Devanagari Calligraphy Pdf

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The anatomy of a letter can perhaps be defined as a system which depicts the structural makeup of a letter; describing certain key parts within the letter for a given typeface. These morphological articulations of the characters within the font form the first level of description within the typographic ontology of a script. The Latin script, due to its long and elaborate tradition in printing; has a fairly s tandardized vocabulary to describe its letterforms. Unlike western typographic systems, theory and literature on the anatomy of Devanagari letters is sparse—although there are a few experts who have tried to articulate the various features of Devanagari letters. This article discusses the various approaches taken by four experts in describing and defining the anatomy of Devanagari letters. Within these approaches we will focus on the vocabulary used to describe the diacritica l and vowel signs in Devanagari, the elements within each of the Devanagari letters and the terminology used to describe them.

Best of devanagari calligraphy pdf at KeyOptimize(Out of 15 in result Last check 09 October 2015). Sanskrit Devanagari: An Introduction - Free download as PDF File (.pdf), Text File (.txt) or read online for free. Discover (and save!) your own Pins on Pinterest. Free Calligraphy Templates (PDF).

We’ll also examine the reference or guide lines used to mark the limits and proportions of the individual parts of a letter. This article also attempts to gauge the strengths and limitations of each of the approaches. Finally, we’d consolidate the similarities that exist amongst the various approaches.

Nonetheless believed that his insights on the graphical structure of Devanagari are enlightening. Bhagwat first creates groups of letters based on shared graphical properties. Six grouping systems for letters based on the following criteria are given on: 1. Simplicity 3. Motion, stroke and angles 4. Endings, flourishes, fenced etc. Groups according to the parts of letter design.

Groups based on g raphical similarity (see fig.1) He then goes on to define (see fig.2) the guide lines for the letters and terminology for some of the graphical elements that exist within the letters. The guide lines defined by him are as follows: The top lines are the “Rafar line”, followed by the “Upper matra line” and the “Head line”. The head line is also referred to as the “Shiro rekha”, Bhagwat chooses. These lines are followed by the base line, which is where the complete letter ends and the lower Matras begin.

The lowermost line is the “Rukar line” named so that is the line where the lowest portion of the Rukar ends. This division of letters is simplistic in comparison with the other schemes discussed in this article, it fails to address issues of the proportion of letters, double liga- tures etc. It is also obsolete in a certain sense primarily because it uses handwritten Devanagari as its source material.

Therefore it is interesting to note that, in this model two lines are marked above the Shiro rekha—the Upper matra line and Rafar line. A marked difference between the height of the matras and the height of the Rafar is seen mostly in handwritten or calligraphic Devanagari. This scheme cannot be applied to contem- porary Devanagari as in most of these the ty pefaces the heights of the Rafar and the Upper Matras are equal.

If we were to consider Bhagwat’s scheme for contemporary Devanagari typefaces then the two lines (Upper Matra line and Rafar line) would merge into one another. Bhagwat titles his figure as “Graphic Elements in Devanagari Letters”, the new contribution that he makes to the vocabulary of graphic elements of Devanagari is the term—the “loop”, which. He uses to describe the top of letters such.