Riccardo Olocco, one of the designers of CAST, the Italian type cooperative based in Bolzano, built Bettoni as a publishing family in the fullest sense: dedicated Text, Subhead, and Display cuts, plus a variable font to tune everything in between. That structure means the same voice can whisper in a caption and project from an opening spread without ever changing character. Best suited to: the magazine that wants one family on staff for every job in the issue.

Kent Lew came to type from book design, and Whitman carries that training in every line: a crisp, transitional face with the calm authority of a well-set page. The family has put in shifts at newspapers, books, and magazines from Fortune to W, and the Display cuts sharpen its contrast for headlines while the text version handles the fine print. Best suited to: the serious broadsheet and its Sunday magazine, where authority is the whole assignment.

Gunnar Vilhjálmsson and Kalapi Gajjar of Universal Thirst intended Meursault as a display face for headlines and subheadings in magazines and newspapers, and they gave it room to maneuver: widths run from Ultra Condensed to Ultra Extended, with a variable font sweeping the whole span. Whatever the column, there is a Meursault exactly its size. Best suited to: cover lines and statement headlines, at any width the layout demands.

And for the masthead itself, Rodrigo Saiani of Brazil’s Plau rooted Tenez in pointed nib calligraphy, the same wellspring that fed the great Didots and Bodonis, then drew it unapologetically for display: magazine openings, drop caps, anywhere elegance needs impact. Its unusual Thin weight even picks up a typewriter-like personality as the hairlines all but vanish. Best suited to: cover lines, logotypes, and any headline that considers itself an event.