Thin Fonts For Sheer Elegance
I love the look of thin fonts. There’s just something about them that gives a design the appearance of elegance instantaneously. When combined with a heavy weight font, you get the ultimate amount of contrast that makes any design or logo stand out. When thin fonts have a bold or black weight in the same type family, it gives a huge amount of variation, but does it with a degree of consistency. This makes them great for logos, titles, and headlines where you want extra attention. Let’s take a look at the best thin fonts that give you a lot to work with.
Bariol has always been a favorite of mine, and that’s before it has all of the weights it does now. With different weights, and even italics, Bariol is an excellent choice for a balanced look.
L’egoist Corbeau looks like it hopped right out of 1930s France and onto your screen. When you want that extra delicate touch, this is a great choice.
Maven Pro is a collection of three thin fonts, all well-balanced elegant.
I just used Lato in the logo design for Designer-News. It has a great look, while giving you a lot of versatility.
Quicksand has a few variations. Some you’ll get use out of, some you won’t, but the thin version still looks excellent.
Melbourne is a tall font with multiple weights. The rounded corners are a nice touch.
Satellite is a geometric font for technical applications. It would be great where you have to represent mathematic applications.
Hero Light has both uppercase and lowercase letters. Its dimensions are geometric in nature.
Infinity is a thin font that makes me think of technical applications, like drafting and infographics.
Dekar has a wider stance that Infinity, but it follows the same idea.
Thin and geometric, Code Light has a strong presence. Code Light is a no-frills font that just gets right to it.
Mensch has 4 different weights, making it great for a variety of different projects. The contrast in weights gives you plenty to work with.
Gota Light is totally unique in style and application. It’s a very precise and consistent font, with the s being turned on its side to be used as the letter n.
Novecento blew up for a while as being a sought-after typeface. People just couldn’t get enough of the look. I can see why. I would use this one for a variety of projects.
Ostrich Sans is great because it has a few varying weights. The outline version is a great way to contrast against the thin version.
Titillium is a very technical looking font. I could see it being used in exploded diagrams of cars or electronics. it is very modern, but balanced.
Lavaderia is close to a hand-tooled script typeface. It looks like fancy handwriting from long ago.
Riesling makes me think of the 30s and 40s, and is a great Broadway style font. I could see using this in posters for plays that take place in that era.
Rothman is certainly a tall font. I would use this for special cases, but it definitely has a distinct look you’ll want to use.
Which one of these thin fonts are your favorite? I’ve always been partial to Bariol, but I love Infinity, too. In the right designs, thin fonts can create an elegant, modern presence that is just as striking as a bold font. I want to hear from you! Leave the name of your favorite thin font in the comments section below.