DIN OT Font Parameters,DIN OT Italic Font Parameters,DINOT-Italic Font Parameters|DIN OT Italic Version 7.601, build 1030, FoPs, FL 5.04 Font Parameters-OTF Font/Uncategorized Font-Fontke.com

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DIN OT ItalicVersion 7.601, build 1030, FoPs, FL 5.04

Font family:	DIN OT
Font style:	Italic
Font version:	Version 7.601, build 1030, FoPs, FL 5.04
Typeface type:	Uncategorized
Characters:	429
Number of glyphs:	654
Font weight:	Normal
Font width:	Medium (normal)
Languages:	Latin Greek Symbols
Unicode blocks:	Basic Latin Latin-1 Supplement Latin Extended-A Latin Extended-B Spacing Modifier Letters Combining Diacritical Marks Greek and Coptic Latin Extended Additional General Punctuation Superscripts and Subscripts Currency Symbols Letterlike Symbols Number Forms Arrows Mathematical Operators Enclosed Alphanumerics Geometric Shapes Dingbats Alphabetic Presentation Forms
Source:	Official
File format:	OTF
License type:	Non-Commercial The way of license is for reference only. Please contact the copyright party to purchase commercial license.
Font embedding license:	Installable Embedding

DIN OT Italic Name detail

Microsoft - English (United States)

Copyright notice：	Copyright © 1995-2018 Monotype GmbH. All rights reserved
Font family：	DIN OT
Font Subfamily name：	Italic
Unique font identifier：	Albert-Jan Pool: DIN OT Italic: 2005
Full font name：	DIN OT Italic
Version string：	Version 7.601, build 1030, FoPs, FL 5.04
Postscript name：	DINOT-Italic
Trademark：	FF is a trademark of Monotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. DIN is a trademark of Monotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.
Manufacturer Name：	Monotype GmbH
Designer：	Albert-Jan Pool
Description：	1994, San Francisco: Albert-Jan Pool and Erik Spiekermann took a cab together from the ATypI conference to the airport. Having known that PoolÕs employer had just gone bust, Spiekermann told him that if he wanted to earn some money with type design, he should have looked at fonts such as OCR and DIN. He invited Pool to Berlin to discuss the idea in detail. One year later, FontFont published PoolÕs FF OCR-F typeface, followed by FF DIN. Spiekermann was keenly aware of an empty space in the market. Digital DIN fonts were available at the time, but only in two weights of purely geometric shapes. Pool then designed a family of five weights. He added true italics and some alternative characters, such as the ÒiÓ with a round dot and lowercase figures. Later, five weights of FF DIN Condensed were added, as well as Greek and Cyrillic versions. The shape of the new FF DIN differs from the original mostly by thinner horizontal strokes and more fluent curves. Despite its primitive, technical look and clear reference to the German motorway signboards, FF DIN has become a phenomenon. The typeface has pervaded corporate and publication typography, and found its place in posters of cultural institutions. In 2011, the Museum of Modern Art in New York added the first digital typefaces to its permanent collection. Presumably due in part to the immense popularity enjoyed by FF DIN since its release in the mid-1990s, it was one of 23 designs to be included. FF DIN debuted at MoMA as part of the ÒStandard DeviationsÓ installation in the contemporary design gallery. In 2014, German type designer Yanone was commissioned by FontFont to extend the popular FF DIN into the Arabic alphabet. Yanone had previously designed the corporate typeface for JordanÕs capital Amman which was published as FF Amman in Latin and Arabic, and had secretly hoped that he could one day design FF DINÕs Arabic counterpart. Coincidentally, he chose a similar approach to the development of the original DIN in the early 1900s, which started out as a hand-written master drawing and later resulted as standard DIN 1451. Yanone engineered FF DIN Arabic, published in 2015, by basing the letter shapes and proportions on a simplified hand-written Naskh skeleton on a grid. Step by step he boiled down the shapes into the digital master drawings that feature the same clarity and legibility of the Latin DIN. In 2015, two new weights Thin and Extra Light (with Italics) for both FF DIN (Normal) and FF DIN Condensed were added to the family. New Greek extensions were also introduced.
URL Designer：	http://www.monotype.com
License Description：	This font software is the property of Monotype GmbH, or one of its affiliated entities (collectively, Monotype) and its use by you is covered under the terms of a license agreement. You have obtained this font software either directly from Monotype or together with software distributed by one of the licensees of Monotype. This software is a valuable asset of Monotype. Unless you have entered into a specific license agreement granting you additional rights, your use of this software is limited by the terms of the actual license agreement you have entered into with Monotype. You may not copy or distribute this software. If you have any questions concerning your rights you should review the license agreement you received with the software. You can learn more about Monotype by clicking here: www.monotype.com.
License Info URL：	http://www.monotype.com
Typographic Family name：	DIN OT
Typographic Subfamily name：	Italic

Copyright notice：	Copyright © 1995-2018 Monotype GmbH. All rights reserved
Font family：	DIN OT
Font Subfamily name：	Italic
Unique font identifier：	Albert-Jan Pool: DIN OT Italic: 2005
Full font name：	DIN OT Italic
Version string：	Version 7.601, build 1030, FoPs, FL 5.04
Postscript name：	DINOT-Italic
Trademark：	FF is a trademark of Monotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. DIN is a trademark of Monotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.
Manufacturer Name：	Monotype GmbH
Designer：	Albert-Jan Pool
Description：	1994, San Francisco: Albert-Jan Pool and Erik Spiekermann took a cab together from the ATypI conference to the airport. Having known that Pool’s employer had just gone bust, Spiekermann told him that if he wanted to earn some money with type design, he should have looked at fonts such as OCR and DIN. He invited Pool to Berlin to discuss the idea in detail. One year later, FontFont published Pool’s FF OCR-F typeface, followed by FF DIN. Spiekermann was keenly aware of an empty space in the market. Digital DIN fonts were available at the time, but only in two weights of purely geometric shapes. Pool then designed a family of five weights. He added true italics and some alternative characters, such as the “i” with a round dot and lowercase figures. Later, five weights of FF DIN Condensed were added, as well as Greek and Cyrillic versions. The shape of the new FF DIN differs from the original mostly by thinner horizontal strokes and more fluent curves. Despite its primitive, technical look and clear reference to the German motorway signboards, FF DIN has become a phenomenon. The typeface has pervaded corporate and publication typography, and found its place in posters of cultural institutions. In 2011, the Museum of Modern Art in New York added the first digital typefaces to its permanent collection. Presumably due in part to the immense popularity enjoyed by FF DIN since its release in the mid-1990s, it was one of 23 designs to be included. FF DIN debuted at MoMA as part of the “Standard Deviations” installation in the contemporary design gallery. In 2014, German type designer Yanone was commissioned by FontFont to extend the popular FF DIN into the Arabic alphabet. Yanone had previously designed the corporate typeface for Jordan’s capital Amman which was published as FF Amman in Latin and Arabic, and had secretly hoped that he could one day design FF DIN’s Arabic counterpart. Coincidentally, he chose a similar approach to the development of the original DIN in the early 1900s, which started out as a hand-written master drawing and later resulted as standard DIN 1451. Yanone engineered FF DIN Arabic, published in 2015, by basing the letter shapes and proportions on a simplified hand-written Naskh skeleton on a grid. Step by step he boiled down the shapes into the digital master drawings that feature the same clarity and legibility of the Latin DIN. In 2015, two new weights Thin and Extra Light (with Italics) for both FF DIN (Normal) and FF DIN Condensed were added to the family. New Greek extensions were also introduced.
URL Designer：	http://www.monotype.com
License Description：	This font software is the property of Monotype GmbH, or one of its affiliated entities (collectively, Monotype) and its use by you is covered under the terms of a license agreement. You have obtained this font software either directly from Monotype or together with software distributed by one of the licensees of Monotype. This software is a valuable asset of Monotype. Unless you have entered into a specific license agreement granting you additional rights, your use of this software is limited by the terms of the actual license agreement you have entered into with Monotype. You may not copy or distribute this software. If you have any questions concerning your rights you should review the license agreement you received with the software. You can learn more about Monotype by clicking here: www.monotype.com.
License Info URL：	http://www.monotype.com
Typographic Family name：	DIN OT
Typographic Subfamily name：	Italic

DIN OT Italic Measurement detail

Every Pixel unit:	1000	Size of superscript horizontal font :	478
Horizontal minimum:	-189	Size of superscript vertical font	398
Vertical minimum:	-226	Superscript horizontal deviation	-30
Horizontal maximum:	1103	Superscript vertical deviation	150
Vertical maximum:	1108	Size of subscript level font:	478
MacStyle:	2	Size of subscript vertical	398
Minimum readable pixel size:	7	Subscript horizontal offset:	87
Font directionHint:	2	Subscript vertical offset:	434
Ascending part:	1041	Delete line size:	49
Descending part:	-237	Delete line position:	270
Line spacing:	10	Font selection identifier:	385
Maximum step width:	1133	Typography ascending:	764
Minimum left side beraring:	-189	Typography descending	-236
Minimum right side beraring:	-192	Typography spacing:	288
Horizontal maximum width:	1103	WindowsAscending part:	1041
Non component maximum points	0	WindowsDescending part:	237
Non component maximum contours	0	Bevel:	-741212
Word weight type:	400	Underline position:	-113
Word width type:	5	Underline thickness:	49

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