The present paper describes the development of a novel scheme for recognising Bengali handwritten vowels using mathematical morphology where the characters are first categorised on the basis of their anatomical features. The scanned images of the characters are passed through a weighted decision tree which is designed to analyse the feature set present in them. Based on the detected features, the algorithms easily recognise the individual characters. The extraction of some features has been carried out by generating the curvature scale spaces for the characters. The treatment is performed on scanned binary images of the handwritten characters to detect anatomical features such as ‘bowl’, ‘lobe’ and ‘arm’. The scheme developed here is very fast and it does not need training samples to work.

A Bengali Handwritten Vowels Recognition Scheme Based on the Detection of Structural Anatomy of the Characters

The present work demonstrates a novel scheme for recognising Bengali handwritten consonants by exploring the primitive set of strokes that construct the characters. The Bengali consonants are first manually analysed in order to decompose them into their constituent pattern primitives. Once an exhaustive list of such primitives are prepared, a scheme based on mathematical morphology is devised to identify their existence in the scanned images of the handwritten characters. The characters are identified on the basis of the detected set of primitives. Although, the scheme involves multiple iterations, it runs reasonably fast and doesn't require any kind of training.

http://ieeexplore.ieee.org/iel7/7799451/7813535/07813634.pdf

A handwritten bengali consonants recognition scheme based on the detection of pattern primitives

Assamese language has its own letterform or script. The evolution of the script from historical inscription to modern machinery driven form experiences many changes. The script has continuously progressed structurally as well as aesthetically to suit for machine reproduction and future demand from its original handmade manuscript phase. This study tries to explore the original letterforms that existed in various historical articles such as rock inscriptions, copper plate inscriptions, coins and Xaansi (or Saanchi) tree bark manuscripts found in the region of Assam originated from different time periods, by adopting an exploratory approach. The study also attempts to compare the historical letterforms with modern letterforms and try to establish distinct differences evolved during the progression period. Further the study attempts to address the scope of designing new typeface for Assamese script with unique identity traced from historical evidences which has not been explored till now.

Study of Assamese Letterform and Its Structure: An Exploratory Approach

The Need of a Digital Typeface for Assamese Script

We read with interest the report by Ganguly et al, regarding a case with pattern-specific dysgraphia. This case is important as it expands the limited spectrum of reports pertaining to the domain of difficulties in grapheme generation, particularly related to probable abnormalities in effector specific motor programs. The case by Ganguly et al, describes an individual with dysgraphia predominantly while writing Bengali and restricted to letters which required initiation with a circular loop. This is similar to our reported case who incidentally also had a predominant difficulty with Bengali script with dysgraphia restricted to a single letter with a circular loop at initiation. This report with its similarities and variations from our case, implores us to ask a myriad of pertinent questions which are associated with linguistics, writing systems and the anatomy of graphemes. A standard grapheme is formed of multiple segments such as the bud, knot, stem, dot, etc. It is imperative to understand that the style of writing has a significant bearing on the reported abnormality. The video provided by Ganguly et al, demonstrates that their case wrote the majority of the letters with a predominant initial bud whereas our case only wrote a single letter with the bud. Perhaps if our case had a different handwriting, we might have observed pattern rather than letter specificity. This suggests the possible need to elicit the pattern specificity by making the patient write in a different style. Another important question is why the two reports of this nature are related to Bengali script. This language is part of the Indic/Brahmic group of scripts, and almost all included languages have a similar structure for graphemes. It is rather perplexing that there are no reports from other languages, which have more buds, knots and loop. The patient in the case by Ganguly et al, had difficulty while writing the letter “c” in English and this was not due to default presence of a bud in the letter, rather due to his style of writing the letter. This fact once again highlights the role of the pattern in grapheme generation. However, it would be interesting to know if a forcible change in handwriting or if writing with a different body part such as the foot would alter the dysgraphia. The underlying abnormality is considered to be the effector specific motor program that encodes the muscle activation pattern for each grapheme. This is perhaps a valid reason for a single letter but is uncertain if the same can hold true for abnormality in a specific pattern which is present across multiple graphemes. Finally, the most pertinent question is why the initial loop, ie, the bud or knot? Why not another aspect of the grapheme, or toward the middle or the end. Although there are no clear answers to any of these questions, and this may not particularly be a disabling disability, it is an intriguing field to explore which deserves further evaluation in future reports.

Reply: Pattern Specific Dysgraphia—Beyond Letter Specificity

The anatomy of letterforms defines the structural formation of letters. The study is based on semiotic approach. The methods used here are Syntagmatic and Paradigmatic analysis. The anatomy is developed through analysis based on the work on Latin letterforms from three different aspect which are structural grid lines, anatomical features and parameters. This syntagmatic analysis is yielded in identification of various structural features of letterforms like terminal, bowl, blob, stem, dot or nukta, ascender and descender. The analysis has been carried out using two techniques, repeated forms and unique forms of letters. The paradigmatic analysis discusses the comparative study of structure and feature of letterforms across different typefaces such as Lohit Bengali, Vrinda, Solaimanlipi and etc. The analysis offers distinct anatomical nomenclatures after analyzing paradigmatic transformations. Further the study categorizes the letterforms according to the appearance of common features.

Anatomy of Bengali Letterforms: A Semiotic Study

This paper aims to identify the appropriateness of various parameters identified previously to define legibility in the context of Latin script done for the context of Indic typefaces like Bengali and Devanagari. The analysis is based on anatomical features, gridlines, letter binding, letter support, direction of stroke, stroke density, and variance. The paper also discusses various challenges of Indic scripts in terms of letter identification with respect to visibility and familiarity. Finally, various design parameters for identification are proposed for measurement of legibility of Bengali and Devanagari. The insight of the paper is to make type designers and researchers aware of effective design parameters that are necessary to understand during the design of Indic typeface.

Legibility: Same for all scripts!

Typefaces are the primary means of reading. Without a quality display of the typeface on the display screen, reading becomes difficult. The paper aims to identify the display issues with the Indian typefaces on display screens. Further, the paper encounters the challenges and difficulties in the type design process with Indian scripts. India is a multilingual country with various scripts. Indian letterform structures are complex and sinuous. In this paper, the technical challenges related to the design process of Indian typefaces such as hinting, glyph positioning and substitution have been discussed. Hinting is a challenging task for Indian scripts since the letter structures are complex. Developing glyphs substitution instructions is a tedious task due to the large number of characters set. In the context of letter design, Indian letters lack a letterform grammar and visual language of type forms. Anatomical nomenclature and grid system are the primary deficiency in the design process that hinders the quality font production. Apart from that, identification of the legibility parameters is required for the Indian scripts to make the letters reading friendly and visually enhancing. Research on Indian typeface legibility has not been studied extensively. Therefore, a review on the current issues and challenges of Indian typeface becomes essential. The present paper is an attempt to discuss the design challenges and display issues with the Indian typefaces.

Indian Typefaces in Digital Platforms: Issues and Challenges

This study explores the co-existent nature of emotions and cognition in humans to build and propose a framework that helps correlate ‘likeability’ and ‘sellability’ of a product by introduction of a relatively new term—unique selling factor (USF). The framework runs on context-based logical correlations among its constituents. The aim of this framework is to qualitatively express the emotional characteristics of a product. As emotions work alongside with cognition, the design attributes of the product under the lenses are first analysed as per the three levels of our brain’s processing. Each design feature corresponds to the processing level based on the consumers’ probable preferences to choose that feature in the first place. After this cognitive breakdown, we further diverge the semantic analysis at emotional levels. Each design feature when stated with the consumers’ probable preference and the cognition level involved can now help develop context of the scenario. This context that triangulates the connect between the design feature, consumers’ preference and processing level plays significant role as the backbone of emotionality in the analysis overall. To apply the understanding built, a logical study is done considering a black V-neck T-shirt as the product under the lenses. For this product, we define the likeability, sellability and the unique selling factor. For analysis, we create a feature analysis table that subdivides the product features first, into its design characteristics. Second, against these characteristics are explored the probable reasons the consumer might have had for opting for those characteristics. Third, each reason for the preference for its respective design characteristic is assigned to its corresponding levels of brain processing. Fourth, for the context developed so far, we can assign emotions involved. The co-existence of emotion and cognition paves way for this product-semantic design language. Thus, the framework proposed works evidently on emotion and cognition and helps provide a novel perspective—that of the most significant stakeholder of all—the customer and the people we design for. The framework follows an ecosystemic approach that provides it with appropriate literature and a holistic approach.

Product Semantics: The Emotional Design Language

Need for design of a part or as a whole of a utility item/issue and ergonomics considerations interact in an intertwined way while re-looking the issue either for betterment of existing product or to develop a new one. Around 4000 students of 13 hostels use bicycles in IIT Guwahati campus and identity of bicycles is an issue. The present study looks into the possibilities of using identity labels on bicycles being used in IIT Guwahati campus by the students of different hostel resident. Attempt has been made to develop an ergonomically visible and aesthetically appealing numbering system with specific attention to information flow presentation for easy readability and legibility in both static and moving conditions. Study was conducted through placing relevant information using horizontal and vertical orientation on the mudguard. This study was done with the observational and experimental analysis of the design. Results show that instead of horizontal orientation, the vertical placement on mudguard area is preferred. It was clearly found that the new design was better in terms of readability, legibility, and design aesthetics.

Subhajit Chandra

Papers

Anatomy of Bengali Letterforms: A Semiotic Study

Legibility: Same for all scripts!

Indian Typefaces in Digital Platforms: Issues and Challenges

Product Semantics: The Emotional Design Language

Number Plate Design for Bicycles: An Approach from Aesthetic and Ergonomic Perspective