In this typeface I have tried to represent a noise without using soundwaves.
Based on the word Thunderous, this font represents a storm. The pointy edges of the letters and their disformed shape are supposed to represent the loud and violent noise made by thunder. This Version of ThunderStorm represents the periods of calm during the storm. The font is designed for attention grabbing headers. You can find 3 other versions of the font: ThunderStorm Mix, ThunderStorm, and ThunderStom Inverse.
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 typeface was designed from using the word 'Squishy' as a starting point. Which i then went on to pinpointing it down to fat in particular looking at animal fat. I feel this font can be used in a large poster or sign, advertising or for promoting against animal cruelty.
This is a cloneTopolegs was originally inspired by the theme Filthy. The idea of compact lines came from looking at the shapes chewed into chewing gum pieces which are wrongly discarded on the floor. Using topographic maps I created the lines for each letter respectively hence the naming of the font. This is a follow up of the font I previously created called Topo.
This is a clone of TopoThis Typeface is based around the idea of an Abstracted version of lace. This block letter is Transcribing the idea of lace normally being quite dainty and delicate, and this type is more obscured and bold.
My font was inspired by the way pixels have been used by other designers in the late 20th century, in particular, Peter Saville’s Original die-cut sleeve album cover for New Order’s Blue Monday single, Wim Crowel’s new alphabet used by Brett Wickens in Joy Division’s compilation album Substance cover. The font was modeled on digitalized letters. To produce it I have used techniques from traditional calligraphy (drawing, use of pencil and ink on paper) to create an effect usually generate instantaneously by computer coding in order to stress the tension between the finished piece and the production behind it. The tension between the two and the uncertainty are represented in the font by the missing and misplaced pixels in each letter.
This is a cloneA second typeface inspired by the theme 'systematic', developed through finding hidden shapes within geometric architecture and using them as building blocks for the letterforms, this time blacked out to create a bolder more imposing style. Sister font to - STACKED
This is a clone of STACKEDMy font was created with the idea of mess and chaos in mind with each letter having a different 'contents'
It is supposed to represent something similar to pin and string art. The white dots representing the pins and the lines within representing the string. It might come across as a little complicated or hard to distinguish each letter however I think it gives it an authentic look.
OIL RIG is based on the theme "destructive" particulary with regards to environmental destruction. I based my font on the structure of oil rigs; I think they have sense of beauty about them, but behind that there is a sinister note, as they are facilitating the human led destruction of our planet.
The extraction of oil for the manufacture of products such as plastic, is having a detrimental effect on our planet. Oil spills eradicate marine communities, and plastic products pollute our oceans. This is an issue which I feel needs more attention.
UPPERCASE DISPLAY FONT
Words are often read by looking at the shape and not spelling, what I have attempted to do with this typeface is to make the reader focus more on the letters within the words.
As the name suggests, Balky can be awkward to read due to some of the letters looking similar, as well as its chunky build, making people have to use the context of the sentence. I hope this will make an impact on how well people engage with some text as well as being aesthetically interesting.
This is a cloneThis font was designed around the theme of 'Dangerous'. It was inspired by fencing I documented around Bristol. I mainly used photos I took from around Clifton & industrial estates as a referenc as the designs majorly differed and I wanted to intertwine these differences to create a universal font that can reflect this. Regardless of design of fencing in each area - the ultimate purpose is to keep you out of their property.
I developed this typeface in response to the theme of 'dangerous', my inspiration was barbed wire and fencing. I associate dangerous with restricted areas and confinement so I felt that creating a typeface reflecting wires and sharp points would accurately represent my theme. The straight, angular lines are similar to metal bars and so I believe give the feeling of a prison.
Distressed is an uppercase font focusing on the theme destruction. Within this element I looked more specifically at mental health and how social media has an affect on our mental wellbeing. I created a cracked and distressed effect on each individual letter to visually express the pressure and insecurity we can experience from social media.
JUNCTION is a typeface created from the intersection of two circles.
It was created in order to represent an INTROVERT (person who RETREATS mentally) theme. The intersection of the two circles symbolizes the limitations that the characters fit in to.
Geometries and grids are some of my interests and these are what inspired my ideas.
Malnourished- a display font. Malnutrition is a lack of proper nutrition, caused by not eating enough or by not eating enough nutritious food. This font was created to show the final effects of being malnurised; bones.
My fontstruct is based on the theme of theatre. The designs were achieved from my observations of some theatres in Bristol, as well as further research online. The main inspiration came from the achitecture around the stage curtains, which then lead me to a more art-deco style appoach.
"One Small Step For Man" is my futuristic font based on the theme of ambition. I wanted to create a simplistic and wide font that is longer in width than height in order to replicate the long steps taken by Neil Armstrong when he was the first man to walk on the moon. This was an iconic moment in history and a key representation of ambition and the ideology that we can do anything if we believe.
HIGH SOCIETY
This font was created based originally on the word 'Gregarious'. From that I researched Social Housing in the UK. These are spaces designed to house many people for as cheap as possible. I used compound blocks to create complex detailed flats that stack up as high as a tower block usually would.
We live in a world controlled by technology. As a creative professional I rely on tech to perform my primary business activities, whilst I am extremely pro-technology, I also recognise the negative impacts it has on society.
The theme for this project is ‘Dangerous’.
Please feel free to use this font as you wish, I would appreciate being told in advance as I love to see my work in use.
Ed Garrett / edgarrett1982@gmail.com
This font is inspired by the people that rebel, protest and defy our political stances. Taken from the word ‘unstable’ this font aims to convey a sense of political instability. Using the imagery and typefaces created from protest banners I created ‘f*ck boris’ whilst encompassing iconic rebellion symbols used throughout our history.
This typeface developed from the word gregarious, this word is defined as sociable or enjoying company of others, the term was used the most in the 1920s. I developed this study to looking at 1920s typefaces and aimed to find a way of making the geometric sanserifs look sociable and lively. A main social activity at this time was listening to the new revelation of Jazz music which became the basis of how I wanted to portray in this project whilst showing a modern twist. Jazz musicians play their songs in their own distinct styles, and so you might listen to a dozen different jazz recordings of the same song, but each will sound different and this idea is something i tried to bring into this typeface; the set of letters look the same but depending on which word/sentence you type it will look different.
Using the word Lurid as the basis for my development, the concept behind this font comes from things that are visually disturbing to look at. The idea to make a font that looks like it is dripping comes from the imagery I found in my research into Heavy Metal logos. The Halftone Gradient effect I decided to use was inspired from my experimentation in fontstruct with trypophobia, the fear of looking at small tightly packed holes, leading me to create my font out of black dots.
This font draws it's main inspiration from David Carson's typographic work. it was created using instinct as there were no set rules and regulations for each letter. The style is unconventional and unpredictable. Jamie Reid created a lot of typographic pieces using magazine cutouts which is something I also wanted to replicate in this font.
Kowloon Condensed is based of of the word Lurid. After breaking down the word and it's different possible meanings, I decided to try to create something that is not only exaggeratory, but also creepy in appearence. After looking into the idea of a creepy font, I came across an article on the Kolwoon Walled City, in China. This city was a very condenced hgih rise place which was abundant with crime, and was the stomping ground for the Triads in China for many years. The concept of this grimy and clostrafobic place teeming with crime is what led to the creation of Kowloon Condenced. The hgh rise appearence and cluttered detailed little houses is quite uncomfortable to look at, or even possibly put the viewer on edge, which i think easily relates back to my theme word of 'lurid.'
I constructed this font with the idea of wires 'trapping' the letters. I wanted the font to be sans-serif, looking like Futura/Gill Sans. My theme was 'energetic' and at first I was looking more into food specifically and how we gain energy but then I took a different approach trying out different ways that I can portray electricity. Finally, I experimented with cutting out letters from pizza cardboard boxes and putting wires around them to try and make the digital fontstruct version look more realistic and accurate.
This geometric, sans serif typeface is based on the biological process endocytosis. Having an interest in science, I wanted to create a font that was both interesting to look at and, in some way, informative. Each letter (cell) is linked to the next by particles. The indents in each letter imitate the invagination of the plasma membrane, forming a pocket around the particle. In the cell, the particles are then ingested and transformed into vesicles. In summary, this is what endocytosis is.
This font was inspired by the images seen from the Hong Kong protests and the use of the umbrella as a symblom for there movement. I made the font based of pre exsisting letter forms to show china's forceful additions to Hong Kong law.
Thanks for veiwing, feel free to get in touch
Instagram: colourized_design
Celtic calligraphy font with spiral detailing inspired by the triskelion symbol. The concept behind the symbol and therefore the typeface is of rebirth - and more specifically the cycle of life, death and rebirth - symbolised by the spiral motifs.