and scripts. Designers are
creating fonts for lesser-known scripts, ensuring that a
broader spectrum of languages is represented in digital and
print media.
Before the launch of Disney+
in India, Disney decided to
offer their movie posters in
different Indian languages to
attract regional users.

Some Hollywood films set in India or featuring Indian characters

may opt for bilingual posters, with both English and an Indian script. This
reflects an effort to cater to a broader audience and provide authenticity
to the cultural setting.
Sarang Kulkarni, founder of EkType, a Mumba based foundry
that focuses on Indian type, explains,“These numbers are attracting
international attention: around 25 countries are developing Indian
typefaces, including China.”
The gap between the wealth of Latin fonts and relative scarcity
for other writing systems is only magnified when you consider how
many are used by India’s distinct ethnic communities. India might not
be “larger than the world,” but its typographic dilemmas are essentially
the same ones that designers confront any time they’re not using Latin-
like alphabets. The solutions discovered and improved upon by Indian
designers could very well apply the world over.

11
 05
Why these
efforts?
Efforts in promoting Indian multilingualism are crucial
for fostering a harmonious and inclusive society that cele-
brates the diverse linguistic tapestry of the nation. India’s lin-
guistic richness encompasses a plethora of languages, each
carrying its cultural nuances and historical significance. By
investing in multilingualism, we acknowledge the importance
of preserving and promoting this linguistic diversity as an
integral part of our national identity. Embracing and encour-
aging the use of multiple languages not only ensures that
communication is accessible to all but also contributes to the
preservation of cultural heritage, literature, and indigenous
knowledge systems embedded in various languages.
Indian multilingualism is a valuable asset, unlocking
diverse opportunities in social, economic, and educational
realms. In a globalized world, linguistic diversity empowers
individuals for cross-cultural collaborations, fostering a more
interconnected and globally relevant society. From a business
perspective, multilingualism supports market expansion, en-
abling companies to cater to diverse regional preferences. In
education, embracing multiple languages enhances cognitive
abilities, enriches learning experiences, and prepares indi-
viduals for success in a multicultural environment. Investing
in Indian multilingualism is an investment in the nation’s
cultural vitality, social unity, economic growth, and overall
12 holistic citizen development.
 “Rather than designate
any one language as the
nation’s standardised
tongue, it makes more
sense to invest in the
development of other
regional languages and
thus preserve India’s
multiculturalism through
multilingualism.”

Mahatma Gandhi’s Signatures in different languages 13

 Designed by:
Mariya Laxmidhar
5th Semester/3rd Year
Applied Art, Faculty of Fine Arts
The Maharaja Sayajirao University of Baroda