This peculiarity also makes the glyph design of fonts challenging - to balance aesthetics, legibility/readability and leading/line spacing. аґёаµЌаґ¤/stha) and Malayalam script in particular has plenty of stacked conjuncts even in contrast with other Indic scripts. The same characters may join вЂhorizontallyвЂ™ (e.g. Indic scripts have abundant conjunct characters (basic characters combined to form a distinct shape). This second point set up the stage nicely for my talk, in which we argued that a paradigm shift from established Latin font metrics is necessary in designing and choosing font metrics for Indic scripts, in particular with Malayalam as a case study. He mentioned that Noto was originally envisaged to be developed as a single font containing all Unicode scripts but that was changed due to a couple of reasons: (1) huge size of resulting font and (2) the design of many South/South-East Asian characters do not fit well within its Latin font metrics. Opening keynote to TUG2020 was delivered by Steve Matteson, about the design of Noto fonts.

In a number of discussions that ensued, this idea was developed and later presented at TUG2020. Hussain, designer of well-known fonts such as Rachana, Meera, Meera Inimai, TNJoy etc. The idea and its articulation of the talk originated with K.H. In TUG2020, I have presented a talk on some important Malayalam typeface design factors and considerations. This yearвЂ™s annual international conference organized by TeX Users Group - TUG2020 - was held completely online due to the raging pandemic.

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