Kaitlyn Morison

This four-piece family is the DIN design, but not as you know it. The famously, crisp, clean and precise typeface has been given a textured update thats reminiscent of rusted metal, or rubber stamps.

Underneath this lies the same sturdy, geometric shapes that have allowed DIN to stand the test of time, but with a new sense of tangibility.

This kind of treatment is more about creating a feeling or a mood that goes beyond the communication of the words themselves, explains Monotype Studio director Tom Rickner.

I think it expands the repertoire of what DIN Next can express. More Designed for display, these four typefaces DIN Next Rust, DIN Next Shadow, DIN Next Slab Rust and DIN Next Stencil Rust show a new side of DIN Nexts personality, as if the surface of each letterform has been gradually worn away over the years.

Originally, Viktor Solt-Bittner developed Attorney as a custom font for a law firm, hence its name.

Attorney shows a systematic, yet unconventional placing of its serifs, hard corners and a clean design.

The typeface was produced by Schriftlabors type director, Lisa Schultz. Attorney consists of 7 weights, from Light to Black, each of them accompanied by an italic, totaling in 14 styles.

All of them contain several figure sets, small caps and many alternative forms, which are accessible by OpenType features.

Originally designed in 1928, Plak is something of a lost gem in the type world. Despite being drawn by Futura creator Paul Renner, it never achieved the same popularity and spent decades lacking a much-needed digital revival.

Monotype designers Linda Hintz and Toshi Omagari have taken its existing three weights and, after extensive research into the original wood type, extended them into the vast Neue Plak family.

More The typeface is available in 60 weights that stay true to Renners intentions, and offer the same blend of quirky details and German stiffness as Hintz describes it.

The design is an unusual mixture, bringing together a defiant outer appearance thats counteracted by more playful details found in the lowercase r, and the large dots over the is.

Other distinctive details include open or strikethrough counters, and a set of hairline widths that reduce Renners original design to its bare bones.

Neue Plaks display weights are crying out to be used in editorial, on packaging or in logos, while its text weight works well in both print and digital environments.

Stack brings the spirit of industrial chimney lettering from the early twentieth century to the digital age.

The typeface is designed to work both horizontally and vertically. Additionally, the fonts can work together in myriad chromatic expressionsproviding limitless design possibilities.

The family is true to the spirit of masonry lettering without being a direct lift of any specific lettering style from the industrial age.

Like some of its masonry predecessors Stack is built as a typeface of 15 courses (horizontal rows) of bricks.

More Based on several years of research a collection of 150+ photographs and roughly two dozen archival engineering drawings were amassed.

The value of the historical references is a type family that is a legitimate reflection of masonry lettering styles of the period.

In updating Stack for the digital age, the proportions of the base-unit bricks and the thickness of mortar joints have been optically adjusted to work in both screen-based and print media.

Stack would not have been possible without the research and design input from Craig Welsh and Jenna Flickinger of GoWelsh.