Ringold Clarendon by Bijou Type in use in Nation’s Dumbest – Nation’s Dumbest follows celebrities competing in school-themed challenges, where the goal isn’t to win but to avoid coming in last. 👉 License Ringold Clarendon at typenetwork.com

Dyana Weissman is typically not a fan of sans serif typefaces, but on a trip to Norway, she was inspired by the labels on antique medicine bottles she saw on display in a museum. The robust personality of the letters convinced her to give sans serif a try. 👉 License Apotek at typenetwork.com

Sudz by Jamie Chang is a graffiti and bubble-letter inspired color font, built from winding, looping strokes that create a dynamic and hypnotic texture. Made for display use, it's best suited for brand identities, merch design, and packaging. 👉 License Sudz at typenetwork.com

Borax is an ode to the typography scene of New York City and Chicago in the late 1970s, when ad agencies and typesetters used cameras, geometry sets, and drafting boards to model an ideal life of consumption, printing it all into a sleek culture everyone thought would last forever. Borax revives that tension between restraint and personality, and the quirkiness that comes with it. 👉 License Borax at typenetwork.com

Looking for an interesting script typeface? 🖋️ Sedgwick, designed by Troy Leinster, is a mannered, upright, unconnected script, with a touch of ’tude. License Sedgwick at typenetwork.com

The season begins, and it’s time to send out the premiere invites. Here are six scripts, six different ways to make an entrance. Some are polished and formal, others are playful and a little unexpected, but all have plenty of personality. Together, they make a case for letting your type do a little of the talking. buff.ly/c276e2g

For posters that want to make some noise: BF Buffalo pits faceted outer contours against taut inner curves that turn into angular corners as the weight increases. 👉 License BF Buffalo at typenetwork.com

Fall issues are cast long before they hit the newsstand, and there is no better time to audition your typographic masthead. We're recommending five typefaces with real newsroom pedigree, each matched to the publication it was born to run. Read it here: buff.ly/bQxq4XX

Meet Naipe Foundry, a duo from Rio de Janeiro and now based in Barcelona, who have been helping brands find their typographic voice since 2018. Watch their Meet the Network episode, where they talk about how they navigate being both business and design partners, share a recent favorite project, and let us in on what they get up to when they’re not designing type. Catch it in our Instagram Reels: buff.ly/6D254nj

Apostil is a typeface rooted in handwriting, drawn to harmonize with hand-drawn sketches while still holding the cadence, texture, and rigor of a font. It comes in Light, Regular, and Bold, with stylistic alternates throughout. License Apostil at typenetwork.com

Forged in the fires of gaming legend, Dargon is an audacious serif family built to bring the epic to any text. The family comes in two parts: six uncial-inspired display fonts, each named for a school of magic (Ignis, Limen, Mutatio, Oculus, Aegis, and Umbra), and Dargon Text, five text and italic styles built for continuous reading on screen and page. License Dargon at typenetwork.com

About Spritz is an eclectic Sans and Serif variable type system that turns Art Nouveau’s ornamental richness into something thoroughly contemporary. Watch it shift from Sans to Serif and back, a single structure carrying two distinct voices. Get it at typenetwork.com

Condensed type gets treated like a compromise, the font you reach for when the headline won’t fit. The best space-saving faces are nothing of the sort. Read the full roundup on typenetwork.com

What does a typeface for knowledge work look like today? Foliant Serif is the Foliant superfamily's answer: a text face built to convey trust, poise, and elegance, recognizable at a glance but never distracting once reading begins. 👉 License Foliant Serif at typenetwork.com

Magmo's organic shapes started with an unusual method: burning paper, which created swollen globules within each stroke that grow heavier as the weight increases. Contrast rises along with it, while rounded terminals and fluid joins give Magmo its character throughout. Drawing on William Caslon's 1727 types, Magmo works equally well across print and digital, with lining and old-style figures plus fractions built in. 👉 License Magmo at typenetwork.com

Back-to-school season looks different at every desk, so our picks grow up with it: five faces tracing a reading life, from a toddler shaping first letters to a college student facing down a semester of seminar reading. 🍎📚✏️📖 Read the full roundup on typenetwork.com

Anta Pro is now 40% off! Get the full family or individual styles at the increased discount through September 7, 2026. Use code ANTAPRO2026 at checkout: buff.ly/Tms3qND

RL Aqva in use for the Vertical Pizza Box by Iris Worldwide Pizza Hut has claimed a lot of firsts, the first pizza on the moon, the first stuffed crust. But a vertical pizza box? That one had never been cracked, and Iris Worldwide's campaign made it feel just believable enough to spark real debate on the streets of London. RL Aqva's bold, playful display forms made it the right voice for the stunt: an asymmetric construction in some of the letters like A and Y gives it a dynamic, slightly mischievous energy, while occasional overlapping characters build the kind of dense, eye-catching blocks a headline-grabbing idea like this needs. Images: Iris Worldwide 👉 License RL Aqva at typenetwork.com

CoFo Cinema1909 builds its own cinematic universe, one where traditional and contemporary letterforms work in unison. Its proportions are unusual, neither narrow nor wide, but deliberately dynamic, creating a strong rhythm reinforced by compact serifs and terminals and a carefully balanced contrast between thick and thin strokes. 👉 License Cinema1909 at typenetwork.com

AM Tripoli by CAST in use for the Alemagna rebrand by Ey Studio Alemagna's history runs through everyday postwar Italian life: the first pastry shop on Piazza del Duomo in Milan, the panettone that became a Christmas staple, Autogrill counters on the new motorways, and the Charms candies and ice creams of countless childhoods. For its rebrand of the historic Milanese confectioner, Ey Studio drew on the atmosphere of that specific moment in Italian design, translating it into packaging built for today, as reported by the-brandidentity.com.  AM Tripoli fits the brief well: it's part of CAST's Alfabeti Modernisti collection, a set of revivals drawn from Italian modernist wood and metal typefaces of the 1930s and '40s. Images: Ey Studio, via Fonts in Use 👉 License AM Tripoli at typenetwork.com