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We reveal 40 hot typefaces to keep an eye on in 2023, including serifs and sans serifs, variable fonts, display fonts, and more. And we get pro-industry insight to discover the latest trends shaping type design right now.

As brands continue to fight for recognition in increasingly crowded spaces, bespoke type is seen as a way to differentiate. Custom fonts are definitely hot right now, and Matt Taylor, senior designer at Free The Birds, thinks the trend will be huge in 2023: "We will see a continuation of brands pushing for creative expression through custom typography as they look to build a stronger connection to their consumers," he says. "This means more experimentation in letterforms; defined ink traps, inverted contrasts, and exaggerated flourishes will be key areas of interest."

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There's tall and thin, and then there's tall and thin. Created by graphic designer Brandon Nickerson, BN Viceroy goes to the extreme but does it in style and with a thoughtfulness that provides excellent functionality overall. This serif display typeface, which boasts over 200 glyphs, needs to be used carefully but can be a great choice when you're trying to make your design stand out.

You can tell by the name that Novela is a font designed for reading. But this elegant display serif is anything but bland, thanks to its generous x-height, sharp terminals and extreme stroke contrast. As well as books, magazines and online articles, it would also work for posters, packaging, logos and anywhere else where you need text that exudes class and style. Also note that the Regular style is available as a free download for personal use, and you can 'pay what you want' for the complete family.

If you need a sophisticated serif for packaging, food, fashion, consumer goods or lifestyle branding, Allrounder Antiqua is one to consider. Designed by Moritz Kleinsorge, this timeless typeface is based on classical proportions, making it a good choice for books, editorial design and branding too. Its refined shapes work flawlessly in both body copy and display sizes, and the font comes in eight styles with plenty of OpenType features.

Designed by Jeremy Mickel, Shift is inspired by American slab serifs from the late 19th century, particularly Franklin Circular. In its lighter weight, it works well as a typewriter-style font, with flared terminals and prominent serifs. In the heavier weights, it acts as a titling Egyptian, with thin spaces between characters and small counters. Shift is available in six weights with matching italics.

Void is a highly original and innovative display typeface featuring blobby shapes with a magnetic fluidity that suggests otherworldliness. Designed by Malte Bentzen and released this year, Void combines a range of references from science fiction to 1990s visual culture to create a unique visual language. Available both in a variable format and with three static weights (thin, regular, and bold), you won't fail to attract attention using this font in display applications.

When a font foundry creates a typeface for its very own website, you know they're going to come up with something special, and that's certainly the case with Foundry Unie, which has only just been released. A geometric sans in the European tradition, it's inspired by Universal, Futura and Avenir, as well as disparate sources like Edward Johnson's London Underground Transport typeface, the De Stijl art movement, and the 1925 facade of the Die Unie caf in Rotterdam. Round, open, and minimal, it boasts a large x-height, clean appearance and optical recognition characteristics, making it a good choice for neutrality and clarity. The open terminals of C, G, J, S, a, c, e, f, g, and t do not flare or distort through the weight range, and it has an even, smooth colour when set. For ultimate flexibility, the variable fonts are available on complete, Roman and Italic family purchases.

Want to make your audience look twice? ABC Maxi is a warm and witty type system characterised by spaghetti movements and angular lines. It has an underlying skeleton referencing mid-century and post-modern Swiss designs, but as a variable font, these familiar shapes can be exaggerated and emboldened in any way you see fit, stretching from Hairline to Black to everything in-between. While designing the font, we were interested in how subtle manipulations in shape could affect the tone of the overall typeface.

Acma is another unusual font that brings together a lot of competing ideas. Inspired by the Japanese modernist aesthetic as well as the fashion world, it's ultimately precise and subtle, yet it incorporates unconventional forms and rhythms, making it feel flowy and temperamental. Originally intended for editorial headlines, this highly contrasted, narrow sans serif ranges from thin to black and is best used for 12-point type and above.

Since 2018, Indonesia-based graphic designer Eko Setiawan has focused on display faces with a unique, distinct look, and they're always worth checking out. His Headline Display font collection gives you 29 new typefaces designed to stop people in their tracks and are worth considering whether you're designing online content, logos and branding assets, or product packaging.

YRT Gnasher has nothing to do with The Beano character, but it has a delightfully comic-book look to it. Created by Zac Neulieb, this super blocky font is designed to remind you of the block letters that covered your notebook in high school. The lowercase and uppercase have variations between each letter to help give your type design more of a hand-rendered quality.

Back Story: Every so often, during this century and the last, type designers, feeling a restlessness toward the sterility and soberness of modernist type, will turn to the Victorian era for inspiration. The late 1800s produced a bevy of serifs that occupy a refreshing middle ground between the rigidity of modern fonts and unwieldiness of calligraphic type. Something with irregularity, eccentricity, and a little drama.

But, suddenly, in the way of anything involving technology, there was a major leap forward. A breakthrough, in fact. First, in 2009, San Francisco-based company Small Batch launched a fledgling Typekit project which showed the potential of a wider variety of online typefaces. But really the fundamental change was in 2010 when Google launched its free, hosted fonts service adding a range of new typefaces, which changed everything.

The moment when the web caught up with print was imminent. This came about in a series of stages. The first was hosted web fonts, the second was Web Open Font Format. WOFF was first devised over ten years ago and established a single font format for all web browsers. This was something that had proved elusive and problematic up til this point. At a stroke it fundamentally changed the way type designers could work. ff782bc1db