For most logo designers, when it comes to creating an elegant and clean logo for a business, using a Sans Serif font in their designs aids in adding a bit of sophistication and flair to the brand. As you might already know, Sans Serif fonts are fonts with no extending lines at the ends.
Although Sans Serif fonts are, for the most part, regarded to be more traditional, these fonts promote that much needed modern touch to the design. However, there are a staggering number of San Serif fonts out there, making it challenging to figure out which font is best for a business logo.
To inspire you for your logo creation, here are ten best Sans Serif Fonts for logos. So, let your imagination and creativity run wild, and start using them or integrate them into your company logo or outdoor signage. Read on!
Sans Serif Typeface Psychology
Sans Serif typefaces are engaging, modern, and clean. They are used by businesses who want to present a no-nonsense, simple, and straightforward attitude. With regards to typography in brand logo design, these font solutions demonstrate a sense of sensibility and honesty. There are no distracting and decorative elements that hinder the eye or covering the message.
The straightforward, yet effective characteristic of sans serif typefaces make them excellent for businesses who want to, for the most part, put clarity and transparency when designing their business logo. More often than not, you will find these fonts on technology companies, clothing brands, and companies that are aimed at forward-thinking brand purposes and ideals.
Understanding the Sans Serif font psychology is key to determining which Sans Serif typography you should use to convey the right and appropriate things about your business. As a matter of fact, the typeface you use for your logo design could be part of your distinction strategy.
But of course, selecting the right font is not always as easy as it seems. Not only do you need to look for something that will aid your brand to stand out in the competition, but you need to go through lots of potential fonts before you can start to think about whether picking a custom option is best for you.
Gabriela Stencil
Gabriela Stencil, designed by Antonio Mejia in 2016, has an eccentric and distinctive character, yet is still considered as a part of a classic font family. This type of Sans Serif font is well-suited or best for fancy logos and headlines.
It emphasizes or highlights the elegant and modern character that has been, for the most part, influenced by the Didone typefaces from the 19th century. Furthermore, it is excellent for branding, publishing and short text projects.
Gabriela Stencil is, without a doubt, highly readable and understandable font with short descenders and ascenders, and with the height sized at fifty percent of the cap height. This font contains a four hundred thirty-three character set which put up with over two hundred different languages. Plus, it is available in six styles.
Bookmania
Bookmania is a Sans Serif font that any brand logo design can take advantage of, with ten styles, six hundred fifty-eight swashes, and plenty of expert features. Mark Simonson designed it in 2011.
When using a modernistic digital font family, the Bookmania Sans Serif font type offers all the features or elements that you can expect from one. It has all the details that you need to make your design stand out from the rest as it was a re-establishment of the Bookmans font family in the 1960s and Bookman Oldstyle in 1901.
Bookmania has five different weights, namely, black, bold, semibold, regular, and light. All weights have matching italics and small caps. Both lining and old style figures are proportional and tabular. It has over six hundred eighty swash characters and thirty-five discretionary ligatures.
Sabon
Sabon, designed by a designer and typographer Jan Tschichold, is an old style Sans Serif font. GMPA (German Master Printers’ Association) requested a new typeface in the 1960s to be produced and designed identically on both Monotype and Linotype machines so that both the technical and text composition would match.
Sabon’s designer was ordered to use Claude Garamond’s serene and classical Roman design and font to create a new version. This font succeeds, but its italic and bold styles are, for the most part, limited and restricted by Linotype casting machine provisions. For this reason, the character widths are forced to match between various styles and the narrow f gives that italic typeface.
ITC Caslon No. 224
Designed in 1983, ITC Caslon No. 224 was, for the most part, designed and created to be a present-day connotation of the Caslon typeface. It was also designed for the International Typeface Corporation (ITC) by Ed Benguiat.
This font has over eight font weights traversing from Standard Black Italic to Standard. Furthermore, ITC Caslon No. 224 has, believe it or not, high contrast between thick and thin strokes, large x-height, and also offers transitions between the eight weights very smoothly.
Begum
Begum is a Latin Sans Serif font display with contrast. It has an incredibly modernistic characteristic and shares similar features with other Anglo-Dutch typefaces — for example, Times, Fleischmann, and Caslon, with a vaguely exotic and unique feel.
Begum was designed and created by Manushi Parikh. This font shines or stands out when used with shorter length of article introductions or texts, and even on shieldco commercial signage.
Linotype Didot
The Linotype Didot, designed by Adrian Frutiger, pays tribute and respect to one of the most prominent and well-known font foundries and print shop in France during the 18th and 19th centuries. The Didot family were inventors, typeface designers, printers, publishers, and intellectuals during this era.
The Linotype Didot design is, for the most part, a courteous and thoughtful interpretation and exposition of the French Modern Face Didot typeface. And it gives any words you use it for, an elegant and classic feel while paying tribute to the Didot family.
ITC Lubalin Graph
Although ITC Lubalin Graph is, according to the facts, a slab-serif typeface, it aids in conveying a no-nonsense and sensible look that can be excellent for a modern and contemporary design. It is especially true with the lighter weights.
This typeface is a 1974 design crafted by Herb Lubalin, which is based on the old sans serif fonts. The shapes of the character might seem identical and similar between the two designs. However, Lubalin Graph integrates a slab serif feature. All in all, the ITC Lubalin Graph is perfect for packaging and headlines as it is a versatile font.
Blacker
Blacker, a wedge serif typeface, was created to be an “evil sans serif” type font genre. The sharp wedge, high contrast serif design was designed by Andrea Tartarelli and Cosimo Lorenzo Pancini who were searching for ways to summon or raise the proportions of typefaces used in the 1970s.
This font, using the Latin alphabet, emphasizes a staggering number of the character set which encompasses more than seventy different languages, such as Russian Cyrillic. Four sets of figures, alternate forms, fraction, small caps, as well as the inferior and superior figures, and discretionary ligatures are all the striking elements of the Blacker font family.
Recoleta
Recoleta, like a melting pot, combines a lot of aspects and elements from fonts of the past years to form something fresh, new, and modern flavor. By incorporating the gentle and soft shapes found in the angled strokes in Windsor and Cooper font, designer Jorge Cisterna has mixed and combined a beautiful and straightforward font that looks perfect on a business card or in a logo, giving them a unique and distinct look
It is available in a couple of weights, giving you the power to choose the most excellent typographic color for any project that you are working on. Although body text works best with a, for the most part, lighter weight, if you are writing headlines, opt for heavier weights. All in all, the Recoleta typeface can make any logo design stand out.
Hermann
Hermann was designed by Salvador Rodriguez and Diego Aravena in 2018. The font family is one of the most readable and legible typefaces available so far. Designers Diego and Salvador found inspirations at the works of Aldous Huxley and Herman Hesse. They found the ideas of wildness, surrealism, and duality, boosting the design process.
Hermann is not only designed to be one of the most readable fonts today but can show a feeling of being bold and wild as well. It is available in ten variations including bold and italic. Also, it was inspired by the 20th-century novels, taking its name from one of the popular authors of that era.
Takeaway
When it comes to logo and brand design, where graphic designers attempt to project lots of intricate messages, values, and ideas, the type of font you use is very important. Although most people are familiar with color psychology, keep in mind that we are also affected by font psychology. Our connections with various typography trigger emotions and ideas.
Fonts can be key to, for the most part, effective brand recognition. If you know the difference and characteristics of each font, you can easily select what font to use that will best present your business.
And there is no denying that Sans Serif typefaces are excellent for logo designs and whatnot. They can offer you a minimalist and clean logo design for your business. It does not only make your logo design sophisticated and elegant, but it can also bring a dose of exciting and interesting flair to your design.
There are plenty of different Sans Serif fonts available out there for graphic designers to use, making it hard for them to decide on what typeface to apply on the design. But worry not! The above list can help you figure out which is best for your logo design.
However, before picking a font, you need to clarify your brand identity. By doing so, you will have a basic understanding of which fonts are appropriate or not appropriate for your business. Then, determine your target audience. Look at your current consumers or think about making a user persona to get the right impression on the correct audience.
Once identified, it is a great idea to know what your competitors are doing. Well, not because you are stealing their ideas, but because you need to ensure that you are setting yourself apart from the market.
Moving on, keep your options simple and timeless. Your font should not be complicated. Instead, it should be legible and readable. Keep in mind that readability must always come first. Lastly, consider how your design will look in different formats. Some fonts will not look as beautiful when they are situated across a building as they do when they are shrunk down into a small icon.
