We have many different fonts available on the internet some of the 22 stylish fonts are discussed in web design. You can download it for local use or the internet.
1. Poppins
Poppins is the most popular font for web design which is designed by Indian Type Foundry, Jonny Pinhorn.
Geometric sans serif typefaces have been a popular design tool ever since these actors took to the world’s stage. Poppins is one of the newcomers to this long tradition. With support for the Devanagari and Latin writing systems, it is an internationalist take on the genre.
Many of the Latin glyphs (such as the ampersand) are more constructed and rationalist than is typical. The Devanagari design is particularly new, and is the first ever Devanagari typeface with a range of weights in this genre. Just like the Latin, the Devanagari is based on pure geometry, particularly circles.
Each letterform is nearly monolinear, with optical corrections applied to stroke joints where necessary to maintain an even typographic color. The Devanagari base character height and the Latin ascender height are equal; Latin capital letters are shorter than the Devanagari characters, and the Latin x-height is set rather high.
The Devanagari is designed by Ninad Kale. The Latin is by Jonny Pinhorn. To contribute, see github.com/itfoundry/poppins
2. Noto Sans
When text is rendered by a computer, sometimes there will be characters in the text that can not be displayed, because no font that supports them is available to the computer. When this occurs, small boxes are shown to represent the characters. We call those small boxes “tofu,” and we want to remove tofu from the Web. This is how the Noto font families got their name.
Noto helps to make the web more beautiful across platforms for all languages. Currently, Noto covers over 30 scripts, and will cover all of Unicode in the future. This is the Sans Latin, Greek and Cyrillic family. It has Regular, Bold, Italic and Bold Italic styles and is hinted. It is derived from Droid, and like Droid it has a serif sister family, Noto Serif.
Noto fonts for many other languages are available as web fonts from the Google Web Fonts Early Access page.
Noto fonts are intended to be visually harmonious across multiple languages, with compatible heights and stroke thicknesses. For the currently released Noto fonts see code.google.com/p/noto/
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3. Mukta
Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes.
Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye.
Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement.
This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta
4. Hind
Hind is an Open Source typeface supporting the Devanagari and Latin scripts. Developed explicitly for use in User Interface design, the Hind font family includes five styles. Hind’s letterforms have a humanist-style construction, which is paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. In addition to this, Hind’s letterforms feature open apertures. The entire typeface family feels very legible when used to set text.
The Devanagari and Latin script components are scaled in relation to each other so that the Devanagari headline falls just below the Latin capital-height. In other words, the Devanagari base characters are 94% as tall as the Latin uppercase. Text set in the Devanagari script sits nicely alongside the Latin lowercase, too. Hind’s Devanagari vowel marks take forms that tends toward the traditional end of the design spectrum, while the knotted terminals inside of the base characters feature a treatment that appears more contemporary.
Each font in the Hind family has 1146 glyphs, which include hundreds of unique Devanagari conjuncts. These ensure full support for the major languages written with the Devanagari script. The Latin component’s character set is a basic western one, which enables typesetting in English and the other Western European languages. Hind is a solid choice for UI design, and a wise selection for electronic display embedding.
Manushi Parikh designed Hind for the Indian Type Foundry, who first published the fonts in 2014.
The Hind project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind
5. Teko
Teko is an Open Source typeface that currently supports the Devanagari and Latin scripts. This font family has been created for use in headlines and other display-sized text on screen. Five font styles make up the initial release.
Display families with extensive character sets are rare for any script. With Indian typefaces, however, large character sets are even less common. ITF’s designs are an exception. The Teko typeface features letterforms with low stroke contrast, square proportions and a structure that appears visually simple.
The Regular, Medium and Semibold fonts are recommended for use in long headlines, while Bold is intended primarily for setting just one or two words. The Light is a beautiful variant that may be put to exceptionally good use in large headlines on websites. At display sizes, Teko works equally well on screen or in print. Each font contains 1090 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. Teko is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.)
Manushi Parikh designed the Teko typeface for the Indian Type Foundry, who published it in 2014.
6. Rajdhani
Rajdhani has modularized letterforms and supports the Devanagari and Latin writing systems. The squared and condensed appearance may be interpreted as technical or even futuristic. Typically round bowls and other letterform elements have straight sides in Rajdhani. The stroke terminals typically end in flat line segments that are horizontal or vertical, rather than diagonal. Their corners are slightly rounded, giving stroke-endings a softer feeling, rather than a pointy one.
Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component together, while the Latin was designed by Shiva Nalleperumal. To contribute, see github.com/itfoundry/rajdhani
7. Martel
Martel is a libre font development project. Begun in 2008 in the Department of Typography & Graphic Communication at the University of Reading, the first weights of the font family (Martel UltraLight, Light, Regular, DemiBold, Bold, ExtraBold and Heavy) were released in 2014. The Devanagari glyphs to-date have all been designed by Dan Reynolds, whereas the Latin script’s glyphs are based on the Merriweather fonts.
Check out the Martel Sans project, too.
The Martel Devanagari typeface is designed for typesetting immersive-style documents. It may be used to set long passages of text in languages that are written in the Devanagari script, including Hindi, Marathi, Nepali, Sanskrit, etc. Martel Devanagari is a readable typeface whose glyph proportions are inspired by traditional writing and calligraphic styles. Its high-contrast strokes have a diagonal axis, in keeping with the pen-angle most often used for the Devanagari writing system.
The Martel project is led by Dan Reynolds, a type designer in Berlin. To contribute, visit github.com/typeoff/martel
8. Yantramanav
Yantramanav (यंत्रमानव) is a Devanagari typeface family designed by Erin McLaughlin.
The style and weights of Yantramanav's Devanagari were designed as a compliment to Roboto, a Latin family designed by Christian Robertson.
This project is led by Erin McLaughlin, an independent typeface designer, font developer, and consultant who specializes in Indic fonts. To contribute, see github.com/erinmclaughlin/Yantramanav
9. Kalam
Kalam is a handwriting font family that supports the Devanagari and Latin writing systems. Even though Kalam's letterforms derive from handwriting, the fonts have each been optimized for text usage on the screen. All in all, the typeface is a design that feels very personal. Like many informal handwriting-style fonts, it appears rather fresh and new when seen on-screen or printed on the page.
Kalam's letterforms feature a very steep slant from the top right to the bottom left. They are similar to letters used in everyday handwriting and look like they might have been written with either a thin felt-tip pen or a ball-point pen. In the Devanagari letterforms, the knotted-terminals are open, but some other counter forms are closed. Features like these strengthen the feeling that text set in this typeface has been written very quickly, in a rapid manner.
Lipi Raval and Jonny Pinhorn developed the family for ITF; Raval designed the Devanagari component while she and Pinhorn worked together on the Latin. To contribute, see github.com/itfoundry/kalam
10. Glegoo
Glegoo, a truly modern slab serif. It has a precise balance of shapes, counterforms and strokes. Glegoo is slightly condensed, has a large x-height, short ascenders/descenders and large counterforms. These attributes all add up to help reading text, even in very small sizes. Its careful design and proper choice of weight generate a nice texture in paragraphs of text, but the design is also intended to work well when composing headlines with presence and elegance. Large usage will show off the delicate modulation of strokes that are in this font.
Updated August 2014: A Bold style was added, the family was hinted with ttfautohint, and a Devanagari subset was included.
Contribute to the project at github.com/etunni/glegoo
11. Sarala
Sarala is a Devanagari typeface family designed by Andrés Torresi and Carolina Giovagnoli for Huerta Tipográfica. It is based on the original Latin typeface Telex, a sans serif typeface for text.
It is a humanist sans serif design, conceived to be a web font with nice legibility at normal text sizes. Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness.
Thanks to José Nicolás Silva, Vaishnavi Murthy and Erin McLaughlin for their feedback.
The Sarala project is led by Andrés Torresi, a type designer based in Argentina. To contribute, see github.com/andrestelex/sarala
12. Jaldi
Jaldi is the Hindi word for soon, and the typeface family is a contemporary sans-serif Devanagari with subtle rounded corners. Designed by Nicolas Silva and Pablo Cosgaya, Jaldi was made to match the Latin design of Asap, named after the acronym "As Soon As Possible," which is included as the Latin component. Asap is based on Ancha, designed by Pablo Cosgaya and Hector Gatti in collaboration with Andres Torresi.
This family is specially developed for screen reading and use on the web, and like Asap is has a special twist: Jaldi offers a standardized character width for all styles, which means that lines of text always remain the same length. This useful feature allows users to change type styles on-the-go without seeing any text reflow.
To contribute, visit github.com/Omnibus-Type/Jaldi.
13. Amita
Amita is the Indian Feminine form of Amit. Amita is a Latin and Devanagari typeface derived from Redressed and Modular Infotech Devanagari 2310 and 1228. The Latin is a script type designed by Brian Bonislawsky which blends script and italic letterforms together in an upright non-connecting style. Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy. The Devanagari is a traditionally calligraphic style. The combination was designed by Eduardo Tunni.
This project is led by Eduardo Tunni, a type designer based in Buenos Aires. To contribute, see github.com/etunni/Amita
14. Palanquin Dark
Palanquin is a Unicode-compliant Latin and Devanagari text type family designed for the digital age. The Devanagari is monolinear and was designed alongside the sans serif Latin.
Palanquin Dark is the heavier display family, with 4 weights. Palanquin is a text family with seven text weights. The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle.
Many thanks to Michael for all the technical assistance. Heartfelt thanks to Maggi for the sincere support.
The Palanquin project is led by Pria Ravichandran, a type designer from India. To contribute, see github.com/VanillaandCream/Palanquin
15. Rozha One
Rozha One is a very high contrast Open Source font, which currently offers support for the Devanagari and Latin scripts. Created primarily for display use, the extreme difference between its letters’ thick and thin strokes make it an excellent choice for large headlines and poster-sized graphics. The Indian Type Foundry released Rozha One in 2014; its Devanagari character set was designed by Tim Donaldson and Jyotish Sonowal. Shiva Nallaperumal designed the Latin.
The font’s Latin characters are drawn in a fat face ‘modern’ or ‘Didone’ style, similar to letters that were commonly used in 19th century advertising posters in the West. Rozha One’s Latin characters barely differentiate between upper and lowercase letter sizes; the x-height of its lowercase letters is so high – and the size of its capital letters so small – that these virtually blend into one another in a line of text. Nevertheless, the Devanagari letters are drawn in such a way that they harmonise with the font’s Latin very well in settings where texts in multiple languages sit alongside one another. The headline of the Devanagari base characters is the same thickness as the Latin letters’ serifs. Certain Devanagari letter strokes and vowel marks bare visually similarity to the font’s Latin letters. However, Rozha One does not appear Latinized or un-Devanagari.
The font includes 1,095 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. When used in on-screen design environments, Rozha One should be used in very large pixel sizes. However in print, the design may be used in a broader range of sizes, perhaps even as small as at 16 or 18 points.
The Rozha project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/rozhaone
16. Sarpanch
Display families with extensive character sets are rare for any script. With Indian typefaces, large character sets are often even less common. The Indian Type Foundry’s font families have been an exception, however. Sarpanch continues this trend. Sarpanch is an Open Source typeface supporting the Devanagari and Latin scripts. It was designed for use in large point sizes and pixel sizes. Sarpanch’s letterforms are made up of strokes with a high contrast. They are also drawn with wide proportions, based on a squared construction principle.
Six fonts make up the Sarpanch family, ranging in weight from Regular to Black. As weight increases along the family’s axis, vertical strokes become thicker, but the typeface’s horizontals retain the same thickness across each weight. While the rather wide Regular weight of the family is almost monolinear, the Black weight appears to have a very high degree of contrast.
The Regular, Medium and Semibold fonts are recommended for use in short headlines, while Bold, Heavy and Black are intended primarily for setting single words or pairs. At display sizes, Sarpanch works equally well on screen or in print. Each font contains 1035 glyphs and offers full support for the conjuncts and ligatures required by languages written in the Devanagari script.
The Medium–Black weights of the Sarpanch family were design by Manushi Parikh at ITF in 2014. Jyotish Sonowal designed the Regular weight. Sarpanch is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.) In Hindi, the word Sarpanch means ‘the head of a village’.
17. Modak
Modak is a Free and Open Source, Heavy-Chubby Devanagari-Latin display typeface. The design started off as one of our heavy hand sketched letterform explorations. The characters were cute/round and not bulky/rigid. The consonants and Matras were overlapping, instead of them being successive characters.
Conjuncts were drawn as fused forms in which the two separate characters would merge into each other. The challenge was to maintain legibility and consistency in the thin white counter spaces across all characters irrespective of their structural complexity. In an attempt to translate this into a functional font, we designed additional Matras that would match exactly with every character, leaving a thin counter space in between. Custom Ukars were designed according to each character.
The resulting typeface is one of its kind and probably the chubbiest Devanagari typeface to ever be designed.
Modak Devanagari was designed by Sarang Kulkarni and Maithili Shingre and Modak Latin by Noopur Datye with support from Girish Dalvi and Pradnya Naik.
We would like to thank Santosh Kshirsagar, Shubhanand Jog, Vinay Saynekar and Yashodeep Gholap for their suggestions and feedback during the font design process. We would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay and from Sir J J Institute of Applied Art for their support and encouragement.
This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/girish-dalvi/Modak
18. Dekko
Dekko’s personality is both warm and casual. It originated with Modular InfoTech's 4948, and was modified to feel more written and regular in appearance and weight. The inter-letter spacing of the design is now wider, allowing for it to be used at smaller sizes on screens. Dekko also comes with a complete set of Latin which matches the Devanagari in weight and and size, and originates with Short Stack. Both the Devanagari and the Latin are based on written forms, and their stroke contrast has thick horizontals. The pen angles traditionally associated with Devanagari has some diagonal stress, but here the Latin script uses a vertical stress.
This project is led by Eben Sorkin at Sorkin Type Co, a type foundry based in Boston, USA. To contribute, see Dekko on GitHub.
Updated: Improvements to OpenType shaping, in March 2015.
19. Gotu
Rotund curves, large loops and voluminous counters. Gotu reimagines Devanagari calligraphy while at the same time reinterprets what high contrast Latin typefaces can be. Though the Devanagari is penned with a traditional canted nib, the structures are improvised with an expressive whim that belies conventions of structure and challenges notions of consistency. Swooping calligraphic strokes inspire forms that are lyrical without being too opulent. The same spirit resonates within a modulated sans serif style Latin as letters retain a calligraphic stress and keep the delicate typographic quirks. Furnished with such typographic subtleties, Gotu can lend its distinct style to a quaint monograph, a striking headline, an ornate invite or even a chic brand.
20. Rhodium Libre
Rhodium Libre was designed for use on screens at small sizes and the Latin and Devanagari scripts. To that end, the design is generally uncomplicated and coarse, lacking the small details that are lost on screens; this also reduces the file size to improve latency when used as a web font. The letters are designed slightly wide, with open counters, a large x-height in the Latin glyphs, and so on. The Devanagari glyphs are the same height as the Latin capitals to allow them to stand alongside the oversized Latin lowercase.
Historical models for Rhodium’s design are Fortune (AKA Volta) by Konrad Bauer and Walter Baum, and Rex by Intertype. Matthew Carter’s Verdana provided insight into designing type for small sizes and adverse reading environments.
The Devanagari glyph set supports contemporary Hindi, Marathi, and Nepali. The Latin glyph set supports Adobe’s Latin-3 character set.
This project is led by Dunwich Type Founders, a type foundry based in Denver, Colorado, USA, who design contemporary typeface families. To contribute, see github.com/DunwichType/RhodiumLibre
21. Ranga
Once Allan was a sign painter in Berlin. Grey paneling work in the subway, bad materials, a city split in two. Now things have changed. His (character) palette of activities have expanded tremendously: even Indian flavours are are no longer foreign to him. Bolder brush is used when there is need for true impact. Sensitive subjects are treated with subtlety of regular style. Slightly inclined.
This project is led by TipTopTyp, a type foundry based in Berlin, Germany. To contribute, see Ranga on GitHub.
22. Tillana
Tillana is a refreshingly informal family of typefaces for Devanagari and Latin. The fonts were first published by the Indian Type Foundry as an open source project in 2014. Coming in at 1,021 glyphs per weight, Tillana has all of the characters necessary to set a variety of European languages, as well as Indian languages like Hindi, Marathi, Nepali, and more. The Tillana family includes five styles, which range in weight from Regular through Extra Bold. Tillana’s Latin do not connect; this part of the family is a non-joining script type. The Devanagari part is one of the few “true cursive” designs currently available for the script.
Characters from both writing systems appear as if they were fluidly handwritten, particularly the Devanagari. Tillana’s letterforms are slanted at a 10 degree angle. The strokes are show visible contrast, and the dynamic counter forms are one of the design’s most prominent features. The forms involve many loops and hooks and most of the knots are loops rather than closed, black forms. All vertical strokes in both scripts have swelling at their tops and bottoms, and the Devanagari characters’ central vertical strokes almost always break through the headline. Handwriting artefacts are present in the Latin letters, too, such as hook on the descender of the lowercase q.
Tillana’s Devanagari base character height falls vertically between the Latin upper and lowercase letter heights. The Latin characters have a small x-height and long ascenders and descenders. Lipi Raval designed the Devanagari components of Tillana, and worked together with Jonny Pinhorn on the Latin.
This project is led by Indian Type Foundry, a type foundry based in Ahmedabad, Gujurat, India, who design contemporary Indian typeface families. To contribute, see github.com/itfoundry/tillana
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