German designer Paul Renner is best known for his design, but Plak, his “other” typeface, is long overdue a rediscovery. Monotype designers Linda Hintz and Toshi Omagari have restored this under-appreciated design, creating a versatile set of 60 weights that draw on the forms of the original wood type.

This extended version of VAG Rounded by the Monotype Studio brings the 1970s typeface up to date, expanding its language support and adding two new display versions. This new version contains over 700 glyphs with pan European language support, including Greek and Cyrillic, as well as OpenType features such as stylistic alternates, ligatures, fractions and localised forms. It opens the typeface up for all the graphic designers that know it and love it for its warm personality, but need to tick a few more boxes with their choice of typeface.

Despite being drawn digitally, Angeletta™ is a typeface in the hand-lettering tradition. It draws on designer Rob Leuschke’s three decades of experience with pen and ink, including his time creating scripts for Hallmark Cards. Spontaneous and energetic, Angeletta is satisfyingly inky – with strokes almost spilling into one another. Its quirky personality and titling version makes it a good choice for packaging and social expression, while its distinctive character could work well in branding, perhaps paired with a more sedate sans serif.

A boatload of personality and a riot of swash characters make the Hope Sans™ typeface an excellent display family. But this is a dual-purpose face. Hope Sans also does double-duty as a good-natured text design. Every cap letter has at least two swash alternatives, and some as many as six. Several lowercase characters also have swash or alternate characters. Ligatures abound. Underlying all this typographic merriment is a cheerful sans serif design in six weights, each with a cursive italic companion.