Mary Bacon

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.

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.

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.