TYPE DESIGN INFORMATION PAGE last updated on Tue Jun 18 02:23:21 EDT 2024






Malayalam fonts

[Indian languages illustration by Compare Infobase Pvt]


Anakha Menon

Pune, India-based designer of a techno Malayalam typeface in 2016. [Google] [More]  ⦿


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

Ashique Aboobacker

Aka Minz Creations. Indian designer of the free Malayalam typefaces Ashique ML Minnu Semi Bold (2013) and Ashique ML Ashu Condensed Bold (2013). In 2014, he created Ashique ML Minnu Bold.

Fontspace link. [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]  ⦿

Baiju M
[Shaji N. Vyapron]

Malayalam fonts at the site of Baiju M. Jeroen Hellingman created some Malayalam metafonts. Shaji N. Vyapron turned these into a truetype font, "malayalam". Baiju M. finally produced an Opentype font, MalOtf (2002). There are some other fonts here too, all created by M/s Cyberscape Multiscape Limited. Vyaproin also made Kalyani based on Hellingman's designs. Alternate URL. [Google] [More]  ⦿

[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.

Baloo 2 (2021) consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2, by Sanskriti Dholi and Noopur Datye). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. [Google] [More]  ⦿

Blessed Alphonsa

A free Malayalam font, Wenet. [Google] [More]  ⦿


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]  ⦿


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: Malayalam

Free Malayalam fonts made in 2005: GIST-MLOTKalindi-Bold, GIST-MLOTKalindi-BoldItalic, GIST-MLOTMaya-Bold, GIST-MLOTMaya-BoldItalic, GISTMLOTAmbiliBold, GISTMLOTAmbiliBoldItalic, GISTMLOTAmbiliItalic, GISTMLOTAmbiliNormal, GISTMLOTAshtamudiBold, GISTMLOTAshtamudiBoldItalic, GISTMLOTAshtamudiItalic, GISTMLOTAshtamudiNormal, GISTMLOTAswathiBold, GISTMLOTAswathiBoldItalic, GISTMLOTAswathiItalic, GISTMLOTAswathiNormal, GISTMLOTBhanuBold, GISTMLOTBhanuBoldItalic, GISTMLOTChippiItalic, GISTMLOTChippiNormal, GISTMLOTIndulekhaBold, GISTMLOTIndulekhaBoldItalic, GISTMLOTIndulekhaItalic, GISTMLOTIndulekhaNormal, GISTMLOTKaumudiBold, GISTMLOTKaumudiBoldItalic, GISTMLOTKaumudiItalic, GISTMLOTKaumudiNormal, GISTMLOTKottakkalBold, GISTMLOTKottakkalBoldItalic, GISTMLOTMakamBold, GISTMLOTMakamBoldItalic, GISTMLOTMalavikaBold, GISTMLOTMalavikaBoldItalic, GISTMLOTMalavikaItalic, GISTMLOTMalavikaNormal, GISTMLOTMridulaItalic, GISTMLOTMridulaNormal, GISTMLOTPayippadBold, GISTMLOTPayippadBoldItalic, GISTMLOTPeriyarBold, GISTMLOTPeriyarBoldItalic, GISTMLOTPeriyarItalic, GISTMLOTPeriyarNormal, GISTMLOTSabariBold, GISTMLOTSabariBoldItalic, GISTMLOTSruthyBold, GISTMLOTSruthyBoldItalic, GISTMLOTSruthyItalic, GISTMLOTSruthyNormal. [Google] [More]  ⦿


A zip file with these Malayalam fonts: Haritha, Kalakaumudi, ML-TTKarthika-Normal, ML-TTKarthika-Normal, MLW-TTKarthika-Normal, MLW-TTRevathi-Normal, Manorama, Mathrubhumi-Web-Font, PMLTKairaliNormal, Thoolika. [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]  ⦿

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 Bangalore), 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]  ⦿


Free Malayalam TrueType font mlkr0ntt_TTF. At the site of Deepika, the first Malayalam daily. [Google] [More]  ⦿

Desha Vani

Creator of DVMalayalam (2003). [Google] [More]  ⦿

[Sobha Menon]

Tulasi font (Malayalam) by Sobha Menon. Free. Menon also made RE_iNFOM-Kaveri (1997). [Google] [More]  ⦿

Design Difference& TUG India

Free Malayalam fonts. The Keli family (2002) is by Hashim P.M., and was developed under the auspices of Design Difference TUG India. There is also an extensive family called Rachana. All comes packaged with all the necessary TeX and LaTeX files. [Google] [More]  ⦿

Download fonts

Useful list of links to Malayalam fonts. [Google] [More]  ⦿

ECW Thinkal

Free Malayalam font from 2002 by ERDCI(T) and C-DIT, TVPM in Kerala. [Google] [More]  ⦿


Free Malayalam truetype family: ML-TTRevathi (1995, C-DAC, Pune). See also here. [Google] [More]  ⦿

eKA Internet Technologies

Designers of the Malayalam family of fonts called Chowara (2000). Old URL. [Google] [More]  ⦿

Elmar Kniprath

[More]  ⦿

Elmar Kniprath
[Elmar's Indic]

[More]  ⦿

Elmar's Indic
[Elmar Kniprath]

A free package by Elmar Kniprath (2001) for writing Assamese, Bengali, Gujarati, Hindi, Kannada, Malayalam, Marathi, Nepali, Panjabi, Rajasthani, Sanskrit, Sinhalese, Tamil, Telugu and Latin transliteration. Fonts included are e-Asamiya, e-Bengali, e-Gujarati, e-IndicSerif-Bold, e-IndicSerif, e-Kannada, e-Latin, e-Malayalam, e-Nagari, e-Panjabi, e-Sinhala, e-Tamil, e-Telugu. Download page. [Google] [More]  ⦿


This file contains 255 Malayalam fonts: AnjaliOldLipi, Aruna-Normal, Haritha, Indira-BoldItalic, Indu-No_1, Jacobs-Mal-Medium, Jacobs-Mal-Decorated-3, Jacobs-Mal-Graphic-1, Jacobs-Mal-Graphic-2, Jacobs-Mal-Bold, Jacobs-Mal-Script-3, Jacobs-Mal-Script-4, Jacobs-Mal-Bold, Jacobs-Mal-Medium, JanaMalayalamSans, Kalakaumudi, KeralaLite, ML-NILA01, ML-NILA02, ML-NILA03, ML-NILA04, ML-TTAathira-Bold, ML-TTAathira-BoldItalic, ML-TTAathira-Italic, ML-TTAathira-Normal, ML-TTAmbili-Bold, ML-TTAmbili-BoldItalic, ML-TTAmbili-Italic, ML-TTAmbili-Normal, ML-TTAnakha-Bold, ML-TTAnakha-BoldItalic, ML-TTAnjali-Bold, ML-TTAnjali-BoldItalic, ML-TTAparna-Bold, ML-TTAparna-BoldItalic, ML-TTAshtamudi-Bold, ML-TTAshtamudi-BoldItalic, ML-TTAshtamudi-Italic, ML-TTAshtamudi-Normal, ML-TTAshtamudiExBold-Italic, ML-TTAshtamudiExBold-Normal, ML-TTAswathi-Bold, ML-TTAswathi-BoldItalic, ML-TTAswathi-Italic, ML-TTAswathi-Normal, ML-TTAtchu-Bold, ML-TTAtchu-BoldItalic, ML-TTAtchu-Italic, ML-TTAtchu-Normal, ML-TTAyilyamBold-Italic, ML-TTAyilyamBold-Normal, ML-TTBeckalBold-Italic, ML-TTBeckalBold-Normal, ML-TTBhavana-Bold, ML-TTBhavana-BoldItalic, ML-TTBhavana-Italic, ML-TTBhavana-Normal, ML-TTChandrika-Bold, ML-TTChandrika-BoldItalic, ML-TTChandrika-Italic, ML-TTChandrika-Normal, ML-TTChithira-Bold, ML-TTChithira-Normal, ML-TTChithiraHeavy-Bold, ML-TTChithiraHeavy-BoldItalic, ML-TTDevika-Bold, ML-TTGauri-Bold, ML-TTGauri-BoldItalic, ML-TTGauriHeavy-Italic, ML-TTGauriHeavy-Normal, ML-TTGeethika-Bold, ML-TTGeethika-BoldItalic, ML-TTGopika-Bold, ML-TTGopika-BoldItalic, ML-TTGopika-Italic, ML-TTGopika-Normal, ML-TTGuruvayur-Bold, ML-TTGuruvayur-BoldItalic, ML-TTIndulekha-Bold, ML-TTIndulekha-BoldItalic, ML-TTIndulekha-Italic, ML-TTIndulekha-Normal, ML-TTIndulekhaHeavy-Bold, ML-TTIndulekhaHeavy-BoldItalic, ML-TTJaya-Bold, ML-TTJaya-BoldItalic, ML-TTJaya-Normal, ML-TTJyothy-Bold, ML-TTJyothy-BoldItalic, ML-TTJyothy-Italic, ML-TTJyothy-Normal, ML-TTJyotsna-Bold, ML-TTJyotsna-BoldItalic, ML-TTKala-Bold, ML-TTKala-BoldItalic, ML-TTKamini-Normal, ML-TTKanika-Bold, ML-TTKanika-BoldItalic, ML-TTKanika-Italic, ML-TTKanika-Normal, ML-TTKarthika-Normal, ML-TTKaumudi-Bold, ML-TTKaumudi-BoldItalic, ML-TTKaumudi-Italic, ML-TTKaumudi-Normal, ML-TTKeerthi-Bold, ML-TTKeerthi-BoldItalic, ML-TTLeela-Bold, ML-TTLeela-BoldItalic, ML-TTLeela-Italic, ML-TTLeela-Normal, ML-TTLeelaHeavy-Italic, ML-TTLeelaHeavy-Normal, ML-TTMadhaviExBold-Italic, ML-TTMadhaviExBold-Normal, ML-TTMalavika-Bold, ML-TTMalavika-BoldItalic, ML-TTMalavika-Italic, ML-TTMalavika-Normal, ML-TTMangalaExBold-Italic, ML-TTMangalaExBold-Normal, ML-TTMayoori-Bold, ML-TTMayoori-BoldItalic, ML-TTNalini-Bold, ML-TTNalini-BoldItalic, ML-TTNalini-Italic, ML-TTNalini-Normal, ML-TTNandini-Bold, ML-TTNandini-BoldItalic, ML-TTNandini-Italic, ML-TTNandini-Normal, ML-TTNanditha-Bold, ML-TTNanditha-BoldItalic, ML-TTNanditha-Italic, ML-TTNanditha-Normal, ML-TTNarmadaExBold-Italic, ML-TTNarmadaExBold-Normal, ML-TTNila-Bold, ML-TTNila-BoldItalic, ML-TTOnam-Bold, ML-TTOnam-BoldItalic, ML-TTPeriyar-Bold, ML-TTPeriyar-BoldItalic, ML-TTPeriyar-Italic, ML-TTPeriyar-Normal, ML-TTPooram-Bold, ML-TTPooram-BoldItalic, ML-TTPooram-Italic, ML-TTPooram-Normal, ML-TTPoornima-Bold, ML-TTPoornima-Normal, ML-TTRavivarma-Bold, ML-TTRavivarma-BoldItalic, ML-TTRavivarma-Italic, ML-TTRavivarma-Normal, ML-TTRohini-Bold, ML-TTRohini-BoldItalic, ML-TTSabari-Bold, ML-TTSabari-BoldItalic, ML-TTSankara-Bold, ML-TTSankara-BoldItalic, ML-TTSarada-Bold, ML-TTSarada-Normal, ML-TTSruthy-Bold, ML-TTSruthy-BoldItalic, ML-TTSruthy-Italic, ML-TTSruthy-Normal, ML-TTSugatha-Bold, ML-TTSugatha-BoldItalic, ML-TTSuparna-Bold, ML-TTSuparna-BoldItalic, ML-TTSurya-Bold, ML-TTSurya-Normal, ML-TTSwathyBold-Italic, ML-TTThakazhi-Bold, ML-TTTheyyam-Bold, ML-TTTheyyam-BoldItalic, ML-TTTheyyam-Italic, ML-TTTheyyam-Normal, ML-TTThiruvathira-Bold, ML-TTThiruvathira-BoldItalic, ML-TTThiruvathira-Italic, ML-TTThiruvathira-Normal, ML-TTThunchan-Bold, ML-TTThunchan-BoldItalic, ML-TTThunchan-Italic, ML-TTThunchan-Normal, ML-TTVaisali-Bold, ML-TTVaisali-BoldItalic, ML-TTVarsha-Bold, ML-TTVarsha-BoldItalic, ML-TTVarsha-Italic, ML-TTVeenaHeavy-Italic, ML-TTVeenaHeavy-Normal, ML-TTVinay-Bold, ML-TTVinay-Normal, ML-TTVisakham-Bold, ML-TTVisakham-BoldItalic, ML-TTVisakham-Italic, ML-TTVisakham-Normal, ML-TTVishu-Bold, ML-TTVishu-BoldItalic, ML-TTVishu-Italic, ML-TTVishu-Normal, ML-TTYashasri-Bold, ML-TTYashasri-BoldItalic, ML1-TTAmbili-Bold, ML1-TTAmbili-BoldItalic, ML1-TTAmbili-Italic, ML1-TTAmbili-Normal, ML1-TTAswathi-Bold, ML1-TTAswathi-BoldItalic, ML1-TTAswathi-Italic, ML1-TTAswathi-Normal, ML1-TTIndulekha-Bold, ML1-TTIndulekha-BoldItalic, ML1-TTIndulekha-Italic, ML1-TTIndulekha-Normal, MLB-Ambili-Bold, MLB-TTAmbili-BoldItalic, MLB-TTAmbili-Italic, MLB-TTAmbili-Normal, MLB-TTAswathi-Bold, MLB-TTAswathi-BoldItalic, MLB-TTAswathi-Italic, MLB-TTAswathi-Normal, MLB-TTIndulekha-Bold, MLB-TTIndulekha-BoldItalic, MLB-TTIndulekha-Italic, MLB-TTIndulekha-Normal, MLW-TTKarthika-Normal, MLW-TTRevathi-Normal, ML_Kaumudi, ML_Panchami, ML_Rani, ML_Rani, ML_Sre5, ML_Sree-2, ML_Sree1, ML_high, M_Kairali, Manorama, Mathrubhumi-Web-Font, Meera, Ml_Dot, Ml_Prakash, Ml_Sree3, Ml_Thoolika, PMLTKairaliNormal, PanchamiNormal, Thoolika, ThoolikaTraditionalUnicode. [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

[More]  ⦿

Girish Dalvi

[More]  ⦿

GIST Downloads

This was a sub-site of C-DAC, India's main commercial font and language software maker. It used to have free Tibetan and Gujarati fonts. For a while, it offered commercial products for all Indic languages, including Tibetan and Nepali. Then, finally, it went the way of all big companies--unreadable pages with hard-to-find stuff, often hidden in PDF files. For good old times' sake, here are the font names (published as a courtesy to them--wish they would do this themselves): AS-Abhijit, AS-Amrut, AS-Arbindo, AS-Bidisha, AS-Bipin, AS-Debashish, AS-Durga, AS-Kaali, AS-Kailash, AS-Maya, AS-Mrinal, AS-Parshuram, AS-SantoshItalic, AS-Satyajit, AS-Savita, AS-Shyamal, AS-Sushmita, AS-Tagore, BN-Abhijit, BN-Amrut, BN-Arbindo, BN-Bidisha (see also here), BN-Bipin, BN-Debashish, BN-Durga, BN-Kaali, BN-Kailash, BN-Maya, BN-Mrinal, BN-Parshuram, BN-Santosh, BN-Satyajit, BN-Savita, BN-Shyamal, BN-Sushmita, BN-Tagore, DR-Kunzang, DV-Aakash, DV-Aishwarya, DV-Ajay, DV-Akshar, DV-Alankar, DV-Amruta, DV-Aniket, DV-Anjali, DV-Basant, DV-Bhargav, DV-Bhima, DV-Brinda, DV-Chhaya, DV-Devendra, DV-Dhruv, DV-Diwakar, DV-Gandhar, DV-Ganesh, DV-Hemant, DV-Jamuna, DV-Jayesh, DV-Jivan, DV-Kartik, DV-Kishor, DV-Latika, DV-Madhu, DV-Makarand, DV-Manisha, DV-Manohar, DV-Mayur, DV-Megha, DV-Meghadoot) def, DV-Mohini, DV-Nandan, DV-Natraj, DV-Ninad, DV-Nisha, DV-Prakash, DV-Pramod, DV-Preetam, DV-Purva, DV-Radhika, DV-Raghav, DV-Rahul, DV-Rajashri, DV-Rakesh, DV-Raman, DV-Ranjita, DV-Rohini, DV-Sachin, DV-Sagar, DV-Sajan, DV-Samata, DV-Samir, DV-Sanket, DV-Shalaka, DV-Sharad, DV-Shefali, DV-Shishir, DV-Shital, DV-Shridhar, DV-Shrikant, DV-Subodh, DV-Sumeet, DV-Surekh, DV-Surkhiyan, DV-Sushil, DV-Swapnil, DV-Swaraj, DV-Vallabh, DV-Varun, DV-Vasuki, DV-Vasundhara, DV-Vijay, DV-Vimal, DV-Vinit, DV-Vishakha, DV-Yamini, DV-Yogesh, DV-Yogesh, GJ-Anamika, GJ-Anand, GJ-Avantika, GJ-Balram, GJ-Bela, GJ-Chitra, GJ-Damodar, GJ-Devaki, GJ-Dinakar, GJ-Dwarika, GJ-Dynamic, GJ-Gagan, GJ-Gopika, GJ-Kalpana, GJ-Kamini, GJ-Kanoj, GJ-Kapila, GJ-Kaumudi, GJ-Keshav, GJ-Kirit, GJ-Kishan, GJ-Krishna, GJ-Krishna, GJ-Kusum, GJ-Madan, GJ-Manasi, GJ-Mangal, GJ-Mira, GJ-Mohan, GJ-Mukul, GJ-Nayan, GJ-Nirmal, GJ-Piyush, GJ-Prabha, GJ-Pratik, GJ-Purnima, GJ-Radhey, GJ-Ritesh, GJ-Rohini, GJ-Rohit, GJ-Sabarmati, GJ-Sandeep, GJ-Shila, GJ-Shreedeep, GJ-Shrinath, GJ-Snigdha, GJ-Sucheta, GJ-Sujit, GJ-Swati, GJ-Taapi, GJ-Tara, GJ-Vidya, GJ-Yashoda, ISFOC-BR1, ISFOC-BR2, ISFOC-BR3, ISFOC-BR7, ISFOC-BR8, KN-Basava, KN-Bharat, KN-Brindavan, KN-Chinmaya, KN-Kamala, KN-Kamanna, KN-Kasturi, KN-Kaveri, KN-Nandi, KN-Padmini, KN-Pampa, KN-Pankaj, KN-Radhey, KN-Ragini, KN-Rajani, KN-Rajeshwari, KN-Ranna, KN-Seema, KN-Seema-Light, KN-Seema, KN-Seeta, KN-Shankar, KN-Shravan, KN-Smita, KN-Sumitra, KN-Uma, KN-Vatapi, ML-Aathira, ML-Ambili, ML-Anakha, ML-Anjali, ML-Aparna, ML-Ashtamudi, ML-Aswathi, ML-Atchu, ML-AyilyamBold, ML-BeckalBold, ML-Bhavana, ML-Chandrika, ML-Chithira, ML-Devika, ML-Gauri, ML-Geethika, ML-Gopika, ML-Guruvayur, ML-Indulekha, ML-Jaya, ML-Jyothy, ML-Jyotsna, ML-Kala, ML-Kamini, ML-Kanika, ML-Karthika, ML-Kaumudi, ML-Keerthi, ML-Leela, ML-Malavika, ML-Mammiyoor, ML-Mayoori, ML-Nalini, ML-Nandini, ML-Nanditha, ML-Nila, ML-Onam, ML-Periyar, ML-Pooram, ML-Poornima, ML-Ravivarma, ML-Revathi, ML-Rohini, ML-Sabari, ML-Sankara, ML-Sarada, ML-Sruthy, ML-Sugatha, ML-Suparna, ML-Surya, ML-SwathyBold, ML-Thakazhi, ML-Theyyam, ML-Thiruvathira, ML-Thunchan, ML-Vaisali, ML-Varsha, ML-Vinay, ML-Visakham, ML-Vishu, ML-Yashasri, PN-Amar, PN-Baisakhi, PN-Baljit, PN-Bishan, PN-Chandra, PN-Chetan, PN-Deeler, PN-Dipak, PN-Gurudev, PN-Hira, PN-Jasbir, PN-Jasjit, PN-Jaspal, PN-Jeevan, PN-Joginder, PN-Kanvaljit, PN-Kapil, PN-Karan, PN-Karishma, PN-Kavita, PN-Komal, PN-Manjit, PN-Nanak, PN-Nitu, PN-Pratap, PN-Randhir, PN-Satabir, PN-Sonam, PN-Sukhabir, PN-Sushil, SD-Natraj, SD-Surekh, SH-Harmony, SH-Namal, SY25-Election, SY30-Jain, SY31-Mudras, SY32-Music, TB-Youtso (for Tibetan), TB1-Youtso, TL-Amma, TL-Anuradha, TL-Atreya, TL-Charminar, TL-Godavari, TL-Gurazada-BoIdItalic, TL-Harshapriya, TL-Hemalatha, TL-Krishna, TL-Nannaya, TL-Pratima, TL-Rayancha, TL-Tanmayi, TL-Tikkana, TL-Vennela, TL-Vishaka, TM-Abhirami, TM-Amala, TM-Appar, TM-Archana, TM-Aruna, TM-Arunagiri, TM-Avvai, TM-Bharathi, TM-Chanakya, TM-Chandra, TM-Chetan, TM-Chitra, TM-Gopur, TM-Heena, TM-Hema, TM-Ilango, TM-Kalyani, TM-Kamal, TM-Kamban, TM-Kannadasan, TM-Kapilan, TM-Komala, TM-Krishna, TM-Lalitha, TM-Lathika, TM-Madhu, TM-Madhuram, TM-Nakkeran, TM-Nambi, TM-Neha, TM-Padma, TM-Pattinathar, TM-Poornima, TM-Poovai, TM-Radhika, TM-Rajarajan, TM-Rama, TM-Ramiya, TM-Ratna, TM-Ravindra, TM-Rekha, TM-Seema, TM-Shiva, TM-Sudhir, TM-Swetha, TM-Umesh, TM-Valluvar, TM-Vaman, TM-Venu, TM-Virendra, Tarpobane-Black. [Google] [More]  ⦿

GNU Freefont (or: Free UCS Outline Fonts)
[Steve White]

The GNU Freefont is continuously being updated to become a large useful Unicode monster. GNU FreeFont is a free family of scalable outline fonts, suitable for general use on computers and for desktop publishing. It is Unicode-encoded for compatability with all modern operating systems. There are serif, Sans and Mono subfamilies. Also called the "Free UCS Outline Fonts", this project is part of the larger Free Software Foundation. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White (aka Stevan White) took over.

  • URW++ Design&Development GmbH. URW++ donated a set of 35 core PostScript Type 1 fonts to the Ghostscript project.
    • Basic Latin (U+0041-U+007A)
    • Latin-1 Supplement (U+00C0-U+00FF)
    • Latin Extended-A (U+0100-U+017F)
    • Spacing Modifier Letters (U+02B0-U+02FF)
    • Mathematical Operators (U+2200-U+22FF)
    • Block Elements (U+2580-U+259F)
    • Dingbats (U+2700-U+27BF)
  • Yannis Haralambous and John Plaice. Yannis Haralambous and John Plaice are the authors of Omega typesetting system, which is an extension of TeX. Its first release, aims primarily at improving TeX's multilingual abilities. In Omega all characters and pointers into data-structures are 16-bit wide, instead of 8-bit, thereby eliminating many of the trivial limitations of TeX. Omega also allows multiple input and output character sets, and uses programmable filters to translate from one encoding to another, to perform contextual analysis, etc. Internally, Omega uses the universal 16-bit Unicode standard character set, based on ISO-10646. These improvements not only make it a lot easier for TeX users to cope with multiple or complex languages, like Arabic, Indic, Khmer, Chinese, Japanese or Korean, in one document, but will also form the basis for future developments in other areas, such as native color support and hypertext features. ... Fonts for UT1 (omlgc family) and UT2 (omah family) are under development: these fonts are in PostScript format and visually close to Times and Helvetica font families.
    • Latin Extended-B (U+0180-U+024F)
    • IPA Extensions (U+0250-U+02AF)
    • Greek (U+0370-U+03FF)
    • Armenian (U+0530-U+058F)
    • Hebrew (U+0590-U+05FF)
    • Arabic (U+0600-U+06FF)
    • Currency Symbols (U+20A0-U+20CF)
    • Arabic Presentation Forms-A (U+FB50-U+FDFF)
    • Arabic Presentation Forms-B (U+FE70-U+FEFF)
  • Yannis Haralambous and Wellcome Institute. In 1994, The Wellcome Library The Wellcome Institute for the History of Medicine 183 Euston Road, London NW1 2BE, England, commissioned Mr. Haralambous to produce a Sinhalese font for them. We have received 03/09 official notice from Robert Kiley, Head of e-Strategy for the Wellcome Library, that Yannis' font could be included in GNU FreeFont under its GNU license: Sinhala (U+0D80-U+0DFF).
  • Young U. Ryu at the University of Texas at Dallas is the author of Txfonts, a set of mathematical symbols designed to accompany text typeset in Times or its variants. In the documentation, Young adresses the design of mathematical symbols: "The Adobe Times fonts are thicker than the CM fonts. Designing math fonts for Times based on the rule thickness of Times =,, +, /, <, etc. would result in too thick math symbols, in my opinion. In the TX fonts, these glyphs are thinner than those of original Times fonts. That is, the rule thickness of these glyphs is around 85% of that of the Times fonts, but still thicker than that of the CM fonts." Ranges: Arrows (U+2190-U+21FF), Mathematical Symbols (U+2200-U+22FF).
  • Valek Filippov added Cyrillic glyphs and composite Latin Extended A to the whole set of the abovementioned URW set of 35 PostScript core fonts, Ranges: Latin Extended-A (U+0100-U+017F), Cyrillic (U+0400-U+04FF).
  • Wadalab Kanji Comittee. Between April 1990 and March 1992, Wadalab Kanji Comittee put together a series of scalable font files with Japanese scripts, in four forms: Sai Micho, Chu Mincho, Cho Kaku and Saimaru. The font files were written in custom file format, while tools for conversion into Metafont and PostScript Type 1 were also supplied. The Wadalab Kanji Comittee has later been dismissed, and the resulting files can be now found on the FTP server of the Depertment of Mathematical Engineering and Information Physics, Faculty of Engineering, University of Tokyo: Hiragana (U+3040-U+309F), Katakana (U+30A0-U+30FF). Note that some time around 2009, the hiragana and katakana ranges were deleted.
  • Angelo Haritsis has compiled a set of Greek type 1 fonts. The glyphs from this source has been used to compose Greek glyphs in FreeSans and FreeMono. Greek (U+0370-U+03FF).
  • Yannis Haralambous and Virach Sornlertlamvanich. In 1999, Yannis Haralambous and Virach Sornlertlamvanich made a set of glyphs covering the Thai national standard Nf3, in both upright and slanted shape. Range: Thai (U+0E00-U+0E7F).
  • Shaheed Haque has developed a basic set of basic Bengali glyphs (without ligatures), using ISO10646 encoding. Range: Bengali (U+0980-U+09FF).
  • Sam Stepanyan created a set of Armenian sans serif glyphs visually compatible with Helvetica or Arial. Range: Armenian (U+0530-U+058F).
  • Mohamed Ishan has started a Thaana Unicode Project. Range: Thaana (U+0780-U+07BF).
  • Sushant Kumar Dash has created a font in his mother tongue, Oriya: Oriya (U+0B00-U+0B7F). But Freefont has dropped Oriya because of the absence of font features neccessary for display of text in Oriya.
  • Harsh Kumar has started BharatBhasha for these ranges:
    • Devanagari (U+0900-U+097F)
    • Bengali (U+0980-U+09FF)
    • Gurmukhi (U+0A00-U+0A7F)
    • Gujarati (U+0A80-U+0AFF)
  • Prasad A. Chodavarapu created Tikkana, a Telugu font family: Telugu (U+0C00-U+0C7F). It was originally included in GNU Freefont, but supoort for Telugu was later dropped altogether from the GNU Freefont project.
  • Frans Velthuis and Anshuman Pandey. In 1991, Frans Velthuis from the Groningen University, The Netherlands, released a Devanagari font as Metafont source, available under the terms of GNU GPL. Later, Anshuman Pandey from Washington University in Seattle, took over the maintenance of font. Fonts can be found on CTAN. This font was converted the font to Type 1 format using Peter Szabo's TeXtrace and removed some redundant control points with PfaEdit. Range: Devanagari (U+0900-U+097F).
  • Hardip Singh Pannu. In 1991, Hardip Singh Pannu has created a free Gurmukhi TrueType font, available as regular, bold, oblique and bold oblique form. Range: Gurmukhi (U+0A00-U+0A7F).
  • Jeroen Hellingman (The Netherlands) created a set of Malayalam metafonts in 1994, and a set of Oriya metafonts in 1996. Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. From private communication: "It is my intention to release the fonts under GPL, but not all copies around have this notice on them." Metafonts can be found here and here. Ranges: Oriya (U+0B00-U+0B7F), Malayalam (U+0D00-U+0D7F). Oriya was subsequently dropped from the Freefont project.
  • Thomas Ridgeway, then at the Humanities And Arts Computing Center, Washington University, Seattle, USA, (now defunct), created a Tamil metafont in 1990. Anshuman Pandey from the same university took over the maintenance of font. Fonts can be found at CTAN and cover Tamil (U+0B80-U+0BFF).
  • Berhanu Beyene, Prof. Dr. Manfred Kudlek, Olaf Kummer, and Jochen Metzinger from the Theoretical Foundations of Computer Science, University of Hamburg, prepared a set of Ethiopic metafonts. They also maintain the home page on the Ethiopic font project. Someone converted the fonts to Type 1 format using TeXtrace, and removed some redundant control points with PfaEdit. Range: Ethiopic (U+1200-U+137F).
  • Maxim Iorsh. In 2002, Maxim Iorsh started the Culmus project, aiming at providing Hebrew-speaking Linux and Unix community with a basic collection of Hebrew fonts for X Windows. The fonts are visually compatible with URW++ Century Schoolbook L, URW++ Nimbus Sans L and URW++ Nimbus Mono L families, respectively. Range: Hebrew (U+0590-U+05FF).
  • Vyacheslav Dikonov made a Braille unicode font that could be merged with the UCS fonts to fill the 2800-28FF range completely (uniform scaling is possible to adapt it to any cell size). He also contributed a free Syriac font, whose glyphs (about half of them) are borrowed from the free Carlo Ator font. Vyacheslav also filled in a few missing spots in the U+2000-U+27FF area, e.g., the box drawing section, sets of subscript and superscript digits and capital Roman numbers. Ranges: Syriac (U+0700-U+074A), Box Drawing (U+2500-U+257F), Braille (U+2800-U+28FF).
  • Panayotis Katsaloulis helped fixing Greek accents in the Greek Extended area: (U+1F00-U+1FFF).
  • M.S. Sridhar. M/S Cyberscape Multimedia Limited, Mumbai, developers of Akruti Software for Indian Languages (http://www.akruti.com/), 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). You can download the fonts from the Free Software Foundation of India WWW site. Their original contributions to Freefont were
    • 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)
    Oriya, Kannada and Telugu were dropped from the GNU Freefont project.
  • DMS Electronics, The Sri Lanka Tipitaka Project, and Noah Levitt. Noah Levitt found out that the Sinhalese fonts available on the site metta.lk are released under GNU GPL. These glyphs were later replaced by those from the LKLUG font. Finally the range was completely replaced by glyphs from the sinh TeX font, with much help and advice from Harshula Jayasuriya. Range: Sinhala (U+0D80-U+0DFF).
  • Daniel Shurovich Chirkov. Dan Chirkov updated the FreeSerif font with the missing Cyrillic glyphs needed for conformance to Unicode 3.2. The effort is part of the Slavjanskij package for Mac OS X. range: Cyrillic (U+0400-U+04FF).
  • Abbas Izad. Responsible for Arabic (U+0600-U+06FF), Arabic Presentation Forms-A, (U+FB50-U+FDFF), Arabic Presentation Forms-B (U+FE70-U+FEFF).
  • Denis Jacquerye added new glyphs and corrected existing ones in the Latin Extended-B (U+0180-U+024F) and IPA Extensions (U+0250-U+02AF) ranges.
  • K.H. Hussain and R. Chitrajan. Rachana in Malayalam means to write, to create. Rachana Akshara Vedi, a team of socially committed information technology professionals and philologists, has applied developments in computer technology and desktop publishing to resurrect the Malayalam language from the disorder, fragmentation and degeneration it had suffered since the attempt to adapt the Malayalam script for using with a regular mechanical typewriter, which took place in 1967-69. K.H. Hussein at the Kerala Forest Research Institute has released "Rachana Normal" fonts with approximately 900 glyphs required to typeset traditional Malayalam. R. Chitrajan apparently encoded the glyphs in the OpenType table. In 2008, the Malayalam ranges in FreeSerif were updated under the advise and supervision of Hiran Venugopalan of Swathanthra Malayalam Computing, to reflect the revised edition Rachana_04. Range: Malayalam (U+0D00-U+0D7F).
  • Solaiman Karim filled in Bengali (U+0980-U+09FF). Solaiman Karim has developed several OpenType Bangla fonts and released them under GNU GPL.
  • Sonali Sonania and Monika Shah covered Devanagari (U+0900-U+097F) and Gujarati (U+0A80-U+0AFF). 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, lead 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 localisation project at C-DAC Mumbai (formerly National Centre for Software Technology); funded by TDIL, Govt. of India.
  • Pravin Satpute, Bageshri Salvi, Rahul Bhalerao and Sandeep Shedmake added these Indic language cranges:
    • 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)
    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. Note that Oriya was dropped from the Freefont project.
  • Kulbir Singh Thind added Gurmukhi (U+0A00-U+0A7F). Dr. Kulbir Singh Thind designed a set of Gurmukhi Unicode fonts, AnmolUni and AnmolUni-Bold, which are available under the terms of GNU license from the Punjabu Computing Resource Center.
  • Gia Shervashidze added Georgian (U+10A0-U+10FF). Starting in mid-1990s, Gia Shervashidze designed many Unicode-compliant Georgian fonts: Times New Roman Georgian, Arial Georgian, Courier New Georgian.
  • Daniel Johnson. Created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono! And never to be outdone by himself, then did UCAS Extended and Osmanya.... What next?
    • Armenian (serif) (U+0530-U+058F)
    • Cherokee (U+13A0-U+13FF)
    • Unified Canadian Aboriginal Syllabics (U+1400-U+167F)
    • UCAS Extended (U+18B0-U+18F5)
    • Kayah Li (U+A900-U+A92F)
    • Tifinagh (U+2D30-U+2D7F)
    • Vai (U+A500-U+A62B)
    • Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)
    • Osmanya (U+10480-U+104a7)
  • George Douros, the creator of several fonts focusing on ancient scripts and symbols. Many of the glyphs are created by making outlines from scanned images of ancient sources.
    • Aegean: Phoenecian (U+10900-U+1091F).
    • Analecta: Gothic (U+10330-U+1034F)
    • Musical: Byzantine (U+1D000-U+1D0FF)&Western (U+1D100-U+1D1DF)
    • Unicode: many miscellaneous symbols, miscellaneous technical, supplemental symbols, and mathematical alphanumeric symbols (U+1D400-U+1D7FF), Mah Jong (U+1F000-U+1F02B), and the outline of the domino (U+1F030-U+1F093).
  • Steve White filled in a lot of missing characters, got some font features working, left fingerprints almost everywhere, and is responsible for these blocks: Glagolitic (U+2C00-U+2C5F), Coptic (U+2C80-U+2CFF).
  • Pavel Skrylev is responsible for Cyrillic Extended-A (U+2DEO-U+2DFF) as well as many of the additions to Cyrillic Extended-B (U+A640-U+A65F).
  • Mark Williamson made the MPH 2 Damase font, from which these ranges were taken:
    • Hanunóo (U+1720-U+173F)
    • Buginese (U+1A00-U+1A1F)
    • Tai Le (U+1950-U+197F)
    • Ugaritic (U+10380-U+1039F)
    • Old Persian (U+103A0-U+103DF)
  • Primoz Peterlin 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)
  • Jacob Poon submitted a very thorough survey of glyph problems and other suggestions.
  • Alexey Kryukov made the TemporaLCGUni fonts, based on the URW++ fonts, from which at one point FreeSerif Cyrillic, and some of the Greek, was drawn. He also provided valuable direction about Cyrillic and Greek typesetting.
  • The Sinhala font project has taken the glyphs from Yannis Haralambous' Sinhala font, to produce a Unicode TrueType font, LKLUG. These glyphs were for a while included in FreeFont: Sinhala (U+0D80-U+0DFF).

    Fontspace link. Crosswire link for Free Monospaced, Free Serif and Free Sans. Download link. [Google] [More]  ⦿

  • Hashim Padiyath Mohemmadali

    Indian type designer (b. 1969) from Cochin in Kerala. He designed IndusLL (1994, a roman typeface with features of Lithos) for Linotype's TakeType library "based on the still undeciphered pictographic script of the Indus Valley civilization, circa 5000 BC". He designed the dingbat typeface Chihnangal, and the following commercial Malayalam fonts: Puthuma, Unniyarcha, Indulekha, Ravivarma, Ambili, Kingini, Thulasi, Orma, Harisri, Atham, Aarcha, Unniyarcha, Nila, Chirutha, Thumba, Vartha&Pampa. He studied under R.K. Joshi. He runs Design Difference, which has created these typefaces (text almost literally taken from their site):

    • While working at C-DAC Gist, Pune during 1993-1994, Hashim P M had designed the monoweight semi-condensed Indulekha in 6 variants (Normal, Oblique, Bold, Bold Oblique, Heavy and Heavy Oblique), the calligraphic script Ravivarma in 4 variants (Normal, Italic, Bold and Bold Italic) and the calligraphic serifed Ambili in 4 variants (Normal, Italic, Bold and Bold Italic) apart from Chihnangal a collection of Symbols and Cliparts pertaining to Kerala. Indulekha has become the most favourite display typeface in Malayalam, lapped up by advertisements and publications, Ravivarma is the chosen one for invitations and citations while Ambili retains its uniqueness as the first serif typeface in Malayalam and is used only when a touch of class is asked for.
    • While working at Malayala Manorama, Kottayam during 1994-1997, Hashim P M had designed 8 exclusive Malayalam typefaces for them which are stile in use and determine their typographic flavour after several layout revamp exercises. Vartha, Kingini, Puthuma, Chirutha, Nila, Thulasi, Aarcha and Unniyarcha belong to text and display categories. Unniyarcha was used as a text typeface in the daily only for a brief time, while its display counterpart Aarcha is still their headline typeface along with Kingini. The group's other publications including Vanitha, Manorama Weekly, Balarama, Karshakasri, Bhashaposhini, Yearbook also use these typefaces.
    • While redesigning Mathrubhumi Daily, its was imperative that their decadent typefaces were also given a contemporary flavour. They took up the challenge, cleaned up their half-century-old designs and made a whole new family out of it which was suited for web-offset printing on newsprint. Mathrubhumi 760 and 762 were the final products which take less space and prints better. For Mathrubhumi Weekly, a new monoweight typeface (Mathrubhumi 560) was created which worked well for text and display and which followed their unique keymap. The end result was so appealing that even the daily and some of their magazines have started using it extensively. Ambadi, a typeface they had developed earlier was used in the recent redesign of Mathrubhumi Weekly.
    • Thejas, Malayalam's youngest daily wanted a brand new headline typeface to announce that they are different. Thejas, the headline typeface they designed for them is compressed and dark enough to stand out in the crowd. Instead of giving a lighter version of this, they designed Kadali, a second headline typeface which is more conventional, albeit with a semi-condensed form. Together they create the necessary visual tension in headlines, making Thejas one of the best-looking dailies in the language. Later they also developed an expanded version of Thejas for them.
    • For the Signage design of Amrita Institute of Medical Sciences, Cochin they needed a typeface that matched with the Roman typeface wde had selected to use. They developed Amrita modifying Keli. Sakshi is inspired by communist wall-grafitti letters with a dripping paint-brush touch. Ambadi has curled terminals and ink-traps at junctions. Pingala is inspired by DIN Mittleschrift and its bare features.
    • They had designed a headline typeface for Deepika daily (the oldest in Malayalam) when we undertook the redesign of the daily. Deepika (nee Atham) is a robust typeface with condensed form loosely inspired by Frankin Gothic. A Normal and Bold version with Oblique make a strong family. The typeface is still the main display typeface for the group's publications even after so many years. They consider it among one of their best type designs to date. They also licensed Orma on a non-exclusive basis to them during the project.
    • The display typeface Mangalam was designed for Mangalam Group of Publications when wde redesigned their daily. Thick and thin and condensed in nature, the typeface is currently used by the group in all their publications. They have also licensed Pampa on a non-exclusive basis to Mangalam, which has also become a hot favourite in their publications.
    • They developed Thumba as a corporate typeface for D C Books after wde used a draft version of it in the Malayalam CD-ROM Encyclopedia wde developed for them. The very modern Thumba is monoweight, sufficiently expanded and has a relaxed air about it. Regular, Bold and Heavy with their Obliques make a handsome family. Thumba is loosely inspired by Frutiger and is one of their best type designs to date. They had also licensed Pampa and Orma on a non-exclusive basis, for use in their publications. When they were redesigning and streamlining their corporate visual identity, they also put together their logos and symbols as a handy font D C Logos.

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

    Hindi Rinny

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

    Hiran Venugopalan

    Engineering student (Bachelor of Technology degree from Vidya Academy of Science and Technology, University of Calicut) and free software advocate who has had a hand in setting up PLUS, FSUGTSR, GNU Labs, FCI, moving republic and Swathanthra Malayalam Computing. Creator of the free handwriting font Rufscript (2007), entirely made with open source tools: GIMP, Inkscape, Font Forge, and GEdit. The letters are based on the hand of Lithu K. Kumar. Kernest links: Lithu K Kumar, Hiran Venugopalan. He is working on Dyuthi, an ornamental Malayalam Unicode font, and on Perizia, a non-symmetric ornamental typographic Unicode font. [Google] [More]  ⦿

    Hussain K.H.

    Designer of the free Malayalam font Rachana. [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 / Fontshare 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 and the humanist sans typeface family Litmus.

    Typefaces from 2019 by Rajpurohit: Author (humanist sans). Anonymous typefaces at ITF that year include Prachar (an all caps marker pen font).

    In 2021, ITF published the reverse stress neo-grotesk typeface families Clash Display and Clash Grotesk. [Google] [MyFonts] [More]  ⦿


    Jump page for most Indian languages: Telugu, Bengali, Gurmukhi, Oriya, Malayalam, Gujurati, Tamil, Kannada, Sanskrit, Marathi and Hindi. [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]  ⦿

    [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]  ⦿


    Free software. The IndiX library contains the IndiX shaping engine that converts Indic text in Unicode to Glyphs from OpenType fonts. It does conversions (UTF-8 to UCS-2), tagging of the text with script and syllable, reordering of logical syllables to visual syllables, and conversion of the visual syllable of characters to a renderable syllable of glyphs. IndiX supports nine Indic scripts and comes with the required Saral series of OpenType fonts. Vedic Sanskrit is added. The IndiX library is used in enabling X11 for Indic text and in the IndiX applications, oprint, netprint. 'oprint' is a tool which converts Indic text to PostScript using OpenType font. When you download the package, you can find these free truetype fonts by R.K. Joshi and his team at the Centre for Development of Advanced Computing, Mumbai, all dated 2005:

    • SaralBengaliSans (with Vinay Saynekar)
    • SaralGujaratiSans (with Vinay Saynekar)
    • SaralGurumukhiSans (with Omkar Shende)
    • SaralHindi.ttf
    • SaralHindiSans
    • SaralKannadaSans
    • SaralMalayalamSans (with Rajith Kumar K.M.)
    • SaralOriyaSans (with Rajith Kumar K.M.)
    • SaralTamil.ttf
    • SaralTamilRoman (with Rajith Kumar K.M.
    • assisted by Ms. Jui Mhatre and Ms. Supriya Kharkar)
    • SaralTeluguSans (with Omkar Shende)
    • VS190205 (also called VedicSanskrit).
    [Google] [More]  ⦿

    [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]  ⦿

    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]  ⦿


    This site has downloads of Utkal (2003, a free Oriya font by Andy White), ThoolikaUnicode (for Malayalam: Supersoft, Computer Software R&D Centre, Kesavadasapuram, Thiruvananthapuram, Kerala) and Bangla (2003). [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]  ⦿

    Jeroen Hellingman

    Dutch creator of an Oriya metafont (1996-1998). From the same source, Malayalam PostScript and TrueType fonts, and Tamazight (Berber) PostScript and TrueType fonts. He also created Malayalam metafonts in 1994 (and subsequently Malayalam PostScript and TrueType fonts), a Unicode Shapes font (TeX, PostScript, TrueType), and Tamazight (Berber) PostScript and TrueType fonts. Home page. Metafonts can be found here and here. His Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. Jeroen says: It is my intention to release the fonts under GPL, but not all copies around have this notice on them. The GNU Freefont project included his fonts for the ranges of Oriya (U+0B00-U+0B7F) and Malayalam (U+0D00-U+0D7F). Subsequently, the GNU Freefont project dropped all contributions and support for Oriya. [Google] [More]  ⦿

    Jishnu Chandran

    Kozhikode, India-based designer of a Malayalam font based upon the Latin font Vinque (2019). [Google] [More]  ⦿

    Joana Maria Correia da Silva
    [Nova Type Foundry]

    [MyFonts] [More]  ⦿

    John Paul Xavier

    Bangalore, India-based designer of the Malayalam font Thanima (2016). [Google] [More]  ⦿

    Jothish John

    Dallas, TX-based creator of Malayalam Origami Type (2012).

    Behance link. [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]  ⦿

    Karel Piska

    [More]  ⦿


    A Malayalam font distributed by Microsoft. Hashim Padiyath Mohemmadali (Cochin, Kerala) explains its uselessness: Kartika intends to be a Malayalam font, but isn't as the shapes are very unlike any accepted letterforms in Malayalam. I am not sure if it works better as a Malaysian font! It is one of those Indic fonts which has been slapped on us by Microsoft typography as default, but works more as an insult to the language and script. When we Malayalis see it being used increasingly on blogs and sites, being the default Malayalam typeface, we shudder in disgust and self-pity. Fortunately its Roman portion is better, being a mix of Akzidenz Grotesk, Helvetica, Univers, Arial, Verdana etc. To which Sii Daniels (Microsft) replies: The Latin portion of the Windows Indic UI fonts are lifted from "Microsoft Sans Serif" which is the outline verison of the "MS Sans" Windows 3.0 era bitmap font, which was originally named "Helv". Helv was based on bitmaps licensed from Bitstream but hand modified by a former Microsoft engineer who is now the minority owner of the Seattle Mariners baseball club. [Google] [More]  ⦿

    Kaumudi Fonts

    Free Malayalam truetype font, Thoolika by Supersoft, Computer Software R&D Centre, Kesavadasapuram, Trivandrum. [Google] [More]  ⦿


    Free font Kerala. [Google] [More]  ⦿

    Kerala Government

    Free Malayalam fonts at the Kerala Government site include Meera, Rachana, Dyuthi, Suruma, Raghu, and Anjalai Old Lipi. All bt the last one of these Malayalam Unicode fonts are by the Swathantra Malayalam Computing team. Another font by this team is Kalyanni. [Google] [More]  ⦿

    Kerala Keralite Fonts

    Jjayan.ttf from Josekutty and Malayalam.ttf from Sam at SuperVHS. And Keralite.ttf. [Google] [More]  ⦿


    ML_TTKarthika_Normal is a free Malayalam TrueType font. [Google] [More]  ⦿


    Free Kerala TrueType font. [Google] [More]  ⦿

    Keralite Font

    Free Kerala font (truetypr). [Google] [More]  ⦿

    Kevin Siji

    Designer of the Malayalam Unicode font Anjali (2004). [Google] [More]  ⦿

    K.H. Hussain

    [More]  ⦿

    K.H. Hussain

    Dr. P. Vijayakumaran Nair and K.H. Hussain created Haritha (Malayalam font) in 2004 for the Harithakam editor. Download also here. [Google] [More]  ⦿

    Krishna Kiran

    Mumbai, India-based designer of the blackletter typeface Gothic Malayalam (2017). [Google] [More]  ⦿


    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]  ⦿

    Laval Chabon

    Québec City-based creator (b. 1952) of the octagonal font Vegesignes (2009, FontStruct). This font also appeared in 2010 at Open Font Library. It consists of almost 7,615 glyphs.As of 2014, 188 languages care covered, inclufing Afrikaans, Arabic, Archaic Greek Letters, Armenian, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Bengali, Catalan, Central European, Cherokee, Devanagari, Dutch, Euro, Farsi, Georgian, Gujarati, Hanunó'o, Hebrew, Igbo Onwu, IPA, Kannada, Kazakh, Lao, Malayalam, Myanmar, New Tai Lue, N'Ko, Ogham, Oriya, Pashto, Pinyin, Polytonic Greek, Romanian, Runic, Sindhi, Syriac, Tai Le, Tai Tham (Lanna), Telugu, Thaana, Thai, Tibetan, Turkish, Uighur, Unified Canadian Aboriginal Syllabics, Urdu, Vietnamese, Western European.

    Dafont link. Fontspace link. Aka Leaurend-Lavie-Hyppere (Laval) Chabon and as Joseph Rosaire Laval Frandey Leaurend Lavie Hyper Chabom. [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]  ⦿

    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.

    Designer of Anek Malayalam and Anek Kannada (with Vaishnavi Murthy) as part of Ek Type's award-winning family Anek.

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

    Malayala Manorama

    Free Malayala font called Manorama. All formats. [Google] [More]  ⦿

    Malayalam and Tex--Latex

    Malayalam fonts and macros for use with Tex and Latex. Latest installation (2005) by Alex A.J. Fre type one families include Rachana (the weights are called Ra1-Bold, etcetera), and Keli (2002, designed by Hashim P. M. and copyright of the Design Difference&TUG India). [Google] [More]  ⦿

    Malayalam Cinema

    Free Malayalam font called Keralite. [Google] [More]  ⦿

    Malayalam Language Fonts, Editors and Publishing Aides

    Page by Ben Philip from the Kerala Organization. Has Malayalam font links, and one free font file with the free Janaranjani and Gayathri fonts from Ethno Multimedia (truetype and type 1). [Google] [More]  ⦿

    Malayalam PostScript font

    Font called Malafont. Also two fonts called KannadaFont. [Google] [More]  ⦿

    Malayalam vaarika

    The N-Malayalam font in truetype for PC. By Malayalam Vaarika Design. Postscript name Ssoft's-VeenaLight-PS. [Google] [More]  ⦿


    Free Malayalam truetype/type 1 font called Manorama. All platforms. [Google] [More]  ⦿

    Martin India Kerala

    Designer of the free font Malayalam (1998). [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]  ⦿


    Free font Mathrubhumi for Malayalam. TrueType. [Google] [More]  ⦿


    Download the Malayalam font ML-TTKarthika (1995). See also here. [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]  ⦿

    Mohith Mohan

    Palakkad, India-based designer of the Latin / Malayalam typeface Hongcam (2017). [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: Malayalam

    Malayalam fonts at Agfa Monotype: ITR Aalekh, ITR Dweep, ITR Javahar, ITR Madhu, Monotype Malayalam, Monotype Malayalam News, ITR Poorna, ITR Vishwa. [Google] [More]  ⦿

    MPB fonts

    Free Malayalam font DeepaBT by MPB fonts. [Google] [More]  ⦿

    Muneef Hameed

    Calicut, Bangalore, India-based designer the hand-printed Malayalam font Puyapla (2013). Behance link. [Google] [More]  ⦿

    Murali Dharin

    Kochi, India-based designer of the Saul Bass-style typeface Amma (2016) for the Malayalam language. Behance link. [Google] [More]  ⦿

    N. Vyapron Shaji

    N.V. Shaji made truetype fonts based on the metafonts of Jeroen Hellingman: MalOtf, malayalam, nonstdml. In a subdirectory, pick up the AkrutiMal family for Malayalam by Cyberscape Multimedia Limited, Bangalore, made in 2002. Finally, there is Akaash (2002) by Sayamindu Dasgupta and Palash Baran Pal (who added the Bengali glyphs). [Google] [More]  ⦿

    Natanael Gama
    [Ndiscover (or: Ndiscovered; was: Natenine Type)]

    [MyFonts] [More]  ⦿

    Ndiscover (or: Ndiscovered; was: Natenine Type)
    [Natanael Gama]

    Ndiscovered (and before that, Natenine Type) is Natanael Gama's site in Lisbon (earlier, in Caldas da Rainha), Portugal. Born in 1988, Natanael's first font is Chumbo (2010). Joana Correia joined forces in Ndiscovered.

    In 2011, Natanel Gama designed Intimacy and Exo (free at Google Web Fonts). Free download. Exo is a rounded techno font family in 9 styles. See also Exo2 at Google Web Fonts, Open Font Library, and Fontspace. In 2015, he added the futuristic slab serif Exo Slab Pro and the beautiful rounded elliptical Exo Soft. A custom version of Exo2 was developed for Dutch Tv Channel BNNVARA in 2017. The free Ezarion (2018) completes the Exo2 family.

    In 2012, he added the roman inscription style typeface family Cinzel, classic, well-proportioned and just drop dead gorgeous. And free. See also Google Web Fonts and the CTAN site. There is also the Cinzel Decorative subfamily, and a flowery decorative caps version of this by Nguyen Luan (2018).

    Typefaces from 2013: Genica (a tweetware signage script).

    Typefaces from 2014: Genica Pro, Mangerica, Mangerica Italic. Definitely, a very Latin sans, described by Natanael as follows: This design incorporates different styles into a consistent look. A pinch of script, a little of geometric and some humanist shapes as well create a very distinguishable sans-serif.

    Typefaces from 2015: Taylor Sans (free at Open Font Library).

    In 2016, Joana Correia and Natanael Gama co-designed the Latin / Tamil typeface Arima Madurai (free at Google Fonts). Their Arima Koshi (2016) covers Tamil, Malayalam and Latin. In 2016, Joana Correia and Natanael Gama co-designed the connected typeface Tidy Script at Indian Type Foundry.

    Typefaces from 2017: Bruta Pro (Natanael Gama), Bruta Global (Natanael Gama), Artigo Global (a Venetian typeface by Joana Correia), Artigo Pro (a Venetian typeface by Joana Correia).

    Typefaces from 2018: Opake (an experimental typeface in which the outlines are made with a single continuous looping curve), Feltro (brush script), Mastro Sans, Square Grotesk (free at Open Font Library), Point (a great geometric sans), Nazare.

    Typefaces from 2019: Worker 3D, Ribbon Generator (free), Nazare Exuberant, Point Soft (a rounded sans family), Worker (an industrial all caps font family).

    Typefaces from 2020: Thrillers (a display typeface for crime novel titles), Gluy (a 20-style almost geometric sans family that has a splendid hairline weight and a vigorous black style), Mastro (a 72-style text family with optical sizing).

    Typefaces from 2021: Sinete (interlocking monograms), Fastpen (a monoline script).

    Fontsquirrel link. Fontspace link. Behance link. Creative Market link. Another Behance link. [Google] [MyFonts] [More]  ⦿


    A Malayalam font distributed by Microsoft. Hashim Padiyath Mohemmadali (Cochin, Kerala) explains its uselessness: When the new font Nirmala was announced with Windows 8, one expected it to be better than Kartika, its unaesthetic predecessor with unacceptable shapes. But Nirmala Malayalam adds insult to the injury inflicted upon earlier. Sample these: 1. One conjuct has a missing stem 2. Has a confusing stroke ending style 3. Invents a clumsy way to handle descender portions 4. Substandard design quality, no optical corrections or proper stroke modulation. [Google] [More]  ⦿


    A large free font family released under the Apache license at Google Web Fonts, and developed by Monotype's Steve Matteson and a team of type designers. Designed between 2012 and 2016, this typeface covers over 800 languages and 100 writing scripts. URL with details. Noto stands for no tofu, i.e., no white boxes that represent unknown characters. The fonts are property of Monotype, with the exception of Noto Khmer and Noto Lao, which belong to Danh Hong.

    Noto Sans and Noto Serif cover Afar, Abkhazian, Afrikaans, Asturian, Avaric, Aymara, Azerbaijani-AZERBAIJAN, Bashkir, Bambara, Belarusian, Bulgarian, Bislama, Bini, Breton, Bosnian, Buriat, Catalan, Chechen, Chamorro, Mari (Russia), Corsican, Czech, Church Slavic, Chuvash, Welsh, Danish, German, Modern Greek (1453-), English, Esperanto, Spanish, Estonian, Basque, Finnish, Fijian, Faroese, French, Fulah, Friulian, Western Frisian, Irish, Scottish Gaelic, Galician, Guarani, Manx, Hausa, Hawaiian, Hiri Motu, Croatian, Hungarian, Interlingua (International Auxiliary Language Association), Igbo, Indonesian, Interlingue, Inupiaq, Ido, Icelandic, Italian, Kara-Kalpak, Kikuyu, Kazakh, Kalaallisut, Kurdish-ARMENIA, Kumyk, Komi, Cornish, Kirghiz, Latin, Luxembourgish, Lezghian, Lingala, Lithuanian, Latvian, Malagasy, Marshallese, Maori, Macedonian, mo, Maltese, Norwegian BokmÃ¥l, Low German, Dutch, Norwegian Nynorsk, Norwegian, South Ndebele, Pedi, Nyanja, Occitan (post 1500), Oromo, Ossetian, Polish, Portuguese, Romansh, Romanian, Russian, Yakut, Scots, Northern Sami, Selkup, sh, Shuswap, Slovak, Slovenian, Samoan, Southern Sami, Lule Sami, Inari Sami, Skolt Sami, Somali, Albanian, Serbian, Swati, Southern Sotho, Swedish, Swahili (macrolanguage), Tajik, Turkmen, Tagalog, Tswana, Tonga (Tonga Islands), Turkish, Tsonga, Tatar, Twi, Tuvinian, Ukrainian, Uzbek, Venda, Vietnamese, Volapük, Votic, Walloon, wen, Wolof, Xhosa, Yapese, Yoruba, Zulu, Akan, Aragonese, ber-dz, Crimean Tatar, Kashubian, Ewe, Fanti, Filipino, Upper Sorbian, Haitian, Herero, Javanese, Kabyle, Kuanyama, Kanuri, Kurdish-TURKEY, Kwambi, Ganda, Limburgan, Mongolian-MONGOLIA, Malay (macrolanguage), Nauru, Ndonga, Navajo, pap-an, Papiamento-ARUBA, Quechua, Rundi, Kinyarwanda, Sardinian, Sango, Shona, Sundanese, Tahitian, Zhuang.

    Non-Latin scrips include Noto Armenian, Noto Georgian, Noto Carian, Noto Greek, Noto Devanagari, Noto Ethiopic, Noto Glagolitic, Noto Hebrew, Noto Sans Imperial Aramaic, Noto Sans Lisu, Noto Sans Lycian, Noto Sans Lydian, Noto Sans Old South Arabian, Noto Sans Osmanya, Noto Sans Phoenician, Noto Sans Shavian, Noto Sans Tamil, Noto Sans Thai, Noto Serif Thai, Noto Sans Kannada, Noto Sana Telugu, Noto Sans Malayalam, Noto Sans Cherokee, Noto Sans Orya (for Odia), Noto Sans Bengali.

    Other typefaces in the package include Arima, , and Tinos.

    At CTAN, one can find Noto with full TeX support.

    At Open Font Library, one can download Noto Nastaliq Urdu (2014), which covers Arabic, Farsi, Pashto and Urdu.

    The fonts, as of October 2016: Noto Sans, Noto Serif, Noto Color Emoji, Noto Emoji, Noto Kufi Arabic, Noto Mono, Noto Naskh Arabic, Noto Nastaliq Urdu, Noto Sans Armenian, Noto Sans Avestan, Noto Sans Balinese, Noto Sans Bamum, Noto Sans Batak, Noto Sans Bengali, Noto Sans Brahmi, Noto Sans Buginese, Noto Sans Buhid, Noto Sans CJK JP, Noto Sans CJK KR, Noto Sans CJK SC, Noto Sans CJK TC, Noto Sans Canadian Aboriginal, Noto Sans Carian, Noto Sans Cham, Noto Sans Cherokee, Noto Sans Coptic, Noto Sans Cuneiform, Noto Sans Cypriot, Noto Sans Deseret, Noto Sans Devanagari, Noto Sans Egyptian Hieroglyphs, Noto Sans Ethiopic, Noto Sans Georgian, Noto Sans Glagolitic, Noto Sans Gothic, Noto Sans Gujarati, Noto Sans Gurmukhi, Noto Sans Hanunoo, Noto Sans Hebrew, Noto Sans HK, Noto Sans Imperial Aramaic, Noto Sans Inscriptional Pahlavi, Noto Sans Inscriptional Parthian, Noto Sans Javanese, Noto Sans Kaithi, Noto Sans Kannada, Noto Sans Kayah Li, Noto Sans Kharoshthi, Noto Sans Khmer, Noto Sans Lao, Noto Sans Lepcha, Noto Sans Limbu, Noto Sans Linear B, Noto Sans Lisu, Noto Sans Lycian, Noto Sans Lydian, Noto Sans Malayalam, Noto Sans Mandaic, Noto Sans Meetei Mayek, Noto Sans Mongolian, Noto Sans Myanmar, Noto Sans NKo, Noto Sans New Tai Lue, Noto Sans Ogham, Noto Sans Ol Chiki, Noto Sans Old Italic, Noto Sans Old Persian, Noto Sans Old South Arabian, Noto Sans Old Turkic, Noto Sans Oriya, Noto Sans Osmanya, Noto Sans Phags Pa, Noto Sans Phoenician, Noto Sans Rejang, Noto Sans Runic, Noto Sans Samaritan, Noto Sans Saurashtra, Noto Sans Shavian, Noto Sans Sinhala, Noto Sans Sundanese, Noto Sans Syloti Nagri, Noto Sans Symbols, Noto Sans Syriac Eastern, Noto Sans Syriac Estrangela, Noto Sans Syriac Western, Noto Sans Tagalog, Noto Sans Tagbanwa, Noto Sans Tai Le, Noto Sans Tai Tham, Noto Sans Tai Viet, Noto Sans Tamil, Noto Sans Telugu, Noto Sans Thaana, Noto Sans Thai, Noto Sans Tibetan, Noto Sans Tifinagh, Noto Sans Ugaritic, Noto Sans Vai, Noto Sans Yi, Noto Serif Armenian, Noto Serif Bengali, Noto Serif Devanagari, Noto Serif Georgian, Noto Serif Gujarati, Noto Serif Kannada, Noto Serif Khmer, Noto Serif Lao, Noto Serif Malayalam, Noto Serif Tamil, Noto Serif Telugu, Noto Serif Thai. Late additions include Noto Sans and Serif for Chinese, Japanese and Korean, developed at Adobe.

    In 2015, Adam Twardoch placed the Noto fonts on Github under the name Toto Fonts. A question of licenses. Toto Han fonts, 123MB worth of them. P>In 2018, Monotype published a fork of Noto Sans Display, called Avrile Sans (free at Open Font Library). See also Avrile Sans Condensed (2015) and Avrile Serif (2018).

    Github repositories. Open Font Library link. CTAN link. [Google] [More]  ⦿

    Nova Type Foundry
    [Joana Maria Correia da Silva]

    Graduate of the University of Reading in 2011, who was born in Porto, Portugal. Joana worked as an architect and graphic designer in Portugal. She currently lives in the UK and/or Porto, Portugal. Since 2011, she teaches type design at ESAD (Escola Superior de Artes e Design).

    In 2010, under the supervision of Dino dos Santos at ESAD, Joana designed an unnamed bastarda / chancery typeface that is based on originals by Francisco Lucas.

    Creator of the script typeface Violet (2011).

    Artigo (2011) is an angular type family for Latin, Hindi and Greek that was created during her studies at Reading. Artigo won Second Prize for Greek typefaces at Granshan 2011. It also won an award at TDC Typeface Design 2018. In 2017, Ndiscovered published Artigo Global and Artigo Pro. Artigo Display followed in 2018. In 2020, Nova Type Foundry republished Artigo, Artigo Display.

    In 2012, she published the didone text typeface Cantata One at Google Web Fonts. Quando (Google Web Fonts) is a serifed text typeface inspired by brushy handwritten letters seen on an Italian poster from the second world war.

    In 2013, at MSTF Partners, a Portuguese consultancy, she created Writers Font (2013). This is a script typeface by Joana Correia that combines the handwriting of famous Portuguese authors. For example the A is by José Luis Peixoto, the B by José Saramago and the C by António Lobo Antunes. Link with the story.

    Still in 2013, she showed an unnamed unicase sans typeface and participated in the Canberra typeface competition.

    In 2014, she made the round connected script typeface Jasmina FY (Fontyou), the Google Web Font Karma (for Latin and Devanagari: Karma is an Open Source multi-script typeface supporting both the Devanagari and the Latin script. It was published by the Indian Type Foundry; see also Open Font Library), and Canberra FY (at Fontyou: a short-serifed typeface family).

    In 2015, Adrien Midzic and Joana Correia co-designed Saya Serif FY. Still in 2015, she published the humanist sans typeface family Vyoma at Indian Type Foundry. Amulya (2015-2021) is another humanist sans, now in 8 styles with two variable fonts, published by Correia at Indian Type Foundry's Fontshare.

    In 2016, Joana Correia and Natanael Gama co-designed the Latin / Tamil typeface Arima Madurai (free at Google Fonts). Their Arima Koshi (2016) covers Tamil, Malayalam and Latin.

    In 2016, Joana Correia and Natanael Gama co-designed the connected typeface Tidy Script at Indian Type Foundry.

    In 2017, Joana published Laca Pro: Laca is a semi-sans serif inspired by retro Portuguese packaging of soaps. Laca is the Portuguese word for hairspray. Free download. Laca Text (2018) is a sans serif version of Laca. For Nova Type versions, see Laca (2019) and Laca Pro (2020). The latter versions cover Greek and Cyrillic as well.

    In 2018, Joana published the soft script typeface Lemongrass: It was inspired by brush lettering and the sea and the strong winds that exist in Porto.

    At Future Fonts, she released the didone typeface Alga (2019), in which ball terminals are replaced by genuflections.

    She was the principal designer of the sans family Varta (2019, Sorkin Type), which is available from Google Fonts and Github. Assistance of Viktoriya Grabowska and Eben Sorkin.

    Typefaces from 2020: Loretta (with Abel Martins; see also Future Fonts; Loretta is a low contrast text typeface that comes in 12 styles), Loretta (Future Fonts: a low contrast text typeface in 12 styles; by Joana Correia and Abel Martins).

    Interview in 2021. Behance link. Another Behance link. Old home page. Joana Correia link at Behance. Future Fonts link. Type Department link. Speaker at ATypI 2018 in Antwerp. [Google] [MyFonts] [More]  ⦿


    Malayalam font link and jump page by Omniglot. Malayalam is a Dravidian language spoken by about 22 million people in the Indian state of Kerala, as well as in Singapore and Malaysia. This syllabic alphabet emerged around 1000AD and then gradually evolved from the Tamil-Grantha script over a period of 600 years. [Google] [More]  ⦿

    P. Vijayakumaran Nair

    Dr. P. Vijayakumaran Nair and K.H. Hussain created Haritha (Malayalam font) in 2004 for the Harithakam editor. [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]  ⦿

    Pria Adireddi
    [Pria Ravichandran]

    [MyFonts] [More]  ⦿

    Pria Ravichandran
    [Pria Adireddi]

    Pria Ravichandran (formerly Pria Adireddi, b. 1984, India) studied type design at the University of Reading, class of 2011, and is now pursuing a PhD at the University of Reading focussing on the developemnt of typographic forms for the Kannada and Telugu scripts. She intends to relocate to Hamburg, Germany on completion of her Ph.D. and dedicate her time wholly to URW++.

    Her MA graduation typeface at reading was Tranquebar, which covers Latin and Tamil. In some places, this typeface is called The Herald. Pria also designed the free monolinear Latin / Devanagari typefaces Palanquin Dark and Palanquin in 2014 at Google Web Fonts that also covers Tamil, Bengali, Kannada, Telugu, Malayalam, Burmese, Khmer, Gujarati, Gurumukhi, Sinhalese & Oriya. In addition, she designed an 11-script Indic companion in four weights for URW++'s Nimbus Sans (and thus Helvetica), that includes the following scripts: Tamil, Bengali, Kannada, Telugu, Malayalam, Myanmar, Devanagari, Gujarati, Gurumukhi, Sinhala & Oriya.

    Catamaran (2015) is a contemporay sans typeface family for Latin and Tamil. Github link for Catamaran.

    Neue Frutiger Tamil (2018) was created by Pria Ravichandran and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi.

    In 2019, at URW, she published the humanist sans typeface family Olivine.

    In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited where they released Peridot Latin (2022: a 121-strong sans superfamily by Kostas Bartsokas and Pria Ravichandran) and Peridot PE (2022: a 121-style sans superfamily by Kostas Bartsokas and Pria Ravichandran designed for branding, display, corporate use, editorial and advertising; it covers Latin, Greek and Cyrillic).

    Github link for Palanquin. In 2020, Eben Sorkin, Pria Ravichandran, Inga Ploennigs and Dan Reynolds co-designed the sans family Karow at URW. [Google] [MyFonts] [More]  ⦿


    Creators of a free Malayalam font, Jwala (2005). On the site, one can also download Salilam (by Pugmarks Interweb). [Google] [More]  ⦿

    Pugmarks InterWeb

    Free PostScript font Malayala Manorama. [Google] [More]  ⦿

    R. Chitrajakumar

    Designer involved with K.H. Hussain in the Rachana free software project, from 1999 until 2004. Hussain and he are credited with these Malayalam fonts: Rac1, Rac2, Rac3, Rac4, Rac5, Rac6. [Google] [More]  ⦿

    [K.H. Hussain]

    Rachana in Malayalam means "to write", "to create". Rachana Akshara Vedi, a team of socially committed information technology professionals and philologists, has applied developments in computer technology and desktop publishing to resurrect the 900-character Malayalam script from the disorder, fragmentation and degeneration it had suffered since the attempt to adapt the Malayalam script for using with a regular mechanical typewriter, which took place in 1967-1969. K.H. Hussain at the Kerala Forest Research Institute has released "Rachana Normal" fonts with approximately 900 glyphs required to typeset traditional Malayalam. R. Chitrajan encoded the glyphs in the OpenType table. In 2008, the Malayalam ranges in FreeSerif were updated under the advise and supervision of Hiran Venugopalan of Swathanthra Malayalam Computing, to reflect the revised edition Rachana_04. Range: Malayalam (U+0D00-U+0D7F). [Google] [More]  ⦿

    Rachana team

    Story about the demise and resurrection of the Malayalam script by Surendranath C:

    RACHANA in Malayalam means to write, to create. Rachana Akshara Vedi, a team of socially committed information technology professionals and philologists, has applied developments in computer technology and desktop publishing to resurrect the Malayalam language from the disorder, fragmentation and degeneration it had suffered since the modernisation of the Malayalam script in 1967-69.

    The group has brought out Rachana, a new package of Malayalam DTP software complete with the original script system containing all its near-900 characters, a variety of fonts, the Word 97 text editor and a choice of user-friendly keyboard configurations featuring also an improved version of the popular Inscript keyboard, called Minscript.

    The Rachana group comprising Mr. R. Chitrajakumar and Mr. N. Gangadharan of the Malayalam Lexicon Department, and Mr. K.H. Hussain, Mr. Subhash Kuriakose and Dr. P. Vijayakumaran Nair of the Kerala Forest Research Institute (KFRI), Peechi, speeded up their efforts in 1999 when the State Language Institute introduced a new style book dropping a few more characters in the script system.

    The Rachana team believed that standardisation of the script should aim at determining the character set of the language, regularising the internal mapping of the character codes, standardising the keyboard layout in accordance with the frequency distribution of the characters in the script and internationalising the script system in order to make it compatible with the Internet and the Unicode Confederation's efforts to fix the character set and allot space of all the major languages in the world.

    New opportunities provided by the 16-bit and 32-bit Windows operating system were utilised by Rachana to revive the original script with all its conjuncts. The phonetic keyboard widely used by DTP firms was slightly modified by Rachana to reduce the keystrokes by 20 per cent.

    The keyboard layout was rearranged in accordance with frequency distribution of characters. It was made possible to type 21 most widely used characters with a single key stroke. The need for toggling back and forth between English and Malayalam key fonts was abandoned.

    New programmes were written into the software for auto hyphenation and automatic adjustment of line space to suit multi-deck conjuncts. All these resulted in increasing the keying-in speed two to three times.

    Rachana also revived the Malayalam numericals. A new keyboard layout for beginners /children is also a feature of the Rachana software package.

    Rachana is now looking forward to introducing automatic spellchecking in Malayalam texts, voice/ optical character recognition and writing algorithms that can enable sorting and database management.

    The response to Rachana from Malayali literati has been overwhelmingly positive. A publishing group has already brought out in the revived original script the latest work of late Guru Nityachaitanya Yati who was one of the guiding spirits to Rachana.

    Many artists in Kerala have offered volunteer support to Rachana in calligraphy and typography. Rachana, the group is now in the process of marketing the product in ways and means that would uphold the lofty ethical values writ into the creation of Rachana, the software.

    Scripting a fiasco

    THE Malayalam script that had established itself as a distinct system in the 14th century had more or less retained its characters/ alphabets as well as the basic characteristic of mirroring the spoken phoneme till the standardisation efforts in the late 60s.

    In order to fit the script to the Procrustean bed of the Malayalam typewriter keyboard and to make typewritten Malayalam the means of official communication, the State Language Institute introduced several changes in the script in 1968.

    These changes were necessitated not by any social demand to improve communicability or functionality of the language but only by the need to adapt the script to the typewriter keyboard. Many vowel-signs hitherto used in conjunction with consonants were separated out; a few characters were virtually discarded as redundant; except for 16 conjuncts, all the others were split into a series of basic characters linked with a link character (a half-moon sign).

    The end product of standardisation was disorder and disintegration: with the introduction of the new script in the school syllabus (against the avowed intent of the language modernisation committee itself) two different script systems came into use.

    A new generation of children were brought up entirely on the new script and they found it difficult to read earlier texts and the treasures of Malayalam literature. A schism developed between spoken and written Malayalam, corrupting both.

    That the script system of a language encompassed not only sounds and visual signs but also an inherent logic the language community had evolved through centuries was completely overlooked in the process. A centuries-old language and the culture it embodied was debased for the sake of a mechanical tool that would hardly have a life of three decades. [Google] [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 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 Clayed and Cringe. FontStruct link. [Google] [More]  ⦿

    Rahul Radhakrishnan

    Kochi, India-based designer of the Malayalam typeface Chilanga (2018). [Google] [More]  ⦿

    Rahul Vijay

    Rahul Vijay works at Keralakaumudi Daily, Trivandrum Kerala. Keralakaumudi is the first daily in India using a Unicode compliant font. Rahul's fonts for Malayalam include Liya, Rakhi, Archana, Aromal and Nandana.

    Download the free font Kaumudi. [Google] [More]  ⦿

    [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]  ⦿

    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]  ⦿

    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]  ⦿

    Santhosh Thottingal

    Palakkad, India-based designer of the Malayalam fonts Chilanka (2016) and Manjari (2016). Uroob (2015) is free. Uroob is owned by Hussain KH, Kavya Manohar, Rajeesh K. Nambiar, Santhosh Thottingal and Swathanthra Malayalam Computing. It was developed with the financial support from International Centre for Free and Open Source Software (ICFOSS), Govt of Kerala. [Google] [More]  ⦿

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

    [MyFonts] [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]  ⦿

    Shaji N. Vyapron
    [Baiju M]

    [More]  ⦿

    Sobha Menon

    [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]  ⦿

    Spider Kerala

    About 20 original Malayalam truetype fonts by Jacob TC from Muscat. The font family is called Jacobs (2000). [Google] [More]  ⦿


    Developer of the Malayalam font Kalakaumudi (2004), which can be downloaded here. [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]  ⦿

    Steve White
    [GNU Freefont (or: Free UCS Outline Fonts)]

    [More]  ⦿

    Sumeesh Chempoor

    Bangalore, India-based designer of the free brushy typeface Handwritten (2017) and the Malayalam typeface Vyakta (2016). [Google] [More]  ⦿

    Summit Information Technologies Limited (or: Summit Infotech)

    Producers of the free KrishnaWeb family (2003) of Gujarati fonts. They also made Manorama (2000) and Panchari (2001) for Malayalam. KrishnanItalic (2000) is here. HTChanakya (2002) covers Hindi. Panchari is here. [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]  ⦿

    Sunny Kallara
    [InProS (Intellectual Property Solutions)]

    [More]  ⦿


    Company in Thiruvananthapuram, Kerala. Creators of ThoolikaUnicodeNew0, ThoolikaUnicode, ThoolikaTraditionalUnicode, and Thoolika (1997), all Malayalam fonts. Also, Ssoft's-Veena-ML (1997), WebNet. [Google] [More]  ⦿

    Swathanthra Malayalam Computing (or: SMC)

    Kerala, India-based Cooperative with members such as Arun M, Dileep M. Kumar, Lelitha V, Mahesh T. Pai, Manoj M.P, Rajkumar S, Sajith V.K, Sanju A Nair, Satyadev Nandakumar, Suresh Valiyaparambil, Vincent Joseph, Vinod B.S, Vinod M.P, Baiju M, Jeroen Hellingman, and Shaji N.V., which offers free software for Malayalam word processing. Download it, and you will find these truetype fonts: AkrutiMal2, Tulasi, AkrutiTml2, ML-TTKarthika (1992), Raghindi, Malayalam, Thoolika, Matweb, Manorama, Shree-Mal-0502. List of free Malayalam (and some Tamil) fonts today:

    • AnjaliOldLipi (2008).
    • Dyuthi (2007): By Hiran Venugopalan, Hussain K H and Suresh P at Swathanthra Malayalam Computing.
    • Kalyani (2008): By Shaji N. Vyapron, based on original fonts by Jeroen Hellingman. Others invloved include N.V Shaji and Hiran Venugopalan.
    • Meera (2007-2008): Created by Hussain K H and Suresh P at Swathanthra Malayalam Computing. From 2012-2016, this Malayalam was extended into the Latin and Tamil script font Meera Inimai (free at Google fonts) by Hussain K.H., Santhosh Thottingal, Anilan N.G. and A.K.M. Kutty. Githib link.
    • Rachana (2005) and Rachana_w01 (2005): By Rachana Akshara Vedi (Chitrajakumar R, Hussain KH, Rajeev Sebastian, Gangadharan N, Vijayakumaran Nair, Subash Kuraiakose).
    • RaghuMalayalam (2008): A font by Prof. R.K.Joshi and Rajith Kumar K.M., who were assisted by Nirmal Biswas, Jui Mhatre and Supriya Kharkar. Copyright CDAC, Mumbai.
    • Suruma (2005): Created by Suresh P.
    [Google] [More]  ⦿

    Syro-Malankara Catholic Church

    Malankara is a Malayalam font by Sunny&Manish Mukkoottumannil, made in 1998 (copyright Mukkudanse). [Google] [More]  ⦿

    Tamil Fonts Page by Suganthan

    A big Tamil truetype font archive: AAbohi-PC, AParanar (R. Kalaimani, 1996), Bavani-Regular, Bamini-Plain (Harangraph, 1993), DenukaPC (Ethno Multimedia, 1995), Dheepa-Plain (religois dingbats by Ethno Multimedia, 1992), EELANADU-byAharamFonts (Jeeves Systems, 1996), ELANGO-TML-Panchali-Normal (Cadgraf Computers, 1994), Hamsathvani-Regular (Ethno Multimedia&B. Gnanapandithan, 1995), Hindolam-Regular (Ethno Multimedia, 1995), Karaharapriya-Regular (Ethno Multimedia, 1994), Kamaas-Regular (Ethno Multimedia&Ranjan Shivakumar, 1993), Kathanakuthugalam-Regular, Keeravani-Regular (B. Gnanapandithan&Ethno Multimedia, 1994), Lathangi-Regular (Ethno Multimedia, 1994), Madhuvanthi-Regular (Ethno Multimedia, 1992), Malayamarutham-Regular (Ethno Multimedia, 1994), Myp, Nattai-Regular, Needhimathi-Regular (Ethno Multimedia, 1995), Ranjani-Plain (Ethno Multimedia, 1992), Rathnangi-Regular, Sangeetha-Regular (Indian drums, by Ethno Multimedia, 1993), Saraswathy-Plain (Ethno Multimedia, 1992), Sahaanaa-Regular (Ethno Multimedia&Gnanapandithan, 1995), Saavaeri-Regular, Sevvanthi-Regular (Ethno Multimedia, 1992), Sindhubairavi-Regular (Ethno Multimedia, 1995), TamilwebPlain (Jeyachandran Kopinath, OviyaResearch, 1996), TAMLKamban-Normal (Learnfun Systems, Chennai, 1999), Thodiragam-Regular, Amudham, Anantha-Regular (EthnoMultimedia&Ranjan Shivakumar, 1993), Boopalam-Regular, Cheithi2 (Selliah Selvaratnam, 1998), Kurinji-Regular (S. Kannan, 1992), KalkiNormal, LT-TM-Kurinji (Lastech, 1992), Saraswathy-Regular (Ethno Multimedia, 1992), mylai, TamilZone, TboomisBold (shreedhar of EssDee Softvarhouse), TMNEWS (Chennai Kavigal, 2000), Vikatan, JaffnaNormal. [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]  ⦿

    Thomas Josekutty

    Malayalam type designer who created J*Mlm*Jaya-Normal (1994), MMSaroja (1994) (in roman, italic and bold versions) and JJayan. [Google] [More]  ⦿


    Free Malayalam font MalayalamAbe by Font Laboratories, Washington, D.C. [Google] [More]  ⦿


    Free Malayalam font Webnetb. Truetype. [Google] [More]  ⦿


    Tulu is a language close to Malayalam. Character set. Close-up jpeg files. Someone sghould make a font from this. [Google] [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]  ⦿

    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]  ⦿

    Unicraft India

    The Malayalam font ML-TTKarthika Normal. [Google] [More]  ⦿

    Vaishnavi Murthy Yerkadithaya

    Vaishnavi is a typeface designer specializing in Indic scripts. She works on the conservation and restoration of books, manuscripts, documents, and ephemera. Graduate of the Masters of Type Design program of the University of Reading, UK. Vaishnavi's graduation typeface was Yaska (2014, Latin, Cyrillic and Malayalam). The Latin consists of an 8-weight serif family and a connected italic.

    Co-designer with Juan Luis Blanco of Akaya Telivigala/Kanadaka. Blanco writes: Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts designed in collaboration with Vaishnavi Murthy (Bangalore, India). Akaya Telivigala and Akaya Kanadaka are made as two separate font files which share a common Latin. Github link. Google Fonts link for Kanadaka. Google fonts link for Telivigala. Github link for Telivigala.

    Designer of Anek Kannada as part of Ek Type's award-winning family Anek (2022). [Google] [More]  ⦿


    Malayalam font archive: Chambold (Anoop R, IIT Bombay, 1997), ChamuNorm (Anoop R, IIT Bombay, 1997), Chamheavy (Anoop R, IIT Bombay, 1997), MalayalamAbe (Font Laboratories, Washington), Mathrubhumi_Normal, NectarSysMalayalam, Priya, Priya (Varughese Samuel, 1999), RTim, RA1, RA2, RA3, RA4, RA5, RA6, RKB (all by Hussain KH, 1999), Umal1 (Hussain KH, 1999), Ssoft's-Veena-ML (1997, Supersoft, Kesavadasapuram, Trivandrum), DeepaBT (MPB fonts, 1997), Vidya-Bold, Vidya-Normal (both by Microsense Computers, 1995), Gayathri-Regular (Ethno Multimedia, 1993), Janaranjani-Regular (EthnoMultimedia, 1993), J*Mlm*Jaya-Normal (Thomas Josekutty, 1994), RE_iNFOM-Kaveri, ML-TTKarthika-Normal, KeralaLite, Malayalam, MalyalamVijayDemo (Vijay K. Patel, 1995), Manorama (Pugmarks Interweb, Chandigarh, 1997), Mathrubhumi_Normal, ML-TTKarthika-Normal, ML-TTRevathi-Normal, Ssoft's-VeenaLight-PS, PMLCeena, Thoolika (1997, Supersoft, Kesavadasapuram, Trivandrum), TulasiNormal (Sobha Menon, 1998), Varun-Bold, Varun-Normal (last two by Microsense Computers, 1995), ACHINormal, AkrutiMal1Bold, AkrutiMal1Normal, AkrutiMal2Bold, AkrutiMal2Normal, Anjali-Beta, AnjaliOldLipi, AnjaliOldLipi, AnjaliOldLipi, AnjaliOldLipi, Chambold, Chamheavy, ChamuNorm, Chowara, DVMalayalam, DeepaBT, ECBThinkal, ECThinkal, ECWChingam, ECWThinkal, Gayathri-Regular, Goodnewsj-Roman, Goodnewsu-Roman, Goodnewsy-Roman, J*Mlm*Jaya-Normal, Janaranjani-Regular, Kalakaumudi, Kartika-Regular, Karumbi, KeralaLite, KeralaLite, ML-NILA01, ML-NILA02, ML-NILA03, ML-NILA04, ML-TTKarthika-Normal, ML-TTRevathi-Normal, MLB-TTKarthika-Normal, MLBW-TTKarthika-Normal, MLU-Panini, MLW-TTKarthika-Normal, MLW-TTRevathi-Normal, MLW-TTRevathi-Normal, ML_Janki-Bold, ML_Janki-BoldItalic, ML_Janki-Italic, ML_Janki-Normal, ML_Lalit-Bold, ML_Lalit-BoldItalic, ML_Lalit-Italic, ML_Lalit-Normal, Malayalam, MalayalamAbe, MalyalamVijayDemo, Manorama, Manorama, Mathrubhumi-Web-Font, Mathrubhumi-Web-Font, Mathrubhumi_Normal, Mathrubhumi_Normal, NectarSysMalayalam, OyeMalayalam, PMLCeena, PMLTKairaliNormal, Priya, Priya, RA1, RA2, RA3, RA4, RA5, RA6, RE_iNFOM-Kaveri, RKB, Rac1, Rac2, Rac3, Rac4, Rac5, Rac6, Rachana_w01, SALMA2Normal, SIBmalayalam, Shree-Mal-0501W, Shree-Mal-0502, Ssoft's-Veena-ML, Ssoft's-VeenaLight-PS, Thoolika, ThoolikaTraditionalUnicode, ThoolikaTraditionalUnicodeNew0, ThoolikaUnicode, ThoolikaUnicodeNew0, TulasiNormal, Varun-Bold, Varun-Normal, Vidya-Bold, Vidya-Normal, WebNet, KeralaLite. [Google] [More]  ⦿

    Varughese Samuel

    Designer in 1999 of the free Malayalam font Priya. [Google] [More]  ⦿

    Vijay Kumar Patel

    Fort Worth, TX-based creator of a commercial font collection that covers most Indian languages: Gujarati Radhika, Gujarati Priti, Gujarati Palana, Hindi Vijay, Assamese Vijay, Bengali Vijay, Tamil Vijay, Telugu Vijay, Sanskrit Vijay, Punjabi Vijay, Malayalam Vijay, Malayalam Radhika, Kannada Vijay, Marathi Vijay, Nepali Vijay, Oriya Vijay, Indian Artwork-Vijay. [Google] [More]  ⦿

    Vivek Menon

    Ahmedabad, India-based designer of a Malayalam typeface to accompany Cyrus Highsmith's Serge (2014). [Google] [More]  ⦿

    XenoType Technologies

    Commercial outfit with language kits (including fonts) for these languages: Burmese, Cherokee, Inuktitut, Kannada, Lepcha, Limbu, Lontara, Malayalam, Sinhala, Telugu, Tibetan, Bassa, Cambodian, Ethiopic, Laotian, Saurashtra, Sylheti, Tai Le, Tamil, Assyrian (Syriac), Burmese, Georgian, Khmer. [Google] [More]  ⦿

    Youth Focus

    Indian company which made the Goodnews family (Goodnewsj, Goodnewsu, Goodnewsy) of Malayalam fonts in 1999. Download here. [Google] [More]  ⦿


    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]  ⦿

    Zumra Waheed

    Maldivian / Malaysian designer. She designed the Highheel all caps typeface in 2008. No font downloads. [Google] [More]  ⦿

    Zunaira Naqvi

    Ahmedabad, India-based designer of Magasin Malayalam (2015), a Malayalam typeface based on Laura Meseguer's curvy typeface Magasin (2013). [Google] [More]  ⦿