Based on the relationship between ink and water, experimenting with the way the two liquids merge and the variation of patterns they create. The font does not follow one distinct pattern, it displays the variation of impressions these two fluids can create. The typeface is a display font, not designed to be used for large bodies of text.
I produced this typeface as a part of a UWE project. I started by exporing the word dangerous, where I moved onto the topic of fear. This lead me to a fear of heights and ultimately glass and the way it smashes. This broken glass typeface is shattered as if hit directly and smashed into shape. I wanted it to look more unorganised so the smash seemed more natural. I didn't want the pieces to fit the shape of the letter form but I also didn't want you to be unable to read the letter so I felt like this was a good middle ground between the two. This typeface is to be used as a title font rather than text font.
Home blends contemporary sans-serif characters, created using negative space, with ornate mosaic patterns to form a decorative display font in the style of kitchen tiles. Each character is unique - set against four identical patterned tiles. This typeface is very versatile and functional insofar as that it has the potential to be used in a variety of diverse settings such as magazine article headings, pottery and ceramic prints, wall-hangings and shop signage.
This font relates to my original theme, ‘Messy’, which was developed based on the Brazilian slums, Favelas. In Western culture, these are viewed as ‘messy’, however in Brazilian culture they take great pride in their homes. This reflects the idea that people respond to the same theme in different ways depending on their cultural context. This font is designed to be used at large display sizes of 100pt or more as this means that the detail in each character can be clearly seen.
Based on the theme of malnutrition, this font uses chicken bones to structure its letter forms. The chicken bones represent the cycle of malnutrition that continues today in the fast food industry – how we mistreat and abuse chickens that we then eat, consequently malnourishing ourselves in the process. The font is based on a stencil font, which chicken bones where placed on top of, photographed, drawn and translated onto Font Struct to create the final product. The font is not designed as body text but is designed to be used for means that need a more impacting, visually striking and eye catching font.This is a clone
The theme for this typeface is the word 'Filthy'. The letterform's structures are based on dust and the way it separates when a finger is dragged through it. Dust collects on objects that have been untouched for periods of time, often through neglect. The use of negative space and lack of border draws attention to the dot-work dust that forms around the accents of the letters. As a finger cleans dust, larger piles form where there is a change in direction. This helps identify the individual characters whilst keeping a minimalistic approach. This font can be used for headings and posters, or shop designs and logos. I have always felt this font would go well on a burger shack to help give a rustic or edgy look.
I have made this font based on the overall theme of dangerous. When exploring this theme further I started looking at venomous animals and specifically at Funnel Web spiders. The intricate funnel shaped webs that they made started off the initial designs for this font. I looked at the different patterns that the webs can make and made a web of my own to priduce the shapes that inspired this font.
Read as I read 2 is a typeface that I have developed from the previous design 'Read as I read'. With the same aim to capture the movement upon which the letters are distributed around the page caused by dyslexia. A feature common amongst dyslexics, that causes difficulty and uncertainty when trying to make out written words. In developing the typeface I aimed to increase legibility, to make it more universal. Whilst continuing to capture the context of why I initially created the typeface. Representing this by combining the same letter form twice, and overlayingthem in order to capture the aspect of movement. This time all in captials to help with legibility.
This font was based upon the theme of starvation, deriving from the topic of malnourishment. I looked at waste and used/ empty rubbish, in particular food packaging, that I felt represented the fragility of starved beings. Looking at stretched and warped plastic, such as that of empty crisp packets, gave eerie imagery that looked unnatural and like bare skin stretched across bone. I looked creased and stretched materials to extract each letter and manipulate it through fontstruct.
This Fractured font is inspired by the breaking of materials and what is left behind after the destruction as the letter forms begin to morph as the key aspects move away from there original space.
For this Fontstruct project, I decided to look at the word malnourished. Looking at all aspects that surround the meaning of the word , the lack of proper nutrition caused by not having enough to eat or not consuming the right things for whatever reasons. I decided to look at the fashion industry, looking into what people put themselves through to become the “perfect” size and that the expectation for this image is growing. My font represents this by showing the main spotlight on the front letter which is tall and skinny followed by the reality displayed in the shadow which is a bigger more “healthy” letter , showing the two extremes in a whole typeface.
Cheap fantasy is a type face inspired by Lurid lighting and hallucinations. Taken from hand drawn letter forms to online use, Cheap Fantasy captures a bright dazzling effect with broken letters.
This display type face has horror feel, with disintegrating blurred letters would suit any horror comic/book title.