Kruti Dev Keyboard

The Kruti Dev keyboard layout is closely linked to the Krutidev font, a traditional and widely recognized Devanagari font in India, particularly for Hindi typing on personal computers in the northern states.

kruti dev pic

Kruti Dev Font


Kruti Dev font is a devnagari script font which is a compulsory font for data input in Hindi. Generally it is used in public sector field like government offices, block, school, college etc. Microsoft Office is a common application which is used for preparing data or formatting the document or sheet. Kruti Dev font like 010, 040, 016 are commonly used for style the word or sentence in a document. We also use other alternatives for Hindi input in various electronic devices like remington gel, Mangal font, Arial Unicode ms, Aparajita, Kokila etc.

Characteristics of the Kruti Dev Keyboard



Typing in Krutidev Font

Even after the advent of Unicode , Krutidev is very popular for works related to graphics etc. Apart from this, it is also useful for those softwares which do not support Indic Unicode (like Photoshop , PageMaker etc.). Krutidev is basically in Remington keyboard layout. If you know Remington, then you can type in Krutidev without any separate tool by just selecting the font. If you do not know Remington, then you will have to first type from Krutidev in some other tool and then paste it in your application in which you are working. Hindipad is such a tool for phonetic users. After typing in Krutidev in these tools, you can copy that text and paste it in the desired application.

What is Typography


Type, from Gutenberg to the 18th century italic typeface

The first page of Virgil's Opera, the first book to incorporate italic typeface, printed by Aldus Manutius the Elder in Venice in 1501.

Whatever else the typographer works with, he works with type, the letter that is the basic element of his trade. It has already been said that there have been but three major type families in the history of Western printing:

  1. Black letter, commonly and not quite rightly called Gothic by the English;
  2. Roman, in Germany still called by its historical name of Antiqua; and
  3. italic. All had their origin in the scripts of the calligraphers whose work printing came ultimately to replace.

Calligraphy is dealt with at length in other articles (see also calligraphy). It is necessary here only to provide a context for the evolution of the typefaces of the printer's font. The basic letter forms of the Latin alphabet were established by the classical imperial capital letters of 1st-century Rome. Lowercase letters emerged only slowly, with their most vigorous development coming between the 6th and 8th centuries.

Charlemagne, in order to encourage standardization and discourage further experimentation, ordered his educational program for the Holy Roman Empire to be written in a script consisting of roman capitals and a specific form of minuscules (lowercase letters) known as Carolingian minuscule. The uniformity thus achieved was short-lived. Under the impact of the national and regional styles of the scribes who worked with the alphabet, the letters—clear, simple, and somewhat broad by today's standards—were gradually compressed laterally, until, by the 11th century, the curves had been converted to points and angles, and the body of the letter had been made thinner while the strokes of which it was composed had been made thicker. This was black letter. By the 15th century it had completed its evolution into the formal, square-text Gothic letter.

It was this formal black letter that provided the first model for printer's type when printing was invented. It served well in Germany, but when printers in Italy, in part under the influence of the Humanist movement, turned to the printing of Latin texts, they found the pointed stateliness of the Gothic letter out of keeping with the spirit of Humanism. For these works, they went back in calligraphic history to a time when the text had been less open than the first Caroline alphabet but more rounded than the narrowed, blackened, and pointed Gothic that it had become. When the printers Konrad Sweynheim and Arnold Pannartz in Subiaco, Italy, brought out an edition of Cicero in 1465, they used a typeface that was explicitly intended to be, but was not, a printed copy of the text of Cicero's own time. To distinguish this type from the Gothic that was more “modern” in the 15th century, the Italians called it Antiqua. Known today as roman, it spread rapidly throughout western Europe except in Germany, where the Humanist movement was blocked by the counter-impulses of the Reformation. There, Gothic type was accepted almost as a national typeface until 1940, when its discontinuance was ordered.

It is notable that the majority of early printers continued for many years to use the Gothic type for non-Humanist texts, ecclesiastical writings, and works on law. In Spain, for example, Jacob Cromberger printed books in which the text was set in roman type and commentary on the text was set in Gothic.

Like the Gothic and roman, the third great family of types had its origins in the writings of the scribes. The italic and the Gothic Schwabacher, which serves as a kind of italic to Fraktur (as black letter is known in Germany), both had their genesis in the fast, informal, cursive, generally ligatured letters developed by chancellery clerks to speed their work.

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