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Type design in India








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Aadhya B

Graphic designer in Gargaon, India, who created the outlined My Comic Font in 2013 and the comic book typeface Oddball in 2017. [Google] [More]  ⦿

Aajwanthi Baradwaj

Communication designer in Mumbai, India. In 2011, he made an experimental modular typeface. [Google] [More]  ⦿

Aakash Mejari

Thane, India-based designer of Third Font (2018), in cooperation with Monotype. The font was put up for sale to companies in exchange for a promise to hire at least one transgender (hijra). [Google] [More]  ⦿

Aakash Soneri
[Soneri Type]

[MyFonts] [More]  ⦿

Aakash Verma

Art director in New Delhi and Paris who created the illustrative New World Typeface (2012) and DaKali Font (2013). [Google] [More]  ⦿

Aarti Shinde

Mumbai, India-based designer of the free thin decorative sans typeface Nune (2017). [Google] [More]  ⦿

Aarya Purohit

Indian designer of the technoid sans typeface Demo (2018, Indian Type Foundry). [Google] [MyFonts] [More]  ⦿

Aasawari Kulkarni

New Delhi, India-based designer of the decorative caps alphabet Temples of India (2016) and the ancient column and doorway-inspired Ellora (2017, named after Aurangabad's Ellora Caves). [Google] [More]  ⦿

Aashka Chavda

Mumbai-based creator of the multiline typeface Fragile (2012). Behance link. [Google] [More]  ⦿

Aashna Jain

Ludhiana, India-based designer of the Devanagari font Devnaigi Rustic (2017) and the modular Latin typeface Fontstruct (2017). [Google] [More]  ⦿

ABCinfy.com

Font generation service located in Mumbai, India. [Google] [More]  ⦿

Abdul Kalam

New Delhi-based designer of the display typeface Spoon (2017). [Google] [More]  ⦿

Abhijeet Karnik

Mumbai, India-based designer of a custom deco typeface in 2018. [Google] [More]  ⦿

Abhijit Das

Abhijit Das published the Bengali text editor in the 1990s. He also had several free Bengali PostScript fonts. In addition, he offered software for using Bengali in TEX and has Bengali X11 screen fonts. At that time, he was with the Department of Computer Science and Automation, Indian Institute of Science, Bangalore. [Google] [More]  ⦿

Abhilasha Jaiswal

Varanasi, India-based designer of the modular Latin typeface Elegance (2016). During her studies at IIT Jabalpur, Abhilasha Jaiswal designed the compass-and-ruler monoline rounded sans typeface Gol (2016) for Devanagari. She drew a textured set of zodiac symbols, a blackletter alphabet, and a Latin poster alphabet in 2016. [Google] [More]  ⦿

Abhilasha Miglani

During her graphic design studies at anasthali Institute of Design, Abhilasha Miglani (Jaipur, India) created these typefaces: Green (2014, curly, organic), Banking (2014). [Google] [More]  ⦿

Abhirami Rao

During her studies in New Delhi, Abhirami Rao created a modular Latin typeface (2013-2015). [Google] [More]  ⦿

Abhishek Kumar

Designer in Bangalore, India. He used mathematical constructions and programming to construct his geometric typeface Segment (2013). This typeface took three months to develop during his studies at the Srishti School of Art Design and Technology. [Google] [More]  ⦿

Abhishek Malhotra

Indian designer of the free font Together (2018). [Google] [More]  ⦿

Abhishek Sanjapogu

Abhishek Sanjapogu (Hyderabad, India) designed the squarish Latin typeface Crane in 2016. Behance link. [Google] [More]  ⦿

Abogawat

Hyderabad, India-based creator of Softhand (2010, hand-printed), which can be bought here. [Google] [More]  ⦿

Abul Kalaam

Type designer from Hyderabad, India, b. 1988, Hyderabad. He created the slightly creepy Latin handwriting typeface The Demon Font (2011). His foundry is also called Kalaam. [Google] [MyFonts] [More]  ⦿

aczone

ItxBeng (Bengali, 1997), ItxGuj (Gujarathi, 1997, by Shrikrishna Patil), NCS_CSX+ (URW's Sanskrit, 1994), Xdvng (1997). [Google] [More]  ⦿

Adhi Pritish

Bangalore, India-based art director. In 2014, he made a great experimental hybrid typeface. In 2015, he added the display typeface Whitecap. [Google] [More]  ⦿

Adil Kazi

Mumbai-based designer of the modular typeface Mechanika (2013). [Google] [More]  ⦿

Adil Siddiqui

Mumbai-based designer of the free modular typeface Phantasm (2014). Behance link. [Google] [More]  ⦿

Aditi Gunaji

Pune, India-based designer in 2016 of a Devanagari typeface that is based on Bookman Old Style. [Google] [More]  ⦿

Aditi Kapre

During her studies in Pune, India, Aditi Kapre designed the modular sans typeface Subtle (2016). [Google] [More]  ⦿

Aditi Sarin

Bangalore, India-based designer of a colorful set of capitals in 2015. [Google] [More]  ⦿

Aditya Dutta

Art director in Mumbai. Designer of the wavy display typeface Graffica (2017) and the bold poster typeface Dogma (2017). [Google] [More]  ⦿

Aditya Yaduwanshi

New Delhi, India-based designer of the video game font Pixa (2015). [Google] [More]  ⦿

Adwait Pawar

Bangalore, India-based creator of Bombay Dyeing (2014), a strong sans headline typeface that was developed from the ten letters in the original Bombay Dyeing logo. Behance link. [Google] [More]  ⦿

Agra

Hindi fonts: Agra, Agra-Bold (Ly's, 1996), DV-TTYogesh-Bold, DV-TTYogesh-Normal (C-DAC, Pune, 1992). [Google] [More]  ⦿

Agro Explorer

Indic typeface archive: Has ArialUnicodeMS (2000) and DevLys 050 (1997). [Google] [More]  ⦿

Aishwarya Mestry

Mumbai, India-based designer of a Latin display typeface in 2018. [Google] [More]  ⦿

Aishwarya Navale

During her studies at MIT Institute of Design in Pune, India, Aishwarya Navale designed the modular squarish typeface Sleek (2016). [Google] [More]  ⦿

Ajay

Free Devanagari font family. [Google] [More]  ⦿

Ajeet Mestry

Type designer from Yavatmal, Maharashtra, b. 1985. He created the paperclip typeface Staple (2012).

The Ajeet Mestry Foundry is located in Thane, Maharashtra.

Behance link. [Google] [MyFonts] [More]  ⦿

Ajeya Bharat Party

One Hindi truetype font by Satish Upadhye (1999). [Google] [More]  ⦿

Ajit Mishra

Designer at Open Font library of Sgangal (2008), a font for Hindi and Marathi. [Google] [More]  ⦿

Ajith Rajan

Chartered accountant. Designer (b. 1993, Kerala, India) of Orust (2010, "rusty" grungy face), AjiHand (2011), Ugran (2013), Ambambo (2013, brushy caps), Aesthetica (2013, prismatic), Dingy Bird (2013, a great grungy brushy script), and Chisel Script (2010), Rough Treatment (2014).

Old URL. Dafont link. Aka Ajith Rindia.

Arts vs Accounting page. [Google] [More]  ⦿

Akanksha Negi

Vadadora, India-based creator of Papercut (2014), a counterless alphabet made by cutting out letters. [Google] [More]  ⦿

Akash Jain

During his studies at the MIT Institute of Design in Pune, India, Akash Jain created the display typeface Gola (2016). [Google] [More]  ⦿

Akashsingh Sisodiya

Nagpur, India-based designer of the stencil typeface Edge (2016) and the hexagonal typeface Hex (2016). In 2017, he designed the techno typeface Curved. Behance link. [Google] [More]  ⦿

Akhil Phillips

Mumbai-based graphic designer who created the high-contrast typeface Panache in 2013. [Google] [More]  ⦿

Akhilesh Gupta
[ISE]

[More]  ⦿

Akilan Nagarajan

Pune, India-based designer of the zen garden Tamil typeface Karkkal (2017). [Google] [More]  ⦿

Akshar Pathak

Akshar Pathak (New Delhi) the Devanagari typeface Ujagar, named after his grandfather Trilok Ujagar, in 2013. Behance link. [Google] [More]  ⦿

Aksharamala

Indic language software, with some commercial fonts. A free Unicode font, aksDeva. [Google] [More]  ⦿

Akshata Chourey

As a student in Mumbai, India, Akshata Chourey designed an Indic currency note typeface (2016) based on Ek Mukta. [Google] [More]  ⦿

Akshata Desai

As a student in Baroda, India, Akshata Desai created the typeface Jigsaw (2016). [Google] [More]  ⦿

Akshay Naik

Mumbai-based creator of Rangoli (2012). [Google] [More]  ⦿

Aleksas Girdenis

Lithuanian professor at the University of Vilnius who in 1997-1998, together with Petras Skirmantas, created the Lithuanian fonts Fontra1italic, Fontra2italic, Fontra3italic, Fontra4italic, Fontra5italic, Fontra6italic, Fontra7italic, Fontra8italic, Fontra9italic, IndoBalt-0-italic, IndoBalt-1-italic, IndoBalt-2-italic, IndoBalt-3-italic, IndoBalt-4-italic, IndoBalt-5-italic, IndoBalt-6-italic, Fontra0italic, Fontra0Normal, Fontra1Normal, Fontra2Normal, Fontra3Normal, Fontra4Normal, Fontra5Normal, Fontra6Normal, Fontra7Normal, Fontra8Normal, Fontra9Normal. These fonts were designed for (phonetic) transcriptions of Indo-Baltic languages. [Google] [More]  ⦿

Alisha K

During her studies, Alisha K (Sambalpur, India) designed the Latin display typeface D Font (2016). [Google] [More]  ⦿

All India Radio

Free Hindi truetype font, Kruti Dev 020. [Google] [More]  ⦿

AL-Mehran Sindhi Fonts

Free Windows truetype Sindhi fonts developed by Abdul Latif Memon and Abdul Qadeer Memon. See also here. [Google] [More]  ⦿

Alok Bhoi

During his studies at the National Institute of Fashion Technology in Hyderabad, India, Alok Bhoi drew a nice typographic bike (2015). [Google] [More]  ⦿

Alphabetum
[Juan-José Marcos García]

Juan-José Marcos García (b. Salamanca, Spain, 1963) is a professor of classics at the University of Plasencia in Spain. He has developed one of the most complete Unicode fonts named ALPHABETUM Unicode for linguistics and classical languages (classical&medieval Latin, ancient Greek, Etruscan, Oscan, Umbrian, Faliscan, Messapic, Picene, Iberic, Celtiberic, Gothic, Runic, Modern Greek, Cyrillic, Devanagari-based languages, Old&Middle English, Hebrew, Sanskrit, IPA, Ogham, Ugaritic, Old Persian, Old Church Slavonic, Brahmi, Glagolitic, Ogham, ancient Greek Avestan, Kharoshti, Old Norse, Old Icelandic, Old Danish and Old Nordic in general, Bengali, Hindi, Marathi, Phoenician, Cypriot, Linear B with plans for Glagolitic). This font has over 5000 glyphs, and contains most characters that concern classicists (rare symbols, signs for metrics, epigraphical symbols, "Saxon" typeface for Old English, etcetera). A demo font can be downloaded [see also Lucius Hartmann's place]. His Greek font Grammata (2002) is now called Ellenike.

He also created a package of fonts for Latin paleography (medieval handwriting on parchments): Capitalis Elegans, Capitalis Rustica, Capitalis Monumentalis, Antiqua Cursiva Romana, Nova Cursiva Romana (2014), Uncialis, Semiuncialis, Beneventana Minuscula, Visigothica Minuscula, Luxoviensis Minuscula, Insularis Minuscula, Insularis Majuscula, Carolingia Minuscula, Gothica Textura Quadrata, Gothica Textura Prescissa, Gothica Rotunda, Gothica Bastarda, Gothica Cursiva, Bastarda Anglicana (2014) and Humanistica Antiqua. PDF entitled Fonts For Latin Palaeography (2008-2014), in which Marcos gives an enjoyable historic overview.

Alphabetum is not Marcos's only excursion into type design. In 2011, he created two simulation fonts called Sefarad and Al Andalus which imitate Hebrew and Arabic calligraphy, respectively.

Cyrillic OCS (2012) is a pair of Latin fonts that emulate Old Church Slavonic (old Cyrillic).

In 2013, he created Cuneus, a cuneiform simulation typeface.

Paleographic fonts for Greek (2014) has ten fonts designed by Marcos: Angular Uncial, Biblical Uncial, Coptic Uncial, Papyrus Uncial, Round Uncial, Slavonic Uncial, Sloping Uncial, Minuscule IX, Minuscule XI and Minuscule XV. These fonts are representative of the main styles of Greek handwriting used during the Classical World and Middle Ages on papyrus and parchments. There is also a short manual of Greek Paleography (71 pages) which explains the development of Greek handwriting from the fourth century B.C. to the invention of printing with movable type in the middle of the fifteenth A.D. He wrote a text book entitled History of Greek Typography: From the Invention of Printing to the Digital Age (in Spanish). See also here and here. [Google] [More]  ⦿

Amantrika Saraogi

Coimbatore, India-based student-designer of the bike-inspired typeface Psyclopath (2014). [Google] [More]  ⦿

Amardeep Yadav

Designer in Ahmedabad, India. In 2012, he mixed the shapes of Bauer Bodoni Italic with those of Urdu Naskh Asiantype to create a didone-style Urdu typeface. [Google] [More]  ⦿

Ami Shah

Ami Shah (Mumbai) drew various experimental Latin alphabets in 2012. During her studies at IDC, IIT Bombay, she designed IDC Gujarati (2012). [Google] [More]  ⦿

Amisha Mishra

As a student in Indore, India, Amisha Mishra designed a hand-crafted typeface (2016). [Google] [More]  ⦿

Amit Apte

Pune, India-based designer of a hand-crafted devanagari script typeface in 2017. [Google] [More]  ⦿

Amit Botre
[Redfonts]

[More]  ⦿

Amit Chalakh

Nagpur, India-based designer of the Marathi display typeface Orange Nagpur (2018). [Google] [More]  ⦿

Amol Polkade

Mumbai, India-based designer of the circle-themed poster typeface Symbolic Letters (2017), which was influenced by the logo of the SBI (State Bank of India). [Google] [More]  ⦿

Amrit Pal Singh

Amrit Pal Singh (Ahmedabad, India) developed a signage and way finding system for a museum named Vivek Darshan, situated in Khetri, Distt. Jhunjhunu, Rajasthan, in 2014. [Google] [More]  ⦿

Anand Kishore

New Delhi, India-based designer of the hipster Latin typeface Illusive (2016). [Google] [More]  ⦿

Anand Patel

Web and graphic designer in Navsari, India, who created the calligraphic typeface Liscio (2015). [Google] [More]  ⦿

Ananda Kumar Maharjan

Kathmandu-based designer of a Nepali Devanagari font families called Ananda Kalpana (2012), Adhunik (2012), NepSerif Nepali Devanagari (2012), Ananda Lamcho (2012), Ananda Akchyar (2011), Gaijatra (2011), Ananda Ashlesha (2011), Ananda 1 Hv (2003), Ananda Kinara (2011), Ananda NepTouch (2011, free Latin face), Neptouch2 (2011), Ananda Namaste (2011, Indic simulation face), and Ananda Sansar (2011).

In 2013, he made the free modular Latin typeface Bauchaomaicha (FontStruct) and the Indic simulation typeface Pasarocks.

In 2014, at FontStruct, he created the Devanagari typefaces Ananda Thopla (dot matrix) and Ananada Devanagari Round.

In 2015, he published the free monoline Devanagari font Ananda Ukaliorali, the Sanskrit-inspired Latin typeface Ananda Neptouch Caps and the Devanagari font Ananda Chautari.

Typefaces from 2016: Ananda Devanagari (free), Ananda Fanko (a free brush Devanagari typeface specially made for the Nepali movie Fanko).

Typefaces from 2017: Nepal Lipi.

Behance link. Klingspor link. Hellofont link. Blogspot link. Devian tart link. Catalog. Another Hellofont link. Creative Market link. Behance link. [Google] [More]  ⦿

Ananya Maheshwari

During her studies in Delhi, India, Ananya Maheshwari created the decorative typeface Milsa (2015). Milsa was inspired by Kutiman's Mixes Craftsman. Behance link. [Google] [More]  ⦿

Anaya Purandare

As a student at NIFT Mumbai, Khargha, India-based Anaya Purandare designed the devanagari typeface Devanaya (2017). [Google] [More]  ⦿

Anchal Kandoi

Graphic designer in Mumbai, India, who designed the decorative caps typeface Kala Ghoda in 2016 for the Kala Ghoda Arts Festival. [Google] [More]  ⦿

Andrew Glass

Andrew Glass is a paleography expert who obtained his Ph.D. at the University of Washington in 2006. His links and downloadable fonts for various Indic languages include Gandhari Unicode, Devanagari Unicode, Bengali Unicode, Kharoshti Unicode, Rhino Kharoshti, and Times Gandhari CSX. The Gandhari Unicode fonts are based on an original Postscript font called "Nimbus Roman No9 L" created by URW++ Design and Development Incorporated and donated to the free software community under the GNU General Public License. The Nimbus Roman No9 L font is itself based on the design for Times New Roman by Stanley Morison. [Google] [More]  ⦿

Andrew Glass
[Gandhari project]

[More]  ⦿

Aneri Jhaveri

Mumbai-based designer of Bangalore Bold (2015) and a Kannada-inspired Latin typeface (2015). [Google] [More]  ⦿

Anhad Kaur

At Raffles Design Institute in Mumbai, Anhad Kaur designed the fun decorative caps typeface Nerd Word (2017). [Google] [More]  ⦿

Anil Dhurve

Indian designer of a straight-edged modular Latin typeface in 2017. [Google] [More]  ⦿

Anish Sundaran

Designer in Bombay, who made a custom Hindi font (2012), as well as a typeface for teaching children how to draw the Latin alphabet. He also created Hexy (2012, a hexagonal family that includes an inline face), Hindustan Hipsters Icons (2012), the thin geometric typeface Elefont Sans (2012) and the paperclip typeface Incomple (2012).

Another Behance link. [Google] [More]  ⦿

Anjali Kushwaha

As a student in New Delhi, India, Anjali Kushwaha designed a mushroom-themed decorative typeface in 2016. [Google] [More]  ⦿

Anjali Maurya

Jaipur, India-based designer of the Latin display typeface Nick (2016). [Google] [More]  ⦿

Anjman Gill

Designer in Chandigarh, India. She created the display / logo typeface Diamanti (2012). [Google] [More]  ⦿

Ankita Amlathe

Jaipur, India-based designer of the hipster font Animotemezoo (2015). [Google] [More]  ⦿

Ankita Dahake

Dombivli West, India-based designer of Arc (2017). [Google] [More]  ⦿

Ankita D'Souza

Bangalore, India-based designer of the expressive tapered sans poster typeface Afro (2017). [Google] [More]  ⦿

Ankur Chitlangia

Indore, India-based designer of Elegant (2015, bichromatic), Line Art (2015, free), Bullet (2015), Sketch Font (2015), Advertise (2015, a sans), Chic (2015, a display typeface), and a few untitled display typefaces. [Google] [More]  ⦿

Anmol Chopra

During her studies at MIT Institute of Design in Pune, Ahmedabad, India-based Anmol Chopra designed the decorative Latin / Devanagari paper cutout / beatnik typeface Clown (2016). [Google] [More]  ⦿

Annapurna SIL

Annapurna SIL (2007-2017) is a free Unicode-based font family published by SIL. It offers broad support for writing systems that use the Devanagari script. Inspired by traditional calligraphic forms, the design is intended to be highly readable, reasonably compact, and visually attractive. It has special support for Nepali as well. [Google] [More]  ⦿

ANOOP

Bombay-based company which made these free Indic fonts in 1997: Chambold, Chamheavy, Chamunorm. Download here. [Google] [More]  ⦿

Anshuman Pandey

Anshuman Pandey (University of Washington, Seattle) made a Bengali METAFONT. He also created wnri, a METAFONT set of fonts for Old English, Indic languages in transcription, and American Indian languages. The Washington Romanized (WNRI) Indic package enables texts encoded in the 8-bit Classical Sanskrit/Classical Sanskrit eXtended (CS/CSX) encoding to be typeset in \TeX{} without modification of the input scheme. Pandey also developed a LaTeX package for Gurmukhi/Punjabi, which uses a metafont he generated (with permission) from Hardip Singh Pannu's Punjabi truetype font.

Frans Velthuis (Groningen University) developed a Devanagari Metafont in 1991, which is on the CTAN archive. Later, Anshuman Pandey took over the maintenance of font. Primoz Peterlin made type 1 outlines based on this. These outline renderings (Type 1) were automatically converted from METAFONT by Peter Szabo's TeXtrace, and subsequently edited using George Williams' PfaEdit PostScript font editor by Anshuman Pandey (University of Washington). In 2003-2004, additional updates in the set of 22 Metafont files are due to Kevin Carmody, who presently maintains the package. The font names: TeX-dvng10, TeX-dvng9, TeX-dvng8. These were later changed to VelthuisDevanagari8-Regular, VelthuisDevanagari9-Regular and VelthuisDevanagari10-Regular. This font was used in the GNU freefont project for the Devanagari range (U+0900-U+097F). [Google] [More]  ⦿

Ansum Designs

Anand R (Ansum Designs, Bangalore, India) created a few Latin display typefaces in 2016. [Google] [More]  ⦿

Anto Thomas

Thrissur, India-based designer of the sci-fi typeface Lunar (2016). Behance link. [Google] [More]  ⦿

Anuj Arora

Indian graphic design student. Creator of the techno typeface Headstrong (2011). [Google] [More]  ⦿

Anuj Vijay Gadre

Hyderabad, India-based designer of the 3d Escher font Pichana (2016). Behance link. [Google] [More]  ⦿

anuj88chawla

Indian designer of the hand-crafted typefaces Pihu (2017), Str (2017), Str Grunge (2017), and Tofu (2017). [Google] [More]  ⦿

Anuja Thakur

Graphic designer in Mumbai, India, who created the Indic simulation typeface Paisley (2014) and the Tibetan simulation typeface Mantra (2014). [Google] [More]  ⦿

Anukriti Hooda

Jabalpur, India-based designer of the decorative textured typeface GustaveKlimt (2016). [Google] [More]  ⦿

Anupam

Free truetype fonts (ISFOG family) for Hindi, Marathi, Nepali, Gujarati, Tamil, Punjabi, Bengali, Assamese, Telugu, Malayalam, Kannada, Oriya. [Google] [More]  ⦿

Anupama Rao

During her graphic design studies, Mumbai-based Anupama Rao created the Kannada font Hongushkie (2015). [Google] [More]  ⦿

Anupriya Aeron

At the National Institute of Fashion Technology, Mumbai, India-based Anupriya Aeron designed the devanagari typeface Aeranya (2017). [Google] [More]  ⦿

Anurag Gautam

Graphic designer in New Delhi, who, during his studies at the National Institute of Design, proposed a legible sans caps typeface, Krum (2013) to replace the Indian license plate font HSRP (High Security Registration Plates).

At Fontstore, he published the monspaced sans serif RX100 (2017). [Google] [More]  ⦿

Anurag J

Mumbai, India-based designer of the free spurred Latin vector format typeface Theka (2014). [Google] [More]  ⦿

Anushree Chokappa

During his studies at Srishti Institute of Art, Bangalore, India-based Anushree Chokappa designed the hand-crafted Latin typeface Willow Script (2015). [Google] [More]  ⦿

Anvesh Dunna

Mumbai-based creator of IDC Screen Bangla (2012), a Bengali script developed for a Masters project. [Google] [More]  ⦿

Apoorv Jadhav

Mumbai, India-based designer of the hyper-ornamental Indic emulation typeface Ganesh (2015). [Google] [More]  ⦿

Apoorva Savant

Mumbai, India-based designer of The Flintstones Typeface (2014). [Google] [More]  ⦿

Apoorwa Middha

New Delhi, India-based designer of an attractive set of curly hand-drawn letters called Dreamer (2016). [Google] [More]  ⦿

Apurva Nawalkha

Mumbai-based creator of the free display family Umbrella (2012).

Behance link. [Google] [More]  ⦿

Archana Lothe

Indian freelance graphic designer, who lives in Mumbai. She created the Indic simulation font Modakshar BT (2003). See also here. [Google] [MyFonts] [More]  ⦿

Archetype Foundry
[Sujan Sundareswaran]

Chennai, India-based designer of the monospaced programming font Dita Grotesk (2018). [Google] [More]  ⦿

Aritra Das
[Nautica Studios]

[More]  ⦿

Aritro Dias

Graphic designer in Kolkata, India, who "created" the tweetware script typeface Vigneta (2015)---he is asking 2 dollars for it tto; the only problem is that it was actually stolen from Ilham Harry. In 2015, he published the free font Cassiderra and has the chtutzpah to write Cassiderra is a beautiful and expressive handmade script font made by me. It is a shameless copy of Eduilson Wessler Coan's Delicatta (2012)----it was removed within 24 hours. He also "made" (referring to it as my project) the free curly Victorian typeface Qwerly, which was made in 2014 by Dede Mulyadi. And the list goes on. I can't understand why Behance does not place him on the no-fly list.

He surfaced as Frank Supply Co and Aritro Francis, again on Creative Market. He was selling Mozzart Sketch by Posterizer KG as Retro Ink. [Google] [More]  ⦿

Arjun Hembram

Jabalpur, India-based designer of the Latin display typeface Sandal (2016). [Google] [More]  ⦿

Arjun Makwana

Graphic designer in Baroda, India, who made a modular typeface in 2012. [Google] [More]  ⦿

Arjun Makwana

Illustrator and designer in Mumbai, India, who studied at M S University of Baroda, class of 2012. In 2017, he designed the experimental 3d typeface Imaginarium for the 3d printing company Imaginarium. This is possibly the first font that can be printed in 3 dimensions. [Google] [More]  ⦿

Arjun Thangapandi

Erode, India-based designer of the heavy geometric sans typeface Seyon Black (2018). [Google] [More]  ⦿

Arkky Anindita Punarbhawa

Creator of the free counterless display typeface Deni (2012).

Fontspace link. Aka Denky. [Google] [More]  ⦿

Aroop Mishra

Graphic designer and talented illustrator in New Delhi. In 2018, he published the free display typeface Moorkh, and the fun display typeface Fuddu. [Google] [More]  ⦿

Arun Gupta
[Ramayana]

[More]  ⦿

Arun Jangra

Graphic designer in New Delhi, who created the oriental brush typeface Experimental Font in 2014. [Google] [More]  ⦿

Arushi Khandelwal

Jaipur City, India-based creator of a spiral-based Latin typeface called Art It Is (2013). [Google] [More]  ⦿

Arvind Kumar

Visual designer in Chennai, India, who aspires to create India's leading design company. Creator of the great free triangulated typeface Aroly (2014), the rounded sans typeface Arona (2018) and the hexagonal typeface Arexa (2017).

Operating as Peninsula Studioz. Behance link. Graphicriver link. [Google] [More]  ⦿

Arvind Patel

Type designer who was involved in (owned?) Indian Type Foundry. He died in or just before 2012. [Google] [More]  ⦿

Arya Kriya Download Center

WSI's Sanskrit family. [Google] [More]  ⦿

Ascender Corporation

Elk Grove Village, IL-based company established in 2004, which specializes in font development, licensing and IP protection. It rose from the ashes of a major fire at Agfa/Monotype at the end of 2003. Its founders are Steve Matteson (type designer, formerly with Agfa/Monotype), Thomas Rickner (of Microsoft fame, where he hinted many Microsoft families), Ira Mirochnick (founder and President of Monotype Typography Inc in 1989 (where he was until 2000) and a Senior Vice President and director of Agfa Monotype Corporation (2000-2003), a self-proclaimed expert in font licensing issues and IP protection), and Bill Davis (most recently the Vice President of Marketing for Agfa Monotype). Also included in this group are Josh Hadley, Brian Kraimer, Jim Ford (since 2005), and Jeff Finger (as Chief Research Scientist, since 2006). On December 8, 2010, Ascender was acquired by Monotype for 10.2 million dollars.

Their typefaces include Endurance (2004, Steve Matteson, an "industrial strength" Grotesk designed to compete with Helvetica and Arial; it supports Greek, Cyrillic and East European languages).

In April 2005, Ascender announced that it would start selling the Microsoft font collection, which is possibly their most popular collection to date. They also started selling and licensing IBM's Heisei family of Japanese fonts in April 2005: Heisei Kaku Gothic, Heisei Maru Gothic and Heisei Mincho. Ascender's version of the CJK font Heiti is called ASC Heiti. Also in 2005, they started distributing Y&Y's Lucida family.

In October 2005, Ascender announced the development of Convection, a font used for Xbox 360 video games. Their South Asian fonts cover Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil and Telugu, and include Ascender Uni, Ascender UniDuo and Arial Unicode for general use across all Indic languages, and, in particular, the Microsoft fonts Vrinda (Bengali), Mangal (Devanagari), Shruti (Gujarati), Raavi (Gurmukhi), Tunga (Kannada), Kartika (Malayalam), Latha (Tamil) and Gautami (Telugu). Khmer SBBIC (2011) is a Khmer font at Open Font Library.

It does more type trading and licensing than type creation, although Steve Matteson has contributed fairly well to their new typefaces. Their brand value took a hit when they started selling scrapbook, handwriting and wedding fonts under the name FontMarketplace.com.

Recent contributions: Crestwood (2006, a house face, possibly by Steve Matteson) is an updated version of an elegant semi-formal script typeface originally released by the Ludlow Type Foundry in 1937.

In 2009, they started a subpage called GoudyFonts.Com to sell their Goudy revivals.

In 2010, they announced a new collection of OpenType fonts created specifically for use in Microsoft Office 2010: Comic Sans 2010 (including new italic and bold italic fonts), Trebuchet 2010 (including new black&black italic fonts), Impact 2010, Pokerface 2010, Rebekah 2010 and Rebus Script 2010. Ligatures in Comic Sans?

New releases.

View Ascender's typefaces. [Google] [MyFonts] [More]  ⦿

Ashish Kumar

At the Industrial Design Center, IIT Bombay, Ashish Kumar designed the monolinear devanagari typeface IDC Ashish (2016-2017) for his graduation project. With 780 glyphs, it covers Hindi, Marathi and Sanskrit, and is meant to be used together with Univers. . [Google] [More]  ⦿

Ashka Chavda

Mumbai-based creator of the Devanagari typeface Satt (2012).

Behance link. [Google] [More]  ⦿

Ashna Mistry

During her studies in Mumbai, India, Ashan Mistry designed a curly Gurmukhi Script typeface (2016). based on Archie's comics, she also created the decorative caps typeface Archies Font (2016). Charkat (2016) is a Devanagari font is inspired by the famous Nehru Planeterium. [Google] [More]  ⦿

Ashok Aklujkar

Designer in 1994 of Avanti and Kashi, Hindi/Marathi/Sanskrit fonts for the Mac. Aklujkar worked then at the Department of Asian Studies, University of British Columbia, Vancouver. He sold the fonts on a diskette, which also included the Roman fonts "Ganga" and "Sindhu" which can be used for transliteration of most literary languages of South Asia. [Google] [More]  ⦿

Ashwini Patil

Mumbai, India-based designer of a monoline circle-based Devanagari font in 2016. [Google] [More]  ⦿

Asif MJ

Bhopal, India-based designer of Woodcraft (2017). Behance link. [Google] [More]  ⦿

Asif Mohammed

Bhopal, India-based designer, b. 1996, of the eroded typeface Blossom (2017). [Google] [More]  ⦿

Asort Technologies
[Mohamed Naseer]

Indian designer of the free curly typeface Anywhere But Home (2004). [Google] [More]  ⦿

Association for Insight Meditation (or: Aimwell)
[Bhikkhu Pesala]

On this site dedicated to Pali fonts, we found Bhikkhu Pesala's free fonts: Akkhara (2006, derived from Gentium), Cankama (2009, blackletter), Carita (2006, all caps roman), Garava (2006), Guru (2008: made for Buddhist publications, it is a rather complete Latin, Greek and symbol font), Hattha (2007, felt marker face), Kabala (2009, after Kabel...), Lekhana (2008, in Zapf Chancery style), Mandala (2007, geometric sans), Odana (2006), Pali, Talapatta, Talapanna (2007), Veluvana (2006), Verajja (2006), Yolanda (2008, calligraphic). The Pali fonts all have over 1400 Latin characters with diacritics including those needed for Sanskrit and Pali transcriptions. They cover Latin, Vietnamese, chess symbols, and astrological signs, and are based on Zapf's Palatino.

The fonts as of 2016, including newer fonts, but with some older ones removed:

  • Acariya (2016): a Garamond style typeface derived from Guru, but with suboptimal kerning.
  • Balava (2014): a revival of Baskerville derived from Libre Baskerville.
  • Cankama: a Gothic, Black Letter script.
  • Garava was designed for body text. It has a generous x-height and economical copy-fit. The family includes Extra-Bold and Extra-Bold Italic styles besides the usual four. Typeface Sample
  • Guru: a condensed Garamond style typeface designed for economy of copyfit. 100 pages of text set in the Pali typeface would be about 94 pages if set in Garava, or 92 pages if set in Guru.
  • Hari (2016): a hand-writing script derived from Allura by Robert E. Leuschke, released under the SIL license.
  • Jivita (2012): an original sans typeface for body text.
  • Kabala: a sans serif typeface designed for display text or headings. Kabel?
  • Lekhana: Pesala's version of Zapf Chancery.
  • Mahakampa (2016): a hand-writing script derived from Great Vibes by Robert E. Leuschke.
  • Mandala: designed for decorative body text or headings. Has chess symbols.
  • Nacca (2016): a hand-writing script derived from Dancing Script by Pablo Impallari.
  • Odana: a calligraphic almost blackletter brush font suitable for titles, or short texts where a less formal appearance is wanted.
  • Open Sans (2016): a sans font suitable for body text. Includes diacritics for Pali and Sanskrit.
  • Pali: Pesala's version of Hermann Zapf's Palatino.
  • Sukhumala (2014): derived from Sort Mills Goudy.
  • Talapanna: Pesala's version of Goudy Bertham, with decorative gothic capitals and extra ligatures in the Private Use Area.
  • Veluvana (2006): A heavy brush style. The Greek glyphs are from Guru. Small Caps are greater than x-height.
  • Verajja: a Pali word meaning "variety of kingdoms or provinces." It is derived from Bitstream Vera.
  • Verajja Serif.

Bhikkhu Pesala is a Buddhist monk in London. Another link. [Google] [More]  ⦿

Aswin Menon

While at the National Institute of Fashion Technology, Bangalore-based graphic designer Aswin Menon created the free ball terminal-laden Latin display typeface Mysore (2015). In 2018, he published the Latin / Sanskrit fusion font Yuga, and the squarish futuristic and dystopian cyberpunk typeface Neototem. [Google] [More]  ⦿

AtamMarg

Free fonts AtamGurmukhi and AtamHindi. Truetype and type 1. Copyright AtamMarg, 1998. [Google] [More]  ⦿

Athang Samant

During his studies at IIT Bombay, Athang Samant designed the free typeface Crafto Stencil (2018). [Google] [More]  ⦿

Augustine Ajith

Kochi, India-based designer of the free modular FontStruct font Shark Fin (2017). Behance link. [Google] [More]  ⦿

Aurobind Patel

Designer of Times Millenium (as I understand from his web page), and Ecotype (1990, also for The Times of London). He lives in Mumbai. FontShop link. [Google] [More]  ⦿

Avi Agarwal

During her studies at the MIT Institute of Design in Pune, India, Avi Agarwal (New Delhi) created the condensed typeface Canister (2014), which is based on basic geometric shapes. [Google] [More]  ⦿

Avinash Chopde
[itrans]

[More]  ⦿

Ayesha Kapadia

Mumbia-based creator of Taj Mahal (2013, an experimental Devanagari / Latin typeface that was inspired by the shapes of the Taj Mahal. [Google] [More]  ⦿

Ayushi Bhandari

During her studies, Jaipur, India-based Ayushi Bhandari created a geometric solid typeface (2015). [Google] [More]  ⦿

Babad Bali

Here we find KwTimesNewRomanBoldItalic, KwTimesNewRomanBold, KwTimesNewRomanItalic, KwTimesNewRoman, Bali-Simbar-B. The latter is for the Balinese script, and was designed by Yayasan Bali Simbar in 1999. [Google] [More]  ⦿

Bala G

Mumbai, India-based designer of the icon font Green Turn Water Saver (2018). [Google] [More]  ⦿

Balagopal SS

Digital artist in Kochi, India, who created the Latin rounded sans typeface Balagopal in 2012. [Google] [More]  ⦿

Balaram

The Balarama fonts for Sanskrit are free. Here, you can download them, and we also read: Balaram is a Sanskrit diacritic font, but it is not a Unicode font. Balaram is one of a family of Sanskrit diacritic fonts developed by ISKCON in the 1990s. ISKCON fonts such as Balaram, ScaGoudy, etc. include all 31 of the standard ISKCON Sanskrit diacritic characters, but none of these characters are mapped according to the Unicode standard. [Google] [More]  ⦿

Baloo
[Girish Dalvi]

Baloo is a free display font available in nine Indian scripts along with Latin. Included are Baloo-Devanagari, BalooBhai-Gujarati, BalooTammudu-Telugu, BalooBhaina-Odia (Oriya), BalooChettan-Malayalam, BalooDa-Bangla, BalooPaaji-Gurmukhi, BalooTamma-Kannada, and BalooThambi-Tamil. The project's leader is Girish Dalvi, and the project is in the hands of Ek Type. Type design help came from Ek Type, and in particular from Ek Type's Sarang Kulkarni (for Devanagari) and Noopur Datye (for Baloo Da-Bangla). Maithili Singre helped with Malayalam. Baloo Bhai was designed by Supriya Tembe and Noopur Datye. Baloo Thambi is designed by Aadarsh Rajan. Google Fonts link. [Google] [More]  ⦿

Bangtex
[Palash Baran Pal]

Bangtex is a package for typesetting documents in Bangla and Assamese using the Tex/Latex systems, developed by Calcutta-based Palash Baran Pal, Saha Institute of Nuclear Physics, Calcutta. It includes a metafont family. See also here. Designer of the free Unicode-based Bengali font Akaash (2003), which can be found here and here. The latter font is part of a free Bengali font effort by the FreeFonts Project. Akaash is co-produced by Sayamindu Dasgupta. [Google] [More]  ⦿

Bapurao S. Naik

Author of Typography of Devanagari in three volumes, Bombay, Directorate of Languages (1971). This is a very useful set of books for Indic typeface design. [Google] [More]  ⦿

Berkeley Fonts
[Richard Lasseigne]

Oakland, CA-based Richard Lasseigne (Berkeley Fonts) made these Devanagari and Sanskrit typefaces in 1988-1994: TmsNagari, BF_Devanagari. [Google] [More]  ⦿

Bevin D'Cruz

Kochi, India-based designer of the inline typeface Ribbon Font (2015). Behance link. [Google] [More]  ⦿

Bhadresh Raval

Graphic designer in Ahmedabad, Gujarat, India. Creator of an illustrative Latin caps typeface in 2012.

Behance link. [Google] [More]  ⦿

Bhadresh Raval

Ahmedabad, India-based designer of the hand-crafted Type Voyage (2016). Behance link. [Google] [More]  ⦿

Bhagwan Nebhraj Thadani

Winnipeg-based designer of a set of 23 Hindi, Sanskrit, Gujarati, Marathi and Sindhi-Devnagari truetype fonts (20 USD for the set). See also here. The Bhagwan has a Bachelor of Engineering degree (1952) from the University of Poona, India, and a Doctor of Philosophy degree (1965) from Bombay University. [Google] [More]  ⦿

Bhagyashree Tathawade

During her studies at MIT Institute of Design in Pune, India, Bhagyashree Tathawade created a colorful all caps alphabet called Maths Glossary (2016). [Google] [More]  ⦿

Bharatvani Hindi Font
[Shashi Advani]

10USD shareware Hindi font by Shashi Advani. [Google] [More]  ⦿

Bhartendu Sharma

Art director at Metal Communications Pvt. Ltd. Mumbai-based designer of Solid Slab (2014). [Google] [More]  ⦿

Bhatt Karan

Designer of the beveled typeface Linometric (2017) during his studies at Surat School of Fine Arts in Surat, India. [Google] [More]  ⦿

Bhavesh Shaha

Puducherry, India-based creator of the fat finger font Random (2013) and of Caintanya (2013) and Arrowhead I Shaha (2014). [Google] [More]  ⦿

Bhavika Malhotra
[The Ink Affair]

[More]  ⦿

Bhavya Ahuja

Graphic designer in New Delhi, India. In 2016, she designed a modular typeface using FontStruct, as well as a Devanagari typeface called Kala Chashma. [Google] [More]  ⦿

Bhawna Shaktawat

New Delhi, India-based designer of Facda 404 (2018), an enigmatic cyber font made for 404 pages. [Google] [More]  ⦿

Bhikkhu Pesala
[Association for Insight Meditation (or: Aimwell)]

[More]  ⦿

Bhim Dutta

During his studies at Indian Institute of Technology, Guwahati, India-based Bhim Dutta designed the floral caps typeface Modern N. 20 in 2018. [Google] [More]  ⦿

Brahmasutra

Site with fonts representing all Indic scripts (all made by C-DAC, Pune): AS-TTDurga-Normal, BN-TTDurga-Normal, DV1-TTYogesh-Normal, DV-TTYogesh-Normal, GJ-TTAvantika-Normal, KN-TTUma-Normal, ML-TTKarthika-Normal, OR-TTSarala-Normal, PN-TTAmar-Normal, TL-TTHemalatha-Normal, TM-TTValluvar-Normal. [Google] [More]  ⦿

Brihaspati net

Free truetype fonts for Sanskrit: PalatinoSanskritHuBold, PalatinoSanskritHuItalic, PalatinoSanskritHu, ScaGoudyBold, ScaGoudyItalic, ScaGoudy, ScaPalatinoBold, ScaPalatinoItalic, ScaPalatino, ScaTimesBold, ScaTimesItalic, Tamal-BoldItalic, Tamal-Bold, Tamal-Italic, Tamal, TimesNewRomanPS-BoldItalicMT, TimesNewRomanPS-BoldMT, TimesNewRomanPS-ItalicMT, TimesNewRomanPSMT.DVBTTSurekhENNormal, PalatinoSanskritHuBold, PalatinoSanskritHuItalic, PalatinoSanskritHu, ScaGoudyBold, ScaGoudyItalic, ScaGoudy, ScaPalatinoBold, ScaPalatinoItalic, ScaPalatino, ScaTimesBold, ScaTimesItalic, Tamal-BoldItalic, Tamal-Bold, Tamal-Italic, Tamal, TimesNewSanskrit family (by Monotype). [Google] [More]  ⦿

BuddhaNet

Phil Thompson's site has modified type 1 Pali fonts. There are also truetype conversions. There are 51 fonts in all from these families: PaliBookman, PaliChancery, PaliCharter, PaliHelvetica, PaliPalatino and PaliTimes. [Google] [More]  ⦿

Buddhist Studies--Asian Fonts

Lots of links to Indic font sources. [Google] [More]  ⦿

CDAC

CDAC is Pune's Center for Development of Advanced Computing. They sell typefaces for all Indic languages. They introduced the Indian Script FOnt Code (ISFOC) standards to enable composing Indian language text. Scripts covered include Devnagari (Hindi, Marathi), Gujarati, Punjabi, Kannada, Bengali, Assamese, Tamil, Telugu, Malayalam, Oriya, Sanskrit, Diacritic Roman, Sinhalese, Bhutanese, Nepali, Tibetan. Useful type catalogs in PDF for Devnagari (Hindi, Marathi), Gujarati, Punjabi, Kannada, Bengali, Assamese, Tamil, Telugu, Malayalam, Oriya, Sanskrit, Diacritic Roman, Sinhalese, Bhutanese, Nepali, Tibetan, PersoArabic (Urdu Open Type, Kashmiri Open Type, Sindhi Open Type, Nashir True Type fonts). Type subpages with catalogs. The Indian Script FOnt Code (ISFOC) standards were invented by CDAC for their software products, Most of their fonts follow this standard. Scans from 1996: Swastik, Zodiac signs, National heroes, Dashavtar. [Google] [More]  ⦿

C-DAC, GIST PUNE: Bodo

Free Bodo fonts made in 2008: GISTOTBRXDhruvBold, GISTOTBRXDhruvBoldItalic, GISTOTBRXDhruvItalic, GISTOTBRXDhruvNormal, GISTOTBRXMohiniBold, GISTOTBRXMohiniBoldItalic, GISTOTBRXMohiniItalic, GISTOTBRXMohiniNormal, GISTOTBRXSubodhBold, GISTOTBRXSubodhBoldItalic, GISTOTBRXSubodhItalic, GISTOTBRXSubodhNormal, GISTOTBRXVinitBold, GISTOTBRXVinitBoldItalic, GISTOTBRXVinitItalic, GISTOTBRXVinitNormal, GISTOTBRXVishakhaBold, GISTOTBRXVishakhaBoldItalic, GISTOTBRXVishakhaItalic, GISTOTBRXVishakhaNormal. [Google] [More]  ⦿

C-DAC, GIST PUNE: Dogri

Free Dogri fonts made in 2008: GISTOTDGRDhruvBold, GISTOTDGRDhruvBoldItalic, GISTOTDGRDhruvItalic, GISTOTDGRDhruvNormal, GISTOTDGRMohiniBold, GISTOTDGRMohiniBoldItalic, GISTOTDGRMohiniItalic, GISTOTDGRMohiniNormal, GISTOTDGRSubodhBold, GISTOTDGRSubodhBoldItalic, GISTOTDGRSubodhItalic, GISTOTDGRSubodhNormal, GISTOTDGRVinitBold, GISTOTDGRVinitBoldItalic, GISTOTDGRVinitItalic, GISTOTDGRVinitNormal, GISTOTDGRVishakhaBold, GISTOTDGRVishakhaBoldItalic, GISTOTDGRVishakhaItalic, GISTOTDGRVishakhaNormal. [Google] [More]  ⦿

C-DAC, GIST PUNE: Hindi

Free Hindi fonts made in 1992-2005 by Modular Infotech: DV_ME_Shree0700, DV_ME_Shree0701, DV_ME_Shree0702, DV_ME_Shree0704, DV_ME_Shree0705, DV_ME_Shree0706, DV_ME_Shree0707, DV_ME_Shree0708, DV_ME_Shree0709, DV_ME_Shree0713, DV_ME_Shree0714, DV_ME_Shree0715, DV_ME_Shree0720, DV_ME_Shree0722, DV_ME_Shree0723, DV_ME_Shree0724, DV_ME_Shree0726, DV_ME_Shree0728, DV_ME_Shree0732, DV_ME_Shree0734, DV_ME_Shree0735, DV_ME_Shree0739, DV_ME_Shree0746, DV_ME_Shree0747, DV_ME_Shree0971, DV_ME_Shree0972, DV_ME_Shree0993, DV_ME_Shree0995, DV_ME_Shree1000, DV_ME_Shree1005, DV_ME_Shree1006, DV_ME_Shree1029, DV_ME_Shree1030, DV_ME_Shree1042, DV_ME_Shree1068, DV_ME_Shree1069, DV_ME_Shree1071, DV_ME_Shree1085, DV_ME_Shree1087, DV_ME_Shree1090, DV_ME_Shree1091, DV_ME_Shree1092, DV_ME_Shree1094, DV_ME_Shree1203, DV_ME_Shree1211, DV_ME_Shree1212, DV_ME_Shree1214, DV_ME_Shree1215, DV_ME_Shree1229, DV_ME_Shree1230. [Google] [More]  ⦿

C-DAC, GIST PUNE: Maithili

Free Maithili fonts made in 2008: GISTOTMAIDhruvBold, GISTOTMAIDhruvBoldItalic, GISTOTMAIDhruvItalic, GISTOTMAIDhruvNormal, GISTOTMAIMohiniBold, GISTOTMAIMohiniBoldItalic, GISTOTMAIMohiniItalic, GISTOTMAIMohiniNormal, GISTOTMAISubodhBold, GISTOTMAISubodhBoldItalic, GISTOTMAISubodhItalic, GISTOTMAISubodhNormal, GISTOTMAIVinitBold, GISTOTMAIVinitBoldItalic, GISTOTMAIVinitItalic, GISTOTMAIVinitNormal, GISTOTMAIVishakhaBold, GISTOTMAIVishakhaBoldItalic, GISTOTMAIVishakhaItalic, GISTOTMAIVishakhaNormal. [Google] [More]  ⦿

C-DAC, GIST PUNE: Marathi

Free Marathi fonts made in 2005: GIST-DVOTSuman-BoldItalic, GIST-MROTDevendra-Bold, GIST-MROTMaya-Italic, GIST-MROTMaya-Normal, GIST-MROTNanda-Bold, GIST-MROTRamanBold, GIST-MROTRamanBoldItalic, GIST-MROTSharad-Bold, GIST-MROTSuman-Bold, GIST-MROTVinay-Bold, GIST-MROTVinay-BoldItalic, GISTMROTAishwaryaBold, GISTMROTAishwaryaBoldItalic, GISTMROTAjayBold, GISTMROTAjayBoldItalic, GISTMROTAksharItalic, GISTMROTAksharNormal, GISTMROTBhimaBold, GISTMROTBhimaBoldItalic, GISTMROTDhruvBold, GISTMROTDhruvBoldItalic, GISTMROTDhruvItalic, GISTMROTDhruvNormal, GISTMROTGaneshBold, GISTMROTGaneshNormal, GISTMROTKishorBold, GISTMROTKishorBoldItalic, GISTMROTKishorItalic, GISTMROTKishorNormal, GISTMROTMohiniBold, GISTMROTMohiniBoldItalic, GISTMROTMohiniItalic, GISTMROTMohiniNormal, GISTMROTRaghavBold, GISTMROTRaghavBoldItalic, GISTMROTSharadNormal, GISTMROTShwetaBold, GISTMROTShwetaBoldItalic, GISTMROTSubodhBold, GISTMROTSubodhBoldItalic, GISTMROTSubodhItalic, GISTMROTSubodhNormal, GISTMROTVinitBold, GISTMROTVinitBoldItalic, GISTMROTVinitItalic, GISTMROTVinitNormal, GISTMROTVinitNormal, GISTMROTVishakhaBold, GISTMROTVishakhaBoldItalic, GISTMROTVishakhaItalic. [Google] [More]  ⦿

C-DAC, GIST PUNE: Sanskrit

Free Sanskrit fonts made in 2007: GISTSDOTDhruvBold, GISTSDOTDhruvBoldItalic, GISTSDOTDhruvItalic, GISTSDOTDhruvNormal, GISTSDOTMohiniBold, GISTSDOTMohiniBoldItalic, GISTSDOTMohiniItalic, GISTSDOTMohiniNormal, GISTSDOTSubodhBold, GISTSDOTSubodhBoldItalic, GISTSDOTSubodhItalic, GISTSDOTSubodhNormal, GISTSDOTVinitBold, GISTSDOTVinitBoldItalic, GISTSDOTVinitItalic, GISTSDOTVinitNormal, GISTSDOTVishakhaBold, GISTSDOTVishakhaBoldItalic, GISTSDOTVishakhaItalic, GISTSDOTVishakhaNormal. [Google] [More]  ⦿

C-DAC, GIST PUNE: Urdu

Free Urdu font made in 2005: GIST-UROTGhalib Normal. [Google] [More]  ⦿

C-DAC Noida

C-DAC Noida carries the Indic font Yuvraj (1997). [Google] [More]  ⦿

Chandra Yenco

Chandra Yenco's type 1 transliteration fonts for Pali, made in 1999 by modifying URW++'s NimbusRomNo9L font (for Pali Times) and other URW++ fonts. The fonts: PaliBookman, PaliChancery-MediItal, PaliHelvetica, PaliPalatino, PaliTimes. The PaliCharter family is based on Bitstream's Charter. The fonts can also be downloaded here. The truetype versions of these 51 fonts are here. The conversion seems to have been done by Phil Thompson. [Google] [More]  ⦿

Charles Rabin

Chennai, India-based designer of the free font Anto Mechanical (2018). [Google] [More]  ⦿

Chateau de Taulignan

Hindi and Bengali fonts: KrutiDev020Bold, BN-TTBidisha-Bold, BN-TTBidisha-Italic, BN-TTBidisha-Normal, BN-TTBidisha-Bold-Italic, BN1-TTBidisha-Bold, BN1-TTBidisha-Italic, BN1-TTBidisha-Normal, BN1-TTBidisha-Bold-Italic. The BN series is by C-DAC, Pune. [Google] [More]  ⦿

Chetan Sundarde

Pune, India-based designer of the circle-based typeface Kevallink (2016). [Google] [More]  ⦿

Chetna Sawhney

During his studies in New Delhi, Chetna Sawhney created the dingbat typeface Indian Kitchen Utensils (2013). [Google] [More]  ⦿

Chhaya Kumari

Hyderabad, India-based designer of Square Curves (2016). [Google] [More]  ⦿

Chinmay Hulyalkar

Designer in Bangalore City, India. Designer of the Indic simulation typeface TypoC (2013). [Google] [More]  ⦿

Chirag Ahir

Designer in Denver, CO. Behance link. He was inspired by some Bollywood movies when he made Pyar Mohabbat (2010, Devanagari face). [Google] [More]  ⦿

Chirag Shah

Pune, India-based designer of Truck Font (2017), a spurred Western typeface not unlike those used to paint letters on Indian trucks. [Google] [More]  ⦿

Chitra Gohad

Student at IIT Bombay. She designed the display typefaces Royal, Sweet, Viru and Prospect. [Google] [More]  ⦿

Cinderella Samuel

Graphic design student at National Institute of Design, Ahmedabad. Creator of an unnamed pixelish typeface in 2013. [Google] [More]  ⦿

Clay Brains

New Delhi-based designer of the free vector format 3d tubular typeface Gudgoo Hindi (2017). Behance link. [Google] [More]  ⦿

Computing by DSN

The Microsoft truetype font collection. Also, the musical font PowerTab (2000), PalatinoLinotype, Sylfaen, Raavi, Shruti, Latha, Mangal and Gautami. [Google] [More]  ⦿

Council of States

Free Hindi truetype fonts: DV-TTSurekh-Normal, DV-TTYogesh-Normal, DVBW-TTSurekhEN-Normal, DVBW-TTYogeshEN-Normal. [Google] [More]  ⦿

Creative Whoa (was: Symufa, or Creative Tacos)
[Syed Faraz Ahmad]

India-based designer who started out as Symufa, and then as Creative Whoa. Designer of the hand-crafted Rushda (2016), Papercutting (2016), Aiza Shine Serif (2016), Holiday Craft Girly (2016, by Aiza Fatima), Christmas Script (2016), Emily Gold Awesome (2016), Slim Taco (2016) and Ibrat (2016), the fat brush script font Usama (2016) and the brush typeface Symufa Flow (2016).

Typefaces from 2017: Damean, Candace, Christmas Script, Ulyssa, Hanma, Carla, Abasalom, Amidala, Vanett, Kaayla, Habel, Cabales, Barden, Zayley, Ceica, Maleah Sans, Vannah, Ireene Serif, Jerrick, Perkin, Talissa, Stay Wanderer, Immani, Acacio serif, Charlton, Earwyn Serif, Catheryn, Ailish (free), Adney, Ackley, Lisandro, Janecia Serif (angular style), Hagito Serif, Abiah Sans, Hadwin Serif, Erynn Serif, Ethan (wedge serif), Alodie, Ainsley Sans, Adyson Sans, Jesusa Serif, Jerricca Serif, Chrys Sans, Cartland Serif, Brydon Serif, Orrick Slab Serif, Adenn Sans, Dayleen Sans, Cordaro Sans, Carra Serif, Adriell Sans, Diedra Serif, Cleantha Serif, Cordaro Serif, Carra Serif, Birtle Serif, Axell Serif, Ahijah, Aderes Serif, Achazia Serif, Brycen Serif, Jaavon (fashion mag serif typeface), Cheston Slab Serif, Treyton, Shaaron, Severn Sans, Darrion (slab serif), Naava (slab serif), Tabner, Garvin (slab serif), Jotham, Sumer, Sharis serif, Jerrad, Orrick (slab serif), Ethan (wedge serif), Zack Thin, Abril, Haytham Slab Serif (free), Khwaja, Jennet Brush, Asma (curly script), Jaraad Script, Yessica Sans, Rockley (sans), Cason, Carita (text typeface), Glennda, Starlyn, Hommer (mini-serifed), Adouliss Mag (a great angular design), Wrenn Sans, Medric Serif, Erica Script, Timm Serif (high contrast fashion didone), Veera Serif, Sondra Serif (lapidary, flared), Abira Sans, Montrell Serif, Spark Serif, Jassmine Hand Written, Berton Sans, Beacher (sans), Varina, Mercuric Fancy, Deron Sans, Edina Sans, Adley (sans), Aariel (sans), Hurst (sans), Azel, Aaliyah (fashion font), Barnes Serif, Zimra Serif, Zisel (sans), Bethan (sans), Abner, Abed Serif, Aludra (serif), Myron Serif, Aster Slab Serif, Anaan (sans), Aara Serif, Zack Serif, Alex Sans, Vengeance (sans), Aaron (sans), Aaron Serif, Adon, Alex, Maaz Serif, Thomas Mag (fashion mag family), Zahra, Zack, Aagaz, Barden, Erica, Asbah, Aiden, Anzil, Zahra, Alayna, Aaminah, Atifa Serif, Barkat, Adouliss, Amirah, New Year 2017, Dr. Usama, Yadon (a fashionable Peignotian), Tyra, Abell (an angular typeface family), Akiva.

Typefaces from 2018: Saarah Fresh, Pierson, Moisses, Wensley (roman caps), Cammron Serif (roman caps), Enrique Sans, Zevida, Aimen Serif, Aarianna, Farhan, Nasya, Mahlon, Jadrien, Ahsan, Gayora Slab, Haana Slab, New Year 2018 Brush, Carolin, Galvin Slab Serif, Sharoon, Bellinor, Fonzy, Hacca, Abeetha.

Aka Symufa. Creative Market link. Dafont link. Home page. Aka Creativewhoa. Creative Fabrica link. [Google] [More]  ⦿

CS Digital Solutions

Indian foundry. In 2001, these fonts were made by them: MillenniumAditya-Normal, MillenniumAmeya-Normal, MillenniumDeepak-Normal, MillenniumGanesh-Normal, MillenniumGauri-Normal, MillenniumMogara-Normal, MillenniumNilima-Normal, MillenniumPooja-Normal, MillenniumPriya, MillenniumShailesh-Normal, MillenniumShridhar-Normal, MillenniumVarun-Normal. [Google] [More]  ⦿

Cyberscape Multimedia Limited

Company in Mumbai (with offices in Bangalore) that made these Malayalam fonts: AkrutiMal1, AkrutiMal2 (2002). They also created the Kannada font LangscapeKndPadma. Here, you can download their Devanagari family Gargi, and their Gujarati font family Padmaa. They also made the well-known Akruti font family which can be downloaded here: AkrutiBng2Bold, AkrutiBng2Normal, AkrutiDev2Normal, AkrutiGuj1Normal, AkrutiGujL1Bold, AkrutiKnd1Bold, AkrutiKnd1Normal, AkrutiMal2Bold, AkrutiMal2Normal, AkrutiOri1Bold, AkrutiOri1Normal, AkrutiPnj2Bold, AkrutiPnj2Normal, AkrutiTlg2Bold, AkrutiTlg2Normal, AkrutiTml1Bold, AkrutiTml1Normal. These fonts cover Devanagari, Gujarati, Telugu, Tamil, Malayalam, Kannada, Bengali, Oriya, and Gurumukhi. [Google] [More]  ⦿

D. Paul Alecsandri
[Every Witch Way]

[More]  ⦿

D. Udaya Kumar

Dr. D. Udaya Kumar is an Assistant Professor at the Indian Institute of Technology Guwahati, India. He has a Ph.D. and Master's degree in Design from the Industrial Design Centre, IIT Bombay. He obtained his Bachelor's degree in Architecture from the School of Architecture and Planning, Anna University. He worked as a design head of the magazine "Intelligent Computing CHIP". His areas of interest include Visual Communication, Graphic Design, Typography, Type Design with special focus on Tamil Typography and Architecture.

Designer of the new rupee symbol in 2010. The new symbol is a blend of the Devanagari "Ra" and the Roman capital "R" without the stem.

Speaker at ATypI 2012 in Hong Kong: Black and white in Indian typography. Speaker at ATypI 2013 in Amsterdam: Indian politics: typography. In that talk, he attempts to understand the usage of multicolor typography that challenges the conventional typography principles and norms. [Google] [More]  ⦿

Daily Hindi Milap (Hyderabad)

Free original Hindi font LangscapeDevPooja (postscript name WWWDevSanSerif; by ACES Consultents (sic), Thane). More to be added later. [Google] [More]  ⦿

Daily Thanthi

Eltpan-NT truetype font. [Google] [More]  ⦿

Dainik Jagran

One free Hindi font (Jagran). From Jagran Prakash Ltd in Kanpur. An updated Jagran (2001) is property of Jagran Infotech Ltd. [Google] [More]  ⦿

Dan Reynolds
[TypeOff]

[MyFonts] [More]  ⦿

Dan Rhatigan

Daniel Rhatigan (Ultrasparky) was born on Staten Island in 1970. He finished the MA Typeface Design program at the University of Reading, UK, in 2007. Before that, he briefly taught type design at the City College of New York. He briefly was type director at Monotype Imaging, based in the UK, and is scheduled to replace David Lemon as the new Senior manager of the Adobe Type team at the beginning of 2017.

Dan is an expert on Indic scripts, and spoke about that at ATypI 2011 in Reykjavik.

His graduation typeface at Reading was Gina (2007), a serif about which the reactions are generally good (a Minion with character according to Stephen Coles, and an awful lot of Unger in one gulp according to Joe Clark). Gina covers not only Greek, but most European languages. I especially appreciate its attention to mathematical symbols and typesetting. In 2009, Ian Moore and Dan Rhatigan created Sodachrome, a typeface designed at The Colour Grey for Sodabudi, a forthcoming online store for art work inspired by folk art from India. Dan Rhatigan blogged about it here. When the two parts of the typeface are screenprinted in different colours on top of each other, they produce an optical effect. In 2010, his (free) rounded bold serif typeface Copse font was published at Kernest (free downloads).

Kernest link. Google Web Font Directory carries his free typeface Astloch, a monoline blackletter face.

Another download link. Clear Sans (2013) was designed by Daniel Ratighan at Monotype under the direction of the User Experience team at Intel's Open Source Technology Center. Clear Sans is available in three weights (regular, medium, and bold) with corresponding italics, plus light and thin upright (without italics). Clear Sans has minimized, unambiguous characters and slightly narrow proportions.

Ryman Eco is a free multilined typeface created in 2014 by Dan Rhatigan and Gunnar Vilhjálmsson at Monotype that satisfies its two design goals---beauty and economy (it uses 33% less ink than a normal text font).

Speaker at ATypI 2017 Montreal.

Fontsquirrel link. CTAN download link. Klingspor link. Monotype link. Google Plus link. [Google] [More]  ⦿

Danish Shaikh

Graphic designer in Pune, India, who created the deco devanagari typeface Geomarathi (2016). [Google] [More]  ⦿

Darren Ho Jian Hunt

During his studies in Singapore, Darren Ho Jian Hunt designed Colure Sans (2018). [Google] [More]  ⦿

Data-Cal Software

Publishers of the free Indic truetype font Sindhi Ghar and Sindhi Light. [Google] [More]  ⦿

Dataflow

Mumbai-based Indian software company, est. 1985. They write about themselves: The first one to introduce the Indian languages to computers in 1986. Font subpage. The company offers no downloads, but has pages that show samples of fonts called Yogesh (for Marathi) and Natraj (for Sanskrit)---these are part of their software packages. Fonts shown in PDF files include MSTT31c390, MSTT31c2df, MSTT31c285, and Natraj (1993-2000, Dataflow). Their fonts, all part of their DTP packagesm cover Hindi-Marathi (Devanagari), Gujarati, Oriya, Bengali, Assamese, Telugu, Kannada, Tamil, Gurumukhi, Urdu, Malayalam, and Punjabi. Alternate URL to Devyani.

Rajiv Bhagwat wrote me about the historical importance of Dataflow/Devyani: Our files hold the first ever digitised Devanagari character ("ma" to be exact) and its laser printout. It was hand digitised by measuring the co-ordinates from a graph paper and creating a single character postscript type 3 font. We purchased the artworks for commercial fonts Natraj&Yogesh by paying hefty sums to ITR, Pune; and digitised these using in-house programs. Elsewhere on my own site I mention that Akruti has been the victim of piracy. But Bhagwat is quick to add that Akruti itself is the first ever piracy of our Natraj. We were too small to take them to court. [Google] [More]  ⦿

David Brezina

Czech designer (b. Brno) who graduated in Informatics at the Masaryk University in Brno in 2005, spent a term at the Denmark's Designskole in Copenhagen in 2004 and graduated with distinction from the MA in Typeface Design at the University of Reading in 2007, where he wrote a thesis on his typefaces called Skolar and Surat. Skolar won an award at Paratype K2009. It was designed with scholarly and multilingual publications in mind. See, e.g., Skolar Devanagari.

From 2004 to 2007, he ran his own design studio DAVI, with projects in graphic, web and interface design. Back in Brno, he worked with Tiro Typeworks (Canada) as an associate designer. At ATypI 2008 in St. Petersburg, he spoke about multi-script typography.

His typefaces include

  • CODAN (2005): a typeface inspired by the city of Copenhagen.
  • Yunnan (2004): oriental simulation face. Discussion on typophile.
  • Skolar and Surat (2008). Skolar was designed for multilingual scientific publications and is a serifed typeface in the Menhart tradition. It was published in 2009 by Type Together, and it is also listed by Rosetta Type. Skolar Basic (2009, Type Together) is the official name of this 6-style text family. Surat is an accompanying Gujarati family. Related to that, he wrote The evolution of the Gujarati typographic script (2007, University of Reading). Rosetta writes: Skolar was originally designed for academic publications: its vast character set caters for 90+ Latin-script languages, and its Greek and Cyrillic extensions together with Latin transliterations add support for another 70+ languages. All scripts are available with small caps, superior and inferior letters, five sets of numerals and alternate character forms (see note about the versions below). A comprehensive set of arrows (easily accessed via OpenType) and bullets round off the character set to meet the needs of even the most complex editorial and academic text settings. The light and extrabold styles (upright and italics) were designed with help from Anna Giedrys and Elena Schneider. Skolar's Cyrillic harmonises well with the Latin in its careful balance of distinctive styling and solid performance. Designed in consultation with Alexandra Korolkova, it supports most Slavic languages as well as many others like Kazakh and Mongolian. Additionally, Skolar includes language-specific forms for Serbian and Bulgarian. The Greek is a modern interpretation of the classic styles found in academic works, and is characterised by lively, fluid forms and varying stress. It includes both monotonic and polytonic Greek, and was designed in consultation with Irene Vlachou and Gerry Leonidas. Complete Skolar family also supports Indic scripts Devanagari (codesigned with Vaibhav Singh) and Gujarati distributed separately. Skolar has received international praise at the 2008 ED Awards, and was also shortlisted as one of the best typefaces that year by I LOVE TYPOGRAPHY. In 2009, the Cyrillic was awarded a Special Diploma at the international type design competition Modern Cyrillic, and won the first prize in Granshan's Cyrillic text type category. In 2015, the 72-font family Skolar Sans (see also, Skolar Sans PE, 2016), codeveloped by David Brezina and Slava Jevcinova at Rosetta Type Foundry, won a silver medal at the European Design awards.
  • Yrsa and Rasa (2015, open-source type families published by Rosetta with financial support from Google). The fonts support over 92 languages in Latin script and 2 languages in Gujarati script (Gujarati and Kachchi). The design and production are by Anna Giedrys and David Brezina. Yrsa is the name of the Latin-only type family. Rasa is the name of the Gujarati type family. They explain: Both type families are intended for continuous reading on the web (longer articles in online news, magazines, blogs). In Yrsa, a special consideration was given to Central and East European languages and proper shaping of their accents. Rasa supports a wide array of basic and compound syllables used in Gujarati. In terms of glyphs included Rasa is a superset of Yrsa, it includes the complete Latin. What makes Yrsa & Rasa project different is the design approach. It is a deliberate experiment in remixing existing typefaces to produce a new one. The Latin part is based on Merriweather by Eben Sorkin. The Gujarati is based on David Brezina's Skolar Gujarati.
  • Adobe Gujarati (2012).

Blog. Myfonts link. Klingspor link. Speaker at ATypI 2013 in Amsterdam on the topic of multilingual type design. [Google] [MyFonts] [More]  ⦿

David Courtney

Author of a Hindi/Sanskrit truetype font in the early 1990s. [Google] [More]  ⦿

Debashis RC Biswas

Ranaghat, India-based designer of the decorative caps typeface PokeFont (2018), which is based on the Pokemon characters. [Google] [More]  ⦿

Debian Indic Fonts

Free Indic fonts that come with Debian:

  • Bengali: Ani (2002, by Anirban Mitra), JamrulNormal (2004, by Deepayan Sarkar), LikhanNormal (2003, Deepayan Sarkar), Lohit-Bengali (2003, Automatic Control Equipments, Pune), Mitra (2002), muktinarrow (2003, Mukta Bangla Font Project), muktinarrowbold (2003, Mukta Bangla Font Project).
  • Devanagari: Gargi_1.7 (2005, by Prof Jitendra Shah, IndicTrans Team; matching English glyphs by URW++, Cyrillic glyphs added by Valek Filippov in 2002), Lohit-Hindi (2003, Automatic Control Equipments, Pune).
  • Gujarati: aakar-MagNet (2003, by MagNet Web Publishing in Mumbai), Lohit-Gujarati (2001, Automatic Control Equipments, Pune), padmaa-Bold (2003, Cyberscape Multimedia in Bangalaore), padmaa-Medium (2003, Cyberscape Multimedia in Bangalaore), Rekha-medium (2003, by MagNet Web Publishing in Mumbai).
  • Kannada: Sampige.
  • Malayalam: malayalam, RachanaMedium (2004, by Hussain KH, and Chitrajan R (Rachana)).
  • Oriya: utkal (2003, Andy White and Rajesh Pradhan).
  • Punjabi: Lohit-Punjabi (2001, Automatic Control Equipments, Pune), Saab (2004, by Bhupinder Singh and Sukhjinder Sidhu). The Opentype version of Saab is here.
  • Tamil: Lohit-Tamil (2001, Automatic Control Equipments, Pune).
  • Telugu: Pothana2000 (2000-2005, by K. Desikachary), TAMu_Kadambri-Regular (1999, by Kamban Software), TAMu_Kalyani (1999, by Kamban Software), TAMu_Maduram (1999, by Kamban Software), TSCu_Comic (1999, by Tukalram Gopalrao), TSCu_Paranar-Bold (1999, by Tukalram Gopalrao), TSCu_Paranar-Italic (1999, by Tukalram Gopalrao), TSCu_Paranar (1999, by Tukalram Gopalrao), TSCu_Times (1999, by Tukalram Gopalrao), Vemana2000 (2005, by K. Desikachary).
[Google] [More]  ⦿

Deeksha Banga

Jaipur, India-based designer of a straight-edged bilined Latin display typeface for a school project at Banasthali Institute of Design in 2015. [Google] [More]  ⦿

Deeksha Honawar

During her studies, Baroda, India-based Deeksha Honawar designed a display typeface that is based on denim pockets (2017). [Google] [More]  ⦿

Deepa Chauhan

New Delhi, India-based designer of a modular Latin typeface in 2018. [Google] [More]  ⦿

Deepak Singh Dogra
[Graphite Foundry]

[MyFonts] [More]  ⦿

Deepanjali Singh

Mumbai, India-based designer of the experimental typeface Dissected Didot (2015). Behance link. [Google] [More]  ⦿

Deepika Suman

Photographer and graphic designer in New Delhi, India. Designer of a multicolor graphic solid typeface called Symbograph (2015). [Google] [More]  ⦿

Deepu CS

Coimbatore, India-based designer of a typographic Harley Davidson motorbike in 2015. Home page. [Google] [More]  ⦿

Deepu Lalithabai Raj

New Delhi-based creator (b. 1983) ofathe hand-printed typeface Lalithabai (2013). Dafont link. [Google] [More]  ⦿

Deodars Devanagari

Commercial Sanskrit fonts (type 1, truetype) designed by the Theosophical University Press (Pasadena, CA). [Google] [More]  ⦿

DEODARS DEVANAGARI

50USD for a 3-weight Devanagari family of fonts by Theosophical University Press. [Google] [More]  ⦿

Deon Dennis

At National Institute of Fashion Technology, Deon Dennis (New Delhi, India) designed the sci-fi typeface ET Civil (2018). [Google] [More]  ⦿

DEPOTzNET

Organized font archive. Many subcategories including Party fonts, Holiday fonts, Balloons, Halloween, Christmas, screen fonts, phonetic fonts, African, Balinese, Bengali, Burmese, Cambodian, Croata-glagolitic, Cyrillic, Ethiopic, Georgian, Greek, Hebrew, Hindi, Hmong, Japanese, Javanese, Khmer, Lao, Malayan, Nepali, Nko, runes, Tamil, Vietnamese. [Google] [More]  ⦿

Der diakritische Zeichensatz

Three free typefaces from the IndoTimes family (Times with many accented letters), developed at the Institut für Indologie und Zentralasien-wissenschaften of the University of Leipzig. Alternate URL. [Google] [More]  ⦿

Designova Studio

Studio in Kochi, Kerala, India. Commercial typefaces made by them, and sold via Creative Market, include Clarion (2016, a connected script typeface), Metzler (2016, geometric sans), Preface (2016, a sans), Berlin (2015, a geometric sans), North (2015, a display sans), Signia (2015, a sans family produced by Unique Fonts, after a design by Designova), Solo Sans (2013), Reason Sans (2013) and Origin (2014, a Swiss sans).

Typefaces from 2018: Amelia (script), Herz (sans), Renoise (sans), Exensa Grotesk, Lorin (geometric sans), Onix (stylish sans), Hamlin (sans), Artica, Marxure. [Google] [More]  ⦿

Dev Ethan Valladares

As a student at Srishti School of Art, Design and Technology in Bangalore, Mumbai-born Dev Ethan Valladares created the outline typeface Personal Identity (2015). He also made made a set of Kannada drop caps. [Google] [More]  ⦿

Deval Maniar

Bangalore-based designer of a hand-printed Devanagari alphabet for school, in 2013. Behance link. [Google] [More]  ⦿

Devanagari

Devanagari is the most frequently used Northern Indic scripts. It is utilised to write Hindi, Marathi, Nepali, Kashmiri, Bihari, Rajasthani, as well as some minority languages. It is also the script most often used for writing Sanskrit, the ancient predecessor of Modern Hindi. All modern-day Indic scripts are descendants of Brahmi, an extinct script which flourished more than two thousand years ago. Over the centuries, the descendants of Brahmi divided into two groups, one for writing the northern Indic, mainly Indo-Aryan languages, the other for the southern Indic, or Dravidian, languages. [Google] [More]  ⦿

Devanagari Fonts for Jtrans

Sandeep Sibal's free Devanagari fonts (type 1, truetype) for UNIX and Windows, to be used with his Jtrans transliteration software. [Google] [More]  ⦿

Devanagari Linotype

Devanagari Linotype (1933, Mergenthaler Linotype Company, Brooklyn, NY) explains keyboard operations for composing Sanskrit, Hindi, Marathi, Gujarati and other Indic scripts on the Devanagari Linotype machine. The PDF of this book was posted by John Hudson in 2013. [Google] [More]  ⦿

Devanagari Unicode fonts

Page with many Devanagari fonts and links, by David McCreedy. He states: "The Devanagari script is a Brahmi-based writing system used originally to write Sanskrit. It is used in India and Nepal to write many languages, including these: Konkoni: The state language of Goa, India; Hindi: The official language of the Indian government and the state language of Bihar, Chhattisgarh, Delhi, Haryana, Himachal Pradesh, Jharkhand, Madhya Pradesh, Rajasthan, and Uttar Pradesh, India; Marathi: The state language of Maharashtra, India; Nepali: The national language of Nepal, also used in parts of India and Bhutan; classical Sanskrit." [Google] [More]  ⦿

Devanshi Rastogi

During her studies in New Delhi, India, Devanshi Rastogi designed a decorative display typeface (2017). [Google] [More]  ⦿

Devika Bhansali

Mumbai, India-based designer of the free Urdu-Arabic typeface Baloo Bhaijaan (2017). Github link for EK Type's Baloo family of fonts. [Google] [More]  ⦿

Devika Inca Dutt

Graduate of Srishti School of Art, Design and Tech, Bangalore, India. Creator, with Mahendra Patel, of some Devanagari typefaces (2014-2015). [Google] [More]  ⦿

DevLys

Free Hindi truetype font DevLys 010 (1997). See also here. The Devanagari font DevLys 050 is at Vivek Mundra's site. See also here. [Google] [More]  ⦿

Dhruva Deshpande

Bangalore, India-based designer of the free modular display typeface Soapstone (2017). FontStruct link. Behance link. [Google] [More]  ⦿

Dhvanil Patel

During his studies at the Indian Institute of Technology in Guwahati, India, Dhvanil Patel (b. 1995) designed the free all caps Latin sans headline typeface Vertexio (2013).

Dafont link. [Google] [More]  ⦿

Diabetes Australia Multilingual Fonts

Archive: -JS-Rapee (Thai), ER-Bukinist-1251 (Ukranian), Simsun (Chinese), NUTANU-Regular (Hindi), Times-New-Roman-Greek, VPS-Times (Vietnamese). [Google] [More]  ⦿

Dirk W. Loenne
[Institut fuer Indische Philologie und Kunstgeschichte]

[More]  ⦿

Discover Sanskrit

Sanskrit pages with some free fonts. [Google] [More]  ⦿

Disha Makhijani

Mumbai, India-based designer of the hexagonal display typeface Discessio (2015). [Google] [More]  ⦿

Disha Shah

Ahmedabad, India-based designer of the squarish typeface Squora (2017). [Google] [More]  ⦿

Disha Sharma

Baroda, India-based designer of a punced dot font in 2016. [Google] [More]  ⦿

Disha Thaker

Disha Thaker (Ahmedabad, India) studied fine arts at Smt. R.V. Shah College of Fine Arts, class of 2011. She created a rounded sans typeface called Bubbly (2013). [Google] [More]  ⦿

Divya Kowshik

Divya Kowshik (Mumbai) designed the elliptical typeface Prototype (2012). In 2015, Divya designed the Kannada typeface Baloo Tamma as part of the Baloo free font project at Ek Type and Google Fonts. [Google] [More]  ⦿

Divyanshu Sinha

As a student at IIAD, New Delhi-based Divyanshu Sinha designed the techno stencil typeface Blade (2018). [Google] [More]  ⦿

Diya Patel

Surat, India-based student-designer of a hexagonal Latin typeface in 2016. [Google] [More]  ⦿

Drashti Borda

Surat, India-based designer of a triangle-themed typeface in 2016. [Google] [More]  ⦿

Drishti Singhal

New Delhi, India-based designer of an all caps logo typeface called Lettermark (2017). [Google] [More]  ⦿

DV-TTYogeshEN

Four Hindi truetype fonts, making up the DV-TTYogeshEN family (C-DAC, Pune, 1997). [Google] [More]  ⦿

Dylan Drego

Graphic designer in Mumbai who created Helveticurve (2013). [Google] [More]  ⦿

Eashanchandra Shenai

During his studies in Mumbai, Eashanchandra Shenai designed the hand-crafted Latin typeface Curvbee (2017). [Google] [More]  ⦿

Eben Sorkin
[Sorkin Type (was: Eyebytes)]

[More]  ⦿

EK Type
[Sarang Kulkarni]

Type design collective in India, est. 2013, managed by Sarang Kulkarni (b. 1980) from Mumbai. Sarang studied at the Sir J J Institute of Applied Art in Mumbai, class of 2002. He worked with R.K. Joshi at the National Centre for Software Technology and Design Temple in 2002. In that same year, he assisted R.K. Joshi with the design of the Jana Gurmukhi typeface. In 2008 and 2009, he created 11 Indic typefaces for Vodafone India. In 2009-2010, he created an additional eight typefaces for Virgin Mobile India. Kulkarni also runs White Crow Designs.

Typefaces at Ek Type from 2011 by Hanif Kureshi include Painter Umesh, Painter Kafeel, and Painter Suhail.

In 2013, Girish Dalvi and Yashodeep Gholap co-designed Ek Devanagari at Ek Type for Hindi, Marathi, Sanskrit, Konkani and Nepali. It is a contemporary, humanist, monolinear typeface available in seven weights. Its companion, also designed by them, is the humanist sans typeface family Ek Latin (2013).

Designer of Modak (2013, Ek Type), a Latin / Devanagari bubblegum typeface that was published in the Google Web Font collection in 2015. Modak Devanagari was designed by Sarang Kulkarni and Maithili Shingre and Modak Latin by Noopur Datye with support from Girish Dalvi and Pradnya Naik. Github link. Another Github link for Modak.

In 2012, he designed Star Jalsha, a Bengali television screen font for Star India Pvt Ltd.

In 2016, Ek Type designed the free Latin / Devanagari / Gujarati font Mukta Vaani. More precisely, it was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Google Fonts link. Github link.

In 2017, EK Type released Jaini and Jaini Purva designed by Girish Dalvi and Maithili Shingre: Jaini is a devaagari typeface based on the calligraphic style of the Jain Kalpasutra manuscripts. The design of this font is based on the 1503 Kalpasutra manuscript.

Behance link. White Crow Designs link [White Crow was established in 2005 in Mumbai by Sarang Kulkarni]. Typophile link. Behance link. White Crow Designs. Fontsquirrel link. Github link. Fontsquirrel link. [Google] [More]  ⦿

Elmar Kniprath
[Indolipi]

[More]  ⦿

ER&DCI and C-DIT

Companies in Thiruvananthapuram, Kerala, India, who created ECBThinkal, ECThinkal, ECWChingam, ECWThinkal from 2002 until 2007. Download here. [Google] [More]  ⦿

Eric Wannin
[Quartet Systems]

[More]  ⦿

Ernst Tremel

Ernst Tremel s based in Muenster, Germany. He designed a Devanagari font called ShiDeva that includes a "volt" table and many ligatures. His pages also cover Tamil, and one can download the ETTamilNew font. He also has a Kurdish font, as well as maps about the Kurds and about Indian languages. About the Kurdish font, he writes: Kurdish AllAlphabets contains 694 glyphs and 529 standard kern pairs: Latin, Cyrillic and Arabic script. There are OpenType tables for Arabic and embedded bitmaps included.

He joined the Open Font Library movement. He offers Ahuramazda there, which is an alphabet for the Avestan language: Avestan was an Iranian language in which the earliest Zoroastrian hymns were orally transmitted since 1500 BCE. Due to lingusitic change, fluency in Avestan as spoken a thousand years earlier was deteorating, and hence the need to write the language became increasingly apparent. By the 3rd century CE an alphabet was created to write down the ancient Avestan language.

OFL link. Alternate URL. And another URL. [Google] [More]  ⦿

esakal.com

Free truetype font "Subak" (1999, Modular Infotech, Pune). [Google] [More]  ⦿

Every Witch Way
[D. Paul Alecsandri]

D. Paul Alecsandri designed the runic fonts Futharc (2001), NewSymbolFont (2000) and Samaritan (2001). We also find the rather complete Unicode truetype font Roman-Unicode (2001), which cover all European, Arabic, Hebrew, Greek, Cyrillic, Thai and Indic languages, and provide kana as well (but not kanji). All parts of unicode covered. See also here.

Samaritan (2001) deals with a pre-Samaritan or pre-Babylonian Hebrew.

Originally designed for linguistics, the free typeface Chrysanthi Unicode (2001) contains all Unicode Latin characters (including Basic Latin, Latin 1 Supplement, Latin Extended A&B, IPA, and Latin Extended Additional) as well as Greek, Cyrillic, Hebrew, and everal others.

Fontspace link. [Google] [More]  ⦿

Fabin Rasheed

During his studies at the Indian Institute of Technology Hyderabad, Hyderabad, India-based Fabin Rasheed created a rice writing stencil font (for Latin) in 2015, based on the South Indian tradition of Vidyarambham. Behance link. [Google] [More]  ⦿

Fawaz Dalvi

During his studies at Ecole Intuit. Lab, Fawaz Dalvi (Mumbai, India) created the rhythmic display typeface Edgy (2014). [Google] [More]  ⦿

Fayaz PK

Bangalore, India-based designer of the free striped typeface Zebra (2015). [Google] [More]  ⦿

Fezyweb
[Somenath Sen]

Somenath Sen (Fezyweb, Calcutta, India) designed the connected script typeface The Handy (2014). [Google] [More]  ⦿

Fifth Generation Software Private Limited

Delhi-based outfit which created Chandini (2001). [Google] [More]  ⦿

Fiona G.E. Ross

Dr. Fiona Ross, is a typographic consultant, typeface designer, lecturer and author, specializing in non-Latin scripts. From 1978 to 1989, Fiona Ross worked for the British arm of Linotype, Linotype Limited, where she was responsible for the design of their non-Latin fonts and typesetting schemes, notably those using Arabic and Indic scripts such as Devanagari. Since 1989 she has worked as a consultant, author, lecturer, and type designer. In 2003 Fiona joined the Department of Typography and Graphic Communication at the University of Reading, England as a part-time sessional lecturer on non-Latin type. The Adobe Thai typefaces were commissioned to from Tiro Typeworks and collaboratively designed by Fiona Ross, John Hudson and Tim Holloway in 2004-2005 for use with Adobe Acrobat (production by Tiro Typeworks). Vodafone Hindi (2007, with Tim Holloway and John Hudson) won an award at TDC2 2008. In 2018, Borna Izadpanah, Fiona Ross and Florian Runge co-designed the free Google Font Markazi Text. They write: This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. Four weights are advertized at Google, but only the Regular is available.

Fiona holds a BA in German; a Postgraduate Diploma in Sanskrit and Pali; and a PhD in Indian Palaeography from SOAS (London University). Fiona Ross is the recipient of the 2014 SOTA Typography Award.

Bio at ATypI. Her books and/or essays:

  • The printed Bengali character and its evolution (1999, Curzon Press, Richmond, UK), reviewed by John Hudson.
  • Fiona's essay on Non-Latin Type Design at Linotype (2002).
  • Coauthor with Robert Banham of Non-Latin Typefaces at St Bride Library, London and Department of Typography&Graphic Communication, University of Reading (2008, London: St Bride Library).
Speaker at ATypI 2010 in Dublin and at ATypI 2018 in Antwerp. Typographic picture by TDC.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Font Fridays
[Nabina Ghosh]

Nabina Ghosh's blog in which he displays his fonts. These include Traffic Police (2008, a stencil typeface based on signage outside a Kolkata police station), BharatLotus (2008, ornamental), English (2008, Indic simulation), Travels (2008), Service (2008), BeanBags (2008, handwriting), Thane (2008, based on taxi stickers in Navi Mumbai), HornPlease2 (2008, signage font), Don'tTouch (2008, hand-printed), Stop Signal (2008, display), Horn OK (2008) and CargoLab (2008, stencil). All fonts are on Indian themes. Free downloads after registration. [Google] [More]  ⦿

Font Zilla

Mumbai-based font parasite, who sells fonts made by others and claimed as his/her own, including Michael Script (connected script), Gail Davis (hand-crafted), Rustick (by Alex Haigh) and Umbrella (by Ront Beld). On Behance, they claim to be from Dayton, OH. Sales point. [Google] [More]  ⦿

Fonts and Encoding for Pali

Pali resources and fonts (such as URW's Indic Times). Includes Adobe's CS-Utopia series. [Google] [More]  ⦿

Fonts für Sanskrit

Sanskrit font jump page. Some downloads. [Google] [More]  ⦿

Fraskt

Download Nina_1_0 (1996, International Journal of Tantric Studies), SanskritNew4 (1993, Omkarananda Ashram Himalayas), and Times_CSX-BoldItalic, Times_CSX-Bold, Times_CSX-Italic, Times_CSX-Roman, all made by URW in 1994. [Google] [More]  ⦿

FREELANG Fuentes

Spanish language site for various non-Latin language fonts. A sampling: Afus Deg Wfus 2 (for Berber), AlKatib1 (2001, an Arabic typeface by Naseem Amjad), Albanian, Alice_0 (Lao typeface by by Ngakham Southichack), LAOMAY_5 CHAREUNSILP (Lao typeface by by Soupasith Bouahom), Arial AMU (1999, Armenian typeface by Ruben Tarumian), BaltFrutigerLight, BaltHelveticaMedium, BaltNewCenturySchoolbookMedium, BaltOptimaMedium, BaltTiffanyMedium, BaltUniversityMedium, CarloAtor (1997, Arabic family by Timm Erickson, Summer Institute of Linguistics), Caligraf-W, Ciula (1996, a Romanian typeface by Paul Hodor), Cursiv (Romanian), AnlongvillKhek, GabrialAtor (another Arab family by Timm Erickson), Gin, Greek (1993, by Peter J. Gentry&Andrew M. Fountain), HandSign (1993, Sam Wang), HFMassisShantNUnicode (1990-1994, an Armenian unicode typeface by BYTEC Computers and Massis Graphics), HONGKAD (1994, a family by Dr. Hongkad Souvannavong), IsmarBold, IsmarLight, Lakshmi, X000000A (1994, a lao typeface by Sith Bouahom), LAOMAY_2-CHAREUNSILP, Alice3Medium, Alice0Medium, Langagedessignes (1998, by Philippe and François Blondel), NorKirk (1997, a great Armenian typeface by Ruben Tarumian), NovaTempo (for Esperanto), Pazmaveb (for Armenian), ILPRumanianB100 (1996, by Charles J. Coker), Saysettha-Lao, Saysettha-LaoBold, SenzorgaAnhok, Timok, Tribuno, Turn-W, TimesUnicode, ArialAMU, PoliceTypeAPI (for Armenian), Cieszyn-Regular, PoojaNormal, Shibolet (1995, Hebrew), Shree-Ass-0552 (2000, by Modular InfoTech), Tudor-Semi-Lite, Webdunia, TimesNRCzech, TNRLiboriusVII (2001, a fully accented Times typeface by Libor Sztemon), GreatMoravia (2001 Libor Sztemon, Czechia), Johaansi-ye-Peyravi (2001, a full accent blackletter typeface by Libor Sztemon, Czechia), TimesNREuskaraEuransiEsperanto (2001, Libor Sztemon). [Google] [More]  ⦿

FSF India

The free software foundation of India, in conjunction with Cyberscape Multimedia Limited, Bangalore (developers of Akruti Software for Indian Languages) have released a set of TTF fonts for nine Indian scripts (Devanagari, Gujarati, Telugu, Tamil, Malayalam, Kannada, Bengali, Oriya, and Gurumukhi) under the GNU General Public License (GPL). Direct download page. Font names: AkrutiBng1Normal, AkrutiBng2Bold, AkrutiBng2Bold, AkrutiBng2Normal, AkrutiDev1Bold, AkrutiDev1Normal, AkrutiDev2Normal, AkrutiGuj1Bold, AkrutiGuj1Normal, AkrutiGuj2Bold, AkrutiGuj2Normal, AkrutiKnd1Bold, AkrutiKnd1Normal, AkrutiKnd2Bold, AkrutiKnd2Normal, AkrutiMal1Bold, AkrutiMal1Normal, AkrutiMal2Bold, AkrutiMal2Normal, AkrutiMal2Normal, AkrutiOri1Bold, AkrutiOri1Normal, AkrutiOri2Bold, AkrutiOri2Normal, AkrutiPnj1Bold, AkrutiPnj1Normal, AkrutiPnj2Bold, AkrutiPnj2Normal, AkrutiTlg1Bold, AkrutiTlg1Normal, AkrutiTlg2Bold, AkrutiTlg2Normal, AkrutiTml1Bold, AkrutiTml1Bold, AkrutiTml1Normal, AkrutiTml1Normal, AkrutiTml2Bold, AkrutiTml2Bold, AkrutiTml2Normal, AkrutiTml2Normal. [Google] [More]  ⦿

G. Nagarjuna
[Samyak]

[More]  ⦿

Gamabhana Phonetics

Free fonts for Indic languages: Gautami, Mangal-Regular, Raavi, Shruti, and Ekushey Mohua (Bengali). [Google] [More]  ⦿

Ganapati fonts

Ganapati fonts: AkLite_Image_One, AkLite_Image_Two, LangscapeDevManoramaNormal, LangscapeDevPoojaBold, LangscapeDevPoojaNormal, LangscapeDevPriyaBold, LangscapeDevPriyaNormal, LscapeRegDevManorama, LscapeRegDevPoojaBold, LscapeRegDevPoojaNormal, LscapeRegDevPriyaBold, LscapeRegDevPriyaNormal. These are made by ACES Consultants, Chanakya, Gokhale Road, Naupada, Thane 400602, in 1999. [Google] [More]  ⦿

Gandhari project
[Andrew Glass]

On the Gandhari Romanization / Gandhari Unicode fonts: These fonts are based on an original Postscript font called "Nimbus Roman No9 L" created by URW++ Design and Development Incorporated and donated to the free software community under the GNU General Public License. The Nimbus Roman No9 L font is itself based on the design for Times New Roman by Stanley Morison (original trademark holder Monotype corporation). The Gandhari fonts have been extended to display the special diacritics necessary for Sanskrit and Gandhari and come in Roman, Italic, Bold, and Bold Italic styles. The notices in the fonts say: "Based on CSX, adapted for Gandhari by Dr. John Smith (University of Cambridge), and Andrew Glass (University of Washington), Buddhist Manuscripts Project. 1997." The fonts use the Private Use Area (PUA) of Unicode for additional diacritics not available in Unicode. Here they are (free): GandhariUnicode-Bold, GandhariUnicode-BoldItalic, GandhariUnicodeItalic, GandhariUnicodeRoman, TimesGandhari2Bold, TimesGandhari2BoldItalic, TimesGandhari2Italic, TimesGandhari2Roman, TimesGandhariBold, TimesGandhariBoldItalic, TimesGandhariItalic, TimesGandhariRoman. The Gandhari Unicode font is a modification of the Times Gandhari font (which is no longer available since 2005), carried out by Andrew Glass for the British Library/University of Washington Early Buddhist Manuscripts Project between 2000 and 2003. The Times Gandhari font is a modification of the Times CSX font by Andrew Glass and John Smith in 1998. The Times CSX font in turn is a modification of the Nimbus Roman No9 L font by John Smith (http://bombay.oriental.cam.ac.uk/index.html) in 1998. [Google] [More]  ⦿

Gandhiji Font
[Payal Juthani]

Gandhi's spectacles provided inspiration to Mumbai-based Payal Juthani, who made Gandhiji Font (2010) for Devanagari, Latin, Gurmukhi, Tamil, Oriya, Kannada, Telugu, and Urdu. Nadine Pereira (Mumbai) showcases it on Behance. Klingspor link. [Google] [More]  ⦿

Gargi Ashtekar

Designer of Elements (2017), a decorative typeface that consists of juxtaposed triangles and geometric solids. This typeface was published during her studies at Sophia Polytechnic, Art & Design, Mumbai. [Google] [More]  ⦿

Gargi Singh

Jaipur, India-based graphic designer who created the paperclip typeface Caps in 2013. [Google] [More]  ⦿

Gasoline Creative

Gasoline Creative is located in Mumbai, India. It created a colorful set of decorative caps called Tesla (2015) to honor the technological genius of Nikola Tesla. Earlier, it designed the steampunk caps typeface Tesla Title (2015). Behance link. [Google] [More]  ⦿

Gaurabh Mathure

Gaurabh Mathure is a designer based in Bangalore, India. Creator of Gnaw (2012, a modular Latin typeface). [Google] [More]  ⦿

Gayatri Sohani

Thane, India-based designer of the stylized Devanagari typeface Siddham Script (2016). [Google] [More]  ⦿

Gazal-Darpan Pradesh

Devanagari fonts Agra Thin, Ankit, Hemant, Krishna, Liza, Richa, Saroj. Dead link. [Google] [More]  ⦿

Geetika Alok

Graduate (UK and India) of the type design program at the University of Reading, class of 2017. Her graduation typeface there was Omala, a Latin / Devanagari text typeface with calligraphic roots. [Google] [More]  ⦿

Geetika Alok

Geetika Alok is a graphic designer and works on projects in London and India. She graduated from the Royal College of Art with an MA in Communication, Art&Design and had previously completed her Bachelor's degree from the National Institute of Design with specialisation in Graphic Design. With Henrik Kubel, she designed the typeface India (2011). In 2014, she completed the TDi program at the University of Reading.

In 2011, she created the absolutely fantastic ornamental caps typeface Saudade, which consists of overlapping circles. She writes: Poster for a talk of Marina Willer. Saudade is the most beautiful word in Brazilian Portuguese. It means something a bit like nostalgia. Typeface: In collaboration with Henrik Kubel.

Maya (2011) and Sea Shells (2011) are typefaces that were inspired by Indian architecture.

Behance link. [Google] [More]  ⦿

Geetika Arya

Indian graphic designer. Behance link. Creator in 2011 of a decorated caps face. [Google] [More]  ⦿

Gehan Magee

Sydney, Australia-based designer (b. Chennai, India) of the free hand-crafted all caps typeface Quick Caps (2017) and the free typeface Realla (2017). Behance link. [Google] [More]  ⦿

George Hart

Designer of some early Hindi and Tamil public domain fonts in type 3 format. [Google] [More]  ⦿

Girish Dalvi

Girish Dalvi (Mumbai, India) holds a Bachelor's degree in Computer Engineering, a Master's degree in Design and a Ph.D. from IIT Bombay. His doctoral research dealt with the theoretical modeling of Devanagari typefaces. He is presently professor in the Industrial Design Center of IIT Bombay.

As a type designer he has co-created several typefaces for Indian scripts, prominent amongst these is the Ek multi-script family, the open source Ek Mukta family, LifeOk Devanagari and Star Bengali.

In 2013, Girish Dalvi and Yashodeep Gholap co-designed Ek Devanagari at Ek Type for Hindi, Marathi, Sanskrit, Konkani and Nepali. It is a contemporary, humanist, monolinear typeface available in seven weights. Its companion, also designed by them, is the humanist sans typeface family Ek Latin (2013). Ek Mukta (2013) is a free Google Web Font (2013) co-designed by Girish Dalvi and Yashodeep Gholap with extensive support from Noopur Datye, Sarang Kulkarni and Maithili Shingre. It covers Latin in a Gill Sans style as well as Devanagari.

At Github, he oversaw the development of the free font family Baloo that covers nine Indic scripts.

In 2017, EK Type released Jaini and Jaini Purva designed by Girish Dalvi and Maithili Shingre: Jaini is a devaagari typeface based on the calligraphic style of the Jain Kalpasutra manuscripts. The design of this font is based on the 1503 Kalpasutra manuscript. Jaini won an award at Granshan 2017. [Google] [More]  ⦿

Girish Dalvi
[Baloo]

[More]  ⦿

GIST-BOOTDhruv

Free Bodo Unicode font made in 2008 by CDAC, GIST, Pune. It can be downloaded here. [Google] [More]  ⦿

GIST-DOOTDhruv

Free Dogri Unicode font made in 2008 by CDAC, GIST, Pune. It can be downloaded here. [Google] [More]  ⦿

GIST-MIOTDhruv

Free Maithili Unicode font made in 2008 by CDAC, GIST, Pune. It can be downloaded here. [Google] [More]  ⦿

Gita Supersite

Free Indic fonts: AS-TTDurga-Normal, BN-TTDurga-Normal, DV-TTYogesh-Normal, DV1-TTYogesh-Normal, KN-TTUma-Normal (for Kannada), ML-TTKarthika-Normal, OR-TTSarala-Normal, PN-TTAmar-Normal, TL-TTHemalatha-Normal, TM-TTValluvar-Normal. [Google] [More]  ⦿

Giuliana Fantauzzi

At PUC in Rio de Janeiro, Giuliana Fantauzzi designed the text typeface Eczar (2017). [Google] [More]  ⦿

Glavy Fonts
[Jason Glavy]

Jason Glavy, who lives in Yokohama, runs Glavy Fonts. He has created some free fonts: JGLepcha (2001, a West-African language font), JG Chantabouli and JG Sasettha (cleaned up and extended unicode vesions of Sasettha and Chantabouli fonts created by John Durdin), JGAksaraBali, JGBasicLao, JGChamVer2, JGChamCambodia, JGChamVN, JGChantabouliLao, JGHurufJawaSanskrit, JGLaoOldArial, JGLaoOldface, JGLaoTimes, JGSoyombo (Tibetan), WL-LatinIPATimes. He used to have a bunch of Japanese fonts on his web site, including his Jindaimoji series. He also created three fonts for Makassarese/Buginese. At some point, he was associated with Saronix Japan. His Hmong page had JGCwjmemFinalVersion, JGCwjmemSecondVersion, JGCwjmemThirdVersion, JGNaadaasFinalVersion, JGNaadaasSecondVersion, JGNaadaasThirdVersion, JGPahawhFinalVersion, JGPahawhSecondVersion, JGPahawhSourceVersion, JGPahawhThirdVersion, JGPuajTxwm, all made in 2002: of these, the Pahawh series is original, while Cwjmem and Naadaas are improvements of other fonts. West African fonts designed by him: JGBassaVahHandwriting, JGBassaVahPrint, JGBete, JGKpelleA, JGKpelleB, JGNKo, JGVaiA, JGVaiB, JGVaiC. These fonts are well researched, and are based on drawings and findings by Dalby, Dr. Welmer, and Jensen. Some of Glavy's fonts for other languages: JGBasicLao, JGChamCambodia (1998), JGChamVN (1998), JGChantabouliLao, JGHurufJawaSanskrit (2001), JGLaoOldArial, JGLaoOldface, JGLaoTimes, JG Lepcha (2001), JGSoyomb (2001). [Google] [More]  ⦿

gnu.org

Chinese truetype fonts. And 20 MB worth of international bitmap fonts. The fonts at the latter link contain PCF and BDF sources, and some truetype and type 1 fonts. Among the bitmap (BDF) fonts: ISO8859 series 1 through 9 (Latin, Greek, Cyrillic), KOI8 (Cyrillic), Indic, Lao, Tibetan, Thai, Vietnamese, Chinese, Japanese, Korean, Ethiopic, Arabic, IPA, Hebrew. Truetype: Latin-X fonts, Vietnamese (VISCII roman). Type 1: Latin-X fonts, Vietnamese (VISCII roman), Thai (TIS620), Thai National Font. The readme goes: "We greatly appreciate the contribution of Yannis Haralambous and Tereza Tranaka. They made free TrueType and Type1 fonts for Latin-X series, Thai, and Vietnamese. They will eventually make fonts for more character sets." The fonts are called OmegaSerif, and were made in 1999. Also included is the Thai National font Nf3, made by Yannis Haralambous and Virach Sornlertlamvanich in 1999. [Google] [More]  ⦿

Godwin D'souza

Indian graphic designer. Creator of Tape Font (2013, folded paper typeface) and Sahgam (2013, a circle-based display typeface).

Behance link. [Google] [More]  ⦿

Godwin D'Souza

Indian designer of the paper-fold font Tape (2011). Behance link. [Google] [More]  ⦿

Gohindi.com

Hindi font consultants. Opentype conversion service. Soon they will publish a Devanagari OT font package. [Google] [More]  ⦿

Gopika

The Gopika font for Hindi. GopikaTwo is here. See also here. [Google] [More]  ⦿

Government of Rajasthan site

Free TrueType Hindi fonts: Richa, Shusha. Richa is copyright Moser Database Pvt Ltd, B-12, Punjabi Baug, Bhopal. [Google] [More]  ⦿

Grace Graphics

Indian font and clipart design company, est. 1988, located in Sukhsagar Nagar, Katraj, Pune. More than 1000 typefaces in different Indian languages. [Google] [More]  ⦿

Granshan 2012

The Ministry of Culture of the Republic of Armenia and the Typographic Society Munich (tgm --- Typographische Gesellschaft München) are organizing Granshan 2012, The Fifth International Type Design Competition for Non-Latin Typefaces, which was created especially for Armenian, Cyrillic, Greek, Indic (i.e., Devanagari, Bengali, and Tamil only) and Arabic fonts. Exceptionally, this year, Latin fonts designed in the last ten years can also be nominated.

Edik Ghabuzyan and Boris Kochan are the big bosses. The jury consists of Timothy Donaldson, Otmar Hoefer, Ahmed Mansour, Fiona Ross, Manvel Shmavonyan, Panos Vassiliou, and Vladimir Yefimov. There are five expert panels:

  • Armenian text typefaces category: Ara Baghdasaryan, Gagik Martirosyan, Aram Megrabyan.
  • Arabic text typefaces category: Mamoun Ahmed, Mohamed Hassan, Nehad Nadam.
  • Cyrillic text typefaces category: Gayane Baghdasaryan, Dmitry Kirsanov, Tagir Safayev.
  • Greek text typefaces category: Konstantine Giotas, Klimis Mastoridis, Kostas Aggeletakis.
  • Indic text typefaces category: Ravi Pooviah, Mahendra Patel, Graham Shaw.

Impossible to find the list of winners. [Google] [More]  ⦿

Graphite Foundry
[Deepak Singh Dogra]

Graphite is an Indian typefoundry, est. 2015 by Deepak Singh Dogra in New Delhi. They offer commercial fonts via MyFonts and free fonts through Dafont. Their typefaces include the hand-crafted stone age emulation poster typeface Armageda (2015, Graphite), the hand-crafted typefaces Argone (2015) and Liniga (2015), Liniga Serif (2015), Geometos (2015, a geometric sans), Geometos Rounded (2015), Heavitas (2015, fat sans), and the grungy typefaces Blackore (2015) and Redgar (2015).

Typefaces from 2016: Renogare and Renogare Soft (free sans), Argone LC (a hand-crafted organic typeface family), Bumpo (ultra plump family).

Typefaces from 2017: Agenor (all caps sans display, not to be confused with Jean-Renaud Cuaz's Agenor from 1998 at Typorium), Gretaros (sans), Geometos Neue, Metrosant, Bumpo Soft.

Typefaces from 2018: Renos Rough (distressed), Geometos Soft.

Old MyFonts link. Graphicriver link, Dafont link. [Google] [MyFonts] [More]  ⦿

Grievances

DV-TTSurekh family of truetype fonts for Hindi. [Google] [More]  ⦿

Gudrun Buehnemann

Gudrun Buhnemann's page on transliteration fonts for Sanskrit. You can download John Smith's CSX+ fonts (Courier, Helvetica, New Century Schoolbook, Palatino, Times), and the Times-Norman fonts designed by Professor K. R. Norman of the University of Cambridge for use in printing Indian language material in Roman script. [Google] [More]  ⦿

Gulshan Kumar

Dehradun, India-based creator of Metal Alphabets (2011), a Trajan all caps face. [Google] [More]  ⦿

Guna Desk
[Guna Seelane]

Electrical engineer and designer in Chennai, India, who created the colorful typeface Velaikkaran (2017). Behance link. [Google] [More]  ⦿

Guna Seelane
[Guna Desk]

[More]  ⦿

Gunsheel Kaur Gaba

Designer in New Delhi, India, of the devanagari typeface Funmukhi (2017). She also designed a modular Latin typeface (2017). [Google] [More]  ⦿

Gurleen Kaur

Gurgaon, India-based designer of the connect-the-dots typeface Cross (2015). Each glyph is drawn without lifting the pen. Devian tart link. [Google] [More]  ⦿

gy.com

Hindi font software links, including several font downloads. [Google] [More]  ⦿

Habib Shaikh

Mumbai-based creator of the decorative Latin party typeface Bad Boy (2013). Habib writes: Dua Me Yaad Rakhna. He also made the ornamental textured typeface 99% Ornament (2013) and 99% Line Scratch (2013). He also created 99% Handwritting (sic) (2013). [Google] [More]  ⦿

Hafsah Parkar

During her studies in Bengaluru, India, Hafsah Parkar created the awkwardly-shaped display typeface Personas (2014). [Google] [More]  ⦿

Handpainted Type
[Hanif Kureshi]

Hanif Kureshi is an Art Director/ Graphic Designer who has graduated from Faculty of Fine Art, Baroda. He has worked with Ogilvy&Mather in both New Delhi and Mumbai before moving back to New Delhi to join Wieden+Kennedy. Speaker at ATypI 2011 in Reykjavik on Painter Kureshi: Painter Kureshi is a presentation that charts this ubiquitous phenomenon and seeks to preserve and digitize the rich but dying art form of hand painted type that became the cultural motif of India. The project involves inviting street painters to create all characters of the roman alphabet in their own styles, digitizing them and making them available on Handpaintedtype.com, where a short film on the current scenario is also on show. The presentation explains the process with examples and recent results of the typefaces created by a number of street painters across India. Several of these (mostly Latin) typefaces can be freely downloaded. A list: Painter Umesh, Painter Kafeel, Charan Art, Painter Vasant, Painter Vaghela, Painter Bindra, Painter Shakeel. [Google] [More]  ⦿

Hanif Kureshi
[Handpainted Type]

[More]  ⦿

Hans Sidharth

Bangalore City, India-based designer of the intergalactic stencil typeface Andromeda (2018). [Google] [More]  ⦿

Hans Sidharth

Bangalore, India-based designer of the sci-fi typeface Andromeda (2017), which he describes as an intergalactic stencil font. [Google] [More]  ⦿

Hardik Patel

Anand, India-based designer of the circle-themed typeface Circular (2018). [Google] [More]  ⦿

Hardik Shah

Based in Ahmedabad, India, Hardik Shah designed the calligraphic typeface Scribble (2012) and the techno Arabic simulation font Abica (2012). [Google] [More]  ⦿

Hardika Kamble

At Raheja School of Art in Mumbai, India, Hardika Kamble designed Electroflux (2018) and Aghalbaghal (2018). [Google] [More]  ⦿

Hareesh Seela

Hyderabad and/or Visakhapatnam-based creator (b. 1992) of the free outlined typeface Solid 3d (2013), Party Time (2013, white on black circled letters), Neoterique (2013, techno), Stiletto (2013), Easy 3d (2013), Hang Board 123 (2013), and the free bike chain typeface Stucked in Gears (2013). In 2014, Hareesh made Hanging Letters, and Dernier.

Typefaces from 2017: Azureon, Aadhunik (monoline organic sans).

Dafont link. Fontspace link. [Google] [More]  ⦿

Haridasa

Free Kannada, Telugu, Tamil and Sanskrit truetype fonts by C-CAD (Pune): KN-TTUma-Normal, SD-TTSurekh-Normal, TL-TTHemalatha-Normal, TM-TTValluvar-Normal. [Google] [More]  ⦿

Harish Harry

Bangalore, India-based designer of a modular typeface in 2018. [Google] [More]  ⦿

Harish Subu

Harish Subu (Subramanian) is a Mumbai-based graphic designer and illustrator who is currently finishing his BFA degree at the School of the Art Institute of Chicago in Chicago, IL. He created a virtual branding campaign and typeface for the city of Mumbai in 2013. [Google] [More]  ⦿

Harmonium Lessons

Free truetype font families Balaram (1995), Sanskrit-Times (Ramakanta Dasa, 1999), Sariga, ScaGoudy (1997). [Google] [More]  ⦿

Harpreet Pahwa

Graduate of the MIT Institute of Design, Pune. For her graduation project, Harpreet Pahwa (Delhi, India) designed The Living Forest (2016), a decorative set of floriated capitals. [Google] [More]  ⦿

Harsh Kumar

Indian type designer, who worked at some point for the Konkan Railway Corporation. He created free Marathi / Hindi truetype fonts, Shivaji and Shusha in the 1990s. He also made the fonts Vakil (Gujarathi) and Sandhu (Gurmukhi). Another source. Harsh Kumar has started BharatBhasha and contributed to the GNU Freefont project for these ranges:

  • Devanagari (U+0900-U+097F)
  • Bengali (U+0980-U+09FF)
  • Gurmukhi (U+0A00-U+0A7F)
  • Gujarati (U+0A80-U+0AFF)
[Google] [More]  ⦿

Harshal Duddalwar

Graphic designer in Pune, India, who created several modular typefaces in 2017, including Csome and Capsule (which is entirely constructed using circles and lines as with compass and ruler). [Google] [More]  ⦿

Harshit K

Mumbai, India-based designer of the foliate typeface Lotus (2017). [Google] [More]  ⦿

Hemal Purani

Ahmedabad, India-based creator of the hexagonal typeface Hexamals (2017), which was finished during her studies at Unitedworld Institute Of Design. [Google] [More]  ⦿

Hemant Kumar

During his studies at National Institute of Fashion Technology, Bhagalpur, India-based Hemant Kumar created SouthWest Hebrew (2015). [Google] [More]  ⦿

Himanshu Tokas

New Delhi, India-based designer of the outlined display typeface Bloob (2017). [Google] [More]  ⦿

Hindi

Devanagari MT Narrow (2000, Agfa/Monotype), an extensive font for Hindi. [Google] [More]  ⦿

Hindi

Download Hindi-10, Hindi-11, shusha. [Google] [More]  ⦿

Hindi Font Amarujala

Free Hindi truetype font Amarujala, caalled Yogeshweb. [Google] [More]  ⦿

Hindi Freehand

Hindi Freehand, a free truetype font. [Google] [More]  ⦿

Hindi Knowledgeable

Hindi site with these truetype fonts from CV-DAC, Pune: DV-TTYogesh-Bold, DV-TTYogesh-Italic, DV-TTYogeshEN-Normal, DV-TTYogeshEN-BoldItalic, DV-TTYogesh-Normal, DV-TTYogesh-Bold-Italic, DV1-TTYogesh-Bold, DV1-TTYogesh-Italic, DV1-TTYogesh-Normal, DV1-TTYogesh-Bold-Italic, DV-TTYogeshEN-Bold, DV-TTYogeshEN-Italic. [Google] [More]  ⦿

Hindi Rinny

Lively South Asian type blog covering Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Oriya, Perso-Arabic, Sinhala, Tamil, Telugu, Tibetan. [Google] [More]  ⦿

Hindi Sarita

Two free fonts, truetype and type 1, for Hindi. [Google] [More]  ⦿

Hiral Parekh

At Rachana Sansad College in Mumbai, Hiral Parekh designed the devanagari typefaces Talaash (2017) and Calligari (2017). [Google] [More]  ⦿

Hiral Vasant

Indian designer of a display typeface in 2018. [Google] [More]  ⦿

Hirday Pal Aujla

Jalandhar, India-based designer of the neon typeface Virtue (2018). [Google] [More]  ⦿

Hitarthi Shah

Baroda, India-based creator of the Latin Valentine's Day font Hits (2013). [Google] [More]  ⦿

Hitesh Malaviya

Designer of these typefaces:

  • The roundish display typeface family Laila (2014, Indian Type Foundry) for Latin and Devanagari. Free at Google Web Fonts.
  • Codesigner with Satya Rajpurohit (who did the Latin) of the Latin / Devanagari typeface Halant (2014, Indian Type Foundry). Halant too is free at Google Web Fonts.
  • Quantum Latin (2015, Indian Type Foundry). A great Latin typeface family in the style of Latin Wide. Followed in 2016 by Quantum Latin Rounded.
  • In 2015, Hitesh designed the Gujarati / Latin typeface family Hind Vadodara for ITF. Free Google Font download.
  • KunKun (2015, Indian Type Foundry). A handwritten (Latin) sans, perhaps with applications in cartoons and comics.
  • Hind Guntur (2015) is a free Google Font designed by Manushi Parikh and Hitesh Malaviya at Indian Type Foundry for use in Telugu. Github link.
[Google] [MyFonts] [More]  ⦿

HK Networks

Indic font links. [Google] [More]  ⦿

hknet

Indic font link page. [Google] [More]  ⦿

H.M. Lambert

Author of Introduction to the Devanagari script (London: Oxford University Press, 1953). [Google] [More]  ⦿

Hridya Velandy

During her studies at Rachana Sansad College of Applied Art and Craft, Mumbai, India-based Hridya Velandy (b. 1994) designed Nakshi (2016, inspired by a small Gurudwara situated in Kalyan, Maharashtra) and Twirl (2016, Latin display typeface). [Google] [More]  ⦿

HSS World

Century Schoolbook, Cloister Black BT, Shivaji01 and Shivaji02. [Google] [More]  ⦿

IATS

Fonts by Apple/Linotype/Font Bureau for the transliteration of Sanskrit: DTimesANSI, DTimesBoldANSI, DTimesBoldItalicANSI, DTimesItalicANSI, TimesRomanANSI, TimesRomanBoldANSI, TimesRomanBoldItalicANSI, TimesRomanItalicANSI. [Google] [More]  ⦿

IGNCA

The font DV1-TTYogesh Normal is a Latin font used to represent Indic languages (loaded with diacritics). [Google] [More]  ⦿

IITB India

Indic fonts in the gunzip file: AATMZL, Gayathri-Regular, Janaranjani-Regular, KPNEWS-Normal, Sanskrit-1.2, abtelgu. [Google] [More]  ⦿

ILDC

Archive of Hindi fonts and Hindi font software. [Google] [More]  ⦿

Inaam Alvi Computers

Firm based in New York [Artistic Computers, 601 8th Ave., 2nd floor, New York, NY 10018] which in the early 1990s sold high-quality fonts for Bengali, Gujarati, Gurmukhi, Hindi and Urdu. [Google] [More]  ⦿

indernik

New Delhi-based designer of the hand-drawn outline font Indernik Gold (2014) and the grungy script Indernik Charcoal (2014).

Behance link. Dafont link. [Google] [More]  ⦿

Indiafont
[Manoj Jaiswal]

Indian commercial typefoundry based in Pune, specializing in mostly calligraphic fonts for Marathi and Hindi. Many, if not most, fonts were designed by Manoj Jaiswal, ca. 2016-2017. Typefaces include AMS Aaditya, AMS Aakul 4-8, AMS Aasmi, AMS Anaram Regular, AMS Barakhadi, AMS Bhagyshri, AMS Bindu Rekha 1 Bold, AMS Calligraphy 1-9, AMS Chhatrapati, AMS Deepak, AMS Dipanshu, AMS Girija, AMS Gourav Bold, AMS Grass, AMS Handwriting, AMS Harshdeep, AMS Hastkala, AMS Jiwan, AMS Kangna, AMS Kasturi, AMS Kesri, AMS Khadu, AMS Lekhan 1-5, AMS MahaBharat, AMS Manoja, AMS Nirakriti, AMS Pankaj, AMS Payal, AMS Premankur, AMS Rekha 4-6, AMS Samanya, AMS Sandhya, AMS Shloka, AMS Swarup, AMS Tikiya, AMS Vina, AMS Wood. [Google] [More]  ⦿

Indian Futures&Options Pvt. Ltd

Bombay-based company which owns ML_Janki (1996) and ML_Lalit (1996). Download here. [Google] [More]  ⦿

Indian Gallery

Three Indic truetype fonts, including Panjabi Amritsar AE. [Google] [More]  ⦿

Indian language font tutorial

Interesting Indian language font tutorial. Scripts of India. [Google] [More]  ⦿

Indian Language Kit (Apple)

The Indian Language Kit has many Indian fonts. [Google] [More]  ⦿

Indian Type Foundry (ITF)
[Satya N. Rajpurohit]

ITF is located in Ahmedabad, Gujarat, India. It was co-founded in 2009 by Peter Bilak (Typotheque) partnered with Rajesh Kejriwal (Kyoorius Exchange) and Satya Rajpurohit. They intend to cover Non-Latin and Latin fonts. Their first type family was Fedra Hindi (2010, by Bilak and Rajpurohit).

In 2010, Satya N. Rajpurohit published the Kohinoor family for Latin, Devanagari and Tamil. Kohinoor Gurmukhi followed in 2011. The long term plan is to make Kohinoor support all official writing scripts of India. Kohinoor Gujarati is at the last stage of development and will be published soon. Kohinoor Bengali, Kohinoor Malayalam, and Kohinoor Kannada are scheduled for 2012.

ITF Devanagari was published in 2011.

In 2013, Satya Rajpurohit created the Latin typefaces Pilcrow and Pilcrow Soft. Also in 2013, Peter Bilak left ITF to pursue other interests.

In 2014, Sanchit Sawaria and Jyotish Sonowal finished the free Google Web Font Khand, an 8-style family of compact mono-linear fonts with very open counter forms. Developed for display typography, the family is primarily intended for headline usage. Its Latin is from Satya Rajpurohit, and Khand carries the Indian Type Foundry label.

In 2015, Satya published Brahmos (a modular Latin typeface).

In 2017, Fontstore published their high-contrast serif typeface Stardom. At Indian Type Foundry, Satya N. Rajpurohit designed Belur Kannada (2017, calligraphic) and Sandur Kannada (2017, a text typeface family).

In 2018, he published the pixel family Ray. [Google] [MyFonts] [More]  ⦿

India-n-indian.com

Indic truetype fonts that comply with Unicode: Raghindi (National Centre for Software Technology), Indic Unicode (wonderful, complete, by India-n-Indian.com, 2000), Bharathi (Gowrabattini, 2001). They also mention James Kass's Code2000 font. [Google] [More]  ⦿

Indic OpenType fonts

Free Indic OpenType fonts have been released under the GNU General Public License:

  • Gargi-1.3-r3 (2003) by Cyberscape Multimedia ltd (Bangalore).
  • Lohit Gujarati, Lohit Punjabi and Lohit Hindi (2001, Automatic Control Equipments, Pune). Lohit Hindi, Lohit Tamil and Lohit Bengali can be downloaded from Google Web Fonts.
  • Pothana2000 (2000, a Telugu font by K. Desikachary).
  • Rekha-medium (2003, MagNet Web Publishing Pvt. Ltd, Mumbai).
  • Saab (2004, a Gurmukhi font by Bhupinder Singh and Sukhjinder Sidhu).
  • aakar-MagNet (2003, MagNet Web Publishing Pvt. Ltd, Mumbai): based on the glyphs of Padma, which in turn is based on Akruti.
  • Padmaa Medium and Bold (2003, Cyberscape Multimedia Ltd, Bangalore). The OT font was created by Prof. Jitendra Shah.
  • utkal medium (2003, an Oriya font by Andy White).
[Google] [More]  ⦿

Indica (or: Summit India)

Indian language software for Mac and PC by Summit india. Contains fonts (not free) for Hindi, Gurumukhi, Gujarati, Bengali/Assamese, Malayalam, Tamil, Telugu, Punjabi, Kannada and Oriya. PDF file with a catalogue of their fonts. [Google] [More]  ⦿

Indica Web Fonts

Collection of Hindi fonts from the Navabharat site. [Google] [More]  ⦿

IndicType1
[Karel Piska]

All the fonts below were converted from Metafont into type 1 by Karel Piska in 2005-2006 using his own tools, METAPOST, FontForge and t1utils. Karel Piska is with the Institute of Physics, Academy of Sciences, Prague.

  • Tibetan: Corff-ctib (originally by Sam Sirlin (1996) and Oliver Corff et al (1999-2002)).
  • Sinhala: Haralambous-sinbxa10, Haralambous-sinbxb10, Haralambous-sinbxc10, Haralambous-sinha10, Haralambous-sinhb10, Haralambous-sinhc10, all originally by Yannis Haralambous (1994) for The Wellcome Trust, London.
  • Malayalam: Hellingman-mm10, Hellingman-mm12, Hellingman-mm17, Hellingman-mm6, Hellingman-mm8, Hellingman-mmb10, Hellingman-mmb12, Hellingman-mmb17, Hellingman-mmc10, Hellingman-mmc12, Hellingman-mmc17, Hellingman-mmcb10, Hellingman-mmcb12, Hellingman-mmcb17, Hellingman-mmcsl10, Hellingman-mmcsl12, Hellingman-mmsl10, Hellingman-mmsl12, all originally by Jeroen Hellingman (1993-1998).
  • Kannada: Kannada-kan10, Kannada-kan10b, Kannada-kan10s, Kannada-kan11, Kannada-kan11b, Kannada-kan11s, Kannada-kan12, Kannada-kan12b, Kannada-kan12s, all by G.S. Jagadeesh & Venkatesh Gopinath (1991-1998).
  • Bengali: PalashPal-bang10, PalashPal-bangsl10, PalashPal-bangwd10, all by Palash Baran Pal (2001-2002).
  • Punjabi/Gurmukhi: Punjabi-pun10, by Hardip Singh Pannu (1991). Also Singh-grmk10, Singh-grmk12, Singh-grmk8, Singh-grmk9 by Amarjit Singh (1995).
  • Tamil: Ridgeway-wntml10 by Hal Schiffman, Vasu Renganathan and Thomas Ridgeway (1988-1991).
  • Telugu: Telugu-tel10, Telugu-tel100, Telugu-tel10b, Telugu-tel10s, Telugu-tel11, Telugu-tel11b, Telugu-tel11s, Telugu-tel12, Telugu-tel12b, Telugu-tel12s, Telugu-tel18 by Lakshmankumar Mukkavilli (1991-1997).
  • Hindi (Devanagari): Velthuis-dvng10, Velthuis-dvng8, Velthuis-dvng9, Velthuis-dvngb10, Velthuis-dvngb8, Velthuis-dvngb9, Velthuis-dvngbi10, Velthuis-dvngbi8, Velthuis-dvngbi9, Velthuis-dvngi10, Velthuis-dvngi8, Velthuis-dvngi9, Velthuis-dvpn10, Velthuis-dvpn8, Velthuis-dvpn9, VelthuisBombay-dvnb10, VelthuisBombay-dvnb8, VelthuisBombay-dvnb9, VelthuisBombay-dvnbb10, VelthuisBombay-dvnbb8, VelthuisBombay-dvnbb9, VelthuisBombay-dvnbbi10, VelthuisBombay-dvnbbi8, VelthuisBombay-dvnbbi9, VelthuisBombay-dvnbi10, VelthuisBombay-dvnbi8, VelthuisBombay-dvnbi9, VelthuisBombay-dvpb10, VelthuisBombay-dvpb8, VelthuisBombay-dvpb9, VelthuisCalcutta-dvnc10, VelthuisCalcutta-dvnc8, VelthuisCalcutta-dvnc9, VelthuisCalcutta-dvncb10, VelthuisCalcutta-dvncb8, VelthuisCalcutta-dvncb9, VelthuisCalcutta-dvncbi10, VelthuisCalcutta-dvncbi8, VelthuisCalcutta-dvncbi9, VelthuisCalcutta-dvnci10, VelthuisCalcutta-dvnci8, VelthuisCalcutta-dvnci9, VelthuisCalcutta-dvpc10, VelthuisCalcutta-dvpc8, VelthuisCalcutta-dvpc9, VelthuisNepali-dvnn10, VelthuisNepali-dvnn8, VelthuisNepali-dvnn9, VelthuisNepali-dvnnb10, VelthuisNepali-dvnnb8, VelthuisNepali-dvnnb9, VelthuisNepali-dvnnbi10, VelthuisNepali-dvnnbi8, VelthuisNepali-dvnnbi9, VelthuisNepali-dvnni10, VelthuisNepali-dvnni8, VelthuisNepali-dvnni9, VelthuisNepali-dvpnn10, VelthuisNepali-dvpnn8, VelthuisNepali-dvpnn9, all by Frans J. Velthuis et al (1991-2005) from the University of Groningen.
  • Sanskrit: Wikner-skt10, Wikner-skt8, Wikner-skt9, Wikner-sktb10, Wikner-sktbs10, Wikner-sktf10, Wikner-sktfs10, Wikner-skts10, all by Charles Wikner (1996-2002).
Alternate URL. [Google] [More]  ⦿

Indlinux

Download Indic opentype fonts. A comprehensive list of Indic fonts is also included. [Google] [More]  ⦿

Indolipi
[Elmar Kniprath]

Indolipi is a multipurpose tool box for indologists and linguists that contains Open Type fonts for most Indian scripts, a Latin font for "instant" transliteration of Indic scripts, and a Unicode based Latin font for writing of scientific texts in a western language containing all transliteration signs used by indologists as well as all presently valid IPA signs. All fonts were made from 2004 until 2006 by Elmar Kniprath (Asien-Afrika institut, University of Hamburg, Germany): e-Bengali OT (for Assamese and Bengali), e-Grantamil (for Grantha Sanskrit, Tamil and Manipravala), e-Grantha OT (for Sanskrit), e-Gujarati OT, e-Kannada OT, e-Malayalam OT (for modern Malayalam), e-Malayalam OTC (for Malayalam with classical orthography), e-Nagari OT (for Sanskrit and Nepali), e-Nagari OTH (for Hindi), e-Nagari OTM (for Marathi), e-Nagari OTR (for Rajasthani), e-Panjabi OT (for Gurmukhi script), e-Sinhala OT, e-Tamil OT (for modern Tamil), e-Tamil OTC (for Tamil with classical orthography), e-Telugu OT, e-Latin Indic (for "instant" Latin transliteration of Indic Unicode texts), e-PhonTranslit UNI (for writing indological texts in a language based on Latin script, also containig all valid IPA signs and a lot of arrows, mathematical and logical signs). Download page. [Google] [More]  ⦿

Indraja Swaroop

Ahmedabad, India-based designer of a deco stencil typeface in 2017. [Google] [More]  ⦿

IndUni Fonts
[John D. Smith]

Free Indic/Latin fonts by John D. Smith, which used to have names like NCS IndUni or Courier IndUni, and resemble Courier, New Century Schoolbook, Times-Roman, Helvetica and Palatino. The fonts are based on fonts originally designed by URW++. The last update took place in 2009 and includes IndUni-C-Bold, IndUni-C-BoldOblique, IndUni-C-Oblique, IndUni-C-Regular, IndUni-CMono-Bold, IndUni-CMono-BoldOblique, IndUni-CMono-Oblique, IndUni-CMono-Regular, IndUni-H-Bold, IndUni-H-BoldOblique, IndUni-H-Oblique, IndUni-H-Regular, IndUni-N-Bold, IndUni-N-BoldItalic, IndUni-N-Italic, IndUni-N-Roman, IndUni-P-Bold, IndUni-P-BoldItalic, IndUni-P-Italic, IndUni-P-Roman, IndUni-T-Bold, IndUni-T-BoldItalic, IndUni-T-Italic, IndUni-T-Roman. The letters C, H, N, P and T stand for lookalikes of Courier, Helvetica, New Century Schoolbook, Palatino and Times, respectively. Cyrillic glyphs added by Valek Filippov. As well as a comprehensive set of "Indian" characters, all the letter forms required for Avestan and for the Pinyin representation of Chinese, a set of Cyrillic characters and a basic set of Greek letters, the fonts implement almost the whole of the Multilingual European Subset 1 of Unicode. The IndUni-T fonts also contain versions of j-underdot, used for some Dardic languages. [Google] [More]  ⦿

InProS (Intellectual Property Solutions)
[Sunny Kallara]

Indian language fonts for PC and Mac. There used to be a commercial web page based in Houston, TX, where one could purchase fonts for Hindi [ex: SheelRekha, RoopLekha, Kamal], Gujarati [ex: Shefali, Nita, Anarkali, Agni], Punjabi [ex: Pushpa, Suman, Badal, Arup], Bengali [Jayanti, BornaMala], Tamil, Telugu, Kannada, Sanskrit [ex: Sansipro], Malayalam and Assamese. Fonts for transliteration include Diplomat and MonoPali. HTML editors for these languages as well. Free Om_SuniKanth font. Run by Sunny Kallara. [Google] [More]  ⦿

Institut fuer Indische Philologie und Kunstgeschichte
[Dirk W. Loenne]

The ISB Times Standard&ISB Times Vistar TrueType Fonts were made by Dirk W. Loenne and Juergen Neuss at the Institut fuer Indische Philologie und Kunstgeschichte der FU-Berlin in the summer of 2000. These fonts for transliteration of Indic languages are based on Times New Roman. [Google] [More]  ⦿

Institute of Indology and Tamil Studies

As part of the University of Cologne (Germany), the IITS (Institute of Indology and Tamil Studies) published its own truetype font, IITS, which is used for the transliteration of Sanskrit, Pali, Prakrit, Hindi, Marathi, Bengali, Urdu and Dravidian Languages. Other Indian and Tamil fonts can be downloaded too. These include Adhawin-Tamil (K. Srinivasan, 1995), BengaliAssamese Vijay (Vijay K. Patel, 1995), Gayathri (Ethno Multimedia, 1993), Gujarati (Vijay K. Patel, 1996), Janaranjani (EthnoMultimedia, 1993), Kannada Vijay (Vijay K. Patel, 1995), Mantra (Shrikrishna Patil, 1994), Malyalam Vijay (Vijay K. Patel, 1995), Nepali Vijay (Vijay K. Patel, 1994), Progoty (Chetona Software Cafe, 1997), Palladam (T. Govindaraj, 1989-1990), PunjabiSans (Atech, 1991), RK Sanskrit, Tamil Vijay (Vijay K. Patel, 1995), Telugu Vijay (beware: need to type 5 to 7 keys to get one character). [Google] [More]  ⦿

Introduction to Indic scripts
[Richard Ishida]

Richard Ishida (W3) reviews the history of Indic scripts. This wonderfully informative page comes with a glossary and a nice set of references. [Google] [More]  ⦿

Iruhdam Maram

Indian designer in Hyderabad who made some sketchy fonts in 2010. [Google] [More]  ⦿

Isay Solomonovich Slutsker

Russian type designer (b. Orel, Russia, 1924, d. 2002). He lost both legs in World War II, but persevered and graduated in 1949 from the Moscow Printing Institute. He started working at the Type Design Department of VNIIPoligraphmash (National Printing Research Institute). From 1991 he worked for ParaType, Moscow. Isay Slutsker worked for major Soviet publishers, Khudozhestvennaya Literatura and Prosveshcheniye, designing and illustrating general fiction literature and textbooks. Slutsker designed many typefaces for a number of scripts and writing systems. Among his Cyrillic and Latin designs are Baltica (1951-2, a spin-off of Candida-Antiqua by Jakob Erbar; in co-operation with Vera Chiminova; Paratype did a revival in 1998); Bruskovaya Gazetnaya ('Slab-serif newstype', 1949; in co-operation with Alexandra Korobkova); Mysl (1986, a makeover of the typeface originally created by Vera Chiminova in 1966); PT Caslon (1962 and 1992, a version of the ATF Caslon; assisted by Tatiana Lyskova and Manvel Shmavonyan; also called Caslon 540); ITC Franklin Gothic Cyrillic (1993; assisted by Tatiana Lyskova); PT BT Humanist 531 Cyrillic (1988, based on the Bitstream version of Syntax, by Hans Eduard Meier; assisted by Manvel Shmavonyan); PT BT Geometric Slabserif 712 (1999, based on the Bitstream version of Monotype Rockwell; assisted by Manvel Shmavonyan); MyslNarrowC (1992-1996, at Intermicro, together with Svetlana Ermolaeva and Emma Zfcharova). Slutsker's Greek typefaces are Obyknovennaya Novaya ('New Standard', 1950s); Rublenaya Slutskera ('Slutsker Sans'; 1960s); Chronos (1980s). Isay Slutsker created several typefaces for Hindi, Bengali, Gujarati and Kannada. He designed two Amharic and one Hangul typeface, Inmin. Slutsker's Humanist 531 Cyrillic was among the winners of Kyrillitsa'99 and won an award at Bukvaraz 2001.

Russian bio. FontShop link. Klingspor link.

View some of Isay Slutsker's digital typefaces. [Google] [MyFonts] [More]  ⦿

ISE
[Akhilesh Gupta]

ISE (Institute of Software Engineering) is Akhilesh Gupta's small software company and font foundry. He developed a Nagari-Latin font in 1995-1996. In 2005 he released Akhil_HE and Akhil_ME which are Unicode based OpenType Nagari-Latin fonts. These fonts are almost similar. The only difference is in design of glyphs for Devanagari digits FIVE, EIGHT and NINE (096B, 096E & 096F). The M in Akhil_ME indicates that glyphs are as used in Marathi rather than Hindi. These fonts are professionally hinted and render well on low resolution devices. Located in Gondia, Maharashtra, India. [Google] [More]  ⦿

Isha Jhunjhunwala

Mumbai, India-based designer of a decorative stencil font in 2016. Behance link. [Google] [More]  ⦿

Isha Patel

Mumbai-based Isha Patel was inspired by the Indian Mughal architecture in the development of the Latin typeface Honguskie (2015). Behance link. [Google] [More]  ⦿

Isha Shah

Mumbai, India-based designer of a Memphis-style decorative caps typefce (2018) and of the devanagari typeface Avshicha Gho (2018), which was inspired by the architectural design of the temple Padmanabh Swamy. [Google] [More]  ⦿

Ishan Khosla

Principal of Ishan Khosla Design, New Delhi. At Typography Day 2012 he spoke on Typocraft: Creating an Indian Typographic Identity. [Google] [More]  ⦿

Ishita Panchal

Designer in Mumbai who created the interesting Devanagari / Latin typeface Khubsurat (2013) that was inspired by lotus flowers. Earlier, she created the Photoshop-format decorative font Hagrid which is based on the physical appearance of Rubeus Hagrid, a fictional character in the Harry Potter book series written by J. K. Rowling. [Google] [More]  ⦿

Isra Safawi

New Delhi, India-based designer of the square-shaped labyrinthine typeface Carre (2017). She also designed Urdu Drop Caps (2017). [Google] [More]  ⦿

Isshaan Johar

New Delhi-based designer of the experimental typeface Modernism (2016). [Google] [More]  ⦿

Iti Singh

During his studies at Banasthali Institute Of Design, Madhubani, India-based It Singh designed a nail-themed Latin display typeface (2016). [Google] [More]  ⦿

ITR Graphic Systems Pvt. Ltd.

Pune-based company which made these fonts: YogeshBold (1992), YogeshMedium (1992). Download them here. [Google] [More]  ⦿

itrans
[Avinash Chopde]

itrans is Avinash Chopde's freeware Indian Language Transliteration package. It includes a lot of free fonts: the Devnac PostScript Type III Font, the ItxGuj PostScript Type 1 and TrueType Gujarati (Donated by Shrikrishna Patil to ITRANS), the ItxBeng PostScript Type 1 and TrueType Bengali (Donated by Shrikrishna Patil to ITRANS), the Bengali - bwti metafont package, by Abhijit Das, Romanized Sanskrit (CSUtopia, type 1), the Washington Indic Roman TrueType fonts, the Washington Tamil metafont, the Kannada metafont, Xdvng (from the jtrans package, TrueType and type 1), Pun (a PostScript punjabi font), Frans Velthuis's Devnag Metafont, for Devanagari v1.6 (1998). Alternate site. At one point in the early 1990s, Chopde was assiociated with Avid Technology, Inc., Tewksbury, Mass. [Google] [More]  ⦿

j3world
[Mohamed Jabir]

Kottakkal, India-based designer of the free display sans typeface Highmax (2015), the free display typeface Crox (2015), Dubai (2015, a free octagonal typeface)) and the free all caps stencil typeface Zelda (2015).

Typefaces from 2017: Loadink (a free futuristic typeface). Behance link. Creative Market link for j3world. [Google] [More]  ⦿

Jacob Thomas

Designer who took the TDi program at the University of Reading, UK, in 2016. In 2016, he created Qayyum and explains: Various challenges have prevented the emergence of quality calligraphic Bengali typefaces, in particular the curved matras (top line). In honor of the one-year death anniversary of Bengali painter Qayyum Choudhury, I have developed a typeface inspired by his unique handwriting which pioneers Bengali typeface design in a number of areas. Having grown up in Bangladesh fluently speaking Bengali, I have for years documented calligraphy examples around me. Instead of simply following the Western trajectory of typeface design like many have done with Bengali, I wanted to allow the fluidity and character of Bengali hand lettering to come through, which is now made possible with opentype contextual substitution syntax. This involved creating positional alternates, ligatures and swash alternates. However the key challenge was to preserve the natural curvature of the matra line without creating an impossible number of glyphs & substitutions; this was solved by creating 6-8 categories of glyph kernings and then separating out the letters from the matras. This unique method is the first successful attempt I know of in preserving matra curvature in any Indic script. [Google] [More]  ⦿

Jaikishan Patel
[Magic Type]

[More]  ⦿

Jaileen Kaur

Noida and/or New Delhi, India-based designer of an experimental semi-watercolor typeface (2018) and the sans typeface Prima (2018). [Google] [More]  ⦿

Jainvishwabharati

Some Hindi truetype fonts: the DV-TTYogesh family. [Google] [More]  ⦿

Jaivardhan Singh Channey

Bangalore-based designer of Minuscule (2013, free). Behance link. [Google] [More]  ⦿

Janmeja Singh Johl

Famous Sikh photographer. Designer of the font BJanmeja5A. Free Punjabi font (Janmeja2920a (2002)). Ads for Elfring and Linotype. Other free fonts at the site: JanmejaGujratiNormal JanmejaKanadaNormal JanmejaMalyalamNormal JanmejaOriyaNormal JanmejaSinhalaNormal JanmejahindiThin JanmejaTeluguNormal, all made by him in 1997. [Google] [More]  ⦿

Jason Glavy
[Glavy Fonts]

[More]  ⦿

Jay Palkar

At Raffles Design Institute in Mumbai, Jay Palkar designed the mini-stencil typeface Techno Streak (2015). Behance link. [Google] [More]  ⦿

Jay Paudyal

Creator of the free rupee font Jay Ho (2010). Fontspace link. As explained here, the new rupee symbol was designed in 2010 by Bombay IIT post-graduate D. Udaya Kumar. [Google] [More]  ⦿

Jayesh Raut

Jayesh Raut (Mumbai) is an art director and illustrator who made a few creative typographic posters (2012). He created the display typeface Invictus (2012). [Google] [More]  ⦿

Jayesh Sivan

Jayesh Sivan lives in Bangalore, India. On Behance, he has shown an illustrated font called Monster Kid (2009). [Google] [More]  ⦿

Jharna Panchal

Vadodara, India-based creator of the Latin display typeface Baroda (2013), which was inspired by the shapes of buildings in Baroda City, Gujarat. Jharna graduated from the University of Baroda. [Google] [More]  ⦿

Jishnuram Ca

Creative designer in Noida, India. In 2016, he created the free hand-crafted Beach Stroke typeface. Behance link. [Google] [More]  ⦿

Jithin Mohan

Kochi, India-based designer of Martian Display Font (2018). [Google] [More]  ⦿

Jo de Baerdemaeker

Belgian type designer (b. Brussels, 1974) who lived in Kessel-Lo. For his M.A. in Reading in 2004, he designed Lungta (2004), an unbelievably gracious bicephalic typeface with Latin text serif and Tibetan components. He says that the design was influenced by Dwiggins. At ATypI 2006 in Lisbon, he spoke about Tibetan letterforms. In 2009, he obtained his doctoral degree from Reading on a topic entitled Tibetan Typeforms: from their inception in 1738 up to the present day.

Jo taught or teaches at the Department of Typography & Graphic Communication (University of Reading), at the Plantin Institute of Typography (Antwerp), at the European Lettering Institute (Bruges), at LUCA (campus Sint-Lukas Brussels), and at KASK School of Arts (HO Gent). In 2012, Jo De Baerdemaeker founded Studio Type in Antwerp (Belgium), and collaborates with international design studios and type foundries. He teaches at Plantin Instituut in Antwerp, and received the title Nieuwe Vlaamse Meester in de Kunst in 2017 from the Flemish Government.

His typefaces besides Lungta: Wiels (2008, a sans typeface designed for the Centre of Contemporary Art in Brussels, Belgium), Construct (an experimental geometric typeface in which the initial lowercase letters were extended with a horizontal headline as in Devanagari: graduation project at St Lukas College of Art and Design, Brussels), and Elegant Contemporary (2009, a 4-style grotesque done for an arts center in Nottingham, inspired by Hans Möhring's Elegant Grotesk, 1928). Speaker at ATypI 2010 in Dublin: The Javanese typefaces of Johannes Enschedé en Zonen and Lettergieterij Amsterdam voorheen N. Tetterode. Speaker at ATypI 2011 in Reykjavik on The Mongolian script. Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2016 in Warsaw (on reverse italics). [Google] [More]  ⦿

Joby PV

Hyderabad, India-based designer of the organic sans typeface Blackjamun (2015). Behance link. [Google] [More]  ⦿

John D. Smith
[IndUni Fonts]

[More]  ⦿

John D. Smith

John D. Smith works at the University of Cambridge. His site offers a wide selection of roman fonts with added accents for Sanskrit and Pali. For both PCs and Macs, TrueType and PostScript type 1, and both CSX and Norman encodings. The free fonts include the csx+ family of Sanskrit fonts, and fonts implementing the character set designed by Professor K. R. Norman for Romanised text in Indian languages. Of interest also are two utilities, mkt1font and vpl2vpl, to generate accented type 1 fonts from existing type 1 fonts. A partial list of fonts: Courier_CSX+-Bold, Courier_CSX+-BoldItalic, Courier_CSX+-Italic, Courier_CSX+, Courier_CARB-Bold, Courier_CARB-BoldItalic, Courier_CARB-Italic, Courier_CARB, Helvetica_CSX+-Bold, Helvetica_CSX+-BoldItalic, Helvetica_CSX+-Italic, Helvetica_CSX+, Helvetica_CARB-Bold, Helvetica_CARB-BoldItalic, Helvetica_CARB-Italic, Helvetica_CARB, NCS_CSX+-Bold, NCS_CSX+-BoldItalic, NCS_CSX+-Italic, NCS_CSX+, NCS_CARB-Bold, NCS_CARB-BoldItalic, NCS_CARB-Italic, NCS_CARB, Palatino_CSX+-Bold, Palatino_CSX+-BoldItalic, Palatino_CSX+-Italic, Palatino_CSX+, Palatino_CARB-Bold, Palatino_CARB-BoldItalic, Palatino_CARB-Italic, Palatino_CARB, Times_CSX-Bold, Times_CSX-BoldItalic, Times_CSX-Italic, Times_CSX+-Bold, Times_CSX+-BoldItalic, Times_CSX+-Italic, Times_CSX+, Times_CSX-Roman, Times_CARB-Bold, Times_CARB-BoldItalic, Times_CARB-Italic, Times_CARB, TimesNormanBold, TimesNormanBoldItalic, TimesNormanItalic, TimesNormanRoman. [Google] [More]  ⦿

John Prashanth

Bangalore, India-based designer of the experimental typeface Hero (2015), whhich superimposes Trajan and Arial. [Google] [More]  ⦿

Jolene Quiterio D'Souza

Mumbai-based designer who made a circular geometric typeface called My Own Typeface (2010). Behance link. [Google] [More]  ⦿

Jonny Pinhorn

Jonathan Pinhorn is a British type designer and India enthusiast who obtained an MA in typeface design from The University of Reading (2009), based on his typeface Venkat. From 2011-2015, he worked for Indian Type Foundry in Ahmedabad, India. He is working on Venkat Tamil.

In 2012, he published the free sans serif typeface Karla at Google Web Fonts.

In 2013, Pinhorn designed Saguna (Indian Type Foundry) for Gujarati.

In 2014, Jonny Pinhorn and Manushi Parikh co-designed Teko (Google Fonts, Indian Type Foundry)). Teko is an Open Source typeface that currently supports the Devanagari and Latin scripts. This font family has been created for use in headlines and other display-sized text on screen. Five font styles make up the initial release. Codesigned with Jonny Pinhorn. With Lipi Raval, Jonny Pinhorn designed the Google Web Font Kalam (also via the Indian Type Foundry) in 2014. Kalam is a handwriting-style typeface supporting the Devanagari and Latin scripts. The fonts have each been optimised for text on screen. Each font contains 1,025 glyphs, which includes many unique Devanagari conjuncts.

In 2015, Pinhorn designed the sans typeface Karmilla (free at Open Font Library and Github), the Peignotian typeface Quilon, the grotesk typeface family Caravel and the geometric-but-not-quite-monolinear Touche at Indian Type Foundry. With Lipi Raval, Jonny Pinhorn designed the Google Web Font Tillana in 2015: Tillana is a casual angular script typeface for Latin and Devanagari. Creator of the Latin part of the free Latin / Devanagari geometric sans typeface Poppins (2015, Google Fonts). The Devanagari is from Ninad Kale. The Indian Type Foundry first published Poppins in 2014.

Google Plus link. Still in 2015, he published the creamy typeface Shrikhand at Google Fonts: it covers Latin and Gujarati. He also designed Atithi, a Gurmukhi companion to Cadson Demak's Athiti Latin and Thai typeface. [Google] [MyFonts] [More]  ⦿

Joshua Chacko

Mumbai-based designer of an experimental font called Wireframe (2014). [Google] [More]  ⦿

Juan-José Marcos García
[Alphabetum]

[More]  ⦿

Jui Pandya

Mumbai-based designer, who, during her studies at National Institute of Fashion Technology in the Induasrial Design Centre, Indian Institute Of Technology, Bombay, designed the hand-crafted Latin typeface Chapan (2016). [Google] [More]  ⦿

Jyotika Malik

New Delhi, India-based designer of a modular octagonal typeface in 2016. [Google] [More]  ⦿

Jyotish Sonowal

In-house type designer at Indian Type Foundry who is based in Ahmedabad. In 2012, Jyotish and Satya N. Rajpurohit co-designed the semi-calligraphic typeface Tulika Bengali (Indian Type Foundry). Sonowal explains: Tulika is a text typeface inspired by traditional Bengali calligraphy. It features distinctive, sinuous shapes and a high contrast between thick and thin strokes. Bengali is one of the most complex Indic scripts, requiring the design of over 700 glyphs for each of Tulika's 5 styles. Extensive research was done before defining the character set which included support for Assamese, Bengali, Bishnupriya Manipuri, Garo, Kokborok, Meitei, and Mundari languages. Tulika is a set of Unicode fonts suitable for setting books, magazines, newspapers and any other material which can benefit from its five weights and high legibility at small point sizes.

The Indian Type Foundry published several typefaces at Google Web Fonts in 2014, including Rajdhani. Rajdhani is an Open Source typeface supporting both the Devanagari and the Latin scripts. The font family was developed for use in headlines and other display-sized text on screen. Its initial release includes five fonts. Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component in the Rajdhani fonts together, while the Latin was designed by Shiva Nallaperumal.

In 2014, Sanchit Sawaria and Jyotish Sonowal finished the free Google Web Font Khand, an 8-style family of compact mono-linear fonts with very open counter forms. Developed for display typography, the family is primarily intended for headline usage. Its Latin is from Satya Rajpurohit, and Khnad carries the Indian Type Foundry label. At the Indian Type Foundry, he helped with Rozha One (2014, free Google web font). This is a heavy didone typeface with large x-height, high contrast, and a harmonious balance between its Devanagari (designed by Tim Donaldson and Jyotish Sonowal) and Latin (designed by Shiva Nallaperumal). Github link.

Sarpanch (2014, Indian Type Foundry is an Open Source squarish typeface supporting the Devanagari and Latin scripts. The Medium to Black weights of the Sarpanch family were design by Manushi Parikh at ITF in 2014. Jyotish Sonowal designed the Regular weight. Download at Google Web Fonts.

Typefaces from 2015: Hind Siliguri (Google Fonts: a free Bengali / Latin typeface family at ITF), Hind Madurai (a free Google Font for Tamil, under the Indian Type Foundry aegis; Github link; Open Font Library link). [Google] [More]  ⦿

K. Ramasubramanian
[Shobhika]

[More]  ⦿

Kailash Nayak

Mumbai-based designer of the Latin art deco typeface Jazz (2013). [Google] [More]  ⦿

Kajol Bhalerao

At Racahna Sansad College of Applied Arts and Craft, Mumbai-based Kajol Bhalerao designed the textured caps typeface Katti Batti (2018) and the Rajasthani dance-inspired color typeface Ghoomar (2018). [Google] [More]  ⦿

Kalpesh Tudiya

Ahmedabad, India-based designer of a nice typographic poster called Auto Rickshaw (2013).

Behance link. [Google] [More]  ⦿

Kalyani Rajguru

During her studies in Pune, India, Kalyani Rajguru designed a set of art nouveau capitals (2016) and a lively sans disaply typeface, Peppy (2016). [Google] [More]  ⦿

Kalypso Designs
[Kalypso Kichu]

Kottayam, India-based designer of the free circle-based typeface Magnet Bold (2015) and of the free organic typeface Natura (2015). [Google] [More]  ⦿

Kalypso Kichu

Kerala, India-based designer (b. 1994) of the sci-fi typefaces Natura (2015) and Magnet (2015, a font based on circles). [Google] [More]  ⦿

Kalypso Kichu
[Kalypso Designs]

[More]  ⦿

Kanani Miranda

Indianapolis, IN-based designer of the squarish typeface The North West (2016). Behance link. [Google] [More]  ⦿

kandryve

FontStructor who made the art deco typefaces RE Take II and Rectilinear Certainty in 2010. Other cfaces include a pixelized Devanagari face, Devanagari Phonetic (2010), Handwritten Semi-Cursive (2010) and Kandryve (2010). [Google] [More]  ⦿

Kannada Font Piracy
[U.B. Pavanaja]

A huge case of font piracy is documented here by U.B. Pavanaja. The victim here is Cyberscape Multimedia Limited, Bangalore (developers of Akruti Software for Indian Languages) which has released over the years many fonts for Indic scripts now known as the Akruti fonts. Their spokesperson is S.K. Anand. Pavanaja discovered that several fonts found in Indic font software use the glyphs from Akruti without permission. These include:

  • Baraha Software (led by Seshadri Vasu) uses at least one font from Akruti, without permission. Vasu adnitted to the piracy.
  • Nudi Fonts (by KGP or KAGAPA, led by C. V. Srinatha Sasthry and G. N. Narsimha Murthy) uses a font identical to an Akruti font as well. Unlike Vasu, the Nudi people said that the fonts were developed from scratch by someone. Hmmm.
Additional info on Pavanaja's site.. [Google] [More]  ⦿

Karambir Singh Rohilla

Graduate of Rajasthan University. Indian type designer in New Delhi whose creations cover Devanagari, Gurumukhi, Gujarati, Bengali / Assamese, Malayalam, Tamil, Telugu, Kannada, Oriya. I could not locate the fonts on the web site. Futuristic Hindi face (2011).

In 2013, he designed a Bengali typeface for small portable devices, called AR Hebe Sans. He also did an unnamed Oriya typeface in that year.

In 2015, Rohilla created the phonetic typeface Unspell and the experimental Ink Save Font.

Alternate site. Behance link. [Google] [More]  ⦿

Karan Darhji

Pune, India-based designer of the colored geometric solid typeface Material Alphabet (2017, free in AI format). [Google] [More]  ⦿

Karel Piska
[IndicType1]

[More]  ⦿

Karthick Rajendran

Computer science engineer turned graphic designer, who is based in Coimbatore, India. In 2017, he created the experimental Latin typeface Glynch. [Google] [More]  ⦿

Kashmira Sarode

Illustrator and graphic designer in Bangalore City, India. Creator of the decorative caps typeface Fish Font (2013). [Google] [More]  ⦿

Kasturi Koli

During her studies, Mumbai-based Kasturi Koli designed the devanagari display typeface Fontesh (2017). [Google] [More]  ⦿

Katy Sushanskaya

Moscow, Russia-based designer of Plastic Typeface (2017). [Google] [More]  ⦿

Kaustubh Adhav

Graphic designer in Pune, India. Designer of the rounded marker typeface Bublont (2017), which comes with shaded, outlined and coloured substyles. Behance link. Creative Market link. [Google] [More]  ⦿

Kavisha Dharia

Mumbai, India-based cdesigner of the geometric typeface Tri Angle (2013). [Google] [More]  ⦿

Kavya Tolia

Mumbai, India-based designer of the decorative rhombic Latin / Devanagari typeface Amrapali (2015), which was inspired by the Taj Mahal palace. [Google] [More]  ⦿

Keerthana Ramesh

Graphic designer in Coimbatore, India, who created the straight-edged typeface family Recter (2013). [Google] [More]  ⦿

Kenneth E. Bryant

Designer in 1994 of Jaisalmer (for Devanagari), Hindi/Sanskrit fonts (in all formats) for the Mac. [Google] [More]  ⦿

Kevin Shaj

Pathanamthitta, India-based designer of the free oriental simulation typeface Chinese Arch (2018) and the free Synuous Bold (2018). [Google] [More]  ⦿

Khushi Sompura

At CVM College of Fine Arts in 2017, Khushi Sompura (Mumbai, India) designed Fledgling Fork (2018). [Google] [More]  ⦿

Khyati Nandu

Mumbai-based creator of Aero-type (2013, engineering drawings of airplanes). [Google] [More]  ⦿

Khyati Trehan

During her graphic design studies at the National Institute of Design, Ahmedabad, India, Khyati Trehan created a decorative scientific all-caps alphabet (2013). Behance link. See also here. [Google] [More]  ⦿

Khyati Trehan

Indian type designer and talented singer based in New Delhi. In 2014-2015, she designed the sturdy 5-weight text typeface Tarsus (Indian Type Foundry), which could even be used in newsprint. The italics are missing though. In 2013, she created decorative caps alphabets that are inspired by science. Behance link. [Google] [MyFonts] [More]  ⦿

Kimberly Manners

Designer of the rounded sans typeface Khasi Script (2016), which was created during her studies at IIT Bombay. [Google] [More]  ⦿

Kimya Gandhi

Kimya Gandhi from Mumbai, India, holds a Bachelors degree in Communication Design from National Institute of Fashion Technology, Bombay (NIFT). She further went on to pursue specialization in the form of a post-graduate degree in Visual Communication at the Industrial Design Centre (IDC), IIT Bombay. Kimya interned with Linotype GmbH, Germany, in their font design department in 2010. Over the next several years she worked as a freelance designer for numerous type foundries catering to their multi-script requirements. She graduated from the TDi program at the University of Reading in 2012. Since 2015 she is a partner at Mota Italic in Berlin focusing on Indic and Latin designs for retail and custom corporate projects. Kimya teaches typography and type design at design institutes like Symbiosis Institute of Design and NIFT, and is currently designing and researching Indian script typefaces.

In 2014, Kimya Gandhi and Rob Keller published the free Latin / Devanagari font family Vesper Devanagari Libre. An extension of Rob Keller's Vesper (2006), the Vesper Devanagari character set was completed in 2014. Vesper Devanagari Libre is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading.is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading.

In 2015, she designed the Devanagari handwriting font Sharad 75, which was subsequently published in 2016 by Mota Italic. She writes: Rugwed Deshpande, of Setu Advertising wanted to commission the design of a typeface based on the handwriting of his father, Mr. Sharad Deshpande who has been a prolific copywriter for 50 years years and has been an intrinsic part of Setu. Rugwed explained how handwriting has been an important aspect of his copy-writing career. Her own handwriting was tuned into a font in 2017, Maku. [Google] [More]  ⦿

Kiran fonts

Free Devanagari fonts for Marathi, Hindi, and Sanskrit: Aarti (2001), Amruta (2001), Kiran (2000). Alternate URL, which in addition, has HemadreeModee (Belco Systems, Pune). [Google] [More]  ⦿

Kiran Uk

Kochi, India-based designer of Drops (2017) and Santio (2017, a six-weight compass-and-ruler sans with one free style). Behance link. Graphicriver link. [Google] [More]  ⦿

Kirandeep Kaur

Jaipur, India-based designer of the thin sans display typeface Rectus (2017). [Google] [More]  ⦿

Kirthan Vasu

Indian designer of the blackletter typeface Kirthan (1991). [Google] [More]  ⦿

Kishore Baglodi

Creator of the free font Vadiraja (2012) for Sanskrit. [Google] [More]  ⦿

Kisu-kisu of Indian Actrexxx

Hindu truetype font LT-TM-Barani, by Lastech, 1992. [Google] [More]  ⦿

Kokila

A Devanagari / Latin font by Modular Infotech (2002). [Google] [More]  ⦿

Komal Singh

New Delhi-based designer of the connect-the-dots typeface Interstellar (2015). This typeface was finished during her studies at Srishti School of Art Design and Technology. [Google] [More]  ⦿

Kopal Shah

Ahmedabad, India-based designer of a Hindi typeface (2017). [Google] [More]  ⦿

Koshin Suzuki

Koshin Suzuki's free fonts for Tibetan (part of his SuzTib package) and Sanskrit, Pali and Tibetan (his SuzBud package), as well as his free font A1Suzuki for Sanskrit, Pali, Tibetan, English, French, German, Pin-in and Mongolian. The list: A1Suzuki, KanbunU (1999), SuzBudCU, SuzBudRU, SuzBudW, SuzEurU, SuzTibA, SuzTibAD, SuzTibAU, SuzTibB, SuzTibBD, SuzTibBU, SuzTibBY, SuzTibC, SuzTibN, SuzTibR, SuzTibRD, SuzTibRU, SuzTibRY, SuzTibY, A1Ghos (2000), SuzBudC, SuzBudR, SuzEur. All were made by Suzuki in 1999-2000. Download here. [Google] [More]  ⦿

Koshur

The DV-TTSurekh family in truetype. [Google] [More]  ⦿

K.R. Norman's Pali font

At the Journal of Buddhisy Ethics site, download Mac or Windows versions of K. Norman's diacritic fonts for romanized text in Indian languages, called Times-Norman. Alternate URL. [Google] [More]  ⦿

Krishna Software

HWP is a commercial Hindi word processor for Hindi/Sanskrit, Gujarati, Punjabi, Bengali/Assamese, and Latin/Roman form (diacritics). The demo zip file has six truetype fonts: BengaMedium, BengaMedium, GujarMedium, HindiMedium, Latin, PunjaMedium, all by Krishna Software (1993). [Google] [More]  ⦿

Kriti Gohil

Mumbai-based student who created the techno font Digitech (2016). [Google] [More]  ⦿

KrutiDevDisplay490

KrutiDevDisplay490 can be found here. [Google] [More]  ⦿

Ksyberspace
[Ramakanta Dasa]

A number of freeware Sanskrit diacritic fonts, mostly made by Ramakanta dasa. Contains truetype, type 1 and East-European versions. Names: Avanti, Balaram, Garam, Hari-Garamond (by Ramakanta Dasa, 1997), Krishna Times, Krishna-Arial, Palaka, Sanskrit-Courier, Sanskrit-Garamond, Sanskrit-Helvetica, Sanskrit-Palatino, Sanskrit-Times, Sanskrit-ZapfChancery, Sanskrit-AvantGarde, Sanskrit-Benguiat, Sanskrit-BerkeleyOldstyle, Sanskrit-ComicSans, Sanskrit-NewCaledonia, Tamal, Timingala. Direct access. Another URL. [Google] [More]  ⦿

Ksyberspace

Page by Arjuna Krishna-Das. A number of free Sanskrit TTF and type 1 fonts. The following families are here: SanskritAvanteGardeNormal, SanskritBenguiat, SanskritBerkeleyOldstyle, SanskritNewCaledonia (Govinda Dasa, 1993), Tamal (Madhava Dasa aka Michael Best, 1993), Avanti, Balaram, Garam, Hari-Garamond, Krishna-Arial, Krishna-Times, SanskritComicSans, Sanskrit-Courier (Ramakanta Dasa, 2000), Sanskrit-Garamond (Ramakanta Dasa, 2000), Sanskrit-Helvetica (Ramakanta Dasa, 2000), Sanskrit-Palatino (Ramakanta Dasa, 2000), Sanskrit-Times (Ramakanta Dasa, 2000), Sanskrit-ZapfChanceryItalic (Ramakanta Dasa, 2000), Timingala. The type 1 series also has fonts called Rama-Courier, Rama-Garamond, Rama-Helvetica, Rama-Palatino, Rama-Times, and Rama-ZapfChancery, all with a 1993 copyright notice by Ramakanta Dasa. Also, Palaka, Timingala, Sanskrit-Courier, Sanskrit-Garamond, SanskritAvanteGarde, SanskritBenguiat, SanskritBerkeleyOldstyle, SanskritComicSans. The Sanskrit series has a 1999 copyright by Ramakanta Dasa, except Sanskrit-Avante-Garde (1993, Govinda Dasa), Sanskrit-Benguiat (1994, Govinda Dasa), and Sanskrit-Berkeley Oldstyle (1994, Sri Mayapur Fund). Direct access. [Google] [More]  ⦿

Kumudam Fonts

Free Divya truetype font. Page by Jaishankar Narayan. [Google] [More]  ⦿

Kunal Kapur

New Delhi-based designer of the brick typeface Empire (2018). [Google] [More]  ⦿

Kunj Mehta

Mumbai-based creator of Fumio Tachibana (2013), a dada style typeface that is based on the iconic collage style of Japanese designer and artist Fumio Tachibana. [Google] [More]  ⦿

Kusmanjali Jain

During her studies at National Institute of Fashion Technology, Bangalore, Kusmanjali Jain designed the display typeface Mother&Foetus (2016). [Google] [More]  ⦿

Lan Shirou

Japanese designer of the free font LS Sanskrit (1999-2000). [Google] [More]  ⦿

Language of Radical Design

L.O.R.D. (Language of Radical Design) is located in Mumbai. Designers of an ultra-fat octagonal logotype in 2011. [Google] [More]  ⦿

LaserHindi Sanskrit

Commercial TrueType and Type-1 HindiSanskritLS fonts, in plain, bold, italic and bolditalic styles, containing all the characters in modern Hindi and classical Sanskrit. By Linguist's Software. [Google] [More]  ⦿

LaserSindhi fonts from Linguist's Software

TrueType and Type 1 fonts for Macintosh computers. Four fonts, 100 USD. "Sindhi is spoken in Pakistan, where it is written in the Arabic script with the addition of several letters to accommodate special sounds. Sindhi is also one of the constitutional languages of India." [Google] [More]  ⦿

Lastech

Free Tamil, Devanagari, Telugu and Malayalam fonts. "Lastech is a Madras-based software company specializing in the areas of Desk-top publishing, Presentation graphics&Imageprocessing." [Google] [More]  ⦿

Leander Viegas

Indian designer of the cartoon font 90sVibe (2017). [Google] [More]  ⦿

LearnFun Systems

Company in Chennai, India, which made these fonts in 1998: CCAgathiar-Narrow, CCAgathiar-Normal, CCAgathiar-Wide, CCBharadhi-Normal, CCKamban-Narrow, CCValluvar-Normal. Some can be downloaded here. [Google] [More]  ⦿

Leeanne Duong

New York City-based designer of the display typeface Espace (2017). [Google] [More]  ⦿

Leena Parvin

Chennai, India-based designer of the paper cut typeface Grind (2010). [Google] [More]  ⦿

Lekhika Dugtal

During her studies at IIIT Allahabad, Lekhika Dugtal designed the number font Circuit (2)17). [Google] [More]  ⦿

Lipi Raval

Type designer in Ahmedabad, India, associated with the Indian Type Foundry. Graduate of the TypeMedia program at the KABK in The Hague in 2017.

With Jonny Pinhorn, Lipi Raval designed the Google Web Fonts Tillana in 2015 and Kalam in 2014. Kalam is a handwriting-style typeface supporting the Devanagari and Latin scripts. The fonts have each been optimised for text on screen. Each font contains 1,025 glyphs, which includes many unique Devanagari conjuncts. Tillana is a rounded angular casual script for Latin and Devanagari.

In 2016, Lipi designed the cursive Gujarati / Latin typeface Mogra (free at Google Fonts; Github link). [Google] [More]  ⦿

L.S. Tikhomirov

L.S. Tikhomirov (aka Lila-Purushottam das and Lilap das) revived 19th century Nagari foints that were cut and used in Europe throughout the 19th century. These free fonts are called Santipur99 and Gudakesa99. About the origin of these fonts, we quote from Glaister's Glossary by Geoffrey Ashall Glaister: In 1728, the Royal Library in Paris became Europe's main centre of Sanskrit studies. In 1820, August Wilhelm von Schlegel, professor of Sanskrit at Bonn Academia Rhenana, commissioned a fount of nagari type. The result was Vibert's excellent 20-point size of 1821 [...] Vibert cut the punches and J.-B. Lion cast the type. [...] In 1825 Delafond of Paris cut a 16-point size. At Bopp's instigation, the "Akademie der Wissenschaften" in Berlin acquired Schlegel's matrices and equipment for its newly established oriental printing office in 1821. Here Bopp supervised cutting of a smaller fount of nagari to be used for textual notes. [...] In 1825, the "Société Asiatique" in Paris bought the Schlegel and Bopp founts. [...] By mid-century the founts were acquired by Brill of Leyden who issued a specimen "De Sanskrit Drukletters" in 1851. Thus Schlegel's type spread through Europe. The Vibert and Delafond punches are now in the Cabinet des Poincons of the Imprimerie Nationale in France. Now there is also Santipur OT. [Google] [More]  ⦿

Luitnew

Free font that can be found at the site of Asomiya Pratidin. [Google] [More]  ⦿

Luke Caruana

Creator of Dingli Sans (2011). He lives in Valletta, Malta. He is currently completing his Bachelor of Arts (Honours) in Graphic Design and Interactive Media at the MCAST Institute of Art and Design. In 2011, he also designed a simple alphabet called Kharoshti. He writes: This glyph system was used in the 3rd century BCE until it died out in the 7th century CE in the remote towns of Khotan and Niya. The buddhists mainly used these symbols as a mnemonic for remembering a series of verses relating to the nature of phenomena. In Tantric Buddhism this list was incorporated into ritual practices, and later became set down in mantras. Khraroshti is encoded in the Unicode range U+10A00-U+10A5E. These glyphs were redesigned for our era as part of a school typography assignment. All of the twenty glyphs selected were reduced to the simplest of forms without loosing their identification. [Google] [More]  ⦿

Madan Puraskar Pustakalaya (MPP)
[Sanir Karmacharya]

Organization in Kathmandu involved in the Nepali Font Standardization. They maintain a Unicode Nepali font, Kanjirowa, by Sanir Karmacharya. He also designed Kalimati, which can be downloaded here. Download from the Madan Puraskar Pustakalaya (MPP) Library. Three Devanagari Unicode fonts, Sanir Karmacharya's Kalimati and Kanjirowa, and Rabison Shakya's Thyaka Rabison can be downloaded. [Google] [More]  ⦿

Madhav Deshpande

From Dr. Deshpande at the Department of Asian Languages and Cultures, University of Michigan, a series of PostScript and truetype fonts for Hindi, Marathi and Sanskrit: "The Nagari "Madhushree" font works for Sanskrit, Hindi, Marathi. "Mandakini" works for Sanskrit and Hindi, and can do all the dotted letters used to transcribe Urdu sounds. The Roman diacritics font, "Manjushree-CSX," follows the CSX coding, but has a lot more diacritics. The print quality of the Devanagari fonts approximates the typography of Nirnayasagara press." [Google] [More]  ⦿

Madhukar Fonts

Free Hindi tretype fonts. [Google] [More]  ⦿

Madras Type Foundry

Type foundry from the early part of the 20th century, located in Madras, India. [Google] [More]  ⦿

magajmari.com

Free Gujarathi font (Akshay, or Gopika), and free Hindi font (Bindu). [Google] [More]  ⦿

Magic Type
[Jaikishan Patel]

Mumbai, India-based designer of the display typeface Gold (2018), the free font Red Rose (2018), and the free sans typeface family Rowdy (2018). [Google] [More]  ⦿

MagNet Web Publishing Pvt

Mumbai-based publisher of Indic typefaces, some of which can be downloaded here: Rekha-medium (2003), aakar-MagNet (2003). The latter font is based on the glyphs of Padma, which in turn is based on Akruti. [Google] [More]  ⦿

Mahalakshmi Anantharaman

Computer science engineer, b. 1993, who is based in Chennai, India. In 2016, she designed a geometric solid alphabet. Behance link. [Google] [More]  ⦿

Mahendra Patel

Indian type designer and typographer who received the Gutenberg Prize in 2010. Professor Patel retired from the National Institute of Design, Ahmedabad, in 2003, and presently s an adjunct professor at Symbiosis Institute of Design and MIT Institute of Design, both at Pune. His type design activities:

[Google] [More]  ⦿

Mahima Khullar

Indian creator (b. 1991) of the hand-printed Valentine Day's font Love (2013) and of the hand-printed Cookies (2013), Qwurky (2013), Cuddles (2013) and Live Love Life (2013). Other typefaces from 2013 include Cheekaw. [Google] [More]  ⦿

Maithili Shingre

Mumbai-based codesigner of Modak Devanagari together with Sarang Kulkarni. The bubblegum typeface family Modak (Latin & Devanagari) was published in the Google Web Font collection in 2015. It is called the chubbiest Devanagari typeface ever designed. Github link.

Designer of Baloo Chettan (for Latin and Malayalam) at Google Fonts, as part of Ek Type's Baloo project. Ek Type link.

In 2016, Ek Type designed the free Latin / Devanagari / Gujarati font Mukta Vaani. More precisely, it was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre.

In 2017, EK Type released Jaini and Jaini Purva designed by Girish Dalvi and Maithili Shingre: Jaini is a devaagari typeface based on the calligraphic style of the Jain Kalpasutra manuscripts. The design of this font is based on the 1503 Kalpasutra manuscript. Jaini won an award at Granshan 2017.

Google Fonts link. Github link. [Google] [More]  ⦿

Maitreyi Ghosh

During her studies in Ahmedabad, India, Maitreyi Ghosh designed the circle-based monoline sans typeface Unom (2017). [Google] [More]  ⦿

Malanakara

The font Malankara (1998) was generated by Unny&Manish Mukkoottumannil, and is coyright of Mukkudanse. [Google] [More]  ⦿

Malhar Garud

Mumbai, India-based designer of the devanagari typeface Lipi (2018). [Google] [More]  ⦿

Malhar Vaidya

Pune, India-based designer who studied at Abhinav kala Mahavidyalaya. In 2017, he created the futuristic typeface Astra. Behance link. [Google] [More]  ⦿

Manali Hudar

Mumbai, India-based designer of the colorful decorative caps alphabet Indovasi (2018), which is inspired by Gond art. The Gond constitutes the largest Adivasi community in India. [Google] [More]  ⦿

Manas Swain

Odisha, India-based creator (b. 1987) of MMS Start (2011, LED style). [Google] [More]  ⦿

Manav Dhiman

During his studies at MIT Institute of Design, Mumbai-based Manav Dhiman created the art deco typeface Chrysler (2016), which is named after New York's Chrysler building. In 2015, he designed various sets of icons, such as Dressing Up, and Connection. Behance link. [Google] [More]  ⦿

Mangal
[Raghunath Joshi]

Mangal is an OpenType font for Devanagari. It is based on Unicode, contains TrueType outlines and has been designed for use as a UI font by Raghunath Joshi. It is in the Microsoft font collection since 2001. Raghunath Joshi (or R.K. Joshi) also co-designed these fonts in the 2001 Microsoft collection for Indic scripts: Gautami (for Telugu), Raavi (for Gurmukhi) and Shruti (for Gujarati). Mohd Asif Ali Rezvan thinks that it is an eyesore. [Google] [More]  ⦿

Manish Patil

Mumbai-based type designer who created a Latin geometric display font called Mumbai Types (2012) as well as a Devanagari font (2012). [Google] [More]  ⦿

Mannat Juneja

During her studies in New Delhi, Mannat Juneja created a display typeface modeled after a Black Eyed Peas CD cover (2013). [Google] [More]  ⦿

Manoj Choudhury

Graduate of Mahatma Gandhi University. Type designer at Monotype (since 2008) where he works on OEM font development. He is based in the Noida area in India. He has collaborated on these projects: Droid Sans (DroidSans Gujarati, DroidSans Gurmukhi, DroidSans Malayalam), Nokia bitmap fonts (Gujarati, Gurmukhi, Odia, Telugu), Library Project (Devanagari, Bengali, Telugu, Tamil, Malayalam, Gujarati, Odia, Gurmukhi, Kannada). He also did 4 weights of Frutiger Arabic. [Google] [More]  ⦿

Manoj Jaiswal
[Indiafont]

[More]  ⦿

Manosij Sarkar

Graphic designer studying at the University of the Arts in London in 2012. In 2012, Manosij carried out a bilingual stencil experiment: This is an experiment on bilingual stenciled typography and different shapes. The stencil consists of six simple shapes which can be combined to produce Latin script in upper & lower case along with Devanagari script.

He drew a useful world map of traffic typefaces. Yatrakshar (2012) is a prototype of a set of bilingual stenciled typeface for the transport system in Maharashtra (a state in western side of India). It supports Latin and Devanagari script and covers the English, Hindi and Marathi languages used in the state of Maharashtra. The type is based on Britain's Transport typeface by Margaret Calvert and Jock Kinneir.

His last typeface of 2012 is Grid, which is designed on the basis of a 3d octagonal grid pattern.

In 2013, Manosij created Tinsel Town, a school project at IIT Guwahati for Prof. G. V. Sreekumar (IIT Bombay), which is supposed to be used as a masthead. [Google] [More]  ⦿

Manpreet Singh

Bangalore, India-based designer of the decorative typeface Sequin (2016) . [Google] [More]  ⦿

Mansi Kesharwani

Jaipur, India-based designer of an experimental Latin typeface in 2016. [Google] [More]  ⦿

Manu Ambady

Mumbai, India-based designer of the free Peignotian typeface Suave (2018). [Google] [More]  ⦿

Manushi Parikh

Indian type designer associated with the Indian Type Foundry. Manushi's typefaces:

  • Torrent (2015). An angular wedge serif text typeface with large x-height.
  • Director (2015). A modular Latin techno typeface family.
  • Begum (2015; a text typeface related to Caslon, Fleischmann or Times). It supports Latin, Devanagari and Tamil.
  • Teko (2014: Google Fonts). Teko is an Open Source typeface that currently supports the Devanagari and Latin scripts. This font family has been created for use in headlines and other display-sized text on screen. Five font styles make up the initial release. Codesigned with Jonny Pinhorn.
  • Hind (2014: Google Fonts). Hind is an Open Source typeface supporting the Devanagari and Latin scripts. Developed explicitly for use in User Interface design, the Hind font family includes five humanist sans styles. Each font in the Hind family has 1146 glyphs, which include hundreds of unique Devanagari conjuncts. These ensure full support for the major languages written with the Devanagari script. Codesigned with Satya Rajpurohit.
  • Sarpanch (2014, Indian Type Foundry is an Open Source squarish typeface supporting the Devanagari and Latin scripts. The Medium to Black weights of the Sarpanch family were design by Manushi Parikh at ITF in 2014. Jyotish Sonowal designed the Regular weight. Download at Google Web Fonts.
  • Mute (2015, Indian Type Foundry). A humanist sans family in the spirit of Jim Lyles's Prima Sans.
  • Hind Guntur (2015) is a free Google Font designed by Manushi Parikh and Hitesh Malaviya at Indian Type Foundry for use in Telugu. Github link.
  • At Type@Paris 2016, Manushi Parikh designed the contemporary slab serif typeface Format.
[Google] [MyFonts] [More]  ⦿

Margadarshan.com

A free Hindi/Marathi/Sanskrit font, Richa (1994, Moser Database Pvt Ltd, Bhopal). [Google] [More]  ⦿

Margoob Ali

At the Indian Institute of Technology, Hyderabad, India-based Margoob Ali designed the modular typeface Curvular (2017). [Google] [More]  ⦿

Maruti Computers Ltd

Commercial Indian font maker covering Tamil, Malayalam, Hindi, and soon also Telugu and Kannada. The font names start with MCL. [Google] [More]  ⦿

Mayank Singh

Graphic designer and photographer in New Delhi, India. Creator of Royal Font (2017: paperclip style). [Google] [More]  ⦿

Meghna Singh

Muzaffarpur, India-based designer of a decorative Latin typeface in 2015. [Google] [More]  ⦿

Mehak Mandhana

As a student in Pune, India, Mehak Mandhana designed the chili pepper-inspired typeface Chilly (2017). [Google] [More]  ⦿

Mehul Munjani

Indian designer of the hand-crafted typefaces Wow (2018) and Leo Sans (2018). [Google] [More]  ⦿

Melanie Malzahn

Professor at IDG Wien (Indogermanistik Wien) of the Instituts für Sprachwissenschaft der Universität Wien. She designed Aal, Aal-Bold, Aal-BoldKursiv, Aal-Kursiv, AalTimes, AalTimesNewRoman-Kursiv, Aatoch, AatochFett, Aatoch-BoldKursiv, AatochKursiv, Aaron, Aaron-Bold, Aaron-BoldKursiv, AaronKursiv, AaronPunkt, AaronPunkt-Kursiv, Agriech (based on a typeface of Peter J. Gentry&Andrew M. Fountain, 1993), Agriech-Kursiv, Amairgin, Amairgin-Bold, Amairgin-BoldKursiv, Amairgin-Kursiv, AmairginTimes, AmairginTimesNewRomanPS-ItalicMT, Aspgriech, Aspgriech-Kursiv, and Keltiberisch (2001, a runes font). No downloads. [Google] [More]  ⦿

Melissa Washburn

Indian designer of the children's script Liyfont (2016) and a set of vector format sowflakes. Creative Market link. [Google] [More]  ⦿

Michael Best
[Vedabase Fonts]

[More]  ⦿

Michael Best

Many free Sanskrit-diacritic typefaces here, all designed by Murari Dasa (was Madhava Dasa), aka Michael Best, who is the oldest son of Pratyatosa Dasa. The fonts: Tamal (1993, based on Times Ten), Bhaskar (NewBaskerville), Devanagari (well, this is a true Devanagari font done in 1995), Drona (Dutch), Garuda (FuturaCondensed), Gaudiya (Goudy), Hladini (Helvetica), Karuna (Courier), Shanti (Sabon), Avatar (Avenir), Bhimasena (Benguiat), Gauranga (FormalScript), Kunti (KuenstlerScript), Kurma (Cooper), Uttama (University Roman), Yama (TempHeavyCondensed). In 1996-1997, Best designed the Tamil font Indevr20, with copyright to The Bhaktivedanta Book Trust. All his fonts on one zip file. [Google] [More]  ⦿

Mickey Bardava

Graduate of the National Institute of Design, India and a self-taught photographer, originally from Rajasthan, but now based in New Delhi. He made the experimental gridded typeface X1 Display (2010). Graphic designer in Kota, India, who graduated from the National Institute of Design, India, and a self-taught photographer. He created the Peignotian typefaces Macchiato (2011) and Retro Display (2010), the grungy Destructype (2011), the texture typeface GRID-X (2011), and the clean sans typeface Skeletal (2011). Behance link. [Google] [More]  ⦿

Microsoft: New Fonts in Windows 7

The list of new fonts in Windows 7 in 2009:

  • Aparajita, Aparajita Bold, Aparajita Bold Italic, Aparajita Italic: Devanagari family originally designed in 2001 by Modular Infotech, Pune, India.
  • Ebrima, Ebrima Bold: Microsoft fonts from 2008 with many symbols and special characters.
  • Gabriola: Script typeface by John Hudson (2008).
  • IskoolaPota Bold.
  • Khmer UI, Khmer UI Bold: By Microsoft (2008).
  • Kokila, Kokila Bold, Kokila Bold Italic, Kokila Italic: Devanagari family originally designed in 2001 by Modular Infotech, Pune, India.
  • Meiryo UI, Meiryo UI Bold, Meiryo UI Bold Italic, Meiryo UI Italic:
  • Microsoft New Tai Lue, Microsoft New Tai Lue Bold: A 2008 family by Microsoft, DynaComware and Ascender.
  • Microsoft PhagsPa, Microsoft PhagsPa Bold: A 2008 family for Mongolian by Microsoft, DynaComware and Ascender.
  • Microsoft Tai Le, Microsoft Tai Le Bold: A 2008 family by Microsoft, DynaComware and Ascender.
  • Raavi Bold: Gurmukhi typeface by Raghunath Joshi (Type Director) and Apurva Joshi (2008).
  • Sakkal Majalla, Sakkal Majalla Bold: Arabic family by Mamoun Sakkal (2008).
  • Segoe UI Light, Segoe UI Semibold, Segoe UI Symbol: Controversial family by Microsoft (2008), said to be corporate theft on the part of Microsoft, with as victim Frutiger---Segoe is basically identical to the typeface Frutiger.
  • Shonar Bangla, Shonar Bangla Bold: Bengali typeface by Microsoft (2008).
  • Shruti Bold: Gujarati typeface by Raghunath Joshi (Type Director) and Vinay Saynekar (2008).
  • Tunga Bold: Kannada typeface by Raghunath Joshi (Type Director) and Vinay Saynekar (2008).
  • Utsaah, Utsaah Bold, Utsaah Bold Italic, Utsaah Italic: Devanagari family originally designed in 2001 by Modular Infotech, Pune, India.
  • Vani, Vani Bold: Telugu family by Muthu Nedumaran (2008).
  • Vijaya, Vijaya Bold: Tamil family originally designed in 2001 by Modular Infotech, Pune, India.
  • Vrinda Bold: Bengali typeface by Raghunath Joshi (Type Director) and Vinay Saynekar (2008).
[Google] [More]  ⦿

Microsoft Office Devanagari fonts

This software comes with these Devanagari fonts: Kokila (2003), Aparajita (2003), Mangal (2003). [Google] [More]  ⦿

Mihail Bayaryn

Minsk, Belarus-based designer in 2005 of the Hindi fonts Chandas and Uttara. Latin and Cyrillic glyphs were added from DejaVu font and modified according to GPL by Dharmo Raksati Raksitah. I quote: The font contains 4347 glyphs: 325 half-forms, 960 half-forms context-variations, 2743 ligature-signs. It is designed especially for Vedic and Classical Sanskrit but can also be used for Hindi, Nepali and other modern Indian languages. The font includes Vedic accents and many additional signs and provides maximal support for Devanagari script. In version 1.1 were added Latin and Cyrillic characters and corresponding Open Type tables for Sanskrit transliteration. Chandas font represents Southern (most commonly used today) style of Devanagari script. And Uttara font represents Northern style of Devanagari Script. These styles are sometimes also called Bombay (Southern, contemporary) and Calcutta (Northern, old) pen families accordingly. Uttara is today the only Devanagari OTF font which supports Northern variations in simple glyphs and in ligatures.

He also created the free Devanagari Unicode opentype font Siddhanta. Siddhanta font home page. The font can be used for Sanskrit, Vedic, Hindi, Nepali and other languages which use the Devanagari script. Siddhanta supports many ligature variations and script variations---Calcutta, Bombay and Nepali styles.

Google Plus link. [Google] [More]  ⦿

Mihir Bankapure

At the Department of Design of IIT, Guwahati, India-based Mihir Bankapure designed the devanagari typeface Ambadnya (2017). [Google] [More]  ⦿

Mind Blown Box
[M.J. Krithika]

Chennai, India-based designer of the free hand-crafted blackboard bold typeface Mbb Doubleline (2018). [Google] [More]  ⦿

Mindsutra Software Technologes

Designers of MyFont1 HindiNormal (2003). [Google] [More]  ⦿

MIT

MIT's Indic font collection: AS-TTDurga-Normal, BN-TTDurga-Normal, DV-TTSurekh-Normal, DV-TTYogesh-Normal, GJ-TTAvantika-Normal, KN-TTNandi-Normal, ML-TTKarthika-Normal, OR-TTSarala-Normal, PN-TTAmar-Normal, TL-TTHarshapriya-Normal, TM-TTValluvar-Normal, TAB_CK-Ava. [Google] [More]  ⦿

Mitali Sharma

During her studies at Banasthali Vidyapith, Jaipur, India-based Mitali Sharma created a Latin display typeface (2015). [Google] [More]  ⦿

Mitul Grover

New Delhi, India-based student-designer of a few typefaces in 2017 that are inspired by brutalist architecture. [Google] [More]  ⦿

Mitz Mistry

Creator of these typefaces in 2013: Negrot (monoline rounded Latin stencil), Kanta Script (Indian type Foundry, for Gujarati). [Google] [More]  ⦿

M.J. Krithika
[Mind Blown Box]

[More]  ⦿

Moanungsang Lemtur

Graphic designer in Pune, India.Creator of the custom Golden Palm logo font (2012). [Google] [More]  ⦿

Modem 2002

Hindi font design competition held in 2002, won by Avneesh Shivaas and Arpit Agarwal. [Google] [More]  ⦿

Modular Infotech Pvt. Ltd.

Company in Pune, which made these freely available Tamil Opentype fonts in 2003: SUNDARAM_0806, SHREE_TAM_OTF_0807, SUNDARAM_0808, SUNDARAM_0810, SUNDARAM_0812, SUNDARAM_0819, SUNDARAM_0820, SUNDARAM_0821, SUNDARAM_0823, SUNDARAM_0824, SUNDARAM_0827, SUNDARAM_0830, SUNDARAM_0831, SUNDARAM_1341, SUNDARAM_1342, SUNDARAM_1351, SUNDARAM_1352, SUNDARAM_2852, SUNDARAM_2865, SUNDARAM_3811. Type catalog with over 2,700 fonts for Devanagari, Gujarati, Punjabi, Bengali, Assamese, Oriya, Tamil, Kannada, Telugu and Malayalam.

Modular Infotech specializes in Indian language fonts since 1982. [Google] [More]  ⦿

Modular Systems

Modular Systems from Pune, India, offers about 20 free truetype fonts for most Indic languages. The fonts are all called Shree something and appear incomplete. Covered are Assamese, Bengali, Hindi (Devanagri), Gujarati, Kannada, Malayalam, Oriya, Punjabi, Tamil and Telugu. In 1992, they made the Malayalam fonts Shree-Mal-0501W, Shree-Mal-0502. [Google] [More]  ⦿

mofpi

Hindi fonts: the DV_Divya family (Indian Futures&Options Pvt. Ltd. Bombay, 1996), KrutiDev010 (1997). [Google] [More]  ⦿

Mohamed Jabir
[j3world]

[More]  ⦿

Mohamed Naseer
[Asort Technologies]

[More]  ⦿

Mohammed Aneez

Jabalpur, India-based designer of Broken Bold (2016). Behance link. [Google] [More]  ⦿

Mohammed Asif Ali Rizvan

Designer (aka maarizwan) of the free Hindi family Gurumaa (2008), which was based on Indic.ttf (GPL) by Sanjay Khatri. He also made the free Devanagari families Nithyananda Hindi Unicode Font (2004-2012, download here), Sadhguru (2012, download here) and Osho (2004). Designer of the free digital clock font DigiTalk-Mono (2010). [Google] [More]  ⦿

Mohammed Faris

At IIT Guwahati in Guwahati, India, Mohammed Faris designed the free squarish typeface Qubo (2016). Behance link. [Google] [More]  ⦿

Mohd Saif

Kanpur, India-based designer of a decorative caps alphabet in 2016. [Google] [More]  ⦿

Mohd Zahoor Ali
[SofexIndia Software Solutions]

[More]  ⦿

Mohit Mohan

At Pearl Academy, New Delhi, India-based Mohit Mohan designed Village Font (2015). [Google] [More]  ⦿

Mohith Mohan

Palakkad, India-based designer of the Latin / Malayalam typeface Hongcam (2017). [Google] [More]  ⦿

Mohnish Nandwani

Mumbai, India-based designer of the poster typeface Stark (2016). [Google] [More]  ⦿

Moksha Rao

Mumbai, India-based designer of a deco typeface in 2015. [Google] [More]  ⦿

Monika Shah

Sonali Sonania and Monika Shah covered Devanagari (U+0900-U+097F) and Gujarati (U+0A80-U+0AFF) in the GNU Freefont project. Glyphs were drawn by Cyberscape Multimedia Ltd., #101, Mahalakshmi Mansion 21st Main 22nd "A" Cross Banashankari 2nd stage Banglore 560070, India. Converted to OTF by IndicTrans Team, Powai, Mumbai, which was headed by Prof. Jitendra Shah. Maintained by Monika Shah and Sonali Sonania of janabhaaratii Team, C-DAC, Mumbai. This font is released under GPL by Dr. Alka Irani and Prof Jitendra Shah, janabhaaratii Team, C-DAC, Mumabi. Janabhaaratii is a localisation project at C-DAC Mumbai (formerly National Centre for Software Technology). It was funded by TDIL, Govt. of India. [Google] [More]  ⦿

Monotype: All languages

Monotype sells fonts for the following languages: Amharic, Aksara Kaganga, Arabic, Armenian, Balinese, Burmese, Cambodian, Chinese, Coptic, Devanagari (Hindi/Marathi/Nepali), Farsi, Georgian, Glagolitic, Gujerathi, Gurmukhi (Punjabi), Hebrew, Japanese, Javanese, Jawi, Kannada, Korean, Laotian, Lontarak, Malayalam, Old Bulgarian, Oriya, Pushto, Sindhi, Sinhalese, Surat Pustaha, Syriac, Tamil, Telugu, Thai, Urdu, Vietnamese. [Google] [More]  ⦿

Monotype: Devanagari

Hindi (Devanagari) fonts at Agfa Monotype: ITR Aviraj, ITR Chakra, Monotype Devanagari, ITR Hari, ITR Kable, ITR Mitra, ITR Natraj, ITR Nilesh, ITR Shakti, ITR Shridar, ITR Vijay, ITR Vishal, ITR Yogesh. [Google] [More]  ⦿

Monpasha Mukherjee

New Delhi, India-based designer. Behance link. She was working on a typeface for New Delhi (2012). [Google] [More]  ⦿

More Services

Creators of Indic fonts such as Gyansanchar (1999, 2004). [Google] [More]  ⦿

Moser Database Pvt Ltd

Bhopal-based outfit that made Hindi truetype fonts such as Agra, Aman, Ankit, Arjun, Hemant and Kanika. Richa (1994) is here. See also here. [Google] [More]  ⦿

Mota Italic
[Rob Keller]

Foundry, est. 2009 by Rob and Sonja Keller. Originally located in Berlin, Mota Italic is a type design studio specializing in unique, extensive type families. It relocated to Mumbai, India, at the end of 2014.

Rob Keller (b. 1981) is a typeface designer from Illinois. He attended the University of Illinois where he earned Bachelor (BFA) degrees in both Graphic Design and Sculpture. From 2006 until 2007 he attended the University of Reading, England, for the MA in Typeface Design program. Immediately following the dissertation submission, Rob moved to Frankfurt, Germany, to work at Linotype GmbH in the Product Marketing department. He left Linotype to be able to do type design full time, first as a freelancer then forming Mota Italic in 2009. Sonja Keller, now Sonja Stange, left Mota Italic in 2013 to join Type Together. Since 2014, Rob lives in Mumbai.

Mota Italic's fonts:

  • Vesper, a hookish and sturdy serif typeface with which Rob graduated from Reading in 2007 [Discussion by I Love Typography]. It includes Vesper Devanagari (2006) and Vesper Hebrew. The Vesper Devanagari character set was completed in 2014 through the collaboration with Kimya Gandhi. The free font Vesper Libre (2014) is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading.
  • Mota Pixel (free), made in 2009.
  • In 2013, Rob created the ultra-fat counterless typeface Pufff with three f's.
  • Fip (2015) is a techno family.
  • When he was a student at Reading he announced that he was working on these font projects: Azul y Blanco Pin Pan Pun (hand-printed), Compilation Serif, New Orleans Light, Unicase Monospace, Untitled Experiment, Chef, Gemma. The large informal typeface family Gemma was finally published in 2009. It includes wonderful multiple master dingbats.
  • Brashy, a crazy large multi-glyph hand-crafted typeface that emulates painted letters.

Type blog by Rob Keller. At the University of Reading, he published Linotype Devanagari: an abridged history of the typeface with analysis of the 1975 redesign (2007). Alternate URL for his blog. [Google] [More]  ⦿

Mouli Marur

Bangalore-based designer who made the Latin typefaces Bronzo (2012) and Reroute (2012), as well as the Indic typeface Thamizh (2012). Designer in 1993 at T-26 of the Janaki family. Codesigner at Thirstype with Rick Valicenti of the futuristic font Ultrabronzo (1989). Behance link. [Google] [MyFonts] [More]  ⦿

mp.nic.in

The Hindi font DV-TT-SUREKH. [Google] [More]  ⦿

Mrinalini Mohan

Indian designer of the devanagari typeface Misht (2017). [Google] [More]  ⦿

Munmun Mohatta

Ahmedabad, India-based designer of a thin Latin typeface in 2018. [Google] [More]  ⦿

Mustafa Saifee

Mumbai-based designer of the paperclip font Clipr (2012), which was inspired by Clip (URTD). In 2013 he created a Devanagari OCR font.

Behance link. [Google] [More]  ⦿

Mythili Hariharan

Graphic designer in Mumbai, India, who created the octagonal typeface Octane (2016). [Google] [More]  ⦿

Naasha Taraporewala

During her studies in Mumbai, Naasha Taraporewala designed the art deco typeface Cabaret (2017). [Google] [More]  ⦿

Nabaneet Bora

New Delhi-based designer of Dipak Regular (2015), an Assamese display typeface designed keeping in mind and inspired by old Assamese manuscripts. [Google] [More]  ⦿

Nabina Ghosh
[Font Fridays]

[More]  ⦿

Nagari languages

Akhilesh Gupta's intro to Nagari langauges. I quote: Those Indian Languages which are written using Nagari can be called Nagari Languages. These languages have a common root, Sanskrit. Sanskrit was a language of Scholars (since 500 BC). Now only few hundred people speak Sanskrit and a few thousand can really understand it. Hindi, Marathi and Nepali, spoken by tens of millions of people, use Nagari. Awadhi, Bihari, Braj-bhasha, Chhattisgarhi, Konkani, and Marwari are spoken by between one and ten million people and also use Nagari. Rarer languages that use Nagari include Garhwali, Mundari, Newari, Bagheli, Bhatneri, Bhili, Gondi, Jaipuri, Harauti, Ho, Kachchhi, Kanauji, Kului, Kumaoni, Kurku, Kurukh, Palpa and Santali. [Google] [More]  ⦿

Nakul Talgeri

Art director in Bangalore, India. For Kingfisher Ultra Beer, he created the custom font The Utra Font (2015). [Google] [More]  ⦿

Nakul Talgeri

Art director in Bangalore City. Creator of the Latin display typeface Kinglish (2014). Kinglish was a crowdsourced font created using a beer mug mark on coasters. [Google] [More]  ⦿

Namrata Goyal

For a study project, Namrata Goyal (Bangalore and later Ahmedabad, India) created a DIN-like sans typeface in 2013. At Indian Type Foundry in 2015, she created Volte, a workhorse geometric sans in five weights for Latin and Devanagari. Volte Rounded followed in 2016.

In 2015, Namrata Goyal designed the Gurmukhi part of the free geometric sans font Roundo at Indian Type Foundry. Shiva Nallaperumal designed its Latin.

In 2018, she graduated from the TypeMedia program at KABK in Den Haag with the newspaper typeface Qutub News for Latin, Urdu Nastaliq and Devanagari.

MyFonts link. Behance link. [Google] [MyFonts] [More]  ⦿

Naomi Kundu

Student of Graphic Design at the National Institute of Design, India, in 2014. Bangalore, India-based designer of the Hebrew display typeface Elefent (sic) (2014). [Google] [More]  ⦿

Naresh Donde

Mumbai-based designer of the free fonts Thin Style (2014), and Boldy (2014, a great ultra-fat display typeface). [Google] [More]  ⦿

National Integration

Hindi truetype fonts: Maya, Pankaj, Shusha. [Google] [More]  ⦿

Nautica Studios
[Aritra Das]

Kolkata, India-based creator of the free sans typeface Gauthier (2015), the free caps-only sans typeface Jaden (2015) and the free hipster typeface Paramont (2015). In 2016, he published the letterpress emulation typefaces Roadster, Jonas, and Woodsman, and the sans family NS James. In 2017, he published the sans typeface NS Jude and the free monoline script Mademoiselle.

Das is associated with Nautica Studios. Creative Market link for Nautica Studios. [Google] [More]  ⦿

Nav Raw
[Rajesh Rajput]

Rajesh Rajput (since 2014 with Cognizant Technologies, Gurgaon / Delhi, India) designed the free 5-style stencil typeface family Break in 2015. Interestingly, a guy called Steven Han calls it his font in 2016. He worked for four months on an elaborate decorative set of 26 capitals under the project name Type Soul (2015).

Now based in New Delhi, he created Hagna (2017; although inside the font we find another name, Webvilla) and Gorgeous (2017, a free tall fashion mag typeface family).

Behance link. Behance link for Nav Raw. [Google] [More]  ⦿

Naveen Chandru

Indian designer in Tiruchirappalli, b. 1989. FontStructor who made these typefaces in 2010: En Pulli Kolam (ased on kolam, an art of floor drawing, which is prevalent in South India), En Sans, En Simple Script, En Drunay (heavy, bilined), En Dhiran, En Stencil, En Stencil Pixel, En Druna (futuristic caps), En Hollow Tiles (beveled letters), Enchan (shadow face), En Evil Devils, En Broken Grill, En Grids (kitchen tile face), En Grids Exp, En Panju, En Horns, En Real Horns, En Tall, En Fatty, En Muthu (horizontal stripes), En Origami (+v2, +Pencil Shaded), En Simple Serif, En Drawn n Cut (white on black), En Dots.

Fonts from 2011: En Simple Black, En Zelo (modular and pointy), En Drawn n Cut, En Brushah (+Connected).

Fonts from 2012: En Chyn (Chinese simulation face).

Fonts from 2014: En Word Puzzle, En Pelger.

Dafont link. [Google] [More]  ⦿

Naveesh Khattar

During his studies in New Delhi, Naveesh Khattar (b. 94, originally from Pune) created an ultra-fat techno typeface called Vadgama (2015), and a modular typeface, Glide (2016). [Google] [More]  ⦿

Navpreet Singh

Or Navi Singh. Hoshiarpur, India-based designer of the hand-crafted typefaces Quazy (2017) and Star Tail Script (2017, a rhythmic signage script).

Typefaces from 2018: Seattle Sans, Wafer Thin, Glory (serif), Montara, Smoothie Bowl (connected script). [Google] [More]  ⦿

Nayantara Pande

During her studies in Pune, India, Nayantara Pande created the experimental poster typeface Provocateur (2014). [Google] [More]  ⦿

Neelakash Kshetrimayum

Indian graduate from the type design program at the University of Reading in 2010. He designed Frijky at Reading, which he introduces as follows: A progressive family of Latin and Bengali typefaces. Based on the calligraphic stroke movement, Frijky is fluid yet sturdy. Intended for publications, Frijky gives news extra bite with its aggressive edge. Frijky was used for the logo of the ATypI 2011 meeting in Reykjavik.

Neelakash has designed two typefaces---Pakhangba and Sanamahi---for Meetei Mayek, the native script of Manipur.

In 2011, Neelakash co-founded Mayek Projects with Anand Naorem, which offers design solutions for type, news and branding. Speaker at ATypI 2011 in Reykjavik on the revival of Meeti Mayek.

He writes: In the beginning of the 18th century, as a result of political and cultural changes, the Bengali script replaced Meetei Mayek---the indigenous script of Manipur (a north-eastern state of India bordering Myanmar). Since then, the people of Manipur have been using the Bengali script for writing Meeteilon, the main spoken language of Manipur. This led to the introduction of new sounds in the Meeteilon from the Bengali script. Hence, during this period some new and modified letterforms were added for these sounds in Meetei Mayek. However after a number of conferences, the scholars have finally concluded that Meetei Mayek consists of 27 letteforms with their supplements. After almost 250 years, in 2005-06, the Government of Manipur officially approved the Meetei Mayek and included in the academic curriculum of Manipur Education. The new generation is learning Meetei Mayek instead of Bengali script to read and write Meeteilon. As the new generation is learning Meetei Mayek and it is slowly replacing the Bengali script, new typefaces will also be required for various forms of communication [...]. At present there are only a few typefaces, of questionable quality. Very limited research has been done on Meetei Mayek from the typographic point of view. Besides, there is a need to develop a system or guideline for designing Meetei Mayek typefaces. [...] This presentation discusses the typographic evolution of Meetei Mayek with examples from inscription, manuscript, letterpress, sign-paintings and digital typefaces. It reflects on the existence of multi-script communication in Manipur and its influence on Meetei Mayek.

In 2017, Adobe Type released Myriad Devanagari and Myriad Bengali. Designed by Vaibhav Singh and Neelakash Kshetrimayum, respectively, these typefaces translate the design of Adobe's popular Myriad family (by Carol Twombly and Robert Slimbach) to the most-used writing systems of India. [Google] [More]  ⦿

Neha Bahuguna

Neha is a graduate from the National Institute of Design (NID), Ahmedabad. Based in Mumbai, she co-designed Kunkun Devanagari in 2012 with Satya Rajpurohit at Indian Type Foundry. [Google] [More]  ⦿

Neha Bhise

Designer and illustrator in Mumbai. In 2016, she created the sketched typeface Mario. [Google] [More]  ⦿

Neha Ghag

Mumbai-based designer of an experimental typeface in 2017. [Google] [More]  ⦿

Neha Katkar

Illustrator in Mumbai, India, who created the decorative caps typeface RoboFont (2014). [Google] [More]  ⦿

Neha Nagvekar

As a student in Pune, India, Neha Nagvekar designed Indian Crafts Icons (2016), as well as a Ribbon-inspred typeface (2016). [Google] [More]  ⦿

Neha Nandre

During her studies in Pune, India, eha Nandre created the slender Latin display typeface Magnolia (2016). [Google] [More]  ⦿

Nehal Lodha

Mumbai-based designer of Picasso (2012), a an ormanental caps typeface inspired by the life and work of Pablo Picasso. [Google] [More]  ⦿

Nehal Sadhu

Pune, India-based designer of the brick-textured typefaces Bricked Sans and Bricked Serif (2015). [Google] [More]  ⦿

Newari alphabet

Simon Ager's page on Newari. "The Newari or Ranjana alphabet is one of the many alphabets derived from the Brahmi alphabet, and has existed since at least 953 AD. Newari, a member of the Tibeto-Burman group of Sino-Tibetan languages is spoken in Nepal and India by about 775,000 people. The Newari alphabet has been used to write Buddhist and Hindu texts in both Newari and Sanskrit. Tibetans use the Newari alphabet, which they call Lanydza, to write the Sanskrit titles of books that have been translated from Sanskrit to Tibetan. They also use the alphabet for decorative purposes." [Google] [More]  ⦿

Nidhi Balwada

For the identity of Amais Mens wear, Nidhi Balwada (Ghaziabad, India) designed the multiline typeface Amais (2016). [Google] [More]  ⦿

Nidhi Singh Rathore

Graduate in Visual Communication, National Institute of Design, who is located in Ahmedabad, India. Creator of the sci-fi typeface Vyang (2014). [Google] [More]  ⦿

Nidhin Chandran

Bangalore, India-based designer of the brush font Road Trip (2018). [Google] [More]  ⦿

Nihar Patade

Mumbai-based student-designer of the straight-edged typeface Lines (2014) and the experimental geometric typeface 360 (2015). [Google] [More]  ⦿

Niharika Nopany

During her studies in Jaipur, India, Niharika Nopany designed a vernacukar devanagari typeface (2017). [Google] [More]  ⦿

Nikhil Biniwale

Graphic designer in Pune, India, who created Elder Forest in 2016. [Google] [More]  ⦿

Nikhil Mittal

Designer in Pilani, India. In 2016, he designed the circle-based modular typeface Geon (2016). [Google] [More]  ⦿

Nikhil More

Mumbai-based type and graphic designer. Creator of Mrs Chatterjee (2009, experimental) and Industrialization (2009, modular). [Google] [More]  ⦿

Nikhil Ranganathan

Indian type designer. In 2015, Nikhil designed the medium x-height text and headline typeface Ennore (Indian Type Foundry). [Google] [MyFonts] [More]  ⦿

Nikhil Tokas

New Delhi-based designer of the lachrymal piano key typeface Clavier (2018), which was developed during his studies at Pearl Academy. [Google] [More]  ⦿

Nikita Gupta

During his studies in New Delhi, Nikita Gupta designed a hand-crafted typeface (2017). [Google] [More]  ⦿

Nikita Khandelwal

During her studies at MSU, Baroda, India-based Nikita Khandelwal designed a brick-themed typeface (2017). [Google] [More]  ⦿

Nikita Raktade

Visual designer in Navi Mumbai, India, who created a modular typeface in 2016. In 2017, she added the script typeface Adore. Home page. [Google] [More]  ⦿

Nikita Sawant

Together, Nikita Sawant (Mumbai), Shruti Kamath, and Shomali Partagalkar designed a Latin ornamental caps typeface for a school project in 2013 that was inspired by Indian musical instruments. [Google] [More]  ⦿

Nilesh Singh

Digital artist Nilesh Singh (Mumbai, India) created the spiral typeface Rangoli (2012) and the experimental geometric typeface Devnagiri (2012). Behance link. [Google] [More]  ⦿

Nimisha Maheshwari

As a student in Jaipur, India, Nimisha Maheshwari designed a typeface in 2016. [Google] [More]  ⦿

Ninad Kale

Creator of the Devanagari part of the free Latin / Devanagari geometric sans typeface Poppins (2015, Google Fonts). The Latin is from Jonny Pinhorn. The Indian Type Foundry first published Poppins in 2014. Open Font Library link. [Google] [More]  ⦿

Ninad Pradhan

Ninad Pradhan's page with several free Indian language fonts, including the LangscapeDevPooja and LangscapeDevPriya truetype families (Devanagri) by ACES Consultants, Thane. [Google] [More]  ⦿

Ninad Satish

Baltimore, MD-based designer of Munshi Devanagari (2014), which was conceived during his diploma project at Indian Type Foundry a typeface for immersive reading. In 2016, Ninad was pursuing an MFA at the Maryland Institute College of Art (MICA). In that same year, he designed the high-contrast Koyla Devanagari typeface, and the Devanagari-inspired Latin typeface Chaplin. [Google] [More]  ⦿

Nirali Shah

During her studies at Sophia Polytechnic in Mumbai, Nirali Shah designed Jamini Roy (2014), a decorative typeface that was inspired by ancient paintings. In 2015, she designed the waterpipe-themed alphading typeface Hukka and the Gujarati display typeface Kai Po Che. During her studies in Ahmedabad, India, Nirali Shah designed the Latin typeface Arrow Narrow (2017). [Google] [More]  ⦿

Niranjan Bharati

Guwahati, India-based designer of the comic book font Archi Sans (2018). Behance link. [Google] [More]  ⦿

Nirmal Biswas

Indian graphic designer. FontStructor who made Charlie (2011), Charlie Dotted (2011, dot matrix face), Meek (2011, a super-heavy squarish beauty), Abstract (+Slab, 2011), TypeOne (2011, unicase square display typeface), TypeTwo (2011, octagonal) and TypeThree (2011).

In 2013, he published Abstrakt Slab (the slab serif version of Type Two) and Aero (techno font).

In 2015, he designed the sans typeface family Huntkey.

Behance link. He is at Picatype Design Studio in Mumbai. Dafont link. [Google] [More]  ⦿

Nisam Ali

In 2015, Nisam Ali wrote Migrating to Unicode from Legacy Systems on the topic of Unicode fonts for Odia / Oriya. [Google] [More]  ⦿

Nishanth Valluri

Pune, India-based designer of the futuristic Momentum Type (2017) and the display typeface Kulture (2017). [Google] [More]  ⦿

Nishtha Singh

Noida, India-based designer at Pearl Academy of the party display typeface Konfetti (2018). Behance link. [Google] [More]  ⦿

Nisshtha Khattar

Pune, India-based designer of the free monoline display sans typeface Goli (2017). [Google] [More]  ⦿

Nitartha International

The Nitartha-Sambhota fonts for Tibetan, by Ugyen Shenpen and Gerry Wiener. Free. Direct access to save time. Fonts include the Dedris or Ededris family (1999-2001) developed by some Tibetan calligraphers. Also, Samw by Ugyen Shenpen and Gerry Wiener, 1994. Finally, NitarthaIndicRoman by Christopher J Fynn, 1998. Esama, Esamb, Esamc (1994). [Google] [More]  ⦿

Niteesh Yadav

Graduate of the TDi program at the University of Reading, UK, 2017. He graduated in 2018 from the University of Reading's MATD program.

He designed the Saur typeface for Hindi in 2017. It was made after collecting and studying the handwriting of the people from Saur village in Uttarakhand.

Now based in New Delhi, he published the all caps alphabet ABC Of Social Issues in 2017 (free download of an AI file), possibly to forget the dismal events of 2016. He also started drawing exquisite steampunk style initial caps.

He also created a great PDF file on the topic of Gill Sans (1927, Eric Gill).

His graduation in 2018 at the University of Reading was ARone, a multiscript type family designed for augmented reality headsets. Its low contrast, generous spacing and robust shapes make it work well in busy backgrounds with high readability. [Google] [More]  ⦿

Nithya Asokan

Nithya Asokan (Gurgaon, India) created an untitled Tamil typeface in 2014. [Google] [More]  ⦿

Nitish Kumar

Based in the Noida Special Economic Zone in India, Nitish Kumar designed the tweetware sans typeface Peenu (2016) and the tweetware Krispicons (2016). Behance link. [Google] [More]  ⦿

Niyati Kothari

Graduate of the MIT School of Design who works as graphic designer in Mumbai, India. In 2017, she designed the deco sans typeface Zebsto. [Google] [More]  ⦿

Non-Latin Type Design at Linotype

Fiona Ross tells about the development of mainly Arabic and Indic type at Linotype in the 20th century. [Google] [More]  ⦿

Noopur Choksi

During a student exchange in Israel, Noopur Choksi (Ahmedabad, India) created the squarish Hebrew typeface Gavyam (2014). [Google] [More]  ⦿

Noopur Datye

Mumbai-based codesigner of Modak Latin together with Girish Dalvi and Pradnya Naik. The bubblegum typeface family Modak (Latin & Devanagari) was published in the Google Web Font collection in 2015. It is called the chubbiest Devanagari typeface ever designed. In 2016, he designed the free Google Font Baloo Da Bangla and the Gujarati font Baloo Bhai (with Supriya Tembe).

In 2016, Ek Type designed the free Latin / Devanagari / Gujarati font Mukta Vaani. More precisely, it was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Google Fonts link. Github link. Ek Type link. [Google] [More]  ⦿

Nora Salmeen

Nora Salmeen (Dubai) created Nue Futura Devanagari (2013). [Google] [More]  ⦿

Nupur Chowdhary

Bangalore, India-based designer of the free piano key stencil typeface Quibus (2016). [Google] [More]  ⦿

Ojasve Nanda

Indian designer of the Gurmukhi children's book font Muki (2018). [Google] [More]  ⦿

Ojasvi Malekar

At MIT Institute of Design in Pune, India, Ojasvi Malekar created the hexagonal techo typeface Peugeot Quartz (2016) which was influenced by the lines of the Peugeot Quartz concept car. [Google] [More]  ⦿

Omkarananda Ashram Himalayas Sanskrit Page
[Swami Omkaranda]

Located in Uttaranchal, Induia, and run by Swami Satchidananda. Makers of the free Itranslator package for Windows (version 99 and 2003 beta), which makes use of Unicode compatible fonts for the transliteration of ITRANS 5.30 encoded text or text files into Devanagari. Ulrich Stiehl's manual, which explains the ITX encoding scheme. Their Devanagari font involved, Sanskrit 2003, has all the ligatures ever needed (thousands), and is favorably compared in Stiehl's manual with the competition, Mangal, Arial MS Unicode (ugh!!!), shiDeva, Raghindi, DVBOT Surekh and Titus Cyberbit (another yuk). Older things: two free Devanagari TTF fonts (Sanskrit New and Sanskrit 1.2), by Swami Satchidananda. Download SanskritNew4 (1993-1994) here. [Google] [More]  ⦿

One7 Concept

Indian designer of the brush script typeface Broccoli (2017) and the techno sans Astronaut (2017). [Google] [More]  ⦿

Pablo Saratxaga

Pablo Saratxaga's archive with about 20 display fonts, and fonts for Vietnamese, Armenian, Georgian, Thai, Indic and dingbats. Just the Armenian subarchive has these fonts, mostly by Ruben Tarumian, dated 1994: ArTarumianAfrickian, ArTarumianAnpuit, ArTarumianBakhum, ArTarumianBarak-Bold, ArTarumianBarak, ArTarumianErevan, ArTarumianGovazd-Italic, ArTarumianGrig, ArTarumianGrqiNor-Bold-Italik, ArTarumianGrqiNor-Bold, ArTarumianGrqiNor-Italic, ArTarumianGrqiNor, ArTarumianHamagumar, ArTarumianHandes, ArTarumianHeghnar, ArTarumianIshxan, ArTarumianKamar, ArTarumianMHarvats, ArTarumianMatenagir-Bold-Italic, ArTarumianMatenagir-Bold, ArTarumianMatenagir-Italic, ArTarumianMatenagir, ArTarumianNorMatenagir, ArTarumianPastar, ArmNet-Helvetica. [Google] [More]  ⦿

Palapal programs page

Paymaan Jafari's page on Persian (Farsi) for Amigas. Download Sepehr (truetype Farsi), Iranafont by Ali Aarefi, and some font sets in Amiga bitmap format made by Paymaan himself under the name IPJ. [Google] [More]  ⦿

Palash Baran Pal
[Bangtex]

[More]  ⦿

Palash Bawankar

During his studies at IIT Bombay, Palash Bawankar designed a calligraphic devanagari typeface (2017). [Google] [More]  ⦿

Pali--Sanskrit font list

This is a partial list of old Pali and Sanskrit typefaces, both in Unicode compatibe and ANSI encoding: Elementary, Elementary-Bold, Garland, Garland-Bold, GarlandBoldItalic, GarlandItalic, Gentium, Gentium-Italic, GentiumAlt, GentiumAlt-Italic, Georgia, Georgia-Bold, Georgia-BoldItalic, Georgia-Italic, Invite, Skt-Aristocrat, Skt-Arizona, Skt-Arnie, Skt-Bertha-Fashion, Skt-Billboard, Skt-Blypa, Skt-Blypa-Bold, Skt-Bodonoff, Skt-Bodonoff-Bold, Skt-Bodonoff-Bold-Italic, Skt-Bodonoff-Italic, Skt-Bodonoff-Ultra-Italic, Skt-Calligraphic, Skt-Casual, Skt-ChurchScript, Skt-Cupertina, Skt-Cupertina-Italic, Skt-Elementary, Skt-Elementary-Bold, Skt-Engraved, Skt-Engraved-Bold, Skt-Eros, Skt-Eros-Black, Skt-Eros-Black-Italic, Skt-Eros-Bold, Skt-Eros-Bold-Italic, Skt-Eros-Italic, Skt-Francis, Skt-Francis-Bold, Skt-Frankenstein, Skt-Freedom-Script, Skt-Futurist, Skt-Futurist-Black, Skt-Futurist-Bold, Skt-Futurist-Bold-Italic, Skt-Futurist-Italic, Skt-Grail, Skt-Hobbit, Skt-Invite, Skt-Invite-Engraved, Skt-Karman, Skt-Karman-Bold, Skt-Memento, Skt-Memento-Black, Skt-Memento-Bold, Skt-Memento-Bold-Italic, Skt-Memento-Italic, Skt-Mondine, Skt-Optimist, Skt-Optimist-Bold, Skt-Optimist-Bold-Italic, Skt-Optimist-Italic, Skt-Park, Skt-Prom, Skt-Return, Skt-Shadow, Skt-Technical, Skt-Truffle, Skt-Ultra-Sans, Skt-Uncial, Skt-Universal, Skt-Universal-Black, Skt-Universal-Bold, Skt-Universal-Bold-Italic, Skt-Universal-Italic, Skt-Varsity, Skt-Varsity-Italic, Skt-Wash-Black, SktBamboo, SktBodonoffUltra, SktCasperOpen, SktCenturion, SktCenturion-Bold, SktCenturion-BoldItalic, SktCenturion-Italic, SktGarland, SktGarland-Bold, SktGarland-BoldItalic, SktGarland-Italic, SktMedieval, SktMonterez, SktMonterez-Bold, SktPalermo, SktPalermo-Bold, SktPalermo-BoldItalic, SktPalermo-Italic, SktShotgun, SktTimes, SktTimes-Bold, SktTimes-BoldItalic, SktTimes-Italic, UnicodeBamboo, UnicodeBodonoffUltra, UnicodeCenturion, UnicodeCenturion-Bold, UnicodeCenturion-BoldItalic, UnicodeCenturion-Italic, UnicodeGarland, UnicodeGarland-Bold, UnicodeGarland-BoldItalic, UnicodeGarland-Italic, UnicodeHobbit, UnicodeMondine, UnicodeOptimist, UnicodeOptimist-Bold, UnicodeOptimist-BoldItalic, UnicodeOptimist-Italic, UnicodePark, UnicodeUncial, Verdana, Verdana-Bold, Verdana-BoldItalic, Verdana-Italic, VriRomanPaliDD, VriRomanPaliDDBold. [Google] [More]  ⦿

Pallavi Karambelkar

In 2016, Ek Type designed the free Latin / Devanagari / Gujarati font Mukta Vaani. More precisely, it was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Google Fonts link. Github link. [Google] [More]  ⦿

Pallavi Pardikar

Mumbai-based designer of a set of zodiac signs in 2016. [Google] [More]  ⦿

Panchjanya

Free Hindi truetype fonts: DV-TTSurekh-Bold, DV-TTSurekh-Italic, DV-TTSurekh-Normal, DV-TTSurekh-Bold-Italic, DV-TTSurekhEN-Bold, DV-TTSurekhEN-Italic, DV-TTSurekhEN-Normal, DV-TTSurekhEN-BoldItalic. [Google] [More]  ⦿

Paneendra Suresh

Art director in Bangalore, India, who designed the modular typeface Basavangudi (2016). [Google] [More]  ⦿

Pankaj Chauhan

Bangalore, India-based designer of the chalky / crayon font Chalkduster (2016). [Google] [More]  ⦿

Parab Saylee

Mumbai, India-based designer of a geometric solid typeface in 2017. [Google] [More]  ⦿

Parag Chitale

For a school project at Haute Ecole des Arts du Rhin in Mulhouse, France, Ahmedabad, India-based Parag Chitale designed L'Avenir Dupont (2016), a bridge-themed modification of Avenir Next Light. He is currently studying at the National Institute of Design in India. [Google] [More]  ⦿

Paramjeet Singh

Faridabad, India-based creator of an unnamed modular typeface in 2013. [Google] [More]  ⦿

Paresh Choudhury

Visual Designer, design educator and typographer. Paresh has a Masters in Applied Art from M.S. University of Baroda (1993), and finished Advanced Studies in Curating and Spatial Graphic Design at Chelsea College of Art and Design, London (2011). Since 2008, he teaches graphic design at the MIT Institute of Design.

Speaker at ATypI 2013 in Amsterdam: How an Indo-Aryan language based script is developed on purely circular grid! Is it cultural influence or practicality constraint? In this talk, Paresh focuses on the Oriya / Odiya script. [Google] [More]  ⦿

Paresh Jadhav

Mumbai-based designer of SIM Card Display Font (201@), a super-fat counterless octagonal typeface. [Google] [More]  ⦿

Parimal Parmar

Ahmedabad, India-based designer at the Indian Type Foundry of the free Latin / Gujarati typefaces Kumar One (2016) and Kumar One Outline (2016). In 2017, Parimal published the beautiful ITF Gujarati at Indian Type Foundry.

Typefaces from 2018: Katana (a rhythmic very slanted Latin script with a distinct personality; at Indian Type Foundry). [Google] [MyFonts] [More]  ⦿

Paul D. Hunt
[Pilcrow Type]

[MyFonts] [More]  ⦿

Pavithra Dikshit

Graphic designer in Mumbai who designed the ornamental caps typeface 26 Symbols of Sex (2012), which is based on 26 Symbols of Sex is a typography assignment based on the Khajurao Temple of India. [Google] [More]  ⦿

Payal Juthani
[Gandhiji Font]

[More]  ⦿

Peter Specht

Designer who created the pixel grid typeface z001-rom (2008), Katerina (2010, almost LED face), Kinryu (2010), Kinryu No. 14 (2009), z001-rom_v10.4, Normal (2009, pixel face), Elektrogothic (2008, futuristic), Laurier Test (2009, serifed), Laurier No. 7 (2009, an extensive Unicode typeface that covers Latin, Greek, Cyrillic, most Indic languages, Thai, Hebrew, Lao, Tibetan, runic, Khmer, and mathematical, chess and other symbols), Kinryu No. 8 Regular (2009, an extension of Laurier towards Japanese), Clucky Duck (2008, rounded), and the double-scratch handwriting typeface Wild Freak (2008). [Google] [More]  ⦿

Pilcrow Type
[Paul D. Hunt]

Type and graphic designer from Joseph City, AZ. His first degree was from Brigham Young University. He was a type designer at P22/Lanston from 2004-2007. In 2008, he obtained an MA in typeface design from the University of Reading where he designed the typefaces Grandia and Grandhara (Indic). In January 2009, he joined Adobe just after Thomas Phinney left. He lives in San Jose, CA. His talk at ATypI 2014 in Barcelona was entitled The history of non-Latin typeface development at Adobe.

He created Howard (2006, a digitization of Benton's Sterling), P22 Allyson (2006, based on Hazel Script by BB&S; a winner at Paratype K2009), the P22 FLWW Midway font family (2006: Midway One, Two and Ornaments; based on the lettering found on the Midway Gardens working drawings of Frank Lloyd Wright---tall-legged and casual), Kilkenny (2005, P22), a Victorian-style font based on the metal types named Nymphic and Nymphic Caps which were designed by Hermann Ihlenburg in 1889. This typeface has almost 1000 glyphs and comes in OpenType format. It includes Cyrillic characters. Check the studies here and here. For another revival of Nymphic Caps, see Secesja by Barmee.

Designer of the display typefaces Seventies Schoolbook (2004) and Interlocq (2004).

Hunt also digitized Goudy's Village (2005). Village was originally designed by Fredric Goudy in 1903 for Kuppenheimer & Company for advertising use, but it was decided it would be too expensive to cast. It was later adopted as the house face for Goudy's and Will Ransom's Village Press. The matrices were cut and the type cast by Wiebking. The design was influenced by William Morris's Golden Type. This Venetian typeface was digitized by David Berlow (1994, FontBureau) and by Paul D. Hunt (2005). Hunt's version was eventually released in 2016 by P22/Lanston as LTC Village.

He revived Hazel Script (BB&S), which he renamed Allyson (2005).

Still in 2005, he created a digital version of Sol Hess' Hess Monoblack called LTC Hess Monoblack.

In 2006, he published a nice set of connected calligraphic script fonts, P22 Zaner. Bodoni 175 (2006, P22/Lanston) is a revival of Sol Hess' rendition of Bodoni. He was working on Junius (2006), a revival/adaptation of Menhart Antiqua. Frnklin's Caslon, or P22 Franklin Caslon, was designed in 2006 by Richard Kegler and Paul Hunt in collaboration with the Philadelphia Museum of Art. This slightly eroded font set includes faithfully reproduced letterforms digitized directly from images of impressions made by Benjamin Franklin and his printing office circa 1750. It comes with a set of ornaments.

In 2007, he used Goudy's 1924 typeface Italian Old Style in the development at P22/Lanston of LTC Italian Old Style. That typeface was remastered and extended to cover several languages by James Grieshaber in 2011.

In 2014, Paul Hunt finished work on the wood type revival font HWT Bulletin Script Two (P22 & Hamilton Wood Type). This backslanted psychedelic typeface can be traced back to the wood type manufacturers Heber-Wells (Bulletin Condensed, No. 5167), Morgans and Wilcox (Bulletin Script No. 2, No. 3184), Empire Wood Type (1870: Bulletin Script), Keystone Type Foundry (1899: Bulletin Script), Hamilton (117), and Wm. H. Page & Co (No. 111 through No. 113).

Free fonts at Google Web Fonts: Source Sans Pro (2012; Source Sans Pro for the TeX crowd), Source Code Pro (2012, a companion monospaced sans set by Paul D. Hunt and Teo Tuominen). Source Serif Pro, its Fournier-style relative, was developed at Adobe by Frank Grießhammer. They can also be downloaded from CTAN and Open Font Library.

Fun creations at FontStruct in 2008-2009: Possibly (a stencil loosely based on the Mission Impossible series logo), Probably (same as Possibly but not stenciled), Med Splode, Arcade Fever, negativistic_small, New Alpha_1line, New Alpha_4line, New Alpha_bit, New Alpha_dot [dot matrix font], New Azbuka [after Wim Crouwel's New Alphabet from 1967], positivistic, slabstruct_1, slabstruct_too, structurosa_1, structurosa_bold, structurosa_bold_too, structurosa_caps, structurosa_faux_bold, structurosa_leaf, structurosa_script, structurosa_soft, structurosa_tape, structurosa_too, structurosa_two, Slabstruct Too Soft, Structurosa Clean Soft, Structurosa Script Clean, Structurosa Clean, Structurosa Clean Too, Structurosa Clean Leaf, Structurosa Boxy, Stucturosa Script Heavy.

In 2010, he designed he programming font Sauce Code Powerline. Well, this is probably a renaming of Source Code by some hackers. Just mentioning that sauce Code is on some Github pages.

Klingspor link. Google Plus link. [Google] [MyFonts] [More]  ⦿

Pixel Drop

Cofounded by Joseph Johnson and Pratik Luharuka, Pixel Drop (Mumbai, India) created the experimental geometric solid typeface Primitive Font and the connect-the-dots Molecular Font in 2013. [Google] [More]  ⦿

Pogakuvedika

A Telugu and a Kannada font, ItcKan, ItcTel (2001), both by I3L. [Google] [More]  ⦿

Pooja Chaudhary

As a student in Bangalore, India, Pooja Chaudhary designed the shadow typeface Senki (2016). Behance link. [Google] [More]  ⦿

Pooja M. Shirurkar

Graphic designer in Bangalore, India. Inspired by the geometrical shapes and curves of Rangoli (geometrical shapes drawn with chalk powder in front of South Indian houses), she designed the display typeface Rangoli (2016). [Google] [More]  ⦿

Pooja Pabale

Mumbai, India-based designer of the display typefaces Ornate (2018: based on a Times Roman skeleton) and Pisces (2018). [Google] [More]  ⦿

Pooja Saxena

Indian graduate of the MATD program at the University of Reading in 2012 who was born in New Delhi, lived in Bangalore and Hyderabad, and is now back in New Delhi.

Pooja's graduation typeface is Cawnpore (2012), a Latin / Devanagari multi-script family designed for readability in small print.

Fontstructor who made these typefaces in 2011: Picadilly Circus (dot matrix), Rise of the Cellphone (cellphone dings), Depot (dot matrix), Depot Devanagari, Type in Transit I (dot matrix), Electricals Ltd, Giovanni Ostaus, Nip And Tuck, Delhi Metro Sans II (dot matrix face), and Delhi Metro Serif. Pooja added many dot matrix style stitching fonts in 2011: Sajou I, II and III, Lettering For Stitchers I through X. These are digitizations of embroidery patterns from Elsie Svennas' book A Handbook of Lettering for Stitchers.

Chaukor (2009) is an experimental Devanagari face.

In 2014, she developed Cambay (Google Web Fonts; see also GitHub and Open Font Library). Cambay is a libre Devanagari sans typeface family designed to match the Latin font Cantarell (Dave Crossland, 2009). Still in 2014, she created the Gujarati / Latin typeface Farsan (free at Google Fonts; Github link).

In 2017, Pooja joined Type Together. Type Together interview, where we learn that she regrets not having studied mathematics. It's never too late, Pooja! [Google] [More]  ⦿

Pooja Shah

Mumbai, India-based designer of the curly Batik pattern-inspired Latin / Devanagari display typeface Mrigasya (2018). [Google] [More]  ⦿

Poonam Wagle

During her Master of Design studies at IIT Guwahati, Mumbai-based Poonam Wagle created the display typeface Banana Leaves (2015). [Google] [More]  ⦿

Porag Gogoi

Dibrugarh, India-based designer of the left-tilting connected Latin script typeface Introvert (2017). [Google] [More]  ⦿

Pouri Computers

Free Bishnupriya Manipuri language fonts called Pouri and Uttam Singha (1999, truetype). By Pouri Computers, Jamaica, NY. Uttam Singha is the designer/owner. [Google] [More]  ⦿

Prabhsharan Kaur

Mumbai-vbased designer of New York Taxi (2018). [Google] [More]  ⦿

Prabudha Agnihotri

Bangalore, India-based creator of the alchemic typeface Tricul (2014), for which inspiration came from semaphore signals. [Google] [More]  ⦿

Prachi Bhagwat

Pune, India-based designer of the foliate typeface Edge (2018). [Google] [More]  ⦿

Prachi Gajjar

During her studies in Mumbai, Prachi Gajjar created the decorative caps typeface Cartoon (2014). [Google] [More]  ⦿

Prachi Kshirsagar

Graphic designer in Mumbai, who created the earphone-inspired Latin display typeface Hands Free (2013). [Google] [More]  ⦿

Prachi Mevada

During her studies in Ahmedabad, India, Prachi Mevada designed the hexagonal Latin typeface simply called Hexa (2017). [Google] [More]  ⦿

Pradnya Naik

Graphic and type designer from Mumbai, who made the custom Vodafone Urdu font in 2010 and the Virgin Gujarati font in 2011 with the company called WhiteCrow Designs Mumbai India. She is member of Aksharaya.

Lehiya is Pradnya's Master's thesis project from KABK, Type and Media 2012. Depusta is a Latin typeface designed during Type and Media year 2011-12. She also revived the Dutch typeface Erasmus Mediaeval under the guidance of Paul Vanderlaan. Currently, she is finalizing work on Lehiya: Lehiya is a Devanagari text typeface which is designed for extended reading in Hindi and Marathi. With a compact, squarish look, it is inspired primarily by the calligraphic style of old Jain manuscripts.. It will be published later in 2015. [Google] [More]  ⦿

Prajakta Athavale

Mumbai-based designer of the circle and arc-based Devanagari typeface Vartul (2012). In 2013, she made Square Font. [Google] [More]  ⦿

Prajakta Dhargalkar

Mumbai-based creator of the display typeface Astuvity (2016) and of the decorative caps typeface Birdography (2016). [Google] [More]  ⦿

Prajakta Shirangare

During her studies, Prajakta Shirangare (Chandigarh, India) designed the culturally inspired -HusnEReka typeface (2017). [Google] [More]  ⦿

Pramod Chavan

Aka Pumbum. The project Thread Typography takes us far into the experimental typography universe. The resulting images are beautiful. Pumbum is a calligrapher in Mumbai who graduated from the Sir JJ School of Applied Art.

Behance link. [Google] [More]  ⦿

Pranav Parab

Art director in Thane, India, who created a painter's alphabet in 2014. [Google] [More]  ⦿

Pranav Shinde

At MIT Institute of Design (Pune, India), Pranav Shinde designed the display typeface Accidents (2016). [Google] [More]  ⦿

Pranjal Gokhale

During his studies at MIT Institute of Design in Pune, India, Pranjal Gokhale designed the modular squarish typeface Solid (2016). [Google] [More]  ⦿

Pranjali Aggarwal

New Delhi-based designer of a pixelish typeface in 2014. [Google] [More]  ⦿

Prashant Chaugule

Visual artist in Mumbai, who created a Marathi font (2016). [Google] [More]  ⦿

Prashant Coakley

Prashant Coakley's graduation project in Helsinki was Badomtilia (2013), a script font for an endangered Indian language. It has a Latin component as well. [Google] [More]  ⦿

Prashant Varma

Bangalore, India-based graphic designer. He created Tribal Typo (2013, an ornamental caps typeface). [Google] [More]  ⦿

Prathmesh Wadekar

Vector illustrator and graphic designer in Mumbai, India. Creator of the display typeface Tale of Wings (2012).

Behance link. [Google] [More]  ⦿

Pratima Tulsian

Mumbai-based designer of the decorative typeface Recycled Font (2015). [Google] [More]  ⦿

Pratima Unde

Mumbai-based designer of an experimental elliptical Latin typeface called Earing (2013). [Google] [More]  ⦿

Pratyatosa Dasa

Jump site for free Indic fonts, maintained by Pratyatosa Dasa. In particular, this site has a convenient one-click download for fonts that have the necessary Sanskrit diacritics in Unicode standard. A partial list: AboriginalSansPlus-Bold, AboriginalSansPlus, AboriginalSerifPlus, AnadiPlus-BoldItalicMB, AnadiPlus-BoldMB, AnadiPlus-ItalicMB, AnadiPlusMB (2004, Michael Best), Balaram, BalaramBold, BalaramBoldItalic, BalaramItalic, CaslonPlus, CharisSIL-Bold, CharisSIL-BoldItalic, CharisSIL-Italic, CharisSIL, ChrysanthiUnicodePlus, DejaVuSans-Bold, DejaVuSans-BoldOblique, DejaVuSans-ExtraLight, DejaVuSans-Oblique, DejaVuSans, DejaVuSansCondensed-Bold, DejaVuSansCondensed-BoldOblique, DejaVuSansCondensed-Oblique, DejaVuSansCondensed, DejaVuSansMono-Bold, DejaVuSansMono-BoldOblique, DejaVuSansMono-Oblique, DejaVuSansMono, DejaVuSerif-Bold, DejaVuSerif-BoldItalic, DejaVuSerif-Italic, DejaVuSerif, DejaVuSerifCondensed-Bold, DejaVuSerifCondensed-BoldItalic, DejaVuSerifCondensed-Italic, DejaVuSerifCondensed, DoulosSIL, FreeMonoPlus, FreeMonoPlusBold, FreeMonoPlusOblique, FreeSans, FreeSansBold, FreeSansBoldOblique, FreeSansOblique, FreeSerifPlus, FreeSerifPlusBold, FreeSerifPlusBoldItalic, FreeSerifPlusItalic, GandhariUnicodePlusBold, GandhariUnicodePlusBoldItalic, GandhariUnicodePlusItalic, GandhariUnicodeRomanPlus, Garava-BoldItalic, Garava-Bold, GaravaHeavy, Garava-Italic, Garava, GaravaSmallCaps-Bold, GaravaSmallCaps, GentiumAlt-Plus-Italic, GentiumAlt-Plus, GeorgiaRefPlus, HindsightUnicodePlus, LLibertineCapsPlus, LinLibertinePlus, LinLibertinePlusBd, LucidaSansUnicode-Plus, MSReferenceSansSerifPlus-Bold, MSReferenceSansSerifPlus-BoldItalic, MSReferenceSansSerifPlus-Italic, MSReferenceSansSerifPlus, MSReferenceSerifPlus-Bold, MSReferenceSerifPlus-BoldItalic, MSReferenceSerifPlus-Italic, MSReferenceSerifPlus, MarinCapsPlus, MarinCapsPlusItalic, MarinPlus, MarinPlusItalic, MicrosoftSansSerif-Plus, OdanaPlus, PakType-Naqsh-Plus, SImPLPlus, SegoeUI-Bold, SegoeUI-BoldItalic, SegoeUI-Italic, SegoeUI, Tahoma-Plus-Bold, Tahoma-Plus, ThryomanesPlus, ThryomanesPlusBold, ThryomanesPlusBoldItalic, ThryomanesPlusItalic, URWPalladioITUPlus-Bold, URWPalladioITUPlus-BoldItalic, URWPalladioITUPlus-Italic, URWPalladioITUPlus, VUAnhMinhPlus-Bold, VUAnhMinhPlus-BoldItalic, VUAnhMinhPlus-Italic, VUAnhMinhPlus, VUArialPlus-Bold, VUArialPlus-BoldItalic, VUArialPlus-Italic, VUArialPlus, VUHeoMayPlus-Bold, VUHeoMayPlus-BoldItalic, VUHeoMayPlus-Italic, VUHeoMayPlus, VUHoangYenPlus-Bold, VUHoangYenPlus-BoldItalic, VUHoangYenPlus-Italic, VUHoangYenPlus, VUMinhQuanPlus-Bold, VUMinhQuanPlus-BoldItalic, VUMinhQuanPlus-Italic, VUMinhQuanPlus, VUPhuongThaoPlus-Bold, VUPhuongThaoPlus-BoldItalic, VUPhuongThaoPlus-Italic, VUPhuongThaoPlus, VUThaHuongPlus-Bold, VUThaHuongPlus-BoldItalic, VUThaHuongPlus-Italic, VUThaHuongPlus, VUTimesPlus-Bold, VUTimesPlus-BoldItalic, VUTimesPlus-Italic, VUTimesPlus, VUUHoaiPlus-Bold, VUUHoaiPlus-BoldItalic, VUUHoaiPlus-Italic, VUUHoaiPlus, VerdanaRefPlus, jGaramondPlus. [Google] [More]  ⦿

Pratyush Das

Designer of Ashoka Odia (2017, Indian Type Foundry). Ashoka Odia is an Odia-script typeface created for use in long passages of text intended for immersive reading. ITF writes: As a design, Ashoka Odia is a series of firsts: it is the first text typeface designed for Odia that applies Latin-style stroke contrast to the script's letterforms. It is also the first family for the Odia script to apply industry standards to each of its constituent fonts by e.g. making multiple related weights available and by including kerning and OpenType features. [Google] [More]  ⦿

Praveen Kumar

Illustrator in Bangalore, India, who created the Peignotian typefaces Wings Sans and Wings Serif in 2013. [Google] [More]  ⦿

Pravin Ahir

Creative designer in Mumbai who designed the prismatic op-art Latin typeface Squoil (2014), the Buds typeface (2014, a modification of Cooper Black), and the decorative dot matrix typeface Bandhani (2014). [Google] [More]  ⦿

Pravin Lagariya

Mumbai, India-based graphic designer who created the op-art typefaces Lenticular (2016) and Squoil (2014), Johnson's Buds logotype (2014), and the artsy pixel typeface Bandhani (2014). [Google] [More]  ⦿

Pravin Satpute

Indian type tech person in Mumbai, who has calls himself an "internationalization engineer" and who has contributed to numerous free or open font projects, most notably the GNU Freefont project of the Free Software Foundation. Pravin Satpute, Bageshri Salvi, Rahul Bhalerao and Sandeep Shedmake added these Indic language ranges:

  • Devanagari (U+0900-U+097F)
  • Gujarati (U+0A80-U+0AFF)
  • Oriya (U+0B00-U+0B7F)
  • Malayalam (U+0D00-U+0D7F)
  • Tamil (U+0B80-U+0BFF)
Oriya was subsequently dropped from all GNU Freefont fonts. In December 2005 the team at www.gnowledge.org released a set of two Unicode pan-Indic fonts: "Samyak" and "Samyak Sans". "Samyak" font belongs to serif style and is an original work of the team; "Samyak Sans" font belongs to sans serif style and is actually a compilation of already released Indic fonts (Gargi, Padma, Mukti, Utkal, Akruti and ThendralUni). Both fonts are based on Unicode standard. You can download the font files separately.

Other fonts by him incude Meera (2007, a Malayalam font done with Hussain K H, Suresh P, and Swathanthra Malayalam Computing, a font in the Liberation Fonts collection, and fonts in the Lohit project. [Google] [More]  ⦿

Primoz Peterlin

Slovenian font and font software specialist, who works at the Institute of Biophysics of the University of Ljubljana, Slovenia. Early on, he created type 1 outlines for the Devanagari fonts of Frans Velthuis, which dated back to ca. 1990. But his main project was the Free UCS Outline Fonts project, which was part of the Free Software Foundation. It morphed into the GNU Freefont project that set out to provide three monster fonts, FreeMono, FreeSerif and FreeSans, to cover many Unicode blocks. Primoz himself filled in missing glyphs here and there (e.g., Latin Extended-B and IPA Extensions ranges in the FreeMono family), and created the following UCS blocks:

  • Latin Extended-B (U+0180-U+024F)
  • IPA Extensions (U+0250-U+02AF)
  • Arrows (U+2190-U+21FF)
  • Box Drawing (U+2500-U+257F)
  • Block Elements (U+2580-U+259F)
  • Geometrical Shapes (U+25A0-U+25FF)
In 2008, he ceded the command of that project to steve White. [Google] [More]  ⦿

Prince Patel

Anand, India-based designer of the decorative typeface Magnetis (2018). [Google] [More]  ⦿

Priya

A free Marathi font at Osmanabadonline.com, called Priya (2002). [Google] [More]  ⦿

Priya Ju

Kangra, India-based designer of the display typeface Prosta (2016). [Google] [More]  ⦿

Priya Shah

Mumbai-based designer in 2015 of some Devanagari fonts that imitate Urdu. She also made a beatnik style Latin typeface called How I Met You (2016). [Google] [More]  ⦿

Priyal Mote

Priyal Mote, graphic designer and illustrator in Pune, India, trined as an architect. He created a geometric Latin / Devanagari display typeface in 2013. [Google] [More]  ⦿

Priyanka Goyal

New Delhi-based illustrator who created the (Latin) children's alphabet Super Kid Font Design (2013). [Google] [More]  ⦿

Priyanka Gupta

London-based designer of the devanagari typeface Nagari (2017). Behance link. [Google] [More]  ⦿

Priyanka Shah

Ahmedabad, India-based designer of an Indic simulation typeface and the hairline grotesk typeface Ovihcra in 2018. [Google] [More]  ⦿

Psychonomicon Library

Archive with fonts for Hebrew, Greek, alchemy, Persian, Sanskrit, Coptic and runes. [Google] [More]  ⦿

Puja Khurana

During her studies in Banagalore, India, Puja Khurana created a 3d outline typeface called Experimental Type (2014). Phonebooth buttons inspired her to design the sans typeface Dial (2014). [Google] [More]  ⦿

Pulsar Gaming

The 8MB Fonts zip file has some standard truetype fonts. Among the rarest in the collection: 404px (pixel font, 2000), AgencyFB-Reg (Font Bureau), LucidaGrande, LucidaSansUnicode, Orgv01 (pixel font, 2002, by orgdot.com), the Texas Instruments fonts Ti86Pc, Ti86PcBold, Ti86keys and Ti86keys, and the Indic fonts from Microsoft such as Tunga and Raavi. [Google] [More]  ⦿

Purnima Parasher

Gurgaon, India-based designer of an octagonal typeface in 2016. [Google] [More]  ⦿

Purva Shingté

During her studies, this Mumbai-based designer created the connect-the-dots typeface Elara (2013). [Google] [More]  ⦿

Purvanchal Vidyut Vitaran Nigam Limited

Indic font archive: Kruti-Dev-010, Kruti-Dev-016, Kruti-Dev-160, Kruti-Dev-550, MSANGAM, YogeshBold-Bold, YogeshMedium-Regular. [Google] [More]  ⦿

Purvi Dhakan

During her studies in Mumbai, India, Purvi Dhakan created the severe octagonal typeface Geometricus (2013). [Google] [More]  ⦿

Pushkarna

Hindi font archive. It has Raghu8 (National Centre for Software Technology), Raghindi (National Centre for Software Technology), CDAC-GISTSurekh (2004), and Akshar Unicode (2005, kamban Software). [Google] [More]  ⦿

Pushpanjali Murmu

As a student at National Institute of Fashion Technology in Bangalore, India, Pushpanjali Murmu designed the puzzle typeface Toypface (2016). [Google] [More]  ⦿

Quartet Systems
[Eric Wannin]

Eric Wannin's French commercial foundry with PC and Mac fonts for all European languages, most Indic languages, Cyrillic, Vietnamese, Amharic, Inuit, Slavonic, Greek, Tibetan, Thai, Lao, Khmer, Burmese, Cri. Hieroglyphic fonts too. Free font family: EuroQuartet. These fonts have one glyph only, the Euro symbol. It has some bar code fonts too.

Multilingual fonts. They cover Braille, East European languages, Turkish, Baltic, Cyrillic, Icelandic and Greek. According to the Google] [More]  ⦿

R. Neelameggham

Free truetype fonts by R. Neelameggham of South Jordan, Utah: Asanskrit, Abtelgu (Telugu), Abkanada (Kanada), Abengali (Bengali), Aatmzl (Tamil). Old UR. [Google] [More]  ⦿

Rabison Shakya

Patan, Nepal-based designer of the free Devanagari typeface RabisonThyaka, as well as the fonts Nepali (RABISON2NepalLipiISBN9993355925) and Brahmi (BRAHMILIPIRABISONISBN9993355941), which can be found here. Download from the Madan Puraskar Pustakalaya (MPP) Library. He also made BISHOWSON2 Ranjana Lipi ISBN9993355933 for the Ranjani language of Nepal. [Google] [More]  ⦿

Radha Joshi

Graphic design student in Pune, India. She made some experimental and ornamental Latin typefaces in 2012. [Google] [More]  ⦿

Radhika Patel

Graphic designer in Mumbai who designed the connected brush typeface A Postcard A Day in 2016. She also designed the hand-crafted 3d Devanagari typeface Kanchan (2016). [Google] [More]  ⦿

Radhika Patel

Mumbai, India-based designer of Kanchan (2016), a Devanagari font inspired by a famous building in Mumbai called Kanchanjunga. [Google] [More]  ⦿

Radhika Setia

Graphic designer in New Delhi, who created a Mughal era Latin typeface in 2016. [Google] [More]  ⦿

Raghavendra Sagar

Graphic designer in Hyderabad, India, who designed the circle-based typeface Donut Sans (2015). [Google] [More]  ⦿

Raghunath Joshi
[Mangal]

[More]  ⦿

Raghunath K. Joshi

Typography professor R.K. Joshi's pages. He was born in 1936 in Kolhapur, Maharashtra, India, and died in San Francisco in 2008. He was a poet, calligrapher, designer, researcher, teacher and type specialist. Above all, he was respected and influential. From 1952 until 1956, he studied at the Sir J.J. Institute of Applied Art in Mumbai. From 1956 until 1960, he was an artist at D.J. Keymer, and from 1961-1983 he was art director at Ulka Advertising in Mumbai. But his best years were still to come. From 1983 until 1996, he was Professor of visual communications at the Industrial Design Center of IIT, Mumbai, and he was with CDAC, Mumbai, formerly NCST, from 1997 until his death. Radio interview. Obituary at TDC. Pages by Design India on him.

His contributions to the type world:

  • At Microsoft, he published these typefaces in 2001: Gautami, Raavi, Shruti, Tunga. Later, he added Kartika (2002) and Vrinda (2004). In 2009, he developed Latha and Mangal.
  • Quoting CDAC, he made pioneering efforts to establish aesthetics of Indian letterforms through workshops, seminars, international conferences, exhibitions and demonstrations. He revived academic, professional and research interest in Indian calligraphy, typography and computer-aided type design.
  • He created Vinyas, a digital type font design environment providing a comprehensive set of interactive tools for the generation of calligraphic fonts (callifonts) using a skeletal approach.
  • Typecaces: Vishakha (Devanagari), Vibhusha (Bengali), Vidhan (Oriya), and Viloma (Tamil).
  • His students at the Industrial Design Centre included Deborani Dattagupta (Bengali calligraphic typefaces), P.M. Hashim (headline type for a Malayalam daily), Anand Bhandarkar (drop caps), Rajeev Prakash (text face), G.V. Sreekumar (text typeface for Malayalam), and Apurva Joshi (titling typefaces).
  • He experimented with random fonts. Check this example of a random font, based his Vinyas software (1991).
  • He won an award at Bukvaraz 2001 for Raghu (or Raghindi, which can be downloaded here and here. It was developed with with the help of Vinay Saynekar. With Amresh Mondkar, Jui Mhatre and Supriya Kharkar, Joshi and Saynekar developed RaghuBengaliSans (2005). With Riddhi Joshi, Jui Mhatre and Supriya Kharkar, he created RaghuGujaratiSans (2005). R.K. Joshi, assisted by Jui Mhatre, Supriya Kharkar and Kruti Dalvi, created RaghuHindiSans (2005). R.K.Joshi and Omkar Shende, assisted by Seema Mangaonkar, Jui Mhatre and Supriya Kharkar made RaghuKannadaSans (2005). R.K.Joshi and Rajith Kumar K.M., assisted by Nirmal Biswas, Jui Mhatre and Supriya Kharkar developed RaghuMalayalamSans (2005) and RaghuOriyaSans (2005). R.K. Joshi and Omkar Shende, assisted by Supriya Kharkar and Jui Mhatre, made RaghuPunjabiSans (2005) and RaghuTeluguSans (2005). RaghuTamilRoman (2005) was done by R.K. Joshi and Rajith Kumar K.M., assisted by Jui Mhatre and Supriya Kharkar.
  • Joshi made the first OpenType font for Hindi (Mangal) and Tamil (Latha, with Vikram Gaikwad). Mangal became a Microsoft face, but some designers such as Mohd Asif Ali Rizvan think that it is an eyesore.
  • Speaker at ATypI 2006 in Lisbon and at ATypI 2002 in Rome. His presentation in Rome was memorable and thrilled all participants.
  • Developer of Deshanagari, a common script for all Indian Languages.
  • Joshi was involved in the standardization of codes for Marathi and has worked exhaustively to implement Vedic Sanskrit codes for Unicode.
Klingspor link. [Google] [More]  ⦿

Rahul A. Kumar
[TrendGFX Design Studios]

[MyFonts] [More]  ⦿

Rahul Chandh

Graphic designer in Bangalore, India, who created the bilined hipster typeface Belga in 2015. Behance link. Creative Market link. [Google] [More]  ⦿

Rahul Darekar

Mumbai, India-based designer of the display typeface Darek (2017), which has a free demo version. [Google] [More]  ⦿

Rahul Kothari

During his studies at IIT Kanpur, Rahul Kothari created a funky Latin typeface (2015). [Google] [More]  ⦿

Rahul Mathew

As a student at Srishti Institute of Art, Design and Technology in Bangalore, India, Rahul Mathew (b. Kerala) designed the free Malayalam font Videshi (2017), which was designed using FontStruct.

In 2018, he designed Cringe. FontStruct link. [Google] [More]  ⦿

Rahul Patil's Homepage

Two free Devanagri Script fonts, Dvonil-Bold and Dvonil-Light, by Abacus Computers Limited Mumbai. [Google] [More]  ⦿

Rajan Vasta

Type designer and typographer in Mumbai, India. His creations include the devanagari fomnt Mahamaya (2016). [Google] [More]  ⦿

Rajasthan Budget 99

Raj: a free Hindi truetype font by Rajcomp, Jaipur. [Google] [More]  ⦿

Rajasthan Patrika

Download Patrika, a free Hindi font. [Google] [More]  ⦿

Rajdeep Chatterjee

Bangalore, India-based designer of a modular typeface in 2015 that uses only three basic shapes. [Google] [More]  ⦿

Rajendra Bitling

Mumbai, India-based calligrapher, b. 1968. Designer of many Indic simulation typefaces in 2016: Bitling-lipika-Bold-Italic, Bitling-lipika-Bold, Bitling-lipika-Italic, Bitling-lipika-Regular, Bitling-moksh-Italic, Bitling-niks-musical-Bold-Italic, Bitling-niks-musical-Bold, Bitling-niks-musical-Italic, Bitling-niks-musical-Normal, Bitling-shivom-Italic, Bitling-shivom-Regular, Bitling-sujatra-Bold-Italic, Bitling-sujatra-Bold, Bitling-sujatra-Italic, Bitling-sujatra-Regular, Bitling-sulochi-calligra-Italic, Bitling-sulochi-calligra-Regular, Bitling-vedas-Bold-Italic, Bitling-vedas-Bold, Bitling-vedas-Italic, Bitling-vedas-Regular, Bitlingmoksh-Regular. Dafont link. [Google] [More]  ⦿

Rajendra Thakre

Rajendra Thakre (MIT Institute of Design, Pune, India) created the Indic typeface Modi Script (2014). [Google] [More]  ⦿

Rajesh Rajput
[Nav Raw]

[More]  ⦿

Raju Pawar

Indian font designer since 1988 who worked at Modular Infotech Pvt (1988-2012) and at CDAC, Pune. Based in Pune, he is a graduate of Abhinav College of Arts, Pune. He is presently working at Grace Graphics. [Google] [More]  ⦿

Rajya Marathi Vikas Samstha

Maker of the free devanagari typeface Yashomudra (2015). [Google] [More]  ⦿

Rajya Sabha

Four Hindi truetype fonts by C-DAC Pune: DVBTTSurekhENNormal (1995), DVBW-TTYogeshEN-Normal (1992), DV-TTSurekh-Normal (1999), DV-TTYogesh-Normal (2000). [Google] [More]  ⦿

Rakesh

Indian designer (b. 1979) of the display typeface Hitman (2006).

Devian tart link. [Google] [More]  ⦿

Rakesh Kumar

Hyderabad, India-based student-designer of a nice typographic bicycle illustration (2017). [Google] [More]  ⦿

Ram Kashyap Varma

Kochi, India-based designer of a bicolored alphabet (2015). [Google] [More]  ⦿

Ram Ramakrishnan

Indic font by Ram Ramakrishnan. Some of these are extensions and modifications of other available fonts. The list covers Tamil and transliteration fonts for Sanskrit: E-Tahoma-Tamil-W, E-Tahoma, M-Lucida-R, M-Lucida, M-Onuava, M-Ossai-Bold, M-Spatial, M-Typewriter, M-Vera, M-VeraB, M-VeraSans, M03-Bam, M03-S, M03, Madhavi-Calisto, Madhavi-Vendome, Mylai-Ossai-Light, MylaiKalyaniNormal, Nandini-Calisto, Nandini-E-1, Nandini-Eraser, Nandini-Gotica, Nandini-Insula, Nandini-Maindara, Nandini-Script, Nandini-Vendome, Nandini, Noise, Sanskrit-M, T-05-W, T-Bam, T-Bold, T-Kalyani-ShortN, T-KalyaniN, T-Ossai-Bold, T-Ossai-LightN. [Google] [More]  ⦿

Ramakanta Dasa
[Ksyberspace]

[More]  ⦿

Ramakrishna Saiteja

Ramakrishna Saiteja (Bangalore, India) studied Graphic Design at DJ Academy of Design in Coimbatore, India. He did his final project with Indian Type Foundry (ITF). While at ITF, Ramakrishna designed a few Indic scripts, including Coorg Kannada, Coorg Kannada Sans, and a Latin type design. In collaboration with ITF colleagues Jonny Pinhorn and Nikhil Ranganathan, he worked on the Telugu and Kannada extensions for the ITF typeface Akhand.

Presently, Ramakrishna is working independently on another Classic Kannada type design and plans to pursue an MA in Visual Arts (Graphic Design and Visual Communication) at Academy of Arts, Architecture & Design in Prague. During his studies in Bangalore City, India, Ramakrishna Saiteja (b. 1994) created the monoline techno sans typeface Nova Gothic (2013). In 2015, he published Deccan at Indian Type Foundry. Deccan is loosely based on didones.

In 2016, Ramakrishna Saiteja and Shiva Nallaperumal published the free Kannada / Latin typeface family Kolar. Each font's character set includes 925 glyphs. This massive range supports hundreds of unique Kannada-script conjuncts. Kolar's Latin script characters are all modified from Pablo Impallari's Libre Baskerville series.

His Coorg Kannada typeface (2017) is designed for newsprint.

Winner of the SOTA Catalyst award in 2017. Indian Type Foundry link. [Google] [MyFonts] [More]  ⦿

Raman Yadav

As a student at IITB, Mumbai, India-based Raman Yadav designed an experimental devanagari typeface in 2018. [Google] [More]  ⦿

Ramayana
[Arun Gupta]

Arun Gupta's truetype font Xdvng, and Sandeep Sibal's BDF fonts in the JTRANS package. [Google] [More]  ⦿

Ramesh Kushwaha

Designer at the University of Michigan of Vernmala, a Hindi typeface (all formats). At one point, in the early 1990s, he was associated with Medcom in Ypsilanti, MI. [Google] [More]  ⦿

Ramneet Kaur

During her studies in Jaipur, India, in 2015, Ramneet Kaur created several typefaces, including a nature-inspired floriated font. [Google] [More]  ⦿

Ranjana (Lantsa) script

Information and samples for Newari/Ranjana script, by Christopher John Fynn. "The Ranjana script is found in many Buddhist Sanskrit manuscripts from India and Nepal and it is still used by the Newari community (the original inhabitants of the Kathmandu valley) for their religious texts both Hindu and Buddhist - and for some other writings in Sanskrit and Newari." [Google] [More]  ⦿

Rashi Goil

Rashi Goil (Singapore) was inspired by wood block printing when he created the Wood Block Typeface (2014). [Google] [More]  ⦿

Rashi Singhal

Mumbai, India-based designer of the informal typeface Amie (2014). [Google] [More]  ⦿

Rashmi Sawant

During her studies in Mumbai, India, Rashmi Sawant designed the Indic typeface Tamigri (2017). [Google] [More]  ⦿

Rathna Ramanathan

Rathna Ramanathan is a practising designer and senior lecturer from Chennai, India, now based in London. Rathna received her PhD from the Department of Typography and Graphic Communication, The University of Reading. She has an MA in Communication Design from Central Saint Martins and a BA in Fine Art from the University of Madras. Formerly a Senior Lecturer in Design and Interaction at Central Saint Martins College of Art and Design in London, Rathna is now Head of Visual Communication at the Royal College of Art.

Through her studio Minus9 Design, Rathna has worked with a range of clients including BBC World, Harvard University Press, Tara Books, World Bank, and UNICEF. She advises on the design of Indic typefaces. Her current research is concerned with the changing forms of typography and the book, particularly in the Indian context.

Speaker at ATypI 2013 in Amsterdam, where she addressed Tamil font design. Speaker at ATypI 2016 in Warsaw on A Typography for India. She also spoke at ATypI 2018 in Antwerp. [Google] [More]  ⦿

Ratul Dutta

Kolkata, India-based designer of the Japanese brush typeface Shinzo (2018). [Google] [More]  ⦿

Ravi Kumar

Indian designer of the horizontally-striped typeface Beato-ExtraBoldHeadline (2014) and the frothy Fizzo (2015). [Google] [More]  ⦿

Ravi Pooviah

Indian type designer. [Google] [More]  ⦿

Redfonts
[Amit Botre]

Amit Botre (Redfonts) is the Indian designer (b. 1978) of AB Dent (1999), AB Engraved (1999), AB Fatchic (1999), AB Fubu (1999, pixel), AB Ultrachic (1999, rounded sans), ABBarberian (1999, art nouveau meets gothic), ABExp (1999, striped letters), ABMindblock (1999, Franz Kafka's lettering?), AbFangs (2000), ABFuturun (1999, futuristic), AB Cave (1999, grunge), AB Majik (1999, slender letters) and AB Nirvana (1999, display lettering).

Devian Tart link. [Google] [More]  ⦿

Reema Chhabra

Hyderabad, India-based designer (b. 1990) in 2013 of the hand-printed typefaces What The Fish, Its Dripping (gothic), Me Likey, My Dream, Scrobbly, Skinny but cute, and Plumpy but cute.

In 2014, Reema created Chunky Blocks, Living The Dream, In Your Face Joffrey, Up in the Air, Pushing Up Daisies, Make My Day, Bite The Bullet, Lollipop and Spill The Beans. Facebook page. [Google] [More]  ⦿

Reha Khanna

During his design studies in New Delhi, Reha Khanna created an unnamed modular typeface in 2013. [Google] [More]  ⦿

Rehan Ahmad

Graphic designer of New Delhi, India, who created a free geometric monospace typeface in EPS and AI formats in 2017. [Google] [More]  ⦿

reijlp.com

Indic fonts: DV-TTGanesh-Bold, DV-TTGanesh-Normal, DV-TTSurekh-Bold, DV-TTSurekh-Italic, DV-TTSurekh-Normal, DV-TTSurekh-Bold-Italic, DV-TTYogesh-Bold, DV-TTYogesh-Italic, DV-TTYogesh-Normal, DV-TTYogesh-Bold-Italic, DV-TTGaneshEN-Bold, DV-TTGaneshEN-Normal, DV-TTSurekhEN-Bold, DV-TTSurekhEN-Italic, DV-TTSurekhEN-Normal, DV-TTSurekhEN-BoldItalic, DV-TTYogeshEN-Bold, DV-TTYogeshEN-Italic, DV-TTYogeshEN-Normal, DV-TTYogeshEN-BoldItalic. [Google] [More]  ⦿

Rhea F. Duckworth

Originally from Bombay, Rhea Duckworth first studied in Bombay (2013) and then at the Savannah College of Art and Design, class of 2017. She created the display typeface DeeDee (2015), which is inspired by the 1990s cartoon Dexter's Laboratory. [Google] [More]  ⦿

Rhea Gill

Indian designer of the compass-and-ruler typeface Bahaus (2018). [Google] [More]  ⦿

Rhea Goyal

Chennai, India-based designer of Galactrix (2017). [Google] [More]  ⦿

Rhinoceros Sutra

Rhino (2001) is a free font by Andrew Glass for the British Library/ University of Washington Early Buddhist Manuscripts Project, Seattle Washington, for Kharosthi, based on the handwriting of the scribe of the Rhinoceros Sutra. A Kharosthi unicode font is under development. [Google] [More]  ⦿

Rhutuja Gawade

Creator from Mumbai, India, of an unnamed connect-the-dots typeface in 2013. [Google] [More]  ⦿

Ria Jatakia

Ria studies at Sophia Polytechnic in Mumbai, and is scheduled to graduate in 2018. Mumbai, India-based designer of a hand-crafted devanagari typeface in 2017. [Google] [More]  ⦿

Richard Ishida
[Introduction to Indic scripts]

[More]  ⦿

Richard Khuptong

Designer (b. 1992) based in New Delhi. In 2018, he published the free dry brush typeface The Dolbak Brush at Pixel Surplus. [Google] [More]  ⦿

Richard Lasseigne
[Berkeley Fonts]

[More]  ⦿

Richie Thimmaiah

Digital artist from Bangalore. He made the type poster entitled Vintage Typography (2010). Behance link. [Google] [More]  ⦿

Riddhi Mishra

Baroda, India-based designer of a devanagari font in 2016, during his studies at MSU. [Google] [More]  ⦿

Riddhi Vakil

Designer in Atlanta, GA. Creator of Shri Ramanjenya (2014: a custom Devanagari typeface) and Sufi (2014), a display typeface based on Bodoni and Arabic calligraphy. [Google] [More]  ⦿

Rini Suhasini

Hyderabad, India-based designer of the octagonal typeface Diagonel (sic) (2016). [Google] [More]  ⦿

Rishabh Arora

Bindu is a circle-based experimental display font designed during Rishabh Arora's UKIERI student exchange at Adam Smith College in Scotland. He lives in New Delhi. [Google] [More]  ⦿

Ritvik Kar

Indian creator (b. 1997) of the free hand-printed typefaces Ritviks (2013) and Ritviks Handwriting (2013).

Dafont link. [Google] [More]  ⦿

Riya Bhandarri

Mumbai, India-based designer of the high-contrast sans typeface Touché (2016). Behance link. [Google] [More]  ⦿

Riya Khandelwal

New Delhi-based designer of the mustache font Mucchad (2014). [Google] [More]  ⦿

Riya Mahajan

At the National Institute of Design, Pune, India-based Riya Mahajan created a modular Latin typeface in 2017. [Google] [More]  ⦿

Riya Swami

New Delhi, India-based designer of a curly cursive typeface in 2017. [Google] [More]  ⦿

Roasted Coffee Studios
[Ryan Anthony]

Ryan Anthony (Roasted Coffee Studios, Kolkata, India) designed the hand-crafted Pine & Oak (2015), the rounded web serif beer label typeface Carlson (2015), the bribeware rounded sans typeface Camp (2015) and the free art deco sans typeface Madyson (2015). At some point, he used the alias Avik Mathew. Creative Market link. [Google] [More]  ⦿

Rob Keller
[Mota Italic]

[More]  ⦿

Rodrigo Cuervo

Art director in Salamanca, Spain, who created Stahl (2016: a semi-techno typeface designed for Stahl watches), [Google] [More]  ⦿

Rohan Kapoor

New Delhi, India-based designer of the all caps inline tweetware display typeface Axel (2014) and the tweetware sans typeface Rohio (2014).SocioHexs is a set of 30 hexagonal social media icons. Behance link. [Google] [More]  ⦿

Rohan Lele

Graphic designer in Mumbai who designed Contrast (2013), a retro-futuristic poster typeface. [Google] [More]  ⦿

Rohan Sinha

At Pearl Academy in New Delhi, Rohan Sinha designed the FontStruct typeface Magnet in 2016. [Google] [More]  ⦿

Rohit Rc

Graduate of the College of Fine Arts in Bangalore, India. Still based in bangalore, Rohit designed the informal Latin typeface Rustyc (2014, advertised as bullet-proof, curvy yet tough) and the futuristic Latin typeface Space Age (2014). [Google] [More]  ⦿

Roman Sanskrit Serif

Pick up the free Roman Sanskrit Serif truetype font. [Google] [More]  ⦿

Rony Bose

Wellington, New Zealand-based creator of Goaface (2012), the official language of Goafest in India. [Google] [More]  ⦿

Ruby Anand

Communication designer in Pune, India, who created the 3d display typeface Geo Lith in 2016. [Google] [More]  ⦿

Rucha Bodas

During her studies at MIT Institute of Design, Pune, India-based Rucha Bodas created the squarish typeface Hongusky (2018). [Google] [More]  ⦿

Ruhee Shah

Ahmedabad, India-based designer of the arrowed typeface Destine (2016). [Google] [More]  ⦿

Rujuta Nanivadekar

Designer as a student at Rachana Sansad College of Applied Art in Mumbai of the Indic display typeface Shiv Parvati (2018). [Google] [More]  ⦿

Rutuja Jog

Pune, India-based designer of Oxhorn (2016), a display sans typeface inspired by the cave paintings in Bhimbetka. [Google] [More]  ⦿

Ryan Anthony
[Roasted Coffee Studios]

[More]  ⦿

Saachi Dubey

Bangalore, India-based designer of the multiline typeface Tape Type (2016), which was done for a university project. [Google] [More]  ⦿

Saachi Narayan

At Srishti School of Art and Design in Bangalore, India, Saachi Narayan designed the rounded stencil typeface Goblin (2017). [Google] [More]  ⦿

Sabari Ramiro

Coimbatore, India-based designer of the animated Latin typeface Bounce (2018). [Google] [More]  ⦿

Sachi Chowdhry

During his studies in Mumbai, Sachi Chowdhry designed a text typeface (2017). [Google] [More]  ⦿

Sachin Jha

Graphic designer in New Delhi, who started the India Font Project, which is concerned with vernacular type in India. He created an overlay typeface system (for Latin) in 2012.

In 2013, he used thin triangles to created the all caps typeface My Shapes My Type. [Google] [More]  ⦿

Saee Kenavdekar

Graphic designer in Goa, India. Creator of Boxy Font and Straight Line Font in 2013. [Google] [More]  ⦿

Sagarika Jayawant

Indian designer of a devanagari typeface in 2017. [Google] [More]  ⦿

Saif Khan

Kanpur, India-based designer of the colorful typeface Modify (2016). [Google] [More]  ⦿

Saishraddha Malage

Indian illustrator and graphic designer who lives in Ahmadabad. He used lamps and wires to create the Batti typeface (Batti means bulb in Hindi) in 2010. Still in 2010, he made Mysirspecs (glyphs made of spectacles). Home page. [Google] [More]  ⦿

Sakal Bharati

This font supports all Indic languages and was designed by GIST, C-DAC. [Google] [More]  ⦿

Saksham Mahajan

Indore, India-based designer of the typeface Organic Hexagon (2016). [Google] [More]  ⦿

Saksham Verma

Bangalore, India-based designer of the stenciled font Beat (2016). This was a school project at Srishti School of Art, Design and Technology. [Google] [More]  ⦿

Salagram

Links for Sanskrit fonts. It has SamarkanNormal, SamarkanOblique, BalaramBold, BalaramBoldItalic, BalaramItalic, Balaram. [Google] [More]  ⦿

Salika

Commercial Khmer font producer. Salika Ltd is located in Tokyo. Their Khmer fonts are named Khm-1 through Khm-4. They also have fonts for Bengali, Burmese, Chinese, Latin, Hindi, Japanese, Korean, Mongolian, Nepali, Cyrillic, Tamil, Thai and Vietnamese. [Google] [More]  ⦿

Salil Parekh

Gurgaon, India-based designer of the shadow typeface Unbalanced (2016). Behance link. [Google] [More]  ⦿

Saloni Goel

Indian designer of the typographic illustration Autorikshaw (2017). [Google] [More]  ⦿

Saloni Tangal

Daman, India-based designer of the Latin display typeface Ol Chiropus (2017), with shapes based on the Santali script Ol Chiki that was invented in the 1920s by Pandit Raghunath Murmu. [Google] [More]  ⦿

Samah Khan

Bangalore, India-based designer of several great lettering pieces, such as the African texture poster Kalahari (2018). [Google] [More]  ⦿

Sameer Salvi

Indian designer of the modular typeface Charisma (2018) and the decorative didone typeface natura (2018). [Google] [More]  ⦿

Samia Singh

New Delhi-based illustrator. Creator of Dropit (2011), an ornamental typefacce. Behance link. [Google] [More]  ⦿

Samiksha Bhardwaj

New Delhi-based designer of the tangram-style Geometric (2014; a set of numerals). [Google] [More]  ⦿

Samparka.com

Free truetype fonts: LangscapeKndPadma, LangscapeKndPadmini, KPNEWS (Express Publications, Madras, 1998). [Google] [More]  ⦿

Sampda Mago

New Delhi, India-based designer of the angular school project typeface Kath (2017). [Google] [More]  ⦿

Samradhi Katare

Indian typographer at the National Institute of Fashion Technology in New Delhi. At Typography Day 2012 he spoke on All That I Have Learned About Devanagari----Evolution of the Devanagari script and development of letter-form design based on Vox-ATypI classification of type. [Google] [More]  ⦿

Samson Tennela

Samson Tennela (b. 1982) lives in Hyderabad, India. He created the hand-printed Latin typeface Sam T (2013), Blooy (2014, brush face), Freemind (2013, hand-printed), Rounded Brush (2013, grungy), Ink Pen (2013) and Slant Geo (2013, techno).

Dafont link. Behance link. [Google] [More]  ⦿

Samyak
[G. Nagarjuna]

Samyak is a free Opentype Unicode font family developed in 2005-2006 that covers Devanagari, Gujarati, Latin, Malayalam, Oriya, Tamil. The fonts are amyakSans, SamyakSans_Bengali, SamyakSans_Gujarati, SamyakSans_Gurmukhi, SamyakSans_Malayalam, SamyakSans_Oriya, SamyakSans_Tamil. The project is managed by G. Nagarjuna at the Homi Bhabha Centre For Science Education, Tata Institute Of Fundamental Research, V.N. Purav Marg, Mankhurd, Mumbai 400 088, India. Contributors include Rahul Bhalerao, Sandeep Shedmake, Bageshri Salvi, and Pravin Satpute. The fonts are based on earlier work, namely:

  • Gargi-1.3: HBCSE, TIFR, for Devanagari
  • Padma: Cyberscape Multimedia ltd for Gujarati
  • ThendralUni: 2003, by A. Umar for Tamil
  • Utkal: Andy White, Rajesh Pradhan for Oriya
  • Mukta: Mukta Bangla Font Project 2003 for Bengali
  • AkrutiMal2Normal: Cyberscape Multimedia Ltd for Malayalam
  • Saab: Bhupinder Singh and Sukhjinder Sidhu. Copyright 2004 for Gurumukhi
[Google] [More]  ⦿

Samyukkta Murali

Chennai, India-based designer of Orbis (2014), a Latin sans typeface based on a compass-and-ruler design. [Google] [More]  ⦿

Sancheeta Joshi

Mumbai-based creator of the Indic font Pahadi (2013). [Google] [More]  ⦿

Sanchi Oberoi

As a student at Lady Shri Ram College for Women in New Delhi, Sanchi Oberoi designed the experimental Latin typeface Typographic Rivers (2017). For this, she used the rivers that flow through printed text. [Google] [More]  ⦿

Sanchit Sawaria

Graphic design graduate of the National Institute of Design, Ahmedabad, who is from New Delhi. In 2012, during his studies, he created Kathan Devanagari and Akhand Devanagari, which can be bought at the Indian Type Foundry. In 2013, Akhand was extended to cover Bengali, Malayalam and Tamil as well. In 2015, Akhand appeared at MyFonts, where we learn that Satya Rajpurohit is the designer, so it is unclear who did what. As of 2018, Akhand covers all of India's 11 writing systems.

In 2013, Sanchit outperformed the Germans in their own craft when he developed the ornamental blackletter typeface Black Diamond. Darkstone (2014) is a hybrid blackletter display font that combines Fraktur and Old English.

In 2014, Sanchit Sawaria and Jyotish Sonowal finished the free Google Web Font Khand, an 8-style family of compact mono-linear fonts with very open counter forms. Developed for display typography, the family is primarily intended for headline usage. Its Latin is from Satya Rajpurohit, and Khnad carries the Indian Type Foundry label.

Behance link. [Google] [MyFonts] [More]  ⦿

Sanchitaa Agarwal

As a student in Bangalore, India, Sanchitaa Agarwal designed a curvy hand-crafted Latin stencil typeface. [Google] [More]  ⦿

Sandeep Suman

During studies at IBD in Mumbai, Sandeep Suman Mishra created a typographic menu for TESO (2012). [Google] [More]  ⦿

Sanika Salvi

During her studies in Mumbai, Sanika Salvi designed the colorful bird-themed typeface Flock (2018). [Google] [More]  ⦿

Sanil K.T.

Graduate of College of Fine Arts in Thiruvananthapuram, Kerala in 2017. Bangalore, India-based designer of the squarish modular typeface Roadsan (2018). [Google] [More]  ⦿

Sanir Karmacharya
[Madan Puraskar Pustakalaya (MPP)]

[More]  ⦿

Sanjay Khatri

Indian designer of the free Devanagari font Indic. [Google] [More]  ⦿

Sanjooli Goel

For a school project, Sanjooli Goel (Jaipur, India) designed the display typeface Pen Nib (2016) and the textured fingerprint typeface Thumb Impression (2016). [Google] [More]  ⦿

Sanskrit GDE

Sanskrit fonts in all formats, with help files. Alternate URL. [Google] [More]  ⦿

Sanskrit Web (or: Transliteration and Devanagari Fonts for Sanskrit)
[Ulrich Stiehl]

Sanskrit Web offers several high-quality transliteration fonts for German, Polish and English-speaking indologists, made by Ulrich Stiehl (b. 1947, Wiesbaden) who lives in Heidelberg. All these fonts are derived from Hermann Zapf's URW Palladio (1990), with appropriate diacritics added for German and Polish indologists: URWPalladioCSXG-R, URWPalladioFF-B, URWPalladioFF-BI, URWPalladioFF-I, URWPalladioFF-R, URWPalladioGGM-B, URWPalladioGGM-BI, URWPalladioGGM-I, URWPalladioGGM-R, URWPalladioIT-B, URWPalladioIT-BI, URWPalladioIT-I, URWPalladioIT-R, URWPalladioREEG-R, URWPalladioSKT-B, URWPalladioSKT-BI, URWPalladioSKT-I, URWPalladioSKT-R, URWPalladioUNI-Bold, URWPalladioUNI-BoldItalic, URWPalladioUNI-Italic, URWPalladioUNI, URWPalladioUS-B, URWPalladioUS-BI, URWPalladioUS-I, URWPalladioUS-R, URWPalladioKUL-B, URWPalladioKUL-BI, URWPalladioKUL-I, URWPalladioKUL-R, Sanskrit 99. The site offers, besides conventional truetype and type 1 fonts, an innovative hybrid OpenType Unicode font for PC and Mac. It can be used either as plain Unicode font or as OT font. On this page, Ulrich offers free versions of two historic fonts, GiacomoFranco (a human figure alphabet based on an original from 1596) and Hypnerotomachia (based on on Aldine font used in Hypnerotomachia Poliphili). Wikipedia page. [Google] [More]  ⦿

Santaji Shirke

During his studies in Mumbai, India, Santaji Shirke created Wolsburg (2014), a typeface that is inspired by vintage German cars from the 1950s. [Google] [More]  ⦿

Santhosh Thottingal

Palakkad, Kerala-based computer scientist. He is responsible for Autonym Font (2013). He explains: A font that can render all language autonyms. If we want to show a large number of languages written in their own scripts (autonyms), we cannot apply the usual webfonts to it. This is because when each script requires a webfont, we will end up using a large number of webfonts. This can cause large bandwidth usage. An example of this use case is a language selector on a website. Autonym font tries to solve this. The font contains glyphs and opentype rules for rendering the language autonyms. And it contains only those glyphs for a language. The glyphs for the font are taken from a large number of free licensed fonts.

The sources for the glyphs, by language, are:

  • Main: FreeSans.
  • Arabic: Droid Arabic Naskh
  • Tibetan: Jomolhari
  • Bengali: Lohit Bengali
  • Telugu: Lohit Telugu
  • Tamil: Meera Tamil
  • Odia: Lohit Odia
  • Malayalam: Meera
  • Kannada: Lohit Kannada
  • Gujarati: Lohit Gujarati
  • Devangari: Lohit Devangari
  • Khmer: Hanuman
  • Thai: Droid Sans Thai
  • Chinese: WenQuanYiMicroHei
  • Lao: Phetsarath
  • Divehi: FreeFontThaana
  • Javanese: TuladhaJejeg
  • Myanmar: TharLon

Open Font Library link. [Google] [More]  ⦿

Sarabjeet Singh

New Delhi-based designer of an untitled display typeface in 2014. [Google] [More]  ⦿

Sarada script

From Encyclopaedia Britannica: Writing system used for the Kashmiri language by the educated Hindu minority in Kashmir and the surrounding valleys. It is taught in the Hindu schools there but is not used in printing books. Originating in the 8th century AD, Sarada descended from the Gupta script of North India, from which Devanagari (q.v.) also developed. [Google] [More]  ⦿

Sarah Dsouza

Indian designer of Triangle Font (2017). [Google] [More]  ⦿

Sarai

Sarai has released an Opentype Unicode Devanagari font called Sarai (2007). The font was primarily designed for print and publishing needs of Sarai for Hindi. A set of convertors for Surya and Chanakya fonts to Unicode and vice versa is also being developed. [Google] [More]  ⦿

Saral Fonts

From Norway: "Saral Soft offers different collections of TrueType fonts for various Indian languages/alphabets." Included are Hindi, Gujarathi, Marathi, Tamil, Punjabi, and Bengali. From the readme file at this download site: Saral is a series of OpenType fonts in 9 Indic scripts for 12 Indian languages. These fonts have been designed and developed under the type font design directorship of Prof. R. K. Joshi and the fonters team at C-DAC, Mumbai (formerly NCST). Fonters team: Prof. R.K.Joshi, Vinay Saynekar, Rajith Kumar K.M., Omkar Shende, Sarang Kulkarni, Amresh Mondkar, Jui Mhatre, Kruti Dalvi, Nirmal Biswas, Seema Mangaonkar, Supriya Kharkar, Riddhi Joshi, Lokesh Karekar. SaralHindi has been designed and developed by Prof. R. K. Joshi (TypeFont Design Director, Visiting Design Specialist at C-DAC Mumbai), assisted by Ms. Jui Mhatre and Ms. Supriya Kharkar and Ms. Kruti Dalvi at C-DAC Mumbai (formerly NCST) under IndiX2, Project funded by TDIL, Department of Information Technology, Ministry of Communications and Information Technology, Govt. of India. SaralTamil has been designed and developed by Prof. R. K. Joshi (TypeFont Design Director, Visiting Design Specialist at C-DAC Mumbai) in association with Mr. Rajith Kumar K. M. (TypeFont Designer), assisted by Ms. Jui Mhatre and Ms. Supriya Kharkar at C-DAC Mumbai (formerly NCST) under IndiX2, Project funded by TDIL, Department of Information Technology, Ministry of Communications and Information Technology, Govt. of India. RRSaralTamil and RKSaralHindi are free at the latter site. [Google] [More]  ⦿

SaralSoft

Commercial Indian language fonts. SaralSoft Hindi demo truetype font. Also, a Marathi demo font, and truetype fonts for Gujarati, Hindi and Tamil. The demos are quite useless, don't bother. [Google] [More]  ⦿

Sarang Kulkarni
[EK Type]

[More]  ⦿

Sarang Kulkarni
[White Crow]

[More]  ⦿

Sarasvati Sindhu (Vedic--Indus) civilization, language and script

Free Indic TrueType font. [Google] [More]  ⦿

Sarvagya Rajan

During her studies in Bangalore, India, Sarvagya Rajan designed the 3d typeface Let's Font (2017), and the experimental typeface Elliptic (2018), which is inspired by geometrically deconstructing an elliptic totapuri leaf. [Google] [More]  ⦿

Sarvottam Kulkarni

Indian creator of the modular typeface Métier (2013, FontStruct). [Google] [More]  ⦿

Sashikant Joshi

Designer of the Hindi fonts Bhaarat (2003) and Bhaarat (2003), and the transliteration fonts Pranav (2003) and Pranav3 (2003). [Google] [More]  ⦿

Sathya Samuel

Bangalore, India-based designer of the experimental gridded typeface Capi (2017). [Google] [More]  ⦿

Satipatthana

The MozPali font family for Pali (1998). See also here, where you can also find AmericanPictogram (1998) and APictOut (1998). [Google] [More]  ⦿

Saturn Infolabs

Free truetype fonts for the Thaana language of the Maldives: AReethi (2002, a handwritten Thaana font by Abdul Sattar, Abdulla Waheed, Musthafa Mohamed, and Ibrahim Yasir, with the assistance of Ahmed Asif), Faruma (2002, handwritten Thaana font by Musthafa Mohamed and Ibrahim Yasir, with the assistance of Ahmed Asif; see also Google] [More]  ⦿

Satya N. Rajpurohit

Satya is co-founder of the The Indian Type Foundry (ITF) in Ahmedabad, Gujarat, India, in 2009. ITF is India's first digital type foundry providing Unicode compliant fonts. He studied at the National Institute of Design (NID) in India and interned with Linotype in Germany. He has also worked at Dalton Maag (London) and L2M3 (Stuttgart). He now works full time at ITF, creating original fonts in all the major Indian scripts along with their Latin companions. Satya studied graphic design at the National Institute of Design, Ahmedabad, India, where he specialized in motion picture graphics.

His type work includes ITF Devanagari (2001), this experimental display face (2006), this minimalist face (2007), this experimental sans (2007), Rail India (2007, an Indic simulation face) and this Devanagari (Hindi) typeface (2007). With Peter Bilak, he created Fedra Hindi (2010, ITF). In 2010, he received the SOTA Catalyst Award and published the Kohinoor family for Latin, Devanagari and Tamil.

In 2012, he designed the type family Engrez Sans. With Jyotish Sonowal, he designed the beautiful semi-calligraphic Tulika Bengali. It includes support for the Assamese, Bengali, Bishnupriya Manipuri, Garo, Kokborok, Meitei, and Mundari languages. Kohinoor Latin (2012) is a low-contrast humanist sans-serif suitable for both body and the display text.

The Indian Type Foundry published several typefaces at Google Web Fonts in 2014: Hind, Kalam, Karma, Teko and Rajdhani. Rajdhani is an Open Source typeface supporting both the Devanagari and the Latin scripts. The font family was developed for use in headlines and other display-sized text on screen. Its initial release includes five fonts. Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component in the Rajdhani fonts together, while the Latin was designed by Shiva Nallaperumal.

In 2014, Sanchit Sawaria and Jyotish Sonowal finished the free Google Web Font Khand, an 8-style family of compact mono-linear fonts with very open counter forms. Developed for display typography, the family is primarily intended for headline usage. Its Latin is from Satya Rajpurohit, and Khnad carries the Indian Type Foundry label.

In 2015, Akhand (a condensed almost monoline sans that covers many Indic languages) appeared at MyFonts, where we learn that Satya Rajpurohit is the designer, but it is unclear who did what. That typeface was followed in 2016 by Akhand Soft.

Jyotish Sonowal extended Hind to the free 10-style Calcutta in 2015.

Satya Rajpurohit designed the sans typeface family Author (2017).

. Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Satya N. Rajpurohit
[Indian Type Foundry (ITF)]

[MyFonts] [More]  ⦿

Saurabh Sharma

Saurabh Sharma (b. 1982) is a graphic and web designer in Udaipur, Rajasthan, India. He created the nice rounded organic sans typeface Lead (2010). [Google] [More]  ⦿

Sayon Chatterjee

New Delhi-based designer of an experimental Hindi typeface in 2013. [Google] [More]  ⦿

Schuchita Grover

Bangalore City, India-based designer of a retro typeface in 2014. [Google] [More]  ⦿

Scribus Stuff

Free font hosting place. Has several Devanagari typefaces. [Google] [More]  ⦿

Script Software International

Company located at CAE Lake Shandalee Road, Livingston Manor, NY 12758-0131. In the early 1990s, they published bitmap and type 1 fonts for Hindi and Sanskrit for the Mac. [Google] [More]  ⦿

SDL, IIT Madras

Free fonts from SDL, IIT Madras covering most Indic scripts: iitmoriya, iitmbeng, iitmguj, iitmhind, iitmipa, iitmkann, iitmmal, iitmpunj, iitmsans, iitmtam, iitmtel, iitmuni. [Google] [More]  ⦿

Sejal Mota

Mumbai-based illustrator and graphic designer. She drew an exquisite multi-patterned all-caps alphabet in 2011. [Google] [More]  ⦿

Sergey Korop

Designer of the Sanskrit-T1 series of type 1 fonts (2004), which are implementations of Charles Wikner's "skt" metafont series for the Sanskrit language. [Google] [More]  ⦿

Shachi Lavingia

Mumbai, India-based designer of the all caps painted alphabet All Heats (2018). [Google] [More]  ⦿

Shailja Doshi

Graphic designer in Mumbai who created the experimental typefaces Twisted (2014) and Contra Font (2014) and the display typeface Leaves (2014). [Google] [More]  ⦿

Shailja Patel

Pune, India-based designer of Circuit (2016). [Google] [More]  ⦿

Shaivalini Kumar

New Delhi, India-based designer of the circle-based rounded sans typeface Spry (2016) which was constructed with compass and ruler. Behance link. [Google] [More]  ⦿

Shalaka Shah

Mumbai-based designer of the Latin display typefaces Ripple (2015) and Essential (2015). [Google] [More]  ⦿

Shalmali Alwe

Mumbai, India-based designer of several experimental geometric typefaces in 2016. [Google] [More]  ⦿

Shambhavi Vaish

Moradabad, India-based designer of the Latin display typeface Zipper (2016). [Google] [More]  ⦿

Shapes for Cash
[Timothy Donaldson]

British calligrapher, signwriter, lettering artist, and type designer. He teaches typography at Stafford College and is a Research Fellow at the University of Lincoln. His typefaces:

  • At ITC: ITC Cyberkugel, ITC Digital Woodcuts, ITC Farmhaus Normal, ITC Farmhaus Not So Normal (he says that Farmhaus is where Neil Young meets Paul Renner), Flight (1995), Pneuma, Scruff, Spooky, Telegram, Trackpad, ITC Humana Serif, ITC Humana Script Light, Medium, and Bold, John Handy, ITC Klee, ITC Talking Drum (1990s, interpreted in 2007 by Nick Curtis as Monkey Business), ITC Musclehead, ITC Riptide, Ruach, Ulysses, ITC Airstream, ITC Angryhog, Etruscan, Green, ITC Jellybaby, Neo Neo, Orange (1995, a liquid font).
  • At Letraset: Pink (Peter Hanley's review of Pink), Uffington, TwangLetPlain (scribbly).
  • At FontFont: Fancy Writing (or: FF Fancy, 1996).
  • At Adobe: Immi 505, Postino, Banshee, Coriander.
  • At the Indian Type Foundry: Rozha One (2014, free Google web font). This is a heavy didone typeface with large x-height, high contrast, and a harmonious balance between its Devanagari (designed by Tim Donaldson and Jyotish Sonowal) and Latin (designed by Shiva Nallaperumal). Github link.
  • At his own typefoundry Shapes for Cash (est. ca. 2018): Amadeo (Timothy: this is a 20-year old design that won a prize in a Morisawa competition in the 1990s. It is a deliberately crude, unevenly weighted set of simulated incisions that now attempts to challenge the chocolate-box hegemony of perfect Instagraphy, and maybe to invoke the spirit of Imre Reiner), Cowgirl, Hipsterpotamus (a chubby puppy, a chunky monkey, a bestially bloated beauty of corpulent cuteness), Pointyhead (an exercise in absurdity; to create the most atrociously spiky, thorny blackletter; to give it a set of roman uppers along with brutal fraktur majuscules).
  • Other fonts: Cult.
He runs Kingink.

At ATypI 2004 in Prague, he spoke about The world's even bigger Hamburgefonts. At ATypI 2008 in St. Petersburg, he spoke about the resurrection of the pencil. He states in the abstract: During research for my recently published book, "Shapes for sounds", I investigated the Glagolitic alphabet created by the brothers Cyril and Methodius. This alphabet was the mother of Cyrillic. I learned to write the letters, an activity that took on a life of its own and led to a body of interpretation bordering on the obsessive. My talk will focus on the history, development, and subsequent abandonment of the Glagolitic alphabet and will show the new drawings, sculptures, scripts and typefaces I have produced as a result of this investigation. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik.

In 2012, he won the Akashi award in the Latin category of the Morisawa Type Design Competition for Jara (a fat signage script).

Klingspor link. Linotype link.

View Timothy Donaldson's typefaces. [Google] [MyFonts] [More]  ⦿

Sharayu Bedre

Mumbai, India-based designer of Meitei Script (2018). Meitei Mayek was used for the Metei language (aka manipuri) spoken in the south-eastern Himalayan state of Manipur. It was replaced in the 18th century by Bengali. She also designed the Marathi font Tamasha (2018). [Google] [More]  ⦿

Shashi Advani
[Bharatvani Hindi Font]

[More]  ⦿

Sheehij Kaul

New Delhi-based creator of the typographic poster Three and Four (2013). [Google] [More]  ⦿

Shibu PG

Kochi, India-based designer of the blackboard bold typeface Achi (2015) and the free fashion mag typeface Aila (2017). Gumroad link. Behance link. [Google] [More]  ⦿

Shikha Nagrecha

Mumbai-based designer of a bubblegum poster called Magic (2013). [Google] [More]  ⦿

Shikha Subramaniam

During her studies in New Delhi, Shikha Subramaniam designed the experimental squarish typeface Aria (2014). [Google] [More]  ⦿

Shikhar Virmani

As a student at Pearl Academy, New Delhi, India-based Shikhar Virmani designed the sturdy 3d typeface Mulberry (2016) and the modular typeface Contra (2016, FontStruct). [Google] [More]  ⦿

Shilpa Dhere

Senior art director in New Delhi. In 2012, Shilpa created Clip Art (a paperclip typeface) and Forensic (a blotty typeface). [Google] [More]  ⦿

Shiva Nallaperumal

Graphic designer from Chennai, who created the octagonal typeface Adian Grid (2012) as a student at DJ Academy of Design, Coimbatore, India. He also made Struktur (2012), a typeface based on Herbert Bayer's Universal Alphabet.

After graduating from DJ Academy of Design in Coimbatore, India, he started studying graphic design (MFA) at the Maryland Institute College of Art (MICA). One of his school projects there was the angular fat stencil typeface Enemy (2014, available at Lost Type). Shiva has worked as an intern with J. Abbott Miller's team at Pentagram and Grandmother Design in Mumbai, India.

At the Indian Type Foundry, Shiva helped with Rozha One (2014, free Google web font). This is a heavy didone typeface with large x-height, high contrast, and a harmonious balance between its Devanagari (designed by Tim Donaldson and Jyotish Sonowal) and Latin (designed by Shiva Nallaperumal). Github link.

The Indian Type Foundry published several typefaces at Google Web Fonts in 2014, including Rajdhani. Rajdhani is an Open Source typeface supporting both the Devanagari and the Latin scripts. The font family was developed for use in headlines and other display-sized text on screen. Its initial release includes five fonts. Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component in the Rajdhani fonts together, while the Latin was designed by Shiva Nallaperumal.

Orwellian (2014) is a reversed-stress typeface designed for display use. It was inspired by the concepts explored by George Orwell in his monumental work Nineteen Eighty Four and follows Henry Caslon's Italian model. Buy it at Lost Type. Orwellian was hand hinted by Tom Grace of Virgo Type and mastered by Psy Ops in San Fransisco.

In 2015, Shiva published the informal comic book typeface Pancho (Indian Type Foundry) and the six-weight modulated sans family Khang (Indian Type Foundry).

In 2015, Namrata Goyal designed the Gurmukhi part of the free geometric sans font Roundo at Indian Type Foundry. Shiva Nallaperumal designed its Latin.

In 2016, Shiva designed the Trench superfamily, which consists of the heavily ink-trapped typeface families Trench Sans, Trench Rounded, and Trench Slab. Trench Rounded was inspired by Wim Crouwel's exhibition poster for the sculptor Claes Oldenburg. Also in 2016, Ramakrishna Saiteja and Shiva Nallaperumal published the free Kannada / Latin typeface family Kolar. Each font's character set includes 925 glyphs. This massive range supports hundreds of unique Kannada-script conjuncts. Kolar's Latin script characters are all modified from Pablo Impallari's Libre Baskerville series. Github link.

Calcula is a display typeface that uses smart OpenType features to explore the space between lettering and typeface design, creating maze-like spaces between letters. Inspired by the geometric Kufic style of traditional Arabic calligraphy, Calcula is a functional OpenType typeface, with design principles that are rooted in lettering, in that each letter reacts to neighbouring letters, adapting to its context. Calcula (2017, Typotheque) was designed by Shiva Nallaperumal, with the help of Tal Leming, who programmed the GSUB features and wrote scripts that generate the ligatures, and Frederik Berlaen who created the custom scripts that made the new decorative styles possible.

Faction (2018). A very black typeface in which white space loses against black space.

In 2015, Shiva won the SOTA Catalyst Award.

Home page. Behance link. Note: MyFonts writes the designer's name with an e instead of an a: Shiva Nalleperumal. [Google] [MyFonts] [More]  ⦿

Shivam Soni

New Delhi-based designer of the multiline typeface X (2018). [Google] [More]  ⦿

Shivani Kher

India-based designer of a decorative all caps typeface in 2017. [Google] [More]  ⦿

Shivani Patel

During her studies in Pune, India, Shivani Patel designed a devanagari typeface (2015) that was inspired by embroidery. [Google] [More]  ⦿

Shobhika
[K. Ramasubramanian]

A free Devanagari / Latin / Cyrillic typeface developed at IIT Bombay in 2016 in the context of the Science and Heritage Initiative, IIT Bombay and the Cell for Indian Science and Technology in Sanskrit, IIT Bombay. The font was developed at IIT Bombay under the guidance and supervision of Professor K. Ramasubramanian and Professor Girish Dalvi, members of the Cell for Indian Science and Technology in Sanskrit (CISTS), and the Industrial Design Centre (IDC), respectively. The project was conceptualised and led by Aditya Kolachana at the CISTS. There were various contributions by Yashodeep Gholap, Vishvendra Singh Poonia, Abhishek Sharma, and Rohit Saluja.

Shobhika is based in part on Yashomudra (2015, copyright of Rajya Marathi Vikas Samstha) and PT Serif (2010, Paratype). The Latin component of the font not only supports a wide range of characters required for Roman transliteration of Sanskrit, but also provides a subset of regularly used mathematical symbols for scholars working with scientific and technical documents. Behance link. [Google] [More]  ⦿

Shravan Muralidhar

Bangalore, India-based designer of Ficus Script (2013), an Indic ornamental caps typeface that was inspired by the banyan tree.

Behance link. [Google] [More]  ⦿

Shrenik Ganatra

New York City (and before that, Mumbai, India)-based designer of the partially free all caps art deco geometric sans typeface Adam (2014), which is based on Futura. It was renamed Adam CG Pro. He also made the free comic book typeface Raggedways (2014).

In 2015, he designed the free squarish spurred hipster typeface Quirko.

In 2016, during his studies at MICA (Maryland Institute College of Art) in Baltimore, he designed the free font Minaxi Hairline Text (monoline sans). Additionally, his collaborative typeface design project titled Bird Grotesk, created with Ninad Kale and Potch Auacherdkul, another MICA MFA Graphic Design student, has secured a Gold Award in the Typeface Design category of Graphis. Still at MICA, he designed the cricket shirt typeface family The Wall in 2016 under the supervision of Tal Leming.

In 2017, upon graduation from MICA, he published the free custom sans typeface family SG Alternative, which was designed to support his alternative rock band project Mountains and You. [Google] [More]  ⦿

Shrey Kathuria

As a student in New Delhi, Shrey Kathuria designed a striped typeface (2016, FontStruct). [Google] [More]  ⦿

Shreya Patel

During her studies in 2016, Shreya Patel (Surat, India) designed an all caps Latin sans typeface. [Google] [More]  ⦿

Shreya Sinha

Anand, India-based designer of the colored children's book font Water Balls (2018). [Google] [More]  ⦿

Shreya Vyas

Bangalore (and now Mumbai), India-based designer of the free octagonal typeface family Curio (2015) and the painted typeface Inspirational Font (2015). [Google] [More]  ⦿

Shrikant Garg

Bangalore-based designer of the display typeface TaxiFont (2014). [Google] [More]  ⦿

shrikhatushyamji.com

Pick up the Hindi font Kruti Dev 040 Wide (1997). [Google] [More]  ⦿

Shrikhatushyamji.com

The Hindi truetype font Kruti Dev 040 Wide (1997). [Google] [More]  ⦿

Shrikrishna Patil

Designer of the Indic fonts MSANGAM (1999), PUSHPA (1993), NUTAN (1994, for Marathi) and MoTAML (1999, for Tamil). See also here. [Google] [More]  ⦿

Shrisruthii Gurumoorthy

Nagappattinam, India-based designer of the patterned all caps typeface Fontif (2018). [Google] [More]  ⦿

Shriya Bhattacharya

During her studies in New Delhi, Shriya Bhattacharya designed the arrowed Tuscan typeface Pisces Zodiac (2016). [Google] [More]  ⦿

Shruthi Pandula

Graphic designer associated with the National Institute of Design in Mumbai, India. In 2014, she created Open Sans Bold Shadow as a fun exercise, based on Steve Matteson's free typeface Open Sans. [Google] [More]  ⦿

Shruti Dalmia

Delhi, India-based designer of a display typeface in 2016. [Google] [More]  ⦿

Shruti Kamath

Designer in Mumbai who created the alphadings typeface Indian Classical Music Font (2012). [Google] [More]  ⦿

Shubha Maheshwari

New Delhi-based student-designer of the devanagari typeface Hast Lekh (2017) and the rough Latin typeface Void (2017). [Google] [More]  ⦿

Shubham Sanklecha

Pune, India-based designer of the bold sans typeface Vanilla (2015). [Google] [More]  ⦿

Shubham Shastri

Creator of IndusRupee and Times IndusRupee Roman (2010), which contain the new rupee symbol. [Google] [More]  ⦿

Shusha Hindi fonts

The Shusha family of truetype fonts. [Google] [More]  ⦿

Shuvam Jaiswal

During his studies in Ahmedabad, India, Shuvam Jaiswal designed the Benagli emulation typeface Bongish (2017). [Google] [More]  ⦿

ShweBontha Software

Designers of the free Pali truetype font family VriRomanPali. [Google] [More]  ⦿

Shwebontha Software (Vipassana Research Institute)

Shwebontha Software is the creator of these free Khmer fonts in 1998: VriKHmer CB and VriKHmer CN. Download here. They also made the pali font family VriRomanPali in 2000. [Google] [More]  ⦿

Shweta Iyer

Mumbai-based creator of Kellog's Special K font (2013), which is based on a full circle. [Google] [More]  ⦿

Shylesh Kumar

Bangalore-based designer of Alter Ego (2016). Behance link. [Google] [More]  ⦿

Siddarth Dasari

Type designer in Visakhapatnam, Andhra Pradesh, India. Creator of the sketch font Travel Diary (2012). [Google] [MyFonts] [More]  ⦿

Siddhi Vaidya

Mumbai-based designer of a modular display typeface (2015). [Google] [More]  ⦿

Siloti Nagri font

The New Surma font (1999, Sylheti Translation And Research) has been designed for printing the Sylheti language in its own Siloti Nagri script, and is based on previous Siloti Nagri typefaces such as those depicted here. [Google] [More]  ⦿

Simoul P. Alva

During her studies in Mumbai, Simoul P. Alva designed the curvy Vixen Display (2017). [Google] [More]  ⦿

Simran Syali

Delhi-based creator of Electronica (2013), a Latin display font commissioned for a band. [Google] [More]  ⦿

Sindhi Fonts

Dadar and Sindhi-N: "Devnagari and Arabic True Type Sindhi fonts developed by Dr. Bhagwan Thadani." Free. [Google] [More]  ⦿

Sindhu Rao

Designer in Hyderabad, India, of the modular typeface Squares & Quarters (2016, FontStruct). Behance link. [Google] [More]  ⦿

Sindhura Ravindra

Graphic designer in Bangalore, India, who created the connect-the-dots typeface Rangoli (2014). [Google] [More]  ⦿

Slackware

An archive with truetype fonts for most Indic languages. [Google] [More]  ⦿

Smit Mistry

Baroda, India-based designer of the scribbly typeface Tree (2017). [Google] [More]  ⦿

Smrita Jain

Indian graphic designer who lives in Jersey City. Behance link. Creator of Ateem (2010), a Hindi font. [Google] [More]  ⦿

Snart616

Archive: AirCutLight, BlueHighway, CordiaNew, 5thGraderBold, Garamond, Garamond-Bold, Garamond-Italic, Pristina-Regular, Verdana, Verdana-Bold, Verdana-Italic, Verdana-BoldItalic, ComicSansMS, ComicSansMS-Bold, TrebuchetMS, TrebuchetMS-Bold, Trebuchet-BoldItalic, TrebuchetMS-Italic, Vrinda. [Google] [More]  ⦿

Sneha Chotia

New Delhi, India-based designer of a Latin art nouveau typeface in 2018. [Google] [More]  ⦿

Sneha Murchavade

Mumbai, India-based designer of a Devanagari / Tibetan font in 2017. [Google] [More]  ⦿

Sneha Shah

Mumbai-based designer of a minimal monoline sans typeface in 2015. [Google] [More]  ⦿

Snehal Jadhav

Mumbai-based designer of Painter Suhail (2013), Painter Kafeel (2013) and SeafoodType (2013, ornamental caps). [Google] [More]  ⦿

Snehal Patil

Mumbai-based graphic and type designer. She made several experimental typefaces for Devanagari as a student in her Chichatting Typeface project in 2014. She also created the Malti Devanagari typeface (2014). [Google] [More]  ⦿

SofexIndia Software Solutions
[Mohd Zahoor Ali]

Creator of the electronic circuit symbol font SofexIndia (2011). Fontspace link. [Google] [More]  ⦿

Soha Parvez

At Pearl Academy, Delhi and NABA, Milan, Soha Parvez (New Delhi, India) designed the Urdu typeface Harf (2017). [Google] [More]  ⦿

Somenath Sen
[Fezyweb]

[More]  ⦿

Sonal Gadre-Shintre

New Providence, NJ-based designer of the spurred typeface Arch (2014). Inspiration came from Indian Mughal arches, and the application Sonal had in mind was fashion magazines. Arch was created for a course at SVA (School of Visual Arts) in New York. She also created a set of pictograms for Ariisto Realtors in Mumbai. [Google] [More]  ⦿

Sonali Sonania

Sonali Sonania and Monika Shah covered Devanagari (U+0900-U+097F) and Gujarati (U+0A80-U+0AFF) in the GNU Freefont project. Glyphs were drawn by Cyberscape Multimedia Ltd., #101, Mahalakshmi Mansion 21st Main 22nd "A" Cross Banashankari 2nd stage Banglore 560070, India. Converted to OTF by IndicTrans Team, Powai, Mumbai, which was headed by Prof. Jitendra Shah. Maintained by Monika Shah and Sonali Sonania of janabhaaratii Team, C-DAC, Mumbai. This font is released under GPL by Dr. Alka Irani and Prof Jitendra Shah, janabhaaratii Team, C-DAC, Mumabi. Janabhaaratii is a localisation project at C-DAC Mumbai (formerly National Centre for Software Technology). It was funded by TDIL, Govt. of India. [Google] [More]  ⦿

Soneri Type
[Aakash Soneri]

The Soneri Foundry is a digital type foundry based in Ahmedabad, India. It was founded by Aakash Soneri, a graphic designer and typographer who was born in Ahmadebad in 1976. Soneri designed the clean sans typefaces Concord (2012), Chorus (2012) and Sone (2008) and the Swiss style sans family Accord (2010). See also Accord Alernate Italic (2013).

In 2014, Soneri published the organic monoline elliptical sans family Ample, its rounded version Ample Soft, its Pro version Ample Soft Pro (2017) and its organic cousin Ample Alt. His Movistar font (2014) can be downloaded here.

Alpineo (2017) is a great six-style rounded sans display typeface derived from Ample. Altissimo (2018) also comes from Ample: it is squarish, organic, monolinear and features a very large x-height.

Behance link. Another Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Sony Salma

As a student at IIT Bombay, Sony Salma (Mumbai, India) designed Idital (2016). Sony explains: The Sauras (alternative names and spellings include Saora, Sora, Savara and Sabara) are a tribe from Southern Odisha, north coastal Andhra Pradesh in India. They are also inhabitant the hills of Jharkhand, Madhya Pradesh and Maharashtra. At home they speak their mother tongue Saura which is an AustroAsiatic language. Sauras have used other non-native dominant scripts before developing their own script. For instance in Odihsa, the Odia script was used while communicating with others. The Idital project was started to create a font for the Sora script in response to the increased availability of technology within the Saura people. Idital is the main deity of the Sauras to whom their traditional mural paintings (Italons) are dedicated. The project was started with the help and support of experts of tribal language and activists with the aim of creating and popularizing a font for the Saura language. [Google] [More]  ⦿

Sooraj Negi

Mohali, India-based designer of the Periodic Table of Typefaces (2017). Behance link. [Google] [More]  ⦿

Sooraj Seshan

During his studies at L'institut Supérieur des Arts Appliqués, Sooraj Seshan (Bangalore, India) created the geometrico typeface (2015). [Google] [More]  ⦿

Sooraj Seshan

During his studies at L'institut Supérieur des Arts Appliqués, Sooraj Seshan (Rennes, France; originally from Bangalore, India) designed the modular typeface Geometrico (2015). [Google] [More]  ⦿

Sorkin Type (was: Eyebytes)
[Eben Sorkin]

Eben Sorkin obtained an MA in typeface design from The University of Reading (2009), based on his typeface Arrotino (2009). In 2015, he joined the faculty at Lesley University near Boston, MA, and lives in Easthampton, MA. Sorkin Type (was: Eyebytes, in Eagle River, Alaska) is run by him. His talk at ATypI 2008 in St. Petersburg was entitled Contextual alternatives. He writes about Arrotino: Arrotino begins with the forms of early Italian renaissance in the late 15th century. Their melody, generousity, and variety of shape and proportion are echoed in Arrotino. As a consequence of this Arrotino is not especially efficient, but it is comfortable. His typefaces and those by contributors at Sorkin Type:

  • Armata (2011). By Viktoriya Grabowska.
  • Army Pool Tiles (2005) and No Step (2007, stencil).
  • Autour One (2011).
  • The extensive (200+ weights) Bahn family (see also here), which has pixel and monospace themes. Software Developer (2005) is along the same pixel/monospace theme (see also here).
  • Courgette (2012). By Karolina Lach.
  • Duru Sans (2011). By Onur Yazcgil.
  • Just for fun, he made the dot matrix typeface Exp1 (2008).
  • FjallaOne (2012). By Irina Smirnova.
  • Gelasio (2012): free at Open Font Library]. He writes: Gelasio is designed to be metrics compatible with Georgia. Gelasio is a general purpose screen oriented text face based on the Romain du Roi style cold metal type seen in Oeuvres de Jean Racine (1789). This pre-Baskerville style is sometimes called Reale or Transitional style. This and and a large x height offer a nobel, cheerful and simple feeling hence the name Gelasio.
  • Goblin (2011). By Riccardo De Franceschi.
  • Gravitas One (2011). By Riccardo De Franceschi.
  • Habibi (2011). By Magnus Gaarde.
  • Hammersmith One (2011). By Nicole Fally.
  • In 2011, Eben put Nicole Fally's elegant art deco typeface Limelight and Hammersmith One on the Google Font Directory.
  • Inder (2010). By Irina Smirnova.
  • Kavoon (2013). By Viktoriya Grabowska.
  • In 2010, Eben started working on Merriweather, a free workhorse serif family. It was followed in 2013 by Merriweather Italic and Merriweather Sans. Both are free at Google Web Fonts.
  • Metamorphous (2011). By James Grieshaber.
  • Ovo (2011). By Nicole Fally.
  • Plaster (2011) is a Josef Albers-inspired stencil face, free at Google Web Fonts.
  • Pompiere (2011). By Karolina Lach.
  • Sarina (2011). By James Grieshaber.
  • Short Stack (2011). By James Grieshaber.
  • Sonsie One (2011). By Riccardo De Franceschi.
  • Trykker (2011). By Magnus Gaarde.
  • Vampiro One (2012). By Riccardo De Franceschi.
  • Vast Shadow (2010-2011). By Nicole Fally.
  • Voltaire (2011). By Yvonne Schuettler.
  • Wellfleet (2011). By Riccardo De Franceschi.
  • In 2015, he contributed Dekko to Google Web Fonts--Dekko is a Latin / Devanagari casual font in the spirit of Comic sans. It originated with Modular InfoTech's 4948 [Modular InfoTech is a company based in Pune, India], and should not be confused with Norrasak Ramasute's YWFT Dekko from 2010.
  • Still in 2015, he added Asar to Google Web Fonts---Asar is an original Devanagari and Latin typeface that is based on an expanding brush stroke following a heart line. The design is meant to work well with long texts. Asar is partially derived from Pria Ravichadran's Palanquin.
  • Halyard (2017) is an information design sans typeface family by Joshua Darden, Lucas Sharp and Eben Sorkin.

Fontspace link. Fontsquirrel link. FontStruct link. Klingspor link. Dafont link.

Eben spent February and March 2011 learning how to carve letters in stone from Lida Cardozo at the Cardozo Kindesley workshop, Cambridge UK, and collaborating with Lida on the typeface Pulle.

The photographer photographed (in 2011, by Ralph Herrmann).

Old URL. [Google] [More]  ⦿

Soumya Jain

During her studies in bangalore, India, Soumya Jain designed the bitmap typeface Trollop (2018). [Google] [More]  ⦿

Soumya Suhane

At Banasthali Institute of Design, Soumya Suhane (Jabalpur, India) designed the flared Halloween typeface Nick (2016). [Google] [More]  ⦿

Sourashtra Fonts

A free truetype font, Sangudhari, created by Suresh for Bashabhimaani Magazine. And "Kuber" (or Sou. Padamala) written by Shri. Thada Subramanian. [Google] [More]  ⦿

South Asia Language Resource Center (SALRC)

Based at the University of Chicago, links and suggestions for free fonts are given for these languages: Assamese, Baluchi, Bengali, Brahui, Dzongkha, Gujarati, Hindi, Kannada, Kashmiri, Kodagu, Lahnda, Malayalam, Marathi, Nepali, Oriya, Panjabi (Gurmukhi), Panjabi (Shahmukhi), Pashto, Sanskrit, Sindhi, Sinhala, Tamil, Telugu, Tibetan, Tulu, Urdu. [Google] [More]  ⦿

South Asian Language Fonts

Indic language font situation in 1994. By Frances Pritchett at the Southern Asian Institute, Columbia University. [Google] [More]  ⦿

Sridhar Murthy Srikantham

Sridhar Murthy Srikantham is a graphic and type designer, b. 1963, Andhra Pradesh, India. He has a BFA from JNTU, Hyderabad. He created Telugu fonts for the following newspapers: Eenadu (Linotron 202), Vartha Andhara Jyothi, Andhra Bhoomi Sakshi, and Andhra Prabha Prajashakti. He also made Telugu fonts for Microsoft through Modular Infotech, Pune. He designed a typeface for the Naga Tribes called New Script. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik.

M/S Cyberscape Multimedia Limited, Mumbai, are the developers of Akruti Software for Indian Languages. They released a set of truetype fonts for nine Indian scripts (Devanagari, Gujarati, Telugu, Tamil, Malayalam, Kannada, Bengali, Oriya, and Gurumukhi) under the GNU General Public License (GPL). One can download the fonts from the Free Software Foundation of India WWW site. Contributions to the GNU Freefont project:

  • Devanagari (U+0900-U+097F)
  • Bengali (U+0980-U+09FF)
  • Gurmukhi (U+0A00-U+0A7F)
  • Gujarati (U+0A80-U+0AFF)
  • Oriya (U+0B00-U+0B7F)
  • Tamil (U+0B80-U+0BFF)
  • Telugu (U+0C00-U+0C7F)
  • Kannada (U+0C80-U+0CFF)
  • Malayalam (U+0D00-U+0D7F)
Note: GNU Freefont dropped Oriya, Kannada and Telugu from its program at some point due to the absence of font features neccessary for display of text in their respective languages. [Google] [More]  ⦿

Srinivas Rao

Illustrator and designer in Hyderabad, India, who created a few Latin display typefaces in 2017, including a circled alphabet font. [Google] [More]  ⦿

Srishti Jain

Designer in New Delhi, India, who created the sturdy wedge serif typeface Gallant in 2016. [Google] [More]  ⦿

Srishti Oberoi

Delhi, India-based designer of Swadesi (2017, a devanagari typeface) and Nevada (2017, dot matrix style). [Google] [More]  ⦿

Srishti Sanjay Daiv

Designer in Bangalore, India. In 2014, she made he handwriting into a font, Srishti's Hand. In 2016, she designed the brush script typeface Steve. Creative Market link. Home page. Home page. Newest Creative Market link. [Google] [More]  ⦿

Srishti Suryavanshi

At the Srishti School of Art Design and Technology in Bangalore, India, Srishti Suryavanshi developed a decorative caps typeface in 2016. Behance link. [Google] [More]  ⦿

Srujan Kumar

Guwahati, India-based designer of the circle-and-grid-based typeface Grido (2016). [Google] [More]  ⦿

Subhashish Panigrahi

Designer in 2010 of the first free Unicode fonts for the Odia (Oriya) language, eOdissaBOX, eOdissaBOXUni, eOdissaKaanthaUni, eOdissa-Majhi-Uni (the last one is handwritten). Zip file with eOdissaBOXUni. Dafont link. He also created the Latin hand-printed typeface Im weird (2010), as well as Baby Potato (2010) and Pretty Tomato (2010). Direct download link. Fontspace link. [Google] [More]  ⦿

Suchaina Mehan

During her studies in New Delhi, India, Suchaina Mehan designed the Indic typeface Leela (2016). [Google] [More]  ⦿

Sudheer Beejady

Bangalore City, India-based designer of Monopod (2012), a geometric organic sans, and Absolute (2012), a display sans. [Google] [More]  ⦿

Sudhir Kuduchkar

Typographer and graphic designer in Ahmedabad, India. He created the blocky perfectly square typeface squar-E (2011). Invisible (2011) too is blocky.

In 2014, he made Dot Matrix Typeface. [Google] [More]  ⦿

Suepriya Pramod

Indian graphic designer and illustrator who lives in Mumbai. Designer of the curly typeface William Shakespeare (2011) and of the caps typeface Elvis Presley (2011). [Google] [More]  ⦿

Suhani Gupta

New Delhi-based creator of the Western typeface Delhiwallah (2012), which was inspired by Indian street culture. Behance link. [Google] [More]  ⦿

Sujan Sundareswaran
[Archetype Foundry]

[More]  ⦿

Sujit Jare

Sujit Jare (Mumbai) created the display typeface Roundgrid (2013) on a grid---a compass-and-ruler font. [Google] [More]  ⦿

Sulekha Rajkumar

Senior designer in Banagalore. Creator of the Latin / Cyrillic constructivist typeface Privet (2013). Other fonts by her include Earth Song (2013, a recycling-themed typeface) and Multiplicity (2013, a counterless geometric sans), both done for a commercial project. [Google] [More]  ⦿

Sumedh Sonare

Creator of Avanti Devanagari (2013), a Devanagari typeface influenced by ITC Avant Garde. Behance link. [Google] [More]  ⦿

Sumeesh Chempoor

Bangalore, India-based designer of the free brushy typeface Handwritten (2017) and the Malayalam typeface Vyakta (2016). [Google] [More]  ⦿

Sumeth Pande

During his studies, Sumeth Pande (Pune, India) created a modular mechanical typeface family called Wrench (2013). [Google] [More]  ⦿

Sumit Khire

At the MAEERS MIT Institute Of Design, Pune, India-based Sumit Khire designed the hexagonal typeface Hive (2016). [Google] [More]  ⦿

Sun Microsystems

Sun has two free truetype fonts for download: Saraswati5Normal and Saraswati5Bold. These were developed in 2001 and 2002, respectively, by CDAC, Pune, in cooperation with Sun. The Unicode compliant fonts provide support for Hindi, Bengali, Gurmukhi, Gujarati, Tamil, Malayalam, Telugu, and Kannada. Horribly complicated download procedure involving registration. [Google] [More]  ⦿

Sun-Ext

Sun-ExtA and Sun-ExtB are two full free Unicode fonts, covering everything under the sun. Inside, we find information that these fonts were made by Beijing ZhongYi Electronics Co. [Google] [More]  ⦿

Sunga script

From Encyclopaedia Britannica: Brahmi script of north India, possibly connected with the late Maurya scripts and the early Kalinga character, and associated with the Sunga dynasty (c. 185 BC-c. 73 BC). The script was one of three prototypes of the North Indian subdivision of Brahmi script, out of which the Gupta scripts rose. [Google] [More]  ⦿

Sunil Vallu

Designer who experiments with type design. He used the triangular grid to make Polyface (2009). He also made the modular typeface Untitled (2008). He is currently pursuing a degree in New Media Design at the National Institute of Design in India. [Google] [More]  ⦿

Sunil VP

Designer in Bangalore City, who created the rounded compass-and-ruler typeface Fun Type O (2012). [Google] [More]  ⦿

Sunita Dangol

Kathmandu, Nepal-based designer of the free Sunita Nepali (Devanagari) font (2015). [Google] [More]  ⦿

Sunita Type Foundry

Type foundry from the early part of the 20th century, located in Bombay, India. [Google] [More]  ⦿

Sunny Kallara
[InProS (Intellectual Property Solutions)]

[More]  ⦿

Suraj Bir Meena

Graduate of NID, Ahmedabad, India. New Delhi, India-based designer of the bilined Devanagari typeface ZebDev (2017). [Google] [More]  ⦿

Surbhi Arora

Gurgaon, India-based designer of the Latin display typeface Potli (2018). [Google] [More]  ⦿

Suresh Kartik

Indian designer of the hexagonal typeface Letter Spirit (2017). [Google] [More]  ⦿

Surjmani Laishram

During his studies, Surjmani Laishram created the modular grid-based monoline sans typeface Morphé (2015). Behance link. [Google] [More]  ⦿

Sushma Aithal

As a Student at Srishti School of Art, Design and Technology in Bangalore India, Sushma Aithal created the decorative caps typeface Commercial Street (2014). [Google] [More]  ⦿

Suvadi

In the "exe" file of Suvadi, the Tamil text editor, lurks a Tamil truetype font, TSCMylai by K. Kalyanasundaram, 1996-2001. [Google] [More]  ⦿

Suyog Dugade

During his studies in Mumbai, Suyog Duyade designed the experimental rounded Devanagari typeface Meghmalhar (2015), the architectural Devanagari typeface Wada (2016), the modular Latin display typeface Famous (2016), and an untitled curvy Latin typeface (2016). [Google] [More]  ⦿

Suyog Jadhav

Indian designer of the free fonts Fatso (2013, fat finger typeface), Suyog (2013, hand-drawn, Latin) and Hanging Down (2013, hand-drawn alphadings). [Google] [More]  ⦿

Swami Omkaranda
[Omkarananda Ashram Himalayas Sanskrit Page]

[More]  ⦿

Swapna Patwardhan

During her communication design studies in Pune, India, Swapna Patwardhan created the Indic (Devanagari) simulation typeface Vilayati (2015). [Google] [More]  ⦿

Swapnil Deshpandey

Gurgaon, India-based designer of the circular arc-based sans typeface Adlanta (2017), the blackboard bold font Kaira (2017), and the squarish sci-fi typeface Geo Space (2017).

Typefaces from 2018: Pom Pom. Creative Fabrica link. Graphicriver link. [Google] [More]  ⦿

Swati Kharbanda

New Delhi-based designer of an unnamed typeface for Hindi (2013). [Google] [More]  ⦿

Syafiqah Mazli

Freelance graphic designer in Selangor, Malaysia. During her studies at University Technology Mora, she created the hand-crafted ornamental Latin typeface Rangoli Didot (2015) which is inspired by Peacock Kolam, an Indian folk art known as Rangoli. [Google] [More]  ⦿

Syed Faraz Ahmad
[Creative Whoa (was: Symufa, or Creative Tacos)]

[More]  ⦿

Taler & Turner

Taler and Turner is a Delhi-based team of branding professionals. For the branding of The Laundry House (Delhi), they added a bubble element to Gotham Bold. [Google] [More]  ⦿

Tamal Truetype Font

Free Tamal truetype font by Murari Dasa, at the site managed by Vipramukhya Swami. Alternate site. [Google] [More]  ⦿

Tanay Patel

Indian graphic designer (b. 1988). Home page. Creator of the pixel typeface Errorize (2009). [Google] [More]  ⦿

Tanuj Thomas Abraham

At MIT Institute of Design in Pune, India, Tanuj Thomas Abraham created the monoline sans typeface family Burgeon (2017). [Google] [More]  ⦿

Tanvi Chunekar

Mumbai, India-based designer of the all caps floriated typeface Bangalore Font (2015). [Google] [More]  ⦿

Tanvi Ghaisas

Designer and illustrator Tanvi Ghaisas (Mumbai, India) created the condom-inspired photographic Cover Story Font (2015). [Google] [More]  ⦿

Tanvi Sanzgiri

Indian designer, b. 1997. She created the hand-printed typeface Tanvis Hand 3 (2012). [Google] [More]  ⦿

Tanvi Shah

Mumbai, India-based designr of a decorative lemon-themed typeface in 2018. [Google] [More]  ⦿

Tanya George

Type designer from India who graduated from the MATD program in Type Design at the University of Reading in 2016. Her graduation typeface is Kolaba, a multi-script typeface for Latin, Devnagari and Greek. The type family began as a solution for editorials with different language editions. Kolaba is heavily influenced by handwriting and calligraphy. [Google] [More]  ⦿

Tanya Mantri

Bangalore City-based FontStructor who created these typefaces in 2013: Elemental Air, Elemental Land, Elemental Fire, Elemental Water, Transhuman.

Behance link. [Google] [More]  ⦿

Tapas Chand

At WLCI School in Delhi, India, Tapas Chand designed Remix Art Font (2017). [Google] [More]  ⦿

TDIL: Technology Development for Indian Languages

Archive of Hindi fonts and Hindi font software. It has, among other things, the DV ME Shree family (1992) of fonts made by Modular Infotech, Pune, India. Telugu subpage. Malayalam fonts. [Google] [More]  ⦿

Tejal Jain

Indian designer of Aarak (2017). [Google] [More]  ⦿

Tejal Patil

Mumbai, India-based designer of the pot art font Matka (2018). [Google] [More]  ⦿

Tero Kivinen

Finnish designer of the bitmap font Sshlinedraw (Tero Kivinen and SSH Communications Security Oy, linedrawing characters for VT100 terminal, 1997). He also discussed the Microsoft truetype collection, EstrangeloEdessa (by Paul Nelson and George Kiraz, 2000, Syriac Computing Institute), ITC Franklin Gothic, Gautami (Microsoft, 2001), Latha (Microsoft, 2001), LucidaSansUnicode, MV Boli (Agfa-Monotype, 2001), Mangal (Microsoft, 2001), PalatinoLinotype (1998, a Unicode font), Raavi (Microsoft, 2001), Shruti (Microsoft, 2001), Sylfaen (Microsoft, 1999). All of these fonts are basically Unicode for all European languages, Cyrillic, Armenian, Hebrew, Arabic, basic mathematics, and Greek. But the site disappeared. [Google] [More]  ⦿

thaneinfo

Free Devanagari fonts: the Virat and Tulsin families by VSOFT Services, Bombay. Designed by Rajeev Prakash. [Google] [More]  ⦿

The Bhaktivedanta Book Trust

Designers in 1996 of the Indic font family Inben. They also had an Indic font archive that featured AboriginalSansPlus-Bold, AboriginalSansPlus, AboriginalSerifPlus, Akkhara-Italic, Akkhara, Anadi-BoldItalicMB, Anadi-BoldMB, Anadi-ItalicMB, AnadiMB, AnadiPlus-BoldItalicMB, AnadiPlus-BoldMB, AnadiPlus-ItalicMB, AnadiPlusMB, Arial-BoldItalicMT, Arial-BoldMT, Arial-ItalicMT, ArialMT, Avatar-Black, Balaram, BalaramBold, BalaramBoldItalic, BalaramItalic, Bhaskar-Bold, Bhaskar-BoldItalic, Bhaskar-Italic, Bhaskar, Bhimasena-Bold, Calibri-Bold, Calibri-BoldItalic, Calibri-Italic, Calibri, Cambria-Bold, Cambria-BoldItalic, Cambria-Italic, Cankama, Carita-Bold, Carita, CaslonPlus, CharisSIL-Bold, CharisSIL-BoldItalic, CharisSIL-Italic, CharisSIL, ChrysanthiUnicodePlus, CourierNewPS-BoldItalicMT, CourierNewPS-BoldMT, CourierNewPS-ItalicMT, CourierNewPSMT, DejaVuSans-Bold, DejaVuSans-BoldOblique, DejaVuSans-ExtraLight, DejaVuSans-Oblique, DejaVuSans, DejaVuSansCondensed-Bold, DejaVuSansCondensed-BoldOblique, DejaVuSansCondensed-Oblique, DejaVuSansCondensed, DejaVuSansMono-Bold, DejaVuSansMono-BoldOblique, DejaVuSansMono-Oblique, DejaVuSansMono, DejaVuSerif-Bold, DejaVuSerif-BoldItalic, DejaVuSerif-Italic, DejaVuSerif, DejaVuSerifCondensed-Bold, DejaVuSerifCondensed-BoldItalic, DejaVuSerifCondensed-Italic, DejaVuSerifCondensed, Devanagari-Bold, Devanagari-Normal, DoulosSIL, Drona-Bold, Drona-BoldItalic, Drona-Italic, Drona, Ebrima-Bold, Ebrima, FreeMonoPlus, FreeMonoPlusBold, FreeMonoPlusOblique, FreeSans, FreeSansBold, FreeSansBoldOblique, FreeSansOblique, FreeSerifPlus, FreeSerifPlusBold, FreeSerifPlusBoldItalic, FreeSerifPlusItalic, GandhariUnicodePlusBold, GandhariUnicodePlusBoldItalic, GandhariUnicodePlusItalic, GandhariUnicodeRomanPlus, Garava-Bold, Garava-BoldItalic, Garava-Italic, Garava, GaravaHeavy, GaravaSmallCaps-Bold, GaravaSmallCaps, Garuda-Bold, Garuda-BoldOblique, Garuda-Oblique, Garuda, Gaudiya-Bold, Gaudiya-BoldItalic, Gaudiya-Italic, Gaudiya, GaudiyaDisplay-Bold, GaudiyaDisplay-XB, GaudiyaDisplay, Gauranga, Gentium-Italic, Gentium, GentiumAlt-Italic, GentiumAlt-Plus-Italic, GentiumAlt-Plus, GentiumAlt, GeorgiaRef, GeorgiaRefPlus, Guru-Bold, Guru-BoldItalic, Guru-Italic, Guru, Hattha-Bold, Hattha-Italic, Hattha, HindsightUnicodePlus, Hladini-Bold, Hladini-BoldOblique, Hladini-Oblique, Hladini, Inbenb11, Inbeni11, Inbeno11, Inbenr11, Indevr20, Kabala-Bold, Kabala-BoldItalic, Kabala-Italic, Kabala, Karuna-Oblique, Karuna, KarunaBold, KarunaBoldOblique, Kunti-Black, Kunti-Medium, Kurma-Heavy-Italic, Kurma-Heavy, LLibertineCapsPlus, Lekhana-Bold, Lekhana-BoldItalic, Lekhana-Italic, Lekhana, LinLibertinePlus, LinLibertinePlusBd, LucidaSansUnicode-Plus, MSReferenceSansSerif-Bold, MSReferenceSansSerif-BoldItalic, MSReferenceSansSerif-Italic, MSReferenceSansSerif, MSReferenceSansSerifPlus-Bold, MSReferenceSansSerifPlus-BoldItalic, MSReferenceSansSerifPlus-Italic, MSReferenceSansSerifPlus, MSReferenceSerif-Bold, MSReferenceSerif-BoldItalic, MSReferenceSerif-Italic, MSReferenceSerif, MSReferenceSerifPlus-Bold, MSReferenceSerifPlus-BoldItalic, MSReferenceSerifPlus-Italic, MSReferenceSerifPlus, Mandala-Bold, Mandala-BoldItalic, Mandala-Italic, Mandala, MarinCapsPlus, MarinCapsPlusItalic, MarinPlus, MarinPlusItalic, MicrosoftPhagsPa-Bold, MicrosoftPhagsPa, MicrosoftSansSerif-Plus, MicrosoftSansSerif, Odana, OdanaPlus, PakType-Naqsh-Plus, Pali-Bold, Pali-BoldItalic, Pali-Italic, Pali, SImPLPlus, ScaBenguit, ScaBenguitBold, ScaCheltenham, ScaCheltenhamBold, ScaCheltenhamItalic, ScaFrizQuadrata, ScaFrizQuadrataBold, ScaGoudy-BoldItalic, ScaGoudy, ScaGoudyBold, ScaGoudyItalic, ScaHelvetica, ScaHelveticaBold, ScaKorinna, ScaKorinnaBold, ScaKorinnaItalic, ScaOptima, ScaOptimaBold, ScaOptimaItalic, ScaPalatino, ScaPalatinoBold, ScaPalatinoItalic, ScaSabon, ScaSabonBold, ScaSabonItalic, ScaTimes, ScaTimesBold, ScaTimesItalic, SegoeUI-Bold, SegoeUI-BoldItalic, SegoeUI-Italic, SegoeUI-Light, SegoeUI-SemiBold, SegoeUI, Shanti-BoldItalic, Shanti-Italic, Shanti-Roman, ShantiBold, Tahoma-Bold, Tahoma-Plus-Bold, Tahoma-Plus, Tahoma, Talapanna-Bold, Talapanna, Talapatta-Bold, Talapatta, Tamal-Bold, Tamal-BoldItalic, Tamal-Italic, Tamal, ThryomanesPlus, ThryomanesPlusBold, ThryomanesPlusBoldItalic, ThryomanesPlusItalic, TimesNewRomanPS-BoldItalicMT, TimesNewRomanPS-BoldMT, TimesNewRomanPS-ItalicMT, TimesNewRomanPSMT, URWPalladioITUPlus-Bold, URWPalladioITUPlus-BoldItalic, URWPalladioITUPlus-Italic, URWPalladioITUPlus, Uttama, VUAnhMinhPlus-Bold, VUAnhMinhPlus-BoldItalic, VUAnhMinhPlus-Italic, VUAnhMinhPlus, VUArialPlus-Bold, VUArialPlus-BoldItalic, VUArialPlus-Italic, VUArialPlus, VUHeoMayPlus-Bold, VUHeoMayPlus-BoldItalic, VUHeoMayPlus-Italic, VUHeoMayPlus, VUHoangYenPlus-Bold, VUHoangYenPlus-BoldItalic, VUHoangYenPlus-Italic, VUHoangYenPlus, VUMinhQuanPlus-Bold, VUMinhQuanPlus-BoldItalic, VUMinhQuanPlus-Italic, VUMinhQuanPlus, VUPhuongThaoPlus-Bold, VUPhuongThaoPlus-BoldItalic, VUPhuongThaoPlus-Italic, VUPhuongThaoPlus, VUThaHuongPlus-Bold, VUThaHuongPlus-BoldItalic, VUThaHuongPlus-Italic, VUThaHuongPlus, VUTimesPlus-Bold, VUTimesPlus-BoldItalic, VUTimesPlus-Italic, VUTimesPlus, VUUHoaiPlus-Bold, VUUHoaiPlus-BoldItalic, VUUHoaiPlus-Italic, VUUHoaiPlus, Veluvana, Verajja-Bold, Verajja-Bold, Verajja-BoldItalic, Verajja-BoldItalic, Verajja-Italic, Verajja-Italic, Verajja, Verajja, VerajjaSerif-Bold, VerajjaSerif-BoldItalic, VerajjaSerif-Italic, VerajjaSerif, VerdanaRef, VerdanaRefPlus, YamaHeavyCond, jGaramondPlus. [Google] [More]  ⦿

The Ink Affair
[Bhavika Malhotra]

New Delhi, India-based designer of the brush script typefaces Cuddle and Kind (2017), Vanilla Vibes (2017), Glitter City (2017), Oh Azalea (2017: monoline script), Morning Glory (2017), Ciao Bella (2017), Hey Buttercup (2017), Everyday Loving (2017), Pillow Talk (2017), Mutual Feelings (2017), Boss Babe (2017), Scoops (2017, in monoline and regular), Glen+Coco (2017), Oh Wonder (2017, Sans and Script), Berrylicious (2017), Casablanca (2017), Hey Prettiness (2017), Hotsy Totsy (2017), Longhand (2017), Darling (2017) and Snuggle (2017), the connected script typeface Azalea (2017), and the dry brush typeface Lacuna (2017).

Typefaces from late 2017: Snuggle, The Glamorous Tale, Strawberry Shortcake, That Girl, Unstoppable, Beauty Rush, Hey Alice, Crystal Castle, Oh Lovely, Artistic Chaos.

Typefaces from 2018: Wild Magnolia, Midnight Story, Exclusively Chic (font duo), Wild Wanderlust, Extra Cheese, Ever Enigmatic, Musings Script, Oh Spring, Simply Breathtaking, Enchantress (a luxurious script), Mostly Sunshine. [Google] [More]  ⦿

The Nina story

No, this is not about Matthew Carter's/Microsoft's Nina. And it is not about ParaType's Nina, a handwriting font designed in 1995 by Tagir Safayev. There is a third Nina font family out there that dates from 1996 and that was created for the transliteration of Sanskrit. It is really strange how Microsoft was even able to get the name Nina through the legal channels, but I guess Microsoft writes its own laws. Anyway, that third Nina font series is available here: Nina_1_0_bold, Nina_1_0_italic, Nina_1_0_bolditalic, Nina_1_0. The notice in the fonts said "Copyright (c) 1996 International Journal of Tantric Studies. All rights reserved." That journal states: "The Nina font for Devanagari is based on a totally new encoding, that allows the concurrent use of extended characters for the European languages, and characters for the Devanagari, making it possible for scholars to use just one font for all their publications. These fonts are not a mere redesign, but attempt to (partially, at least) solve a problem that affects the majority of Sanskrit scholars." Ulrich Stiehl has this to say: "It is easily recognizable that "Nina" is identical with "Original Garamond", designed by D. Stempel AG in 1926 on the basis of a typecut attributed to the Renaissance typecutter Claude Garamond. In 1996, the trademark "Original Garamond" was replaced by the fancy name "Nina", and the "International Journal of Tantric Studies" (IJTS), edited by Prof. Michael Witzel (Harvard University), claimed that the IJTS holds the "copyright" in the "Nina" font. Is this the usual method, by which "original" works are created at Harvard? It is assumed that academics are able to understand that the trademark "Original Garamond" should not have been replaced by the fancy name "Nina" and that the original notice should not have been replaced by the notice "Copyright (c) 1996 International Journal of Tantric Studies. All rights reserved.". [Google] [More]  ⦿

The Tamal Truetype Font

"The Tamal TrueType Font was developed by Murari Dasa, son of Pratyatosa and Urmila Prabhus and one of the main developers of the COM software used by ISKCON. Sanskrit Diacritic Typefaces by Madhava Dasa (Michael Best)." [Google] [More]  ⦿

The Venerable Mahasi Sayadaw's Discourses and Treatises on Buddhism

Skt Times (Pali). [Google] [More]  ⦿

TheShayar

Indian designer of the irregular sans typeface Fish Flow (2017). [Google] [More]  ⦿

Thomas Grey Manih

Digital artist in Shilong, India who is doing a Masters of Design at the Indian Institute of Technology in 2013. Creator of the Latin display tweetware typeface Kidak (2013). [Google] [More]  ⦿

Tim Holloway

British designer who won an award at Bukvaraz 2001 for NoName. At Linotype in 1994, he designed the Arabic font Karim, with a Latin part that borrows the glyph set from Janson Roman. His Adobe Arabic (2005) won an award at TDC2 2006. Vodafone Hindi (2007, with Fiona Ross and John Hudson) won an award at TDC2 2008. Mitra (2005, Linotype) is a modern Arabic text typeface with two weights: Mitra Light and Mitra Bold. Both of the fonts include Latin glyphs (from Optima Medium and Optima Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages.

He designed Markazi. In 2018, Borna Izadpanah, Fiona Ross and Florian Runge co-designed the free Google Font Markazi Text. They write: This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. Four weights are advertized at Google, but only the Regular is available.

Linotype link. FontShop link. MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Times Pali

Times Pali by Monotype (1992). [Google] [More]  ⦿

Times-Norman fonts

The fonts in this archive implement the character set designed by Professor K. R. Normyn of the University of Cambridge for use in printing Indian language material in Roman script. They are based on fonts designed by URW++. Mac versions. All fonts are free. [Google] [More]  ⦿

Timothy Donaldson
[Shapes for Cash]

[MyFonts] [More]  ⦿

Tip Top Typ

Foundry in Berlin, Germany. In 2015, they published Ranga as a free Google Web Font. GitHub link. Ranga is cursive and influenced by signpainting. It covers Latin and Devanagari. [Google] [More]  ⦿

TrendGFX Design Studios
[Rahul A. Kumar]

Trend GFX Design Studios is the commercial typefoundry in Karnataka, India, of type designer Rahul A. Kumar. Kumar's creations include Crescent (2012, a scratchy script face), Eclypse (2012, an ornamental caps typeface), Ravan (2012, an irregular hand), and Cuba (2012, an irregular typeface). [Google] [MyFonts] [More]  ⦿

Trusha Oza

Bangalore, India-based designer of Bombay (2016), a hand-crafted all caps typeface inspired by the art deco and neogothic architecture and typography present in Old Bombay. It was custom designed for The Bombay Canteen. [Google] [More]  ⦿

Tulika Patel

During her studies in Varanasi, India, Tulika Patel created Pipe Curve Connect (2014). [Google] [More]  ⦿

Tulsi Devi

Chandigarh, India-based designer of the Latin display typefaces Oceantic (2018), Sweet Display (2018) and Attitude (2018). These typefaces were created during her studies at Government College of Art, Chandigarh. [Google] [More]  ⦿

Tyeif Prayers

A truetype font called Tyeif Prayers, with symbols that mean something to a Hindu sect (I guess). They also have at same site an AUM font with a religious logo. [Google] [More]  ⦿

Type Mag

Mumbai-based studio that created the bird-inspired typeface Tale ofWwings and the thin geometric typeface H2O in 2014. Behance link. [Google] [More]  ⦿

TypeOff
[Dan Reynolds]

Typeoff was an Offenbach-based German type collective, est. 2004 by Daniel John Andrew Reynolds (b. 1979, Baltimore, MD), who blogs happily and frequently. Dan grew up in various cities in the USA, received a BFA in graphic design from the Rhode Island School of Design (RISD) in 2002, and moved to Germany in 2003 to study typography with Professor Fritz Friedl at Hochschule für Gestaltung in Offenbach. Dan was an intern at Linotype, and is still affiliated with Linotype. In 2004, he founded Typeoff.de. In 2007 he moved to the University of Reading for an MA in typeface design. Afterwards, he returned to Germany where he is based in Berlin and, for some time. In 2017, he helped Jan Middendorp set up the new foundry Fust & Friends. In 2018, he submitted his type history PhD dissertation at the University of Braunschweig, Germany, and joined LucasFonts in Berlin.

Typefaces created by the collective include Argos, AT Stencil, Disco 3000, Ignaz Text, Ignaz Titling, India Gothic, Janus, Jeans, Pater Noster, Proportia, Sweet Pea, Teppic, Used to Love Her. The designers include the founder Dan Reynolds, and his collaborators David Borchers, Lara Glück, Till Hopstock, and Lukas Schneider.

Dan's own typefaces at TypeOff include Ignaz Text (2004, originally called Ignaz Textura, and based on letters he found on a sepulchral memorial outside of St. Ignaz church in Mainz (Germany)), Ignaz Lombard Caps (2004), Ignaz Titling (2004), Janus (2004, a pixel face), Pater Noster (2004-2009, an uncial), Proportia (2004, a geometric sans), Sweet Pea (2004, an octagonal face), and Used to Love Her (2004, experimental). He is working on a Lombard Capitals face (2004), Teutonia Serif (2005, based on Teutonia, a geometric display typeface that was cut in Offenbach by the Roos & Junge type foundry in 1902; this squarish family is released under the name Mountain at Volcano Type in 2006) and Farewell Street (2004, sans family). Working on this condensed didone (2007).

In 2007, he worked with Kobayashi at Linotype to produce a revival and extension of a 1930 sans family of Morris Fuller Benton, and named it Morris Sans (+Small Caps), which could be viewed as an organic version of Bank Gothic. Morris Sans was published in 2008 by Linotype.

In 2008, he designed the serif family Martel in partial fulfilment of the requirements for the MA in typeface design at the University of Reading---it covers Latin and Devanagari. Martel Sans was published in the (free) Google Fonts collection in 2015. It was finished in 2014 in cooperation with mathieu Réguer. Github link.

He is working on a Condensed Serif.

Malabar (2008) won an award at TDC2 2009. Malabar also won the German Design Prize in Gold 2010. See the Linotype version Malabar Etext (2013).

Codesigner with Matthew Carter in 2010 of Carter Sans (ITC), a flared lapidary typeface family.

With Mathieu Réguer, he created the libre a monolinear, geometric sans typeface family Biryani (2015, Google Web Fonts) for Latin and Devanagari.

In 2017, he published Rustic.

Type events of 2008 reviewed by Dan. Volcano Type link. Speaker at ATypI 2010 in Dublin and at ATypI 2011 in Reykjavik. Klingspor link. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona. Speaker at ATypI 2016 in Warsaw on Did photography kill punchcutting?. Speaker at ATypI 2018 in Antwerp on the topic of Jean Midolle's typeface Midolline. Volcano Type link. [Google] [MyFonts] [More]  ⦿

Typography Day 2012

Typography Day was organized for the fifth time in 2012 (1st-3rd March) at the Industrial Design Centre (IDC) at the Indian Institute of Technology Bombay (IIT Bombay) with support from India Design Association (InDeAs) and Aksharaya. The event will include an international conference which will be devoted to addressing issues faced by type designers, type users and type educators. The theme for this year's event is Typography in Publication Design. The speakers whose talks touch upon type design include

  • Evripides Zantides: The use of eye-tracker technology to evaluate typefaces, Greek fonts and publication design for screen
  • Mahmood MazaheriTari: Abilities Of Persian Typefaces&Persian Calligraphy In Stencil Type Design
  • Mariko Takagi: Typographic Culture of Hong Kong
  • Sophia Oduol: Innovative applications of Typography - Ancient African Typographic Symbols in Contemporary Publication Design
  • Veronika Burian: Typographic matchmaking
  • Ishan Khosla: Typocraft: Creating an Indian Typographic Identity
  • Yashodeep Gholap: Designing a Devanagari text font for newspaper use
  • Chitchai Kuandachakupt: Ariyaka, the early typeface leads modern industrialization of letterpress printing in Thailand
  • Samradhi Katare: All That I Have Learned About Devanagari----Evolution of the Devanagari script and development of letter-form design based on Vox-ATypI classification of type
[Google] [More]  ⦿

Typography Day 2019

Typography Day will be organized for the Twelfth time on 2nd to 4th March 2019 at IDC School of Design (IDC), Indian Institute of Technology Bombay (IIT Bombay), Mumbai with support from India Design Association (InDeAs) and Aksharaya. The theme is Experimental Typography. [Google] [More]  ⦿

U.B. Pavanaja
[Kannada Font Piracy]

[More]  ⦿

Ubuntu: Indic fonts

Free Indic fonts:

  • Bengali: JamrulNormal, LikhanNormal, muktinarrow, muktinarrowbold, Ani, Lohit-Bengali, Mitra.
  • Hindi/Devanagari: Gargi_1.7, Chandas, Kalimati, Lohit-Hindi, Samanata.
  • Gujarati: Rekha-medium, aakar-MagNet, Lohit-Gujarati, padmaa-Bold, padmaa-Medium.
  • Kannada: KedageBold, KedageNormalItalic, KedageNormal, KedageBoldItalic, MalligeBold, MalligeNormalItalic, MalligeNormal, MalligeBoldItalic.
  • Malayalam: racotf04, malayalam.
  • Oriya: utkal.
  • Punjabi: Saab, Lohit-Punjabi.
  • Tamil: TAMu_Kadambri-Regular, TAMu_Kalyani, TAMu_Maduram, TSCu_Comic, TSCu_Paranar, TSCu_Times, TSCu_Paranar-Bold, TSCu_Paranar-Italic, Lohit-Tamil.
  • Telugu: Pothana2000, Vemana2000.
[Google] [More]  ⦿

Udgam

Udgam truetype font at the Udgam magazine. Free. [Google] [More]  ⦿

Udhayan RM

Hyderabad, India-based designer of a squarish Latin typeface in 2016. [Google] [More]  ⦿

Ulrich Stiehl
[Sanskrit Web (or: Transliteration and Devanagari Fonts for Sanskrit)]

[More]  ⦿

Umang Dedhia

Graduate of the Rachana Sansad College Of Applied Arts and Craft. Graphic designer from Mumbai, who created a devenagari font called Crop Circle (2012). [Google] [More]  ⦿

Umesh Vgl

Bengaluru, India-based designer of the art deco typeface City Sland (2014). Behance link. [Google] [More]  ⦿

Unicode Compliant Open Type Fonts

TDIL stands for the Technology Development for Indian Languages. It has an archive with these downloadable Indic fonts: Raghu, Gargi-1.3, GISTYogeshN, GISTSurekhN, JanaHindi, JanaKannada, JanaMalayalam, JanaMarathi, JanaSanskrit, JanaTamil. These are all by C-DAC, Pune. Also included are CDAC-GISTYogeshN-OpenType font and CDAC-GISTSurekh-OpenType fonts. From the National Centre for Software Technology comes the Raghindi font. Other fonts are here. [Google] [More]  ⦿

University of Kentucky

A selection of truetype and type fonts: Nina is a 1996 Garamond-like family of heavily accented fonts, copyright of the International Journal of Tantric Studies. SILDoulosIPA (1993) is a phonetic font. Sanskrit 1.2, Sanskrit 1998 (both 1998, Omkarananda Ashram Himalayas, Rishikesh, India) and SanskritVijay (Vijay K. Patel) are Indic fonts. The Times_CSX+ Sanskrit family is by URW (1994). The Translit98 family is a Nina-lookalike. [Google] [More]  ⦿

Urvashi Vaidya

As a student at National Institute Of Fashion Technology in Chennai, India, Urvashi Vaidya designed a hand-crafted decorative Latin typeface (2017). [Google] [More]  ⦿

Urvi Gokani

Thane, India-based designer of an Arabic simulation font in Devanagari (2015) and a tree branch emulation font (2015). [Google] [More]  ⦿

Urvi Shah

Boston, MA-based designer of the children's book font (for Devanagari) called Paagal Pitara (2015). This font is based on the books dy Dr. Seuss. [Google] [More]  ⦿

Ushmi Kanakia

Mumbai, India-based designer of Kehrwa (2016). [Google] [More]  ⦿

Utkarsh Raut

Graphic designer in Mumbai, who created the Latin display script Padma (2013). [Google] [More]  ⦿

Uttam Sinha

Illustrator in New Delhi, India. Creator of the circle-based font Cafe Circle (2013). [Google] [More]  ⦿

Vaibhav Pundir

Indian designer of a Pacman font in 2017. [Google] [More]  ⦿

Vaibhav Singh

Graduate of the University of Reading in 2011. His typeface project there led to the development of Eczar, a type family for Latin and Devanagari (2011). It has a stencil weight. He explains: Eczar was designed with an intent to bring liveliness and vigour to academic books (of a literary and philosophical bent). With a focus on multi-script typography, the design intends to provide a wide-ranging type-family, for texts that deal with translation, transliteration and transcription between Latin and Devanagari. Eczar is a work in progress and more weights, a more expanded character set and features are presently under development. Eczar was published in 2015 at Google Web Fonts by Rosetta Type Foundry.

In 2014, he codeveloped Skolar Sanskrit and Skolar Devanagari with David Brezina at Rosetta Type.

Myriad Devanagari, designed by Vaibhav Singh, won an award at Granshan 2016.

In 2017, Adobe Type released Myriad Devanagari and Myriad Bengali. Designed by Vaibhav Singh and Neelakash Kshetrimayum, respectively, these typefaces translate the design of Adobe's popular Myriad family (by Carol Twombly and Robert Slimbach) to the most-used writing systems of India. Earlier, in 2012, Vaibhav Singh and Paul D. Hunt published Adobe Gurmukhi.

At ATypI 2011 in Reykjavik, he spoke on Devanagari letterforms in multi-script typography through the twentieth century. [Google] [More]  ⦿

Vaishali Jain

As a student at the Indian Institute of Crafts and Design, Jaipur, India-based Vaishali Jain designed the geometric solid typeface She (2018). [Google] [More]  ⦿

Vaishali Khatter

During her studies at Banasthali Institute of Design, Jaipur, India-based Vaishali Khatter created a few decorative typefaces in 2015. [Google] [More]  ⦿

Vaishnavi Bangar

Pune, India-based designer of a hilarious funny-man-themed alphabet simply called Character (2014). [Google] [More]  ⦿

Vajra Singh

Jaipur, India-based designer of the display typeface Chasme (2016). [Google] [More]  ⦿

Valmiki Ramayama Fonts

The truetype fonts Sanskrit98 and Translit98. Sanskrit98 was developed by Omkarananda Ashram Himalayas, Rishikesh, India, in 1998. [Google] [More]  ⦿

Vanshika Tomar

As a student at Banasthali Institute of Design, Jaipur, India-based Vanshika Tomar designed these typefaces in 2016: Hindi Cycling Font, Valora (sketched, textured), Voltare (circuit font). [Google] [More]  ⦿

Vanshikaa Sangal

During her studies at National Institute of Design, Gandhinagar, India-based Vanshikaa Sangal created the multiline typeface Konyaks (2018). She explains: My idea comes from the body tattoos of the Konyaks, a tribe residing in the hills of Nagaland. They were known for their headhunting customs. The typeface that I have developed uses elements of the tattoos that the Konyaks adorned and its name Noka comes from the word that etymologically means a man with pierced ears; the Konyaks were called Nakas. [Google] [More]  ⦿

Varsha Anand

In 2014, Varsha Anand (Bangalore, India) created a modular typeface based on a grid design. [Google] [More]  ⦿

Varsha Mohta

Mumbai-based designer of an untitled all-caps painter's font in 2015. She also created the Devanagari font Parampara in 2015. [Google] [More]  ⦿

Varun Vachhar

Indian-born tudent at KABK, Den Haag, who also claims Canada as his residence. He designed (2010), a (free) typeface in which all letters are inspired by elements of a computer.

Home page. [Google] [More]  ⦿

Vatushi Moondra

During her studies at MIT Institute of Design in Pune, India, Vatushi Moondra created the heavy sharp-edged typeface Edge (2016). [Google] [More]  ⦿

Vedabase Fonts
[Michael Best]

Free Devanagari fonts. Alternate download URL. We find these free Sanskrit diacritic / Devanagari fonts: Inbenb11, Inbeni11, Inbeno11, Inbenr11, Indevr20, ScaBenguit, ScaBenguitBold, ScaCheltenham, ScaCheltenhamBold, ScaCheltenhamItalic, ScaFrizQuadrata, ScaFrizQuadrataBold, ScaGoudy, ScaGoudyBold, ScaGoudyItalic, ScaHelvetica, ScaHelveticaBold, ScaKorinna, ScaKorinnaBold, ScaKorinnaItalic, ScaOptima, ScaOptimaBold, ScaOptimaItalic, ScaPalatino, ScaPalatinoBold, ScaPalatinoItalic, ScaSabon, ScaSabonBold, ScaSabonItalic, ScaTimes, ScaTimesBold, ScaTimesItalic. These fonts are from VedaBase 2003, but were made in 1997. They are based upon the Sanskrit diacritic character mapping standards established by Michael Best. The "Sca' series is perfectly useful for Latin texts. [Google] [More]  ⦿

Vedang Agnihotri

During his studies in Pune, India, Vedang Agnihotri created the modular squarish typeface Tirccha (2015). [Google] [More]  ⦿

Veethika Mishra

During her studies at the National Institute of Design in Gandhinagar, India, Veethika Mishra created Whirl Custom Type (2013, a ribbon typeface). She was also involved in the Oriya font project Odia (2013, with Subhashish Panigrahi).

In 2014, Veethika created the Latin humanist sans typeface Detta. [Google] [More]  ⦿

Velankar

Indic truetype fonts archive. Has LscapeRegDevPriyaBold, LscapeRegDevPriyaNormal, LangscapeDevPoojaNormal, LscapeRegDevPoojaBold, LscapeRegDevPoojaNormal, DV-TTSurekh-Bold, DV-TTSurekh-Italic, DV-TTSurekh-Normal, DV-TTSurekh-Bold-Italic, DV-TTYogesh-Normal, Loksatta-Web-Font, MahaBold, MahaNormal, Sanskrit98, Shivaji01, Shivaji05, SUBAK, Xdvng. [Google] [More]  ⦿

Vibha Jindal

For a school project at College of Art, Chandigarh, India, in 2015-2016, Vibha Jindal designed Kairos, a Latin typeface that is inspired by ancient Greek architecture. [Google] [More]  ⦿

Vibhore Singhal

New Delhi, India-based designer of Day of the Dead (2018). [Google] [More]  ⦿

Vibhuti Vaish

For a school project, Vibhuti Vaish (Jaipur, India) designed the textured typeface Tyre Imprint (2016) and the display typeface Bubbles (2016). [Google] [More]  ⦿

Vibish Aswanth

Coimbatore, India-based designer of an all caps Latin display typeface in 2016. Behance link. [Google] [More]  ⦿

Vicky Chindaliya

Vicky Chindaliya (Faridabad, India, b. 1990) created a hilarious CV well worth mentioning on my pages. This work was done during his studies. [Google] [More]  ⦿

Victor Caristan

Graduate of L'École de Design, Nantes, France, now based in New Delhi, India. During his studies, Victor Caristan designed the display typeface Totem (2017). [Google] [More]  ⦿

Vidhya Nagarajan

Student at Washington University in St Louis, MO, who excels at illustrations (A Day in Chennai (2012) is my favorite series). He created a great ornamental caps alphabet called Foodie in 2012. [Google] [More]  ⦿

Vidit Narang

New Delhi, India and Treviso, Italy-based designer of the elliptical sans typeface Boho Sans (2008). [Google] [More]  ⦿

Vignesh Oviyan

Chennai, India-based designer of the squarish Latin typeface Mugaloid (2017). [Google] [More]  ⦿

Vijay Y. Gokhale

Designer of the fonts ManjushaMedium (2000) and ManjushaBold (1999) which can be found here. He lives in Pune. [Google] [More]  ⦿

Vikas Kumar

Graphic designer in Guwahati, India. Creator of the squarish Latn typeface Squared Display (2012). [Google] [More]  ⦿

Vikrant Karve

Pun, India-based designer of Waves (2017). [Google] [More]  ⦿

Vikrant Kishore

New Delhi-based creator of the human silhouette typeface Hufo (2010) and The Bite (2011).

In 2012, he created Grafitti (sic) Poster.

Behance link. Home page. [Google] [More]  ⦿

Viktor Kharyk

Ukrainian designer, b. Kiev, 1957. Graduate of the Senior College for Print and Design in Kiev in 1982. Viktor became art director at Sphera in Kiev. Main type designer at Düsseldorf-based company Unique GmbH since 1998. In 2012, he cofounded Apostrof with Konstantin Golovchenko. He designs Armenian, Greek, Georgian, Devanagari, Hebrew, Cyrillic and Arabic fonts, and is particularly interested in revivals of ancient, forgotten, or historically important typefaces and writing systems. His work:

  • At Elsner and Flake, he published EF Bilibin (2004, uncial), EF Abetka (2004), EF Gandalf (2004, uncial), Bilbo (2004-2008, an uncial family), Kiev EF (2002), Lanzug EF (2002, letters as zippers), Rose Deco EF (2001), EF Elf (2002, imitating Tolkien's writing), EF Deco Uni (2001-2004), EF Deco Akt Light (2001-2004), EF Fairy Tale (2003-2008, caps face), EF Varbure (2004, an experimental family), Rose Garden EF (2001, initial caps ornamented with roses; the text is uncial), and Viktors Raven EF (a spectacular caps font with letters made out of a raven).
  • At MasterFont: Abetka MF (1999, with Alexeev), Kiev MF (1976-2003), and Netta MF (1999, text family). These fonts have Latin and Hebrew components.
  • At Paratype, he published Uni Opt (2007, Op Art letters based on free brush technique similar to experimental lettering of the early decades of the 20th century; for instance to Graficheskaya Azbuka (Graphic ABC) by Peter Miturich and works by Victor Vasareli), Joker (1978, a subtractive font---since 2000, also in Cyrillic, Latin, Hebrew, Greek, Georgian, Armenian and Arabic), Blooming Meadow (2007, flowery ornaments), Bogdan Rejestrowy and Bogdan Siczowy (2006, based on Ukrainian Skoropis (fast handwriting) of the 16th and 17th centuries, and named after Ukrainian Getman Bogdan Khmelnitsky. The character set contains Cyrillic, Old Slavonic, Glagolitic, Latin and Greek alphabets), Lidia (2006, a lined engraving typeface based on a 1967 font by Iraida Chepil for Polygraphmash).
  • At 2D Typo: Florentin 2D (2011, angular family), New Hotinok 2D (2010, with Henadij Zarechnijuk).
  • Other work: Simeon 2D (2011, 2D Typo), some fonts at Face Typesetting (1970s), Getto (1970s), White Raven (2002), Handwritten Poluustav Ioan Cyrillic (1999-2001), Letopis (1983), New Zelek (1980s), UniAkt (2001, based on Unifont, an erotic caps face, done with Natalia Makievska).
  • Free fonts at Google Web Fonts, published via Cyreal: Iceberg (2012, octagonal).
  • Cyrillizations by Viktor Kharyk: Data 70 (1976; original from 1970 by R. Newman), ITC American Typewriter, Bullion Shadow (1984; of the shadow font Bullion Shadow (1978; original from 1970 by Face Photosetting), Calypso (1984; of Excoffon's 1958 original), Lazybones (1980s; of a 1972 Letraset font with the same name), Glagolitic (1983, Elvira Slysh, digitized in 2003), Augustea (1947, Allessandro Butti), Stencil (after a 1938 typeface by R.H. Middleton called Stencil), Columna (1980s; after Max Caflisch's original from 1955), Sistina (1951, Hermann Zapf), Weiss Kapitale (1935, Emil Rudolf Weiss), Vivaldi (1965, Friedrich Peter), ITC Tiffany (1974, Ed Benguiat, digitized in 1995), ITC Bookman Herb Lubalin (1974, digitized in 1980s), Berthold Cyrillic Helvetica Cyrillic (1980), Churchward Galaxy (1970s, J. Churchward, digitized in 1980s), Olive Bold Condensed (1980s, original of Roger Excoffon in 1962-1966), Motter Ombra (1980, original by O. Motter in 1975), Sinaloa (1981, original by Odermatt and Tissi in 1972), Serif Gothic (1990, original by Herb Lubalin and Tony DiSpigna in 1974), Dynamo (1980s, original of K. Sommer in 1930), EF Gimli and EF Gloin (2004-2010, mediaeval typefaces done at Elsner&Flake together with Marina Belotserkovskaja).
  • Other typefaces: Lili (multilined), Rutenia (by Henadij Zarechjuk and Viktor Kharyk, as part of Vasyl Chebanyk's Ukrainian Alphabet project).

At TypeArt 01, he won first prize with Varbur Grotesque (1999-2001, with Natalia Makeyeva), third prize with Joker (1970-2000), and honorable mention with Abetka. At TypeArt 05, he received awards for UniOpt (2002, Kafkaeqsue Op Art display style) and Blooming Meadow (dingbats). In 2009, his 2006 digitization of Anatoly Shchukin's 1968 typeface Ladoga (+Text, +Display, +Ladoga Armenian) won an award at Paratype K2009.

In 2016, Henadij Zarechnjuk and Viktor Kharyk designed Dnipro for Apostrof. The Cyrillic version of this font follows Ukrainian decorative traditions, initiated by Georgy Narbut and Mark Kirnarsky in the 1920s and continued until the 1980s. The Latin part has an uncial character.

Typefaces made in 2018: Algor, Zluka (with Henadij Zarechnjuk; named after The Act Zluka, or Ukraine's Unification Act of 1919), XX Sans, Yurch (developed by Henadij Zarechnjuk and Viktor Kharyk by samples of calligraphic lettering by Ukrainian book designer Volodymyr Yurchyshyn), Chebano (based on the calligraphy of Ukrainian artist Vasyl Chebanyk), Zahar Berkut (developed by Henadij Zarechnjuk and Viktor Kharyk following the lettering by Ukrainian artist Georgiy Yakutovich),

At ATypI 2005 in Helsinki he spoke about Ukrainian fonts. At ATypI 2007 in Brighton, his talk is entitled Old Slavic alphabets and new fonts. At ATypI 2009 in Mexico City, he spoke (well, was supposed to speak) on Old Roman Styles and Cyrillic. Speaker at ATypI 2013 in Amsterdam, where he explains the development and multilingual extensions of Ladoga.

MyFonts page. Victor's friends: a Ukrainian/Russian news blog. FontShop link. Author of Non-Latin Fonts Cyrillic and Other (2004, Düsseldorf).

Klingspor link. [Google] [MyFonts] [More]  ⦿

Vinay Suresh Mule

Bangalore, India-based designer of the gorgeous Icons of India or City Icons (2015). In 2016, he created the free hand-crafted typefaces Kanglish and Cleavin (for Latin). Dafont link. [Google] [More]  ⦿

Vineet Nair

Illustrator and graphic designer in Ahmedabad, India, who created the folded typeface Fowldown (2018). [Google] [More]  ⦿

Vineet Prasad

Preston, UK-based designer of a multiscripted experimental Indic typeface in 2013, called Letters to India. [Google] [More]  ⦿

Vini Gupta

During her studies, Vini Gupta (Jaipur, India) created a zig zag typeface (2013). [Google] [More]  ⦿

Vinita Jakkal

During his graphic design studies at the MIT Institute of Design, Vinita Jakkal (Pune, India) created a decorative Oriya typeface, and wrote: This typeface is inspired from existing Oriya script & also circular forms & designs which are present in Odissi culture. Project was done under the guidance of Prof. Paresh Choudary, MIT Institute of Design for Typography Day 2013.. In 2014, he designed the Latin display typeface Cheese, which can be bought at Hellofont. [Google] [More]  ⦿

Vinod Meghanath

Designer of a display typeface in 2015 that was inspired by The Gantry. [Google] [More]  ⦿

Vipassana Hawaii

Pick up Sansk-Palatino, Sansk-Times Bold Italic. [Google] [More]  ⦿

Viraj Deo

Viraj Deo, a graduate of the London College of Communication, started the Braille Devanagari project in 2011. [Google] [More]  ⦿

Vishnu Khowal

New Delhi-based designer of the straight-edged display typeface family Zebral (2015). [Google] [More]  ⦿

Vishnu Sathyan

Bangalore, India-based designer of the monoline monospace rounded organic sans typeface Wudoo (2016) and the counterless typeface Rooster (2016). In 2017, he designed the rounded geometric sans typeface family Diameter and wrote: I have used complex mathematical equations to get the perfect angle in every letter.

Typefaces from 2018: Febsta (ultra condensed), Jansta (pixel font). [Google] [MyFonts] [More]  ⦿

Vishnu Vijithatma

Product designer in Coimbatore, India, wo created the thin monoline sans typeface Boo (2012). [Google] [More]  ⦿

Vishnupriya Kaulgud

In her final project at the Sir J.J. Institute of Applied Art in Mumbai, Vishnupriya Kaulgud designed a set of six Latin fonts based on different Indian scripts. [Google] [More]  ⦿

Vishvesha

Four free Indic truetype fonts: TM-TTValluvar (Tamil), TL-TTHemalatha (Telugu), SD-TTSurekh (Sanskrit), KN-TTUma (Kannada). [Google] [More]  ⦿

Vishwajeet Sawant

During his studies in Pune, Vishwajeet Sawant designed the circle-based typeface Orby (2013). [Google] [More]  ⦿

Vistawide

Archive of free foreign language fonts covering Arabic, Armenian, Bengali, Bulgarian, Burmese, Cambodian, Celtic, Chinese, Croatian, Czech, Estonian, Old English, Farsi, Georgian, German, Greek, Hawaiian, Hebrew, Hindi, Hmong, Hungarian, Icelandic, Japanese, Khmer, Korean, Latvian, Myanmar, Nepali, Persian, Polish, Punjabi, Romanian, Russian, Serbian, Slovenian, Tagalog, Tamil, Thai, Turkish, Ukranian, Urdu, Vietnamese and Welsh. [Google] [More]  ⦿

Vivek Choudhary

Designer in New Delhi. Creator of the counterless Fat Baby Font (2014). [Google] [More]  ⦿

Vivek Krishna

Bangalore, India-based student-designer of the hand-crafted Latin display typeface Alpha Cut (2015). [Google] [More]  ⦿

Vivek Thakker

In 2014, as a student, Vivek Thakker (Ahmedabad, India) created the chair-inspired typeface Stark. [Google] [More]  ⦿

Vivek Vadakkuppattu

Product Management Director, Monotype (Woburn, Massachusetts). He holds an MBA from NYU's Stern School of Business, an MSEE from WINLAB, Rutgers University, and a BSEE from the University of Madras. [Google] [More]  ⦿

Vivek Yadav

During his studos at Pearl academy, New Delhi-based Vivek Yadav designed the display typeface Yavis (2017). [Google] [More]  ⦿

VR Graphics

Chennai, India-based designer of Dusker Tall (2018). [Google] [More]  ⦿

Vrinda Agarwal

As a student at NIFT in New Delhi, Gurgaon, India-based Vrinda Agarwal designed the fun figurine typeface Porangi (2018). [Google] [More]  ⦿

Vydika Rao

Mumbai-based designer of some typographic posters such as The Dirty Martini (2013). [Google] [More]  ⦿

Wesanthals

N.C. Murmu's free fonts for the Santhali language: ol_ciki_classic, ol_ciki_old, ol_ciki_optimum, ol_ciki_regular, ol_ciki_royal, olciki_usoro. All made in 2002. [Google] [More]  ⦿

White Crow
[Sarang Kulkarni]

WhiteCrow is a typefoundry and design studio founded by Sarang Kulkarni in Mumbai in 2005. It specializes in multilingual branding, type design and calligraphy. A collective of type designers, the White Crow team creates customized typefaces for all Indian scripts, including Devanagari, Bangla, Gujarati, Tamil, Telugu, Kannada, Malayalam, Gurmukhi, Meitei Mayek (Manipuri), Oriya and Urdu. Their typefaces:

  • Life OK. A Devanagari custom type designed for the new Hindi entertainment channel- Life OK. It consists of 3 weights and is hinted for television use.
  • Painter Kafeel and Painter Suhail. Digital typefaces based on letterforms that were originally handpainted by Kafeel. In collaboration with Hanif Kureshi at Handpainted Type.
  • Star Jalsha. Custom logo type and typeface in Bengali script for a regional TV channel- Star Jalsha. It consists of 3 weights and is hinted for television use.
  • Vodafone India. Regional language logos, corresponding text type design as per the existing Latin type and 'power to you' taglines in 11 Indian languages.
  • Modak. Modak is an open source chubby Devanagari/Latin display typeface.
  • The Economist. Six sets of Latin characters were designed to resemble other scripts like Sinhala, Tibetan, Hebrew, Cyrillic, Chinese and Urdu for the Economist magazine's outdoor campaign.
  • Being Human. A handwriting based display typeface that carries forward the look of the Being Human logotype.
  • TATA AIA. Custom typeface designed for TATA AIA.
[Google] [More]  ⦿

XDVNG : Devangari fonts

True Type fonts developed by Arun Gupta (Mac, Windows). [Google] [More]  ⦿

Yachna Marwah

During her studies in New Delhi, Yachna Marwah designed a decorative caps typeface called Sex Education (2016-2018). [Google] [More]  ⦿

Yash Dhavalikar

During his studies, Yash Dhavalikar (Pune, India) designed the octagonal Latin typeface Octa (2016). [Google] [More]  ⦿

Yash Pradhan

Mumbai, India-based designer of Gradient Stripes Alphabet (2017). [Google] [More]  ⦿

Yashasvi Nagda

Bhopal, India-based designer of the foliate typeface Foliole (2018). [Google] [More]  ⦿

Yashodeep Gholap

Mumbai-based type designer. At Typography Day 2012 he spoke on Designing a Devanagari text font for newspaper use.

In 2013, Girish Dalvi and Yashodeep Gholap co-designed Ek Devanagari at Ek Type for Hindi, Marathi, Sanskrit, Konkani and Nepali. It is a contemporary, humanist, monolinear typeface available in seven weights. Its companion, also designed by them, is the humanist sans typeface family Ek Latin (2013). [Google] [More]  ⦿

Yashodhan Mandke

Graduate from the M.Des program at IIT, Guwahati, India. Now based in Pune, India, Yashodhan Mandke designed a devanagari typeface for information design and wayfinding in 2016. [Google] [More]  ⦿

Yudit

This site has the following truetype fonts: Braille (by Vyacheslav Dikonov), MalOtf (Malayalam font by Shaji N Vyapron, based on fonts by Jeroen Hellingman), Raghindi (National Centre for Software Technology. This font was developed by Prof. R.K. Joshi with assistance from Mr. Vinay Sayanekar), TibetanUnicode (2002, Gregory Mokhin), UrduNastaliqUnicode (2002, Shehzad Ali&Tabish), ani (2002, a Bengali font by Dr. Anirban Mitra). [Google] [More]  ⦿

Yugchhaya Baid

New Delhi-based designer of the monoline display sans typeface Shalet (2015). [Google] [More]  ⦿

Y.V. Sathaye

Free Marathi fonts by Y.V. Sathaye, 2000: Marathi-Hastakshar, Marathi-Kanak, Marathi-Kanchan, Marathi-Lekhani-Ital, Marathi-Lekhani, Marathi-Roupya, Marathi-Saras, Marathi-Tirkas, Marathi-Vakra. See also here. [Google] [More]  ⦿

Zain Shaikh

Mumbai-based designer of the hand-crafted typeface So Be It (2015). [Google] [More]  ⦿

Zawed Akhtar

Goregaon, India-based designer of an electrical circuit typeface in 2012. Behance link. [Google] [More]  ⦿

Zenab Bastawala

Type designer from India who graduated from the MATD program in Type Design at the University of Reading in 2016. Her graduation typeface is Rangeen, a multi-script palette of three scripts---Latin, Greek, and Gujarati---about which she writes: A personal and direct relationship with shapes and colours. These are letters, which are especially meant for fun, happy, and fearless thinkers. And there are letters you would only use to write colourful words. [Google] [More]  ⦿