‘EkType’ is a type-design studio in Mumbai, India, whose core focus is to create traditional Indic typefaces. They adapt an Indic-first approach in designing rather than Latin-first. They are known for designing open-source Indic fonts that are free to use. Majority of digital designs in India use their free fonts. They recently won a D&AD yellow pencil for designing a font for the Ranjana script that considers its heritage and cultural aspects, such as the Kutakshar technique.
Kailash didn’t want the interview recorded, so I took down notes of our conversation and email exchanges where he provided me with more insights to study. In my interview with Kailash Malviya from EkType, we delved into the complex nuances of designing Devanagari fonts and the critical role technology plays in this process. Malviya highlighted how orthography, or the conventional spelling system of a language, influences the creation of fonts, especially for scripts like Devanagari with its unique complexities. Technology plays a pivotal role in handling the vast range of characters and conjunct forms (sanyuktaskhar) in Devanagari. He explained that tools like Font Lab, Robo Font, and Glyphs allow type designers to generate these characters more efficiently through open-type coding, especially when creating contemporary fonts for languages like Hindi, Marathi, and even Sanskrit.
Malviya noted that creating a typeface isn’t just about aesthetics; it’s about understanding the language’s context and ensuring readability while preserving the script’s traditional ethos. This involves managing the dimensions of the script, where the vertical height must account for stacking graphemes (e.g., da-da-ra-uu) and ensuring uniform stroke widths. Additionally, the absence of a defined x-height in Devanagari scripts introduces another challenge, making it essential to harmonize spacing and rhythm for better legibility, particularly with pairs like “tha” and “pa.” He stressed the importance of keeping the printed and handwritten world separate to maintain authenticity.
Malviya also referenced text-shaping engines like HarfBuzz, which handle the complexities of Indic scripts by correctly rendering the script across different software like Illustrator and InDesign.
Through our conversation, it became evident that the process is time-consuming, with typographers needing to ensure that every detail aligns with the linguistic and cultural nuances of the language they are designing for. Despite technological advancements, the challenges of creating Indic fonts remain significant, requiring both traditional knowledge and modern tools to produce designs that resonate with contemporary and traditional readers alike.
Further I discussed my two ideas- Newspaper and Manifesto - with him and he liked both of them with a couple of suggestions and critique. He urged me to think of how the manifesto is not just about one expressing their anger towards the issue but should also guide the reader on what to do to make sure the problem is rectified. So he wanted to see a ‘how to resolve this’ in my manifesto. Secondly, for my newspaper idea he liked the narrative of ‘what the world would be if the printer was made in India’. He further send me some more theoretical data that would help my research and investigation. Below is a screenshot of our email conversation.
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