A typeface first inspired by the theme word destruction which lead me to think of climate change and desforestation. After looking at small pieces of bark that had been broken off in the process of tree clearing I focused more on the textures created by the wood. I contstructed a 3D word from this idea by building plaster casts of bark. The shapes and patterns here created the base for the structure of these letters. I wanted each letter to be made up of small pieces, representing the broken bark; a side product of deforestation. Along with all the smaller patterns inside to show the many different textures that are on the wood.
A 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 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.
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.
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.
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.'
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.
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After watching a documentary on how the elderly are often lonely and forgotten about, it inspired me to create this font detailing the feeling of isolation and becoming disconnected from a community.
The circles that make up the font represent individuals in a community. I chose to have a number of the circles grouped, then others separated, illustrating how one can be surrounded by people but still feel isolated and alone. As this is a common issue in the world today, I found it appropriate to portray this struggle, especially with current world-wide events.
THEME: PROTECT
A display font inspired by one of the UK's first and most influential free-party sound systems- Spiral Tribe. They helped create a culture of freedom and expression through art and music which was heavily (and still continues to be) suppressed by the Police. They used tribal patterns frequently in their artwork, which is the reasoning behind the spiral shapes within the letters.
The weights are varied throughout the letters to make it more playful and psycholdelic, as the rave culture is against agression and force used frequently against them by the police. New age travellers embrace harmony- which is why the letters are sized so that they work together in words to create a wider pattern.
With the given theme of Protection, I looked into the human immune system and the biological human features. Researching further into antibodies, I created a type face of the antibody structure which resembles the shape of a capital Y. Following symmetrical shapes and doubled lines, I created an alphabet that mimics the original structure of antibodies, with similar joints and angles.
"SEAWEED' is a decorative font inspired through my research into the protection of the oceans. Through this research I was intrigued by the way that a simple thing like planting seaweed could possibly hold the key to reversing ocean acidification.
This font was inspired by the graffiti and events posters in Bristol. I came across one bit of street art in particular during my research that became my main bit of inspiration. The letters looked very psychedelic based which I loved and therefore made the outcome of my font have a hint of psychedelia. It is named "Spike" as you can see a spike-like aspect feature in each of the letters. This is what gives it its psychedelic flair.
My fontstruct is inspired by Telephone Boxes. I was interested in the history of the first mass technology in Britain and telephones boxes are a famous symbol of that. The british emblem shape on the telephone boxes inspired the shape of the type and I developed it into all the letters.
An updated typeface inspired by the home of Fine Art in Bristol, the Arnolfini Building, now including a lower case and numbers. This takes queues from its grotesque, black-letter typeface along the outside. Working on a small scale allowed me to ensure the uniformity of each character in the font.
This is a clone of Nineteen Sixty One Sans v1This typeface is based on the hand-painted names seen on the side of canal boats. The inconsistent, grainy texture of each letter is meant to represent the irregularities in using paint, for example the general wear and tear from the elements like chipped or peeling edges. This was my approach to the idea of “analogue” and a brief set to explore what that means. To me, in the context of the brief, analogue could be defined as possessing a nostalgic or "old school" quality- something replicated in an unauthentic manner in order to create a look-alike imitation of a time gone by. I also designed these letters to look like bubbles on the surface of water, hence the name 'Analogue Fizz'. I focused on the old method of transport in Bristol: boats.
This is a clone of Analogue Fizz StampedWorking under the theme of 'Rebirth', I have focused my first font on the idea of post-war architecture, or otherwise commonly known as modernist/brutalist architecture. Buildings constructed following the Second World War were built using new technologies of construction. These types of designs were known for their use of modern materials such as concrete and steel as well as their interesting geometrical forms. I was heavily influenced by the architecture featured in Owen Hopkins' book 'Lost Futures' which looks at the disappearing architecture of post-war Britain and how changing external contexts played a role in the subsequent destruction of these buildings.
This typeface was created on the main theme of 'Protection' that i later explored in the idea of fences and how they can protect us from the outside world. I wanted my letters to connect with one another creating the illusion of a fence and potraying unity.
Inspired by fountain-based architecture, I've created my first fontstruction for the start of my UWE Graphic Design course. For this, I poured water onto different surfaces/objects with varying shapes to capture the cascading effect as reference images. Originally, I was first inspired by watercolour strokes to make a gradient effect, which developed into the idea of water fountains used in contemporary architecture.
My font is based on the Ministry of Transportation building in Georgia. The building itself is inspired by Japanese Metabolism architecture. Which is a moventment inspired by growth and adapabilty. I wanted my font to feel as though you could stack and change it just like Metabolism architecture.
My first digitally rendered typeface that focused around the theme of energy and its synonyms. I wanted to explore a typeface that would create the illusion of movement without using decorative elements such as gradients, serifs or superfluous details.
The minimalistic approach was inspired by typefaces designed by Paul Rand and the concept was inspired by 'sans forgetica'
This is a cloneThis font is produced based off of the buzzword "filthy" which led me to explore the Japanese Yakuza Gang. Inspired by their illustrative tattoos, and jewellery, I produced a typeface which replicates links. Not only do the links visually represent those found in chain necklaces, but they are also metaphorical representations of the fundamentals of gang behaviour, and the brotherhood that is formed
Constriction is a type inspired by the idea of tension. I initially was looking at the idea of danger, how two objects may not be dangerous until they are put together. I questioned what the suspense is between those two objects. In my current design I have focused on the physical look of tension, looking at twisted metal as inspiration. I decided not to create the whole of each letter in a twisted form as I wanted to only empathies it in certain areas.
This font was created around the theme of systematic. My main source of inspiration was from symbols used on weather maps and glyphs used for the shipping forcast. Using five main symbols, I created my own set of rules in order to place each symbol at the correct place on my fontstruction.
I designed my font around the theme ‘Elegant’ studying the Crown Jewels that are owned by the British Royal Family. I focused on the structure within each jewel and particularly was interested in how the light catches on certain shards within the stones. My initial idea was to shade each of the sections using a different colour, however this proved difficult with the ‘Fontstruct’ software. Eventually instead of shading with different colours I shaded uses the small dots to create a stipple effect which I believe to still be just as effective.