1994年, 在旧金山, 阿尔伯特-简·普尔和埃里克·斯皮克曼讨论了普尔的前景, 斯皮克曼知道他朋友的雇主刚刚倒闭。他建议, 如果普尔想在类型设计上赚一些钱, 那他就仔细看看OCR和DIN一探究竟。这对普尔来说似乎很奇怪, 但一年后，FontFont发表了他的FF OCR-F字体，紧随其后的是FF Din。
斯派克曼敏锐地意识到, 对于想要使用这类字体的设计师来说, 缺乏选择。数字DIN字体是可用的时候，但只有在纯粹的几何形状的两个砝码。家族字体具有5个字重，他增加了真正的斜体, 也增加了一些替代字符, 如圆点的 "i" 和 "j", 以及旧式的数字。随着时间的推移, 5个权重增加到 7个, 增加了压缩的宽度, 以及希腊语和西里尔语的支持。
在形式上，FF DIN从先前版本主要是在其光学调整水平和垂直笔划的不同是更好地平衡和整体其曲线是平滑的。尽管简陋，技术的外观和明确提到德国的高速公路标牌，FF DIN迅速成为一种现象。该字体已经弥漫企业和出版物的排版，可在海报文化机构中可以看出。
2011年，纽约现代艺术博物馆增加了其永久收藏的第一个数字字体。由于部分或许是自90年代中期发布的FF DIN取得的巨大声望，这是被列入的只有23设计之一。FF-DIN作为当代设计画廊“标准偏差”装置的一部分在MOMA首次亮相。2015年，该家族增加了两个新砝码和新的希腊语扩展名。2016年，德国类型设计师Yanone与fontfont foundry一起出版了FF DIN的阿拉伯语版本。
1994, in San Francisco, Albert-Jan Pool and Erik Spiekermann discussed Pool’s prospects, Spiekermann knowing that his friend’s employer had just gone out of business. He suggested that if Pool wanted to make some money in type design, that he take a closer look at neglected faces such as OCR and DIN. This seemed strange to Pool, but one year later, FontFont published his FF OCR-F typeface, followed closely by FF DIN.
Spiekermann was acutely aware of the lack of options for designers wanting to use these kinds of typefaces. Digital DIN fonts were available at the time, but only in two weights of purely geometric shapes. Pool designed a family of five weights. He added true italics and also some alternative characters such as “i” and “j” with round dots, and oldstyle figures. In time, five weights grew to seven, and a condensed width was added, as well as Greek and Cyrillic language support.
In form, FF DIN differs from previous versions primarily in its optical adjustments—horizontal and vertical strokes are better balanced and overall its curves are smoother. Despite its primitive, technical appearance and a clear reference to German motorway signage, FF DIN quickly became a phenomenon. The typeface has pervaded corporate and publication typography, and can be seen in posters for cultural institutions.
In 2011, the Museum of Modern Art in New York added to its permanent collection its first digital typefaces. Due in part perhaps to the immense popularity gained by FF DIN since its release in the mid-1990s, it was one of just 23 designs to be included. FF DIN debuted at MoMA as part of the “Standard Deviations” installation in the contemporary design gallery. In 2015, the family was enhanced with an addition of two new weights and new Greek extensions. In 2016, German type designer Yanone published an Arabic version of FF DIN with the FontFont foundry.