Top 20 Fonts for Logos in 2021

It is almost impossible to put a number on how many fonts are there in the world. Nowadays, it’s possible for you to find on the internet ways to get easily around 500,000+ fonts but these won’t include custom-licensed fonts.

Whatever the actual number is, one thins is for sure, typography is integral to all forms of communication, whether it’s in a journal or a webpage they are crucial for differentiation and creativity.
Here you can find a selection of fonts that we have picked due to their aesthetic aspect, but above all readability, so you can use them on your logo.



Picture 1 —Alegrya Font

Alegreya is a typeface originally intended for literature. Among its crowning characteristics, it conveys a dynamic and varied rhythm that facilitates the reading of long texts. Also, it provides freshness to the page while referring to the calligraphic letter, not as a literal interpretation, but rather in a contemporary typographic language.



Picture 2— Slabo Font

Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 27px, and Slabo 13px. Each font in the collection is fine-tuned for use at the pixel size in its name.



Picture 3 —Mulish Font

Mulish is a minimalist Sans Serif typeface, designed for both display and text typography.
It was initially drawn in 2011 by Vernon Adams and then refined until 2014, adding more weights, support for more Latin languages, tightened the spacing and kerning and made many glyph refinements throughout the family all based on hundreds of users’ feedback. In 2017 the family was updated by Jacques Le Bailly to complete the work started by Vernon after he passed away, in collaboration with his wife Allison, an artist who holds the trademark on the typeface family name. In August 2019, it was updated with a Variable Font “Weight” axis.

Titilium Web


Picture 4 — Titilium Font

Titillium is born inside the Accademia di Belle Arti di Urbino as a didactic project Course Type design of the Master of Visual Design Campi Visivi.
The aim of the project is the creation of a collective font released under OFL. Each academic year, a dozen students work on the project, developing it further and solving problems. Any type of designer interested in the amendment or revision of Titillium is invited to co-operate or develop their own variants of the typeface according to the terms specified in the Open Font license.
Three years after the birth of Titillium, the project is still evolving, and no one knows what it will become in the future.



Picture 5— Varela Font

Varela is a modern sans-serif font that blends the styles of many great typefaces. Its uniqueness stems from vertical cuts on lowercase letters such as “a, c, e, g, s” and uppercase letters such as “C, G, J, S”. Because it is extremely clean and minimalistic in design, it is able to sit well in the body text at small sizes or be used for headlines and menu items. Varela is a great font for anything containing text or content.



Picture 6— Vollkiorn Font

Vollkorn came into being the first typeface design by Friedrich Althausen. First published in 2005 under a Creative Commons license, it was soon downloaded thousands of times and used in all kinds of web and print projects.
It intends to be a quiet, modest and high-quality text face for bread and butter use. Unlike many text typefaces from the Renaissance period until now, it has dark and meaty serifs and a bouncing and healthy look. It might be used in body copy, or just as well for headlines and titles. Vollkorn (pronounced “Follkorn”) is German for wholemeal which refers to the old term “Brotschrift”. It stood for the small fonts for everyday use in hand setting times.
In May 2020, it was updated to be a Variable Font with a “Weight” axis in both Roman and Italic.

IBM Plex


Picture 7— IBM Plex Font

IBM Plex is an international typeface family designed by Mike Abbink, IBM BX&D, in collaboration with Bold Monday, an independent Dutch type foundry. Plex was designed to capture IBM’s spirit and history and to illustrate the unique relationship between mankind and machine, a principal theme for IBM since the turn of the century. The result is a neutral, yet friendly Grotesque style typeface that includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web and mobile interfaces. Plex’s three designs work well independently, and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs.

Crimson Text


Picture 8— Crimson Text Font

There are a lot of great free fonts around, but one kind is missing: those Garamond-inspired types with all the little niceties like old-style figures, small caps, fleurons, math characters and the like. In fact, a lot of time is spent developing free knock-offs of ugly “standards” like Times and Helvetica.
Crimson Text is inspired by the fantastic work of people like Jan Tschichold, Robert Slimbach and Jonathan Hoefler. We hope that the free type community will one day be able to enjoy Crimson Text as a beautiful workhorse.



Picture 9— Cairo Font

Cairo is a contemporary Arabic and Latin typeface family. Mohamed Gaber extended the famous Latin typeface family Titillum Web to support the Arabic script, with a design that is based on the Kufi calligraphic style.
Cairo balances classic and contemporary tastes with wide open counters and short ascenders and descenders that minimize length while maintaining easy readability. The lighter weights can be used for body text while the heavier weights are perfect for headlines and display typography. Each font includes stylistic ligatures and the Arabic component has a wide glyph set that supports the Arabic, Farsi and Urdu languages.


Picture 10— BioRhyme Font

BioRhyme is a Latin typeface family comprised of two widths, a normal family and an expanded family. Each family has 5 weights, and both are intended for use in large and medium sizes.



Picture 11 — Karla Font

Karla is a grotesque sans serif typeface family that supports languages that use the Latin script and the Tamil script. This is the Latin script part of the family, with Roman and Italic styles in two weights, Regular and Bold.



Picture 12—Lora Font

Lora is a well-balanced contemporary serif with roots in calligraphy. It is a text typeface with moderate contrast well suited for body text.
A paragraph set in Lora will make a memorable appearance because of its brushed curves in contrast with driving serifs. The overall typographic voice of Lora perfectly conveys the mood of a modern-day story or an art essay.
Technically Lora is optimised for screen appearance and works equally well in print.

Frank Ruhl Libre


Picture 13 — Frank Ruhl Libre Font

Frank Ruhl Libre is an open-source version of the classic Hebrew typeface Frank Rühl, the most ubiquitous Hebrew typeface in print. Frank Rühl was designed in 1908 by Rafael Frank in collaboration with Auto Rühl of the C. F. Rühl foundry of Leipzig. A final version was released in 1910. Many Israeli books, newspapers and magazines use Frank Rühl as their main body text typeface.
Made to accommodate the growing need for typefaces in secular Hebrew writings, the typeface was fitted to modern printing demands and designed to be readable in long-form text, with and without vowel marks. Frank Rühl has Sephardi proportions (mem-height is approximately 4½ stroke widths) and is based roughly on Venetian typefaces used by printer Daniel Bomberg. Frank wrote of his design that he wishes to combine the simpleness of Antiqua with the “pleasantness” of Fraktur, leading him to “quieten” the letterforms by reducing the contrast between its thin and thick strokes.

Playfair Display


Picture 14 — Playfair Display Font

Playfair is a transitional design. In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. Together with developments in printing technology, ink, and paper making, it became to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms.
This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of John Baskerville and from ‘Scotch Roman’ designs. Being a Display (large size) design in the transitional genre, functionally and stylistically it can accompany Georgia for body text.



Picture 15 — Archivo Font

Archivo was designed to be used simultaneously in print and digital platforms. The technical and aesthetic characteristics of the font are both crafted for high-performance typography. It was designed to be used simultaneously in print and online platforms and supports over 200 world languages.
Archivo is a grotesque sans serif typeface family from Omnibus-Type. It was originally designed for highlights and headlines. This family is reminiscent of late-nineteenth-century American typefaces. It includes Black and Narrow styles and was derived from Chivo



Picture 16 — Spectral Font

Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Spectral offers an efficient, beautiful design that’s intended primarily for text-rich, screen-first environments and long-form reading.

Fjalla One Font


Picture 17— Fjalla One Font

Fjalla One is a medium-contrast display sans serif. Fjalla One has been carefully adjusted to the restrictions of the screen. Despite having display characteristics Fjalla One can be used in a wide range of sizes.



Picture 18 —Roboto Font

Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. Roboto doesn’t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types.



Picture 19 — Montserrat Font

The old posters and signs in the traditional Montserrat neighbourhood of Buenos Aires inspired Julieta Ulanovsky to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. The letters that inspired this project have work, dedication, care, colour, contrast, light and life, day and night! These are the types that make the city look so beautiful. The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License.
This is a normal family, and it has two sister families so far, Alternates and Subrayada. Many of the letterforms are special in the Alternates family, while ‘Subrayada’ means ‘Underlined’ in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighbourhood.



Picture 20 — Rubik Font

Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project.
Rubik is a 5 weight family with Roman and Italic styles, that accompanies Rubik Mono One, a monospaced variation of the Black roman design.

Most of these fonts are available on our website, so feel free to visit and check out how they look and take time to craft your logo so you pick the best font possible.


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