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.

Terrance Weinzierls Terry Junior typeface is a perfectly imperfect design one that retains the marks of the brush used to create it and harks back to the craft required to hand make letterforms.

Originally drawn during a Monotype Font Marathon, Weinzierl later refined the typeface digitally adding an Inline version and designing alternates that replicate the irregularity of real-life brush scripts.

It has a natural, cheery and bold appearance, says designer Terrance Weinzierl.

Its young, but not wild. Painted, but not sloppy. A sign painters apprentice, perhaps. More Terry Junior is an obvious choice for designers and brands communicating with younger audiences, but would also work well on book covers, packaging, and in digital environments that need a little bit of extra playfulness.

The family includes five fonts, including an Inline version.

First designed in the early 1800s, Walbaum never achieved the audience or acclaim it deserved despite its easy elegance, and sophisticated persona.

Its been fully restored for this expansive family, which includes 32 weights including ornaments and two decorative cuts.

More Walbaum offers the kind of warmth thats missing from comparable typefaces such as Bodoni or Didot, feeling effortlessly approachable and legible.

Monotype team Carl Crossgrove, Charles Nix and Juan Villanueva have adhered to designer Justus Erich Walbaums original intentions, also incorporating work by the designers son into some of its more extreme display weights pushing the possibilities of Walbaum without compromising on its spirit.

Text weights work well for the demands of digital environments, while decorative and display weights offer more dramatic, sculptural forms.

Unusually, the family also includes a generous range of ornaments. From massive billboards, to micro-type on e-readers, Walbaum has it covered. The family is available as OpenType OTF font format, and includes over 600 glyphs with OpenType typographic features including small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures.

A user guide is available in PDF format from the gallery view. It gives an overview of the optical sizing available and provides a keyboard guide for the ornaments.

Morandi is the first commercial sans serif font created by Jovica Veljovi a much-awarded designer whos been creating typefaces for over thirty years.

The product of years of crafting letterforms, Morandi is supremely graceful. Each detail has been carefully refined for legibility, with open counters and generous apertures, and the bottom of round strokes slightly flattened.

Not just elegant in appearance, Morandi is an efficient design, versatile enough to work in print and digital environments, including on-screen applications.

The family offers three weight ranges and includes a large multi-national character set making it a practical choice, as well as an aesthetic one.

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.

Hope Sans takes the jaunty style of 1950s and 60s lettering and melds it with the jubilant 1970s swashes of Bookman.

The result is a sans serif family that is lively, inviting and deeply customizable.

Its basic sans serif forms create engaging text, while a roaring collection of swash designs, alternate characters and ligatures make it a natural for attention-grabbing display typography.

More The middle weights of the family are easy on the eyes and shine at smaller sizes and in blocks of text copy.

Their friendly vibe also translates well to web and interactive design projects.

Spacing is open, counters are large and Hope Sans range of six weights can provide just the right design for virtually any need.

Headlines, subheads, banners and navigational links are naturals for its lightest and boldest weights either with, or without, the swash letters.

Hope Sans is a paint box, says its designer, Charles Nix. In its basic form, its a sturdy grotesque, capable of setting text in a cool and relaxed way.

But a bit of accenting with the alternate forms easily creates an entirely different mood and meaning.

And for those that are willing to really mix with it, the variety of alternate characters can build truly unique typographic statements.

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.

Despite being drawn digitally, Angeletta is a typeface in the hand-lettering tradition. It draws on designer Rob Leuschkes 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.

More The Angeletta typeface is a calligraphic script designed by Robert E. Leuschke exclusively for Monotype. It is available in OpenType OTF and TTF fonts formats. Angeletta has 900 glyphs with OpenType typographic features like contextual and stylistic alternatives, swashes, ligatures and fractions.