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Comparison of numerals in languages and effect of fonts

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1. Background and purpose of the experiment

In this experiment using the PIP instrument, we compared numerals in Latin and Devanagari script. Here too, the colours generated from the vibrations from the number two in Sanskrit (Devanagari script) showed better vibrations than its Latin-English counterpart. However, we added one more dimension to the experiment.

If we changed the font style of the Devanagari script, could we access better vibrations from the numeral? The answer was in the affirmative. Let’s have a look at the PIP images below taken from each of the characters representing the same numeral.

2. How the experiment was set up

The experiment was set up in the same way as the previous one which was to study the difference in subtle vibrations between translated verses. Here too we used the PIP technology to study the differences in vibrations between the various letters.

3. Observations from conducting the experiment

A) Baseline reading – a blank piece of paper

The image below represents a baseline reading of all the vibrations seen around a blank white board.

B) Vibrations emitted by the numeral 2 in English (Latin script)

On placing the English numeral two, the sandy brown colour in the PIP image is seen to increase which indicates an increase in negativity. The proportion of the colour yellow signifying positivity also is seen to reduce.

vibrations-from-numbers-and-fonts2C) Vibrations emitted by the numeral two in Sanskrit (Devanagari script) using a standard commercially available font.

When we placed the Sanskrit numeral two in a standard commercially available font, we saw an increase in the positivity as compared to the English numeral 2. The proportion of yellow colour has more than doubled, while the sandy brown colour indicating negativity has halved.

vibrations-from-numbers-and-fonts3D) Vibrations emitted by the numeral two in Sanskrit (Devanagari script) using a font especially developed at the Maharshi University of Spirituality.

After this, we placed the Sanskrit numeral two in a font style which has been designed at the Maharshi University of Spirituality to emit better spiritual vibrations or increased sattvikta. As expected, we saw a further increase in positivity over the normal font. Silver colour indicating positivity is seen in a higher proportion. Sandy brown and dusty orange indicating negativity has reduced significantly.



In order to summarise the various observations, we have provided a chart aggregating the positive and negative colours with each change of character from the baseline reading. In the chart below, we have shown the positive vibrations in yellow and negative vibrations in dark grey both expressed as a percentage of the total vibrations observed in the PIP image.

  • The Devanagari script characters had a higher proportion of positive vibrations as compared to the baseline and even higher as compared to the English numeral 2.
  • There is also a significant increase in positive vibrations (from 69% to 87%) when we took the reading of the sattvik font designed at the Maharshi University of Spirituality, compared to the standard Sanskrit font.


In the chart below, we have gone into greater detail as to how the percentage of each colour changed in the PIP image with each character. Please note that we have excluded the table and the object from the measurement of the % area of colours in the image.


4. Analysis and conclusion

  • In every language there are numerous fonts available suiting everyone’s need for the presentation of their text. However, a font designer would in all probability not consider that fonts also emit spiritual vibrations that can influence the whole document or literary work.
  • From this experiment, we observed that not only does script matter in deciding if text emits positive vibrations or negative vibrations, but also the font that is used.
    Rule: The type/shape of font within a script changes the overall vibrations emitted by that text in any language.
  • Seekers in the Maharshi University of Spirituality have spent many months developing such fonts in the Devanagari script under the guidance of H.H. Dr Athavale as a part of their spiritual practice. Imagine the possibilities in relation to generating positivity in texts worldwide if such fonts were adopted and the positive impact on a reader/writer. This is an aspect that font designers around the world can consider while designing a font. In order to design sattvik fonts one needs to have the sixth sense ability to perceive vibrations at a subtle level.

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