IN INDIAN ADVERTISING, TYPOGRAPHY AND PACKAGING AS CULTURAL INTERFACES: DIVERSITY, CONTINUITY, AND INTERNATIONAL CONVERSATIONS

Arjita  Singh; Shivangi  Gupta; Tanisha  Wadhawan

doi:10.29121/shodhkosh.v7.i8s.2026.7732

Authors

Arjita Singh Research Scholar, Drawing and Painting, Juhari Devi Girls Degree College, Kanpur, India
Shivangi Gupta Research Scholar, Faculty of Visual Arts, Banaras Hindu University, Banaras, India
Tanisha Wadhawan Assistant Professor, Department. of Fine Arts, Chhatrapati Shahu Ji Maharaj University, Kanpur, India

DOI:

https://doi.org/10.29121/shodhkosh.v7.i8s.2026.7732

Keywords:

Design Semiotics, Branding and Identity, Visual Culture, Cultural Pluralism, Typography, Packaging Design, Indian Advertising, Globalization in Design

Abstract [English]

In order to mediate plurality, continuity, and international visual interaction, this study looks at typography and package design in Indian advertising. The study examines how modern Indian branding practices use typographic articulation and material packaging tactics to navigate linguistic diversity, historical visual traditions, and transnational design standardization. It is situated within the discourse of design studies and visual culture. The study combines visual semiotic analysis with comparative case studies of a few Indian consumer brands Amul, and Patanjali Ayurved representing heritage-based, indigenous- market, and internationally focused branding settings using qualitative and interpretive research approaches. To understand how packaging serves as a medium of cultural signification rather than merely commercial display, the case studies assess typographic choices, script applications, compositional structures, chromatic systems, illustrated languages, and material execution. According to the investigation, multilingual scripts, regional aesthetic vocabularies, and vernacular graphic idioms are often integrated into Indian packaging to embody visual plurality. By reinterpreting historic themes, indigenous alphabet traditions, and folk visual grammars within modern design frameworks, it simultaneously maintains cultural continuity. The results also show that global design elements, such international typographic norms, standardized package forms, and minimalist layout systems, are deliberately adapted to create hybrid visual languages that strike a compromise between culturally rooted identity and universal readability. According to the study, typography and packaging are active cultural translators that add to the conversation about Indian art and design as dynamic, historically informed, and internationally dialogic activities. Thus, Indian advertising becomes a location of visual negotiation, preserving culturally unique modalities of representation while engaging in global design discussions.

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