Alexandra Oldaker

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif.

With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive.

Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners.

This particular weight is meant for display settings, think full-page magazine titles or posters.

More Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity.

Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more.

K-Types Banks & Miles fonts are inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, and which included Double Line and Single Line alphabets.

The new digital typeface is a reworking and extension of both alphabets. Banks & Miles Double Line is provided in three weights Light, Regular and Dark variations achieved by adjusting the width of the inline.

More Banks & Miles Single Line develops the less used companion sans into a three weight family Regular, Medium and Bold each with an optically corrected oblique.

Although the Banks & Miles Double Line and Banks & Miles Single Line fonts are based on the original Post Office letterforms, glyphs have been drawn from scratch and include numerous adjustments and impertinent alterations, such as narrowing the overly wide Z and shortening the leg of the K.

Several disparities exist between the Post Office Double and Single Line styles, and K-Type has attempted to secure greater consistency between the two.

For instance, a wide apex on the Double Lines lowercase w is made pointed to match the uppercase W and the Single Lines W/w.

Also, the gently sloping hook of Single Lines lowercase j is adopted for both families.

The original Single Lines R and k, which were incongruously simplified, are drawn in their more remarkable Double Line forms, and whilst the new Single Line fonts are modestly condensed where appropriate, rounded letters retain the essentially circular form of the Double Line.

Many characters that were not part of the original project, such as @, ß, #, and currency symbols, have been designed afresh, and a full set of Latin Extended-A characters is included.

The new fonts are a celebration of distinctive features like the delightful teardrop-shaped bowl of a,b,d,g,p and q, and a general level of elegance not always achieved by inline typefaces.

The Post Office Double Line alphabet was used from the early 1970s, in different colours to denote the various parts of the Post Office business which included telecommunications, counter services and the Royal Mail.

Even after the Post Office was split into separate businesses in the 1980s, Post Office Counters and Royal Mail continued use of the lettering, and a version can still be seen within the Royal Mail cruciform logo.

VolumeFour is a heavy, geometric sans-serif display face inspired by the custom lettering which adorns Black Sabbaths groundbreaking Vol 4.

Its bold forms and naturally tight spacing evoke the era which spawned such classics as Snowblind and Supernaut, bringing this aesthetic to a contemporary audience.

VAG Rounded Next brings a classic 1970s typeface up to date, keeping all of its easy going, approachable personality but adding some much-needed versatility and language support.

Originally commissioned by Volkswagen, VAG Rounded remained in use by the company until the early 90s and has also been used by Apple, Skype and Myspace.

Its enduring appeal lies in its appealingly rounded terminals, and its immediate, informal tone of voice.

More When you look at the Volkswagen Beetle it has these curves that are timeless and legendary, says Steve Matteson, who led the creation of VAG Rounded Next.

I think thats what stands out in this design that friendly aesthetic, and the simple line and circle.

This new version offers 700 glyphs with pan European language support (including Greek and Cyrllic), as well as 10 weights of upright and italic styles.

New display weights Shine and Rough which create chocolate popsicle and rust effects are begging to be used in branding, packaging and editorial projects, while the lighter weights are well suited for text.