Pica is a native macOS font manager from Josh Puckett, built for designers who want proper font organization. ​“Organize into collections, test color themes and logos, watch folders, manage what’s installed, and much more.”

Font choices for dense developer tool UIs require different thinking than consumer UI. Anton Lovchikov covers what actually matters — having both sans and mono fonts in the same family, vertical metrics, text rendering, variability — in an article worth saving if you work on data-heavy or developer-facing products.

Yep! Type Foundry introduces Unifora, a uniwidth variable sans-serif superfamily. If you aren’t familiar with uniwidth typefaces, it’s worth checking out details of this project. Two years dedicated to a single constraint: every weight, every width, every slant — same character widths. This solves a real problem for interface designers: text that doesn’t reflow when you switch from regular to bold.

An early preview version of the new monospace font from Paper, based on Geist Mono from Vercel.

Christine Vallaure shows how to keep type consistent across screen sizes: establish text styles once, map them to your layouts, and preview responsiveness before you ship.

Fantastic resource from Mike Smith, where all of the Google Fonts that are actually good are categorized by ​“vibe”.

Sweet, the text in Figma is now autocompleted with AI.

Generate text styles with line heights calculated based on a baseline grid, font size, and type scale.

I always learn something new from Molly — today it’s grade support in fonts. Read more in the Grade axis (GRAD) article at Google Fonts.

Apple’s SF Pro and SF Compact fonts are now automatically downloaded in Figma Editor, Slides, and Buzz.

Evil Martians open-sourced their Martian Grotesk font, which I’ve been using at Figmalion for almost 3 years. I highly recommend trying it out and reading about the design philosophy of this project — Roman Shamin put so many innovative ideas into its design, making it an excellent choice for UI design.

A rare feature that’s both underrated and long-awaited.

Monotype published a new kind of trends report for 2025: ​“Ancient oracles peered into the future. From a specific point in time, they forecast what could come. That’s what we want this report to be: a typographic oracle. We want to mark this moment in time, to celebrate design and typography’s progress, and to challenge all of us to envision what lies ahead by looking at the larger cultural forces shaping our time and work.”

“Figma now transforms common character combinations into smart symbols in all fonts. Now when you type the following characters – ©, ®, ™, ->, <-, vv, ^^, \[ \] – Figma will automatically transform them into smart symbols: ©️, ®️, ™️, →, ← , ↓, ↑, ▢. This will occur with every font, as long as you have the ​“Use smart quotes/​symbols” preference on. Also available in FigJam and Slides.”

A creative workaround to turn text underline into color highlight with no hacks.

Yep! Type foundry explains why text in a dark UI often looks better when it’s slightly lightened. That’s one of the reasons why choosing variable fonts for new projects became one of my non-negotiables.

Choose a color, style (solid, dotted, or wavy), thickness, and offset of your underlines.

Easily create flexible, modular typography scales. Peppercorn generates a sample scale with a documentation sheet, text styles based on variables, and even generates code in a few standard formats.

This in-depth explanation of the font-size property continues the topic of web typography. Even if you don’t care about CSS, the text tools in Figma are based on web typography, so it’s good to understand how they work: ​“For accessibility purposes font-size is only a vague measure; readability and contrast cannot be derived purely from it. It requires something more along the lines of a ratio between font-size (as in height) and font-width — and font-weight on top. And then there are also the visual qualities of the font design that come into play; some typefaces are squiggly but decorative handwritten ones and some are minimalist functional sans-serifs.” 

Christine Vallaure explains the new CSS property clamp() that I wasn’t familiar with: ​“Think of clamp() as a way to establish a ​“Goldilocks zone” for any value in CSS. Imagine a property that’s not too small, not too big, but just right — that’s what clamp() is all about. It allows you to set a minimum, an ideal value, and a maximum, making your design more adaptable and responsive.” 

While this article focuses on typography, clamp() also can be used for controlling padding, margins, or even widths. Depending on the viewport size, it can adjust in either direction, expanding from the minimum value to the maximum or shrinking as needed.