This typeface is a synthesised response to two seemingly unrelated, interesting events:
The commencement of an online type design challenge (47daysofdevanagaritype), and coming across a bag of plastic fusible beads at the local art & craft store.
I wanted to explore the idea of setting an algorithm, and allowing automatic/logical visual results to develop; but in an analogue sense of creation. So the restraints for this
experiment were pretty simple:

(a) The medium would define the glyph’s structure; and so the typeface would be pixelized,

(b) The glyphs that would be transferred onto this medium would be handwritten; so it would preserve double strokes and half strokes made while writing the letter,

(c) And lastly, I wanted to create this in the Devanagari script: which is the base script for
languages like Hindi, Marathi, Kashmiri; and is mainly used in India, Nepal and Tibet.

Still in an exploratory phase, the digitised version shows a translation from circular
units to squares, and falls into the category of exaggerated aliased type which is highly
experimental and display-based. The following experiments are form-based exercises in
understanding how negative space in glyphs could affect the perceived weight of the same.

The analogue stage brought out immense possibilities for variations, which could be colour-based or form-based. This pointed toward an integral question: what is the ratio of visual abstraction to legibility in this typeface? Keeping in mind that Devanagari is fairly new to pure conceptual experimentation as opposed to say Latin, given that its use is limited to more traditional print and web applications, because of a largely conventional audience, in my opinion.

This project is now being developed as two typeface design projects via the Alphabette Mentorship of 2020.