![]() The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. The design was to be used on German street signs and house numbers. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The abbreviation “DIN” stands for “Deutsches Institut für Normung e.V.,” which is the German Institute for Industrial Standardization. DIN Next is part of Linotype’s Platinum Collection. The typeface family also includes a set of four “rounded”fonts (DIN Next Rounded), a bringing the total number of fonts in the family to 25. ![]() This sort of thing is common in German handwriting.Įach of the seven weights of DIN Next ship in three varieties: Regular, Italic, and Condensed. The 7 and the capital Z have alternate versions, with horizontal strokes through their diagonals. The 6 and 9 have alternate, rounded forms. The 1 has an alternate form with base serifs. This historic letterform is found on the streets signs of West Berlin. The ß has an alternate form that is more like the combination of a long-s and a long-z. ![]() The lowercase q has an alternate form where the descender includes an upstroke at its end. ![]() The lowercase a has an alternate form that is single-storey, like Futura. The uppercase I may be used with or without serifs. The uppercase C and G have two forms: one with flat stroke endings, and another with diagonal endings. Each font includes small caps and oldstyle figures. In 2016, German type designer Yanone published an Arabic version of FF DIN with the FontFont foundry.Many additional features were added into the typeface during the design process. In 2015, the family was enhanced with an addition of two new weights and new Greek extensions. FF DIN debuted at MoMA as part of the “Standard Deviations” installation in the contemporary design gallery. Due in part perhaps to the immense popularity gained by FF DIN since its release in the mid-1990s, it was one of just 23 designs to be included. In 2011, the Museum of Modern Art in New York added to its permanent collection its first digital typefaces. The typeface has pervaded corporate and publication typography, and can be seen in posters for cultural institutions. Despite its primitive, technical appearance and a clear reference to German motorway signage, FF DIN quickly became a phenomenon. In form, FF DIN differs from previous versions primarily in its optical adjustments-horizontal and vertical strokes are better balanced and overall its curves are smoother. ![]() In time, five weights grew to seven, and a condensed width was added, as well as Greek and Cyrillic language support. He added true italics and also some alternative characters such as “i” and “j” with round dots, and oldstyle figures. Digital DIN fonts were available at the time, but only in two weights of purely geometric shapes. Spiekermann was acutely aware of the lack of options for designers wanting to use these kinds of typefaces. This seemed strange to Pool, but one year later, FontFont published his FF OCR-F typeface, followed closely by FF DIN. He suggested that if Pool wanted to make some money in type design, that he take a closer look at neglected faces such as OCR and DIN. On the way back to the airport from the 1994 ATypI conference in San Francisco, Albert-Jan Pool and Erik Spiekermann discussed Pool’s prospects, Spiekermann knowing that his friend’s employer had just gone out of business. ![]()
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