cross sheet facebookinstagramsocial-twitter


Best editorial headline fonts
← Back to The Pangram Paper

Best editorial headline fonts

Article by Studio Ground Floor

Part One of our exploration of editorial typefaces!

author=Studio Ground Floor% authorlink= fonts=acma,editorial-new%

Editorial design is a satisfying endeavour; however, it can often be as tricky as it is rewarding.

There is always so much to consider, from hierarchy, grid systems, page count and furniture to dimensions, paper stock, printers and print deadlines. The killer consideration, though, as you’d expect, is the typeface choice. Headlines, details, body copy, pull quotes (the list goes on). And finding the answer can be quite a head-scratcher. That’s why we’re here!

In this list, we’ve brought together a selection of our typeface suggestions, categorised to make things as easy as possible. Here you’ll hopefully find either the font you’ve been searching for (that perfect typeface that ticks all the boxes) or the path towards new creatives, new fonts and new styles.

Without any further ado, here are our top headline fonts!

SERIOUS: Untitled Sans by Klim Type Foundry

Inspired by, and very much akin to, Super Normal by Naoto Fukasawa, Klim’s Untitled Sans celebrates beauty with the standard. The relatability, familiarity and comfort in the default. The result of this exploration, however, is far from boring. Instead, Untitled Sans (alongside its conceptual counterpart, Untitled Serif) is a striking, sincere font that brought in a new era of Helvetic’s-defying grotesque sans serifs. With that in mind, Untitled effortlessly brings its innate sincerity to any editorial project, offering the flexibility between stark Swiss styling and less conventional aesthetics.

ELEGANT: ACMA by Pangram Pangram

Inspired by the eminent aesthetic of Japanese Modernism, Acma retains a wonderful unconventionality across its elegant design, capturing a unique sense of clarity and subtlety – all while embracing the potential and opulence of flourish forms in typographic design. To that end, it embodies a bold defiance of minimalism whilst confident in the simplicity of its design. Together, this concoction of contrast and character creates a masterful font primed and ready for the editorial arena. And, given its multiple weights and high contrast architectural forms, Acma is sure to make easy work of any application – optimised for macro and micro typography.

FUN: Boogy Brut by Bureau Brut

Boogy Brut, designed in collaboration with renowned calligrapher Juliet Priez (or Boogy Paper, as he is more commonly known), is many, many typefaces at once. Offering a vast array of styles, including Wild, Regular and Poster (each with numerous weights), sharply modelled off the sculptural, artistic shapes and movements of Boogy’s practice. With such variety, Boogy Brut offers any editorial space both its calm and eccentric personas, dialling up and down (or both) whenever necessary.


Montiac is, appropriate to SUPERCONTINENTE’s explorative practice, a fascinating investigation into what constitutes’ rational’ type design, accentuating the angles and eccentricity of its 1893 inspiration Colombia Antiqua to craft something entirely new and outstandingly contemporary. Rich with styles to boot, Montiac affords any printed page an exciting, heartfelt and rigorous font destined to better the words it embellishes.

CLASSIC: Editorial New by Pangram Pangram

Editorial by name, editorial by nature! This elegant serif is precision typographically personified. With echoes of mid-90s design and a grounding of serif fonts’ lush, curvaceous legacies, Editorial New combines the classic and the contemporary to make something entirely new and entirely refreshing – suited to make both a big splash and a subtle nod on whatever the page is thrown its way. This capability comes from not only its comprehensive weights and styles but from the personality ingrained across its construction, bringing legibility and character to any editorial endeavour.