@espiekermann @stevieboatleft @EvaSilvertant I don’t think that this is ‘Autobahn’ DIN 1451, because the vertical curves of ‘p’ and ‘g’ aren’t straight. In FF DIN they’re round. So it is likely to be #FFDIN@ff_din_plus :-)
Back in 1995, #FF DIN could only be ordered through #FontShop. No web shops in those days! Head office was in the #Bergmannstaße in Berlin's trendy #Kreuzberg district. Today FontShop resides in Spichernstraße, belongs to #Monotype and all #FontFonts can be licensed online.
Remember the FontFont Focus series? The issue on FF DIN is now available on Issuu! It shows and tells the story of the beginnings of the now famous typeface family FF DIN, the first original and faithful revival of DIN 1451 Mittelschrift.
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#FontFont
Comparison of #DIN1451 Mittelschrift (white) and #FFDIN (pink and black). In contrast to DIN 1451 Mittelschrift, FF DIN’s strokes are not linear, the weight of its horizontal curves has been reduced. Curves, and their transitions into straight lines were designed fluently.
FF DIN’s diagonals are tapered towards the vertex to avoid cluttering. Creating FF DIN Stencil by slicing up FF DIN’s ‘v’ would result in a disturbing left-over in the right diagonal. For FF DIN Stencil Achaz Reuss re-engineered all diagonals to preserve FF DIN’s linear style.
#FFDINSlab started with adding serifs to #FFDIN. As this results in darker colour, its horizontal strokes are thinner. The serifs appear sturdy as their weight is the same as the horizontal strokes. The engineered horizontal flow harmonizes beautifully with other FF DIN styles.
Antonia Cornelius studied with a focus on type design with Jovica Veljović at HAW Hamburg. 2018 she joined the „A-Team“ with Albert and Achaz. She designed FF DIN Slab with Albert, engineered FF DIN and FF DIN Stencil and made them Variable. Monotype released all three in 2022.