Designed by Travis Kochel, FF Chartwell is a fantastic typeface for creating simple graphs. Driven by the frustration of creating graphs within design applications and inspired by typefaces such as FF Beowolf and FF PicLig, Travis saw an opportunity to take advantage of OpenType technology to simplify the process.

Using OpenType features, simple strings of numbers are automatically transformed into charts. The visualized data remains editable, allowing for hassle-free updates and styling.

The Periodic Table of Typefaces is obviously in the style of all the thousands of over-sized Periodic Table of Elements posters hanging in schools and homes around the world.  This particular table lists 100 of the most popular, influential and notorious typefaces today.

As with traditional periodic tables, this table presents the subject matter grouped categorically.  The Table of Typefaces groups by families and classes of typefaces:  sans-serif, serif, script, blackletter, glyphic, display, grotesque, realist, didone, garalde, geometric, humanist, slab-serif and mixed. 

This unique font, also made by mdta, contains 20 symbols used in Hyrule. It has things like the Hylian crest, the Triforce, the Sheikah eye, the WW pearl symbols, and much more! It's quite fun!

From the site: “A monospaced type family composed of entirely monolinear and modular structure. Oktal Mono began as a design/philosophical discourse between Joachim Müller-Lancé and Erik Adigard, [evolving into a collaboration]. Although Oktal Mono began as mono-linear, a slight mod­ul­ation was applied to ease reading: Horizontal strokes were made a tad thinner than the verticals, with diagon­als weighing in between. While never straying from 45° diagonals, detail was achieved by subdividing the grid for more complex characters and smaller shapes. Thus, the rhythm of letterforms becomes more intricate at times, but the tempo never changes.”

From the site: “[Steve Miggas’] tattoo script inspired Keepsake family has five members that can be combined to provide a range of creative options. Rich with OpenType features including discretionary and contextual alternate characters and ligatures, and other stylistic alternates (check out the Keepsake type specimen PDF), each face includes three options for every capital letter and multiple lowercase options. All five fonts support Latin, Eastern European and Baltic languages. Other features include four decorative elements, and optional old-style figures accessible by supporting application’s OpenType menu.”

From the site: “Fakt Slab is [Thomas Thiemich’s] third typeface for OurType, following Alto and Fakt. It is designed to complement its sans serif counterpart. The two font families share the same proportions, weights and widths and so work beautifully together. But Fakt Slab also performs superbly on its own. Well built and balanced, vigorous and full-blooded, the design continues in the tradition of fully planned slab serifs such as Memphis, Beton and Karnack, created in the inter-war years. Updating the tradition, Fakt Slab offers a 'core' design partnered with a thoroughly resolved italic. A wide variety of stylistic alternates are also incorporated into each font. Ranging from precise and geometric to gentler and more humanistic, these alternates enable users to customise word-images and refine texts to suit typographic preferences.”

From the site: “The Synthese project [by Gilles Poplin & Jean-Baptiste Levée] combines various influences from major sans-serifs of the XXth century [including Futura, Gill Sans Titling, Helvetica, Neuzeit Grotesk, Recta, and Mercator] into a unique typeface family. Equally functional in screen interfaces as in signage, Synthese also features the complete set for demanding publication designs. Tough at first sight, Synthese is indeed flexible and round. It offers a neutral yet welcoming voice. This rational and rigorous Grotesk develops a sensitive approach in its shapes. The Ultra weight represents an ‘exercise in style’ questions the concepts of blackness and extremes in typeface design. This very dark series reveals its full potential in display sizes, whilst other cuts, including Light, will perform well at all sizes. Alternate glyphs are the place where german, anglo-saxon and even latin influences are reminiscent. According to the custom, Synthese does not have italics but obliques. The alternate shapes of a, g and l (available in both upright and oblique series) allow for a finer setting when needed.”

From the site: “Trio Grotesk is Florian Schick’s personal interpretation of Kaart Antieke – an early 20th century sans serif used by Piet Zwart in his famous, yet never officially published essay about modern typography called “Van oude tot nieuwe typografie”. Trio Grotesk started as a student project for the KABK Type & Media masters course in type design. During a visit to the Meermanno Museum in Den Haag Florian discovered the only two remaining copies of Piet Zwart’s essay. Being struck by the historical value of this booklet, he decided to revive the typeface it was set in instantly. Florian enlarged and examined the original 7 point printed typeface in great detail and tried to replicate the image of this typeface as faithfully as possible. Certain features which are unique to letterpress printing, such as roundings caused by ink spread, have been preserved for instance. Trio Grotesk comes in three weights, sports a Latin extended characterset and includes small caps, seven ranges of figures, and numerous arrows, ornaments and dingbats.

A Climatically Categorised Typeface