In the same way that a variety of languages gives texture to a world, so too does a variety of ways of writing within a single language.
Typography, at least in the West, varies slowly over time. And this long trail of changing taste in fonts, this comet-tail of letterforms, is documented in our signage and inscriptions. Any city of reasonable age has an entire linguistic and stylistic history embedded in its street signs, house numbers, and obsolete advertising. It creates a visual richness, and forms a tacit confirmation of age and permanence. These places use typography to show us their past, in finest storytelling tradition, rather than having to tell us that they’re old.
By contrast, we generally see a real typographic poverty in visual SF&F. Alien languages will have only one font, usually in only one weight. Humans, particularly in science fiction, will either use one or two special futuristic (and frequently unreadable) fonts, or pretty much the same range that we use now. To the typographically aware, both approaches underline the shallowness of the visual worldbuilding.
Now, it’s true that many of our fonts have historic antecedents (Trajan), or are a century or more old (Goudy). But every generation seems to add one or two more into common usage (Gill Sans, Helvetica, Calibri…). I’d expect a future society to use many of our extant fonts, plus one or two reasonable-looking but unfamiliar workaday additions.
Note that all of the photos in this post were taken on a single block of Prins Hendrikkade in Amsterdam.