Poppins
Geometric sans serif typefaces have always been popular, and with support for both the Devanagari and Latin writing systems, Poppins is an internationalist addition to the genre. Many of the Latin glyphs (such as the ampersand) are more constructed and rationalist than is typical. The Devanagari design was particularly novel when it was first published in 2015, and was 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 project was developed by Indian Type Foundry (ITF). The Devanagari was initially designed by Ninad Kale, while the Latin was initially designed by Jonny Pinhorn. Following their principal phase of designing the first 5 styles, the typeface was later refined, and expanded to include multiple weights and italics, by the ITF studio team. To contribute, see github.com/itfoundry/poppins
- Classification
- Sans
- Foundry
- License
- free
- Source
- Get this font ↗
01Style templates
Poppins for the heading, ABC Gravity X Compressed for the body.
02Suggested pairings
03Projects using Poppins
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AaBbCc
0123456789
{(!@#$?&})
05Type scale
Waterfall · 64 → 16 pxDesign starts with a question.
Good letters carry the memory of the pen.
A soft serif with old-style warmth, drawn for display sizes and unhurried reading.
This typeface borrows the melting charm of phototype and rebuilds it, patiently, for the screen.
At text sizes the warmth settles into something quieter: open counters, a generous x-height, and forms that curve rather than cut. It reads like a well-worn paperback — familiar, unhurried, and slightly mischievous.
06Weights
9 styles07In context
Text settingsGood letters carry the memory of the pen.
The brief asked for warmth without nostalgia, and authority without sternness. Poppins answered both at once — a face that feels typeset by hand yet holds up at retinal resolutions. At this size it settles into an unhurried rhythm: generous spacing, open counters, and letterforms that carry tone before they announce themselves.
Small sizes are where display faces usually apologise for themselves. Poppins does not. Drop into text and the texture tightens into a competent, readable grey — open counters, a generous x-height, and forms that curve rather than cut. At text sizes the warmth settles into something quieter: familiar, unhurried, and slightly mischievous. It reads like a well-worn paperback, holding its voice across captions, footnotes, and long paragraphs without flattening into noise. Paired with a neutral grotesque for wayfinding and labels, it gives an identity system exactly one strong opinion — usually the right number — while the body keeps doing the quiet work underneath.
08Character set
Hover a glyph to inspect09About Poppins
Geometric sans serif typefaces have always been popular, and with support for both the Devanagari and Latin writing systems, Poppins is an internationalist addition to the genre. Many of the Latin glyphs (such as the ampersand) are more constructed and rationalist than is typical. The Devanagari design was particularly novel when it was first published in 2015, and was 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 project was developed by Indian Type Foundry (ITF). The Devanagari was initially designed by Ninad Kale, while the Latin was initially designed by Jonny Pinhorn. Following their principal phase of designing the first 5 styles, the typeface was later refined, and expanded to include multiple weights and italics, by the ITF studio team. To contribute, see github.com/itfoundry/poppins