 Finally, the nursery rules the age group four to ten. And the internal part of school that is really used in teaching it in direction rules like, you can see here, it's not with both titles, classroom, main board, and parking lots, playgrounds, canteen, directions to the all rights and all that. All the things that the kids take, the audience is the kids here. And the basic design philosophy will go on for that geometry. Kids will be playing basic geometrical shapes. So, they'll like a font that will be based on simple geometry. And the initial evolution of the shape one. So, we start with the basic geometry. Start with basic geometry. And punch out more basic, some more basic from that, like a circle, a semi-circle. Then finally, we'll have sharp corners like here and here. So, that corner will have rounded corners here. So, we get a final letter. And we improvise on this at extra elements like, kids will go with more of a carton-ish comical idea. So, we add eyes. The font's name is one night. So, it's like money. The basic idea is to make it like a monster. Look, it's long monsters. They love colors. They love long shapes. They love monsters. So, the basic idea is to make it like a monster. What is a monster? Coffee monsters. They love monster ideas, right? Cube monsters. Now, the ones I was carrying, right? So, when you want a design letter, take a basic geometric shape. Unchalk more geometric shapes. Soften out all the corners. Make it a monster. So, the whole idea is the font will have this basic shape. And in special cases, right? When decoration stuff and all that, you'll have the eyelashes. You'll have the legs. Those things to add value to the font. Yeah, right. Going with the basic design, it's like this way. But it was turning out to be something different from all the other fonts. The thickness was different. So, we went with another idea, a rectangle cut out those semi-circles or circles. We get a thicker rest. So, that was the difficult rest. And everything else follows the same idea. Okay. Awesome, right? Great. So, my story can't do this. Okay. So, this is a quick question. So, how do you know in letters what you asked, how do you know where the eyes will go? There's two. Yeah, again, yeah. Good one again. Yeah, that's very good. In fact, there are certain cases where now we have to define two as a right. Now, one with the eye here, one with the eye here. And also, there are certain alphabets. Like, now certain could be like library or something. There are two eye balls together to make more sense. Also, so, when you close the font, you start all over. Here. I saw it. Start it. Thank you. We just only had to try it. Try it. He's still there. I'll do it. I'll do it. I'll do it. I'll do it. Oh, I'm sorry. You can check. We can check. Oh, I'm sorry. I'm sorry. Okay, silence please. All right, so we chose historical monuments. The theme we have gone for is we want to sort of portray in our font what regular historical monuments you will find in Mughal or Gothic sort of monuments. They have kind of pointy tops, very broad bases, that construction reasons. But in our case, we just kind of convey that. We also needed to be, we need to work in bigger signs and most of the tiny plaques that are there needs to be very crisp and clear so that people can wait for car. So this is sort of what we've gone for. Our outer curves are thick towards the bottom, going thin to the top, very thin stems. The half poles that we have start thick on one side, kind of pointy at the top. Like you would see in a minaret or one of the Gothic structures except not triangular pointy. And thin on the other side because only our left side outer curves always thick. And we thought that even if you have to write it very fast, this would work. And when you have multiple lines, the thick bottom of the top line and the thin top of the next line would let you differentiate without having like full thick, full on thick font. So that's kind of what we went for. Excuse me. Yeah, for historical monuments. When letters, like a lot of letters have one of their... Yeah, there's no exact reason, we just picked that. These are two attempts at a move because we didn't like the first one, we tried another type of move but... Yeah, that's basically what we tried. One question, was it Gothic or was it Mughal? Both, like if you see like pointy and goes out, Gothic goes like this. Gothic is this and this. See the Gothic is more... So do you think that I mean both these two will go together? I mean that is just an observation that I'm giving you. Planting. Okay guys, silence. It's based on historic monuments and then we think of like heritage, royal, ornamental and rich. Heritage in the royal is because India has a culture of small kingdoms. And so everything, even if you look at the idea of being this and everything is royal or King's or whatever. So that was the idea of going to the spawn. So initially we tried to make the bottom a little bigger like a tower and all those monuments. Bhupati wasn't working out for, for example, S&T, if you want to make P out of there, just doesn't work. So we came up with this which has a bridge, broad stem and narrow, sorry, broad... Vertical. And then ten... And then we have, we went for a serif one, so that we can play with the serif and decorate with the serif a little bit, not too much. It shows the output for one piece. Thanks. Guys, guys, the broad sign here is the king. And this is what we came up with. It has to be categorizable, basic, formal, it has to be geometric, clean, straight lines, high contrast and regular width because the motion should be in motion. And at the same time it should come as a compact unit rather than a spread out unit. Based on that we came up with different... So yeah, this is one font which is like little geometric and at the same time it's quite compact and clean. And this is the one which is named as Curve which is like following the theme of the road which has straight lines and curves. So it has all the dynamic factor. And the other ones is one digital LED inspired... Yeah, since a lot of signs these days have LED lights. So, I mean this could easily be in print as well as, you know, use for LED signage as well. That's... The first scenario is like we are on a road, right? So the first thing is our presence. It's just for fraction of seconds, right? The distance. Based on it, I mean I would like to define this with respect to minimal design, retain the actual shape and list for the combination and standardize it. Whether it is in canopy, you know, produced. Because of the shape we are retaining over here. And primarily these are the two ones which we have developed and on to our next step. Consider it on a board or on a dynamic list. That's how it works. I'll be excited to decide what we're going to decide. So let me set the context. We took road signs, road signage. We took the context of India. Our hypothesis was people don't see signs. They need to be aware of signs, obviously. Specifically, we took the neighborhood environment. Slow paced environments, more food traffic, or 20 to 30 kilometers per hour kind of traffic. Which we breakers and so on. So therefore, we were trying to find the balance between road signs by definition are, you know, obviously important and in certain environments, you know, they could determine life and death and stuff like that. So the context we've taken is how do we make people pay attention? How do we add a little more flavor? We know road signs need to be crisp, clean, to the point, you know, millisecond to acknowledge it and then act on it. So at the same time, we want to find something more attractive. Build some personality around it. So based on that, you know, the signs we came up with. It inspired us. We were thinking of Daniela and the city primarily. And thinking of the fact that it's a circular city or a green city. So we decided to make a form that incorporates that form within it, along with straight lines, which is why the emphasis on the curves, lower case or upper place. This is, I mean, of course, as a road signage, like he said, in a slow paced environment, so you take more notice, you probably see this, and stop and look at it really. So something a little different from what you see usually. And yeah. I named my name for it. The name is not a C. So if anybody wants to use this, you need to take out permission. So what is the reason for that? Yeah, so it basically meant for me. We want to say that don't walk or in a car. No, it's, so yeah, L is a challenging alphabet. That's what we realized when we named it, not a C. When we made it, we're like, it looks like a C. How do we make an L with a circular form? That is something we need another one. It's a circular form. We corrected it later and that's a great part. Yeah, it's a circular form. Can the same thing be adapted from a different city, which is not a circular city or a green city? It got me, but this is just an inspiration. So have a very quirky question. Your S looks exactly like a four. What would you do for a four? Like 40 kilometers per hour. No, S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. It's like, you know, and yeah, for instance, the way the curves are, the way it is kept, it's very ideal for Karmataka-based monuments, right? I mean, that's the idea. And our next stage is, this is such a man, I'm glad I'm here. You put it at the last, can you switch? Yeah, yeah. Yeah, this is the purpose of this one. Yes. So far, it's been something that's more clear. What is the context? The context. Road sign. There are two concepts. This is for two concepts. That's for road sign and as well as schools. We'll explain, you know, that's very easy. Road concept, first of all, is, first of all, it's clear, large and large. So any person who's going and zooming in a high-speed vehicle, can see it very easily in most of the time. Because he knows that there's a school ahead, so he can slow down. He's uploading that he slows down, and he says he's uploading those faster. So the next thing is, because there's a school ahead, school is a memory where we are all children. So it's something like, you guys can see the fonts that are typically made, not with so much animation or graphic, just like small children just scratching away something. So it reminds of schools. So it's something that people should stop, slow down the speed of school. So it's also visible, so it's like a road signage. That's a good question. Because it is for both schools and roads, is it like while you will cross the road, like you would do while you were in school? Is that a context? Because it's for both your, the context, you use it both on the road as well as the school. So are you trying to say that school is on the road, or they call it like school ahead? School ahead. So it's a road before school. School ahead. Yes, school ahead. Very specific. That's what he did. Yes, it's a little too little. Yeah, I think it is for life. I think it's a little different. Okay, let's have a look at that one. Thank you guys. Quick, quick, quick. What is the purpose of this? But we were signed very soon. So the purpose of this was to make the signage for schools. You know, inside the school for libraries, classroom, the names of the classrooms, toilet, etc. So what our inspiration was to make it, make, represent formal context in a fun way. So that the kids like reading it together. So what we wanted to do was to find that looks a little quicky, which looks fun, not much formal or giving it a constrained, rounded or a formal look. Just make a little element of a bump or a thing, something like that. So this is what we came up with. So it was intentionally made to be friendly, not scary. We used big letters and it was also composed of simple shapes. So you can actually make a distinction between this circle and the line that comes along with it. So that if kids are looking at it, they know it's weird about two little shapes rather than one complex line. So we used this for the A instead of the other A so that that is the first letter they learn instead of complex A in later stages. And also we read the table because normally when you see when we have kids we are made to write like A and they have always other table there. So we wanted to write in the same table just so that they will feel it friendly. Any question guys? Okay, thank you. Come here. This is all you did. We created an idea for a playroom for kids. And the concept was to create a series of books. So this is if you could make out A, D, H, D, S, I, O, N, this was drawn by Berghese and so the idea is that kids can't actually read. So when you go to a playroom they should be able to make out things on the side by themselves. It's a place to go and play. Lego is my decision. So we decided to use this and we have defined much on this. For instance, the location of the what are they called? We haven't detailed that yet. We'll use that later. And then we also diverged on to a different kind of thing. So this is a little girl with a poly-tail and A, the curve will form a pony tail. And then we hit a brick wall with a D because it will be that weird standing. Which is not uncommon, right? There are a bunch of people who do that. And then there's an H and then there's an E and an S and an I. So we hit, again, I. I is a pencil. So we thought it's a pencil. But then we can also make it into a dark. Or the edge of the pony tail. And he always like two pony tails and then the NS has a side loop. Context of historical monuments. So the context is basically the Mughal monuments. And we have taken UP monuments very specifically like Delhi, Agra and all those stuffs. Our font is called Meenakari. That's what we've named it. The font name is Meenakari. There were two things that we could go for. One was architecture. We could take the inspiration from Mughal architecture because it's a monument. The other thing was taking from the script which was Urdu or Arabic. But we chose architecture as our base. And we took those arches which are always their doors and the gates that we took from. Which is our main part of a monument. That is where we went from. So we took half actually this portion of the arch. Half, divided into half and then again the top portion which we have replicated at places where there were curves like that. So that is one of our considerations. I mean to that particular monuments that we commonly see actually. So this is very specific to Indian context definitions. I mean you definitely cannot use it in like Sistine Chapel or... And we have the eos. Something interesting that I haven't thought of. You could try to have that there's weight on the letters and the strokes actually that is just hatching we didn't have the light to show the different widths that we have followed. So it's just hatching, it's not a one. So it will be all full colour. Yeah. Okay, thank you guys. So it was fun. Hope you guys enjoyed. Thanks. We meet again next month or Saturday. And the winner is? Everyone is a winner. Okay. Yeah. Everyone is different. Because this sort of this sort of process takes forever. That's good. So you guys can actually make it a designed open source foundry. Okay. And then, but who joined anyway? Yeah, everyone had excellent spirit. Probably see some Indian type faces from you guys and we can say it just started in design. We can take We cannot take very good. So good, we might have a designed volunteer meet next week. Please follow our design day page We'll keep you posted on what you have. We want to see what we can do more than just meetups or even activities for that matter. Anything. We're just looking to put some structure to it rather than just directly meetup and do these activities but also do it in much more structured way. So great guys, thank you. We'll meet up no matter what anyway on Saturday of every month. Share the photos, tweet about it. Let good designers know about it. Let good designers know about it.