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DINSlabW05-Bold
by: Antonia Cornelius, Albert-Jan Pool
Update : Thu, 08 Feb 2024 02:30:53 +0800Company : Monotype GmbHSize : 436.38 KbpsVersion : 1.00Trademark : Typeface Family Name: FF DIN Slab.Library: FontFont Library.Typeface Designer: Antonia Cornelius, Albert-Jan Pool.Typeface Design Year: 2021.Type Style Category: Slab Serif.Number of Weights: 28.Ever since FF DINs release in 1995, Albert-Jan Pool planned to extend the small family of five weights. One of the obvious choices in the 1990s would be to accompany FF DIN with a so-called monospaced aka typewriter version. Typewriters were already outdated at that time, but most readers were still quite familiar with the look-and-feel of the documents written on such machines. Typewriter faces were commonly associated with all sorts of office communication such as letters, forms to be filled out (not to say bureaucracy), hand-outs (be it commercial or at demonstrations) and press-releases. They breath the atmosphere of topical information that is to be taken seriously. As FF DIN is perceived as neutral and objective, it seemed that FF DIN Mono would be offering features that met the demands of the market at that time. Sketches were made but FF DIN Mono lacked the look-and-feel of most typewriter faces. Due to technical restrictions of the typewriter, typefaces used on such machines differ from typefaces used for printing. Whereas in printing types the widths of the letters follow their natural proportions, their main difference with typewriter faces is that the simple construction of the typewriter requires that the width on which each letter is positioned is identical for all. This typically results in the narrow letters I, i, j and l as well as the figure 1 swimming in white space. On the other hand, it causes the wide letters M, W, m and w to look rather cramped. With FF DIN this requirement could be met easily. The most prominent characteristic of typewriter faces is that they usually have linear serifs with a weight that (almost) matches that of the vertical stems. IBM Courier is a typical representative of that style. Now adding serifs to a Sans is not a big thing as such, but because FF DIN is a sans serif typeface, FF DIN Mono would not have any by nature. Or maybe just a few most sans serif typewriter faces actually do have some: typically, i, j and the other narrow letters mentioned before have serifs. Their task is to fill up the white space, these letters would otherwise be swimming in. Despite all efforts, Albert-Jan Pool decided that FF DIN Mono did not stand out enough to successfully accompany FF DIN, so the project landed in the drawer. The design of additional styles that clearly distinguish themselves from FF DIN, such as FF DIN Round and the development of FF DIN Thin and Extra-Light was favored instead. With hindsight, FF DIN Round and the thin weights enhanced the versatility of the FF DIN family in good manner, but all in all still somewhat restrained. Notably the bolder weights of FF DIN Round showed that it was possible to add clear personality while still keeping the family ties. For the next round it was decided that future extensions should have such qualities. Through the years lettering models presented in DIN 1451 had been adapted for various lettering techniques. The engraving technique used for name plates, identification of devices and machinery, smaller signs and lettering rulers typically shows round or rounded corners this had already led to DIN Round. Larger lettering was frequently executed using stencils and it is obvious that the prominent bridges preventing the counters (islands in lettering-speak) from dropping out can be used as a design feature rather than accepting them as necessary evil. The decision to design DIN Stencil was thus taken quickly and in the course of historical investigations on industrial lettering another obvious option was explored. At the beginning of the 19th century, two new styles were introduced to the world of printing types. Their visual appearance is strikingly different at first sight, but throughout the early decades of that century, they even shared names such as Egyptian. What is discussed here is nowadays clearly distinguishable, not only visually but also by their names: Sans Serif and Slab Serif. According to James Mosley, a most recognized expert on the history of (sans serif) typefaces, it did even take until the 1980s until the term Egyptian started to be replaced by the now common term Slab Serif. Remembering the failed attempt of FF DIN Mono due to its lack of serifs, now, this view on type history reveals the missing piece of the puzzle: Extending the DIN family by an original slab serif design which stands out but fits into the family coherently at once, born by its common history of origin. The newborn FF DIN Slab relies closely on the original FF DIN as Albert-Jan Pool und Antonia Cornelius initially took the sans and added as many serifs as possible. This way, curves, stems and proportions a typefaces DNA of all weights and widths remained the same. But just mounting heavy serifs doesnt lead to a pleasing result. Typeface design always aims for a balance between black and white. Consequently, the additional black of the serifs necessitates adjustments of the white space to restore the rhythm. Therefore, serifs differ in length depending on the kind of stroke which they terminate. Is it a straight stroke with a serif at the top and bottom like an n on the left? Or is there just one serif within the x-height as on the right of the i? Or is there even a curve like the shoulder of a or n which causes more space to the following letter? The recipe: the bigger the white space the shorter the black serif. Thus, we subtly compensate for those differentiating white spaces and regain a steady rhythm. However, the bolder the weight it gets more and more troublesome to accommodate all the heavy serifs somewhere in the shrinking white space. So, how do we get more light back to first handle the serifs and second to match again with the original grey value of the sans? Therefore, horizontal strokes were thinned distinctly in the bolder weights. As this is not sufficient for condensed designs, DIN Slab counters faced trouble with sophisticated design solutions and maxed out the latest font technology for their implementation. The result is a sensitive yet DIN-like sturdy design, which behaves versatilely through the broad design space ranging from thin to black and normal to condensed. If space gets tighter, serifs are shortened, tapered, or even cut off. In this way we are able to focus on the characteristic serifed design without cluttering many letterforms at the expense of legibility. Furthermore, when exploring the width-axis of the variable font, one can observe that the design of terminals (like we have at lowercase letters a, e or g) adapts to the chosen width: Moving onward to condensed, they change from an open to a closed form, which fits better to the more compact look of the condensed style. FF DIN Slab distinctively carries on its mothers DNA, speaks the same native language but with a strong peculiar dialect. It expands the DIN family worthily independent but integrated and opens totally new possibilities of uses with the whole DIN family.

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4.8K Sales
Last updated: 08 Feb 2024

Gradient Gothic Premium
by:
Update : Thu, 23 May 2024 13:03:02 +0800Company : Size : 129.1 KbpsVersion : 0.000;FEAKit 1.0Trademark : Copyright 2021 by Matyas Machat. All rights reserved.

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5.3K Sales
Last updated: 23 May 2024

Visby CF Demi Bold
by: Connary Fagen
Update : Tue, 15 Aug 2023 06:30:52 +0800Company : Connary FagenSize : 63.31 KbpsVersion : 2.03300Trademark : 2015 Connary Fagen

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8.8K Sales
Last updated: 15 Aug 2023
HelveticaNowTextW01-XBoldIt
by: Max Miedinger, Charles Nix, Monotype Studio, Jan Hendrik Weber
Update : Sat, 02 Mar 2024 06:00:44 +0800Company : Monotype Imaging Inc.Size : 41.57 KbpsVersion : 1.20Trademark : Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition which preserves the typeface's Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding. Helvetica Now comprises 48 fonts, consisting of three distinct optical sizes: Micro, Text and Display. Each one has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Helvetica and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. The Micro sizes address an issue Helvetica has long faced that of being 'micro type challenged'. In the past, the typeface struggled to be legible at tiny sizes because of its compactness and closed apertures. Helvetica Now's Micro designs are simplified and exaggerated to maintain the impression of Helvetica in tiny type, and their spacing is loose, providing remarkable legibility at microscopic sizes and in low-res environments. There's also an extensive set of alternates, which allow designers the opportunity to experiment with and adapt Helvetica's tone of voice. This includes a hooked version of the lowercase l (addressing a common complaint that the capital I and lowercase l are indistinguishable) as well as a rounded G, and a straight-legged R, a single storey a and a lowercase u without a trailing serif. In the past, designers had to nudge, trim and contort the design to create stylish display-type lockups with Helvetica. Helvetica Now Display was designed and spaced with those modifications in mindsaving effort and providing more consistent (and more stylish) results. Helvetica is the gold standard, says Monotype Type Director Charles Nix. To use it is to claim that you are the ultimate expression of whatever your brand aspires to be. Its blankness is its power. Project Originators: Otmar Hoefer, Jrg Schweinsberg, Jrgen Siebert, Erik Spiekermann Designers: Jim Ford, Steve Matteson, Charles Nix, Tom Rickner, Alexander Roth, Juan Villanueva, Jan Hendrik Weber, Terrance Weinzierl Production Team: Thomas Caldwell, Deb Gonet, Mary Hanson, Henning Krause, Karl Leuthold, Olli Meier, Marianna Paszkowska, Inka Strotmann, Roger Waindle, Sue Waksmonski Marketing Team: Amy Aylward, Melissa Centrella, Bill Davis, Ana De Jesus, James Fooks-Bale, Nicole Hastings, Bernhard Hofmacher, Katie Hogan, James Minior, Rebecca Price, Bernhard Prger, Andy Rodger, Alexandra Schwarzwald, Aisra Shervani, Carl Unger, Gretchen Walker

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5.9K Sales
Last updated: 02 Mar 2024
CoolveticaW05-CompHeavy
by: Ray Larabie
Update : Thu, 17 Aug 2023 23:57:19 +0800Company : Ray LarabieSize : 88.2 KbpsVersion : 1.00Trademark : Coolvetica is a trademark of Typodermic Fonts Inc.

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4.4K Sales
Last updated: 17 Aug 2023
Mj_Silicon Outline
by:
Update : Sun, 23 Jun 2024 23:18:58 +0800Company : Size : 66.33 KbpsVersion : 2.14Trademark : ------------------------------------------------------------------------- Copyright 2007, 2008. Mojtaba Kia All Rights Reserved.-------------------------------------------------------------------------

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4.8K Sales
Last updated: 23 Jun 2024
GT Flexa Trial Cm Lt
by: Dominik Huber, moire
Update : Mon, 25 Dec 2023 03:22:26 +0800Company : Grilli Type AGSize : 19.96 KbpsVersion : 3.003;FEAKit 1.0Trademark : Copyright 2020 by Grilli Type. All rights reserved.

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5.9K Sales
Last updated: 25 Dec 2023
Tensentype MeiHeiJ
by:
Update : Mon, 18 Mar 2024 17:44:44 +0800Company : Size : 1415.5 KbpsVersion : 1.00Trademark : (c) Copyright Beijing Tensentype Technology Co.,Ltd. 2016

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4.4K Sales
Last updated: 18 Mar 2024
DFSoKaiShoG-W7
by:
Update : Wed, 17 Jan 2024 17:50:27 +0800Company : Size : 7672.46 KbpsVersion : 20 May, 2000: 2.00Trademark : (c) Copyright DynaLab Inc. 2000

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3.8K Sales
Last updated: 17 Jan 2024
Mj_Saudi Arabia XL
by: Muhammad Hacen
Update : Thu, 22 Feb 2024 13:30:18 +0800Company : Muhammad HacenSize : 43.93 KbpsVersion : 1.00Trademark : The artistic design and the points in each glyph of this font are the property of Hacen, your use of this font is limited to production purposes, you may not edit, modify or rename this font without prior permission. Hacen holds the original shape of each letter of this font, any copying, redrawing, or rendering to match or imitate the shape of the original is a breach of copyright law.

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8.9K Sales
Last updated: 22 Feb 2024