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 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.
My first fontstruction was inspired by Eastern Art at the Bristol Museum and Art Gallery. I loved the dragon decoration on the old ceramic pots in this section and have tried to portray a similar theme in my letters. (work in progress)
The industrial revolution gave rise to mass manufacturing; whereby machinery replaced humans, and production snowballed. Textiles were being produced at a rapid speed and in vast quantity, and it was also a pivotal time for print - with the fist linotype machine being invented at around 1883. Mechanised printing meant that newspapers' expansion paralleled the rising population. 'Strength' is a typeface inspired by the widespread industrialisation. The sans serif and square letterforms are a reference to the vast number of red brick factories being erected - the square shape of the font mirroring the literal building blocks.
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 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.
Blueprint bold is the product of a strict system enforced to create a homogenous and structured font, designed to be legible and enforcing sans serif title. Blueprint as a typeface abides by the rules of ratio, with the height of the letterform always being twice the width, and the size and placement of the circle cut out being the same in order to create repetition and order. As a whole, this makes Blueprint systematic.
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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This display font was created with the rising sea levels in mind; as David Wallace-Wells says: "Miami and Bangladesh will not survive". It is too late for them. The font is a bold display sans serif with the intention to be used in combination with messages about global warming and rising sea levels. The letters contain structures intended for people which have been submerged underwater, the reality of Atlantis that we will face in the next few years.
Naples WIP
UPPER CASE ONLY
My typeface has been created in line with the theme ‘dangerous’. From my chosen theme I explored the idea of sharp edges (blades/swords/razor) and decided to create a serifed typeface in which the serifs are extended or curved into a point to mimic the shape of a blade/sword/knife. I chose ‘Naples’ (“Italy’s capital of crime”) as the name due to its historical reputation as a dangerous city and it's links to the Camorra.
Any feedback and criticism would be appreciated as the font is a work in progress (WIP).
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.
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.
Font inspired by industrial structures under the theme ‘Strong’. I looked specifically at pipework and the shapes they create, occasionally mimicking the letterforms unintentionally. Additionally, I was inspired by the shading the metal created and how it exaggerated the bends in the structures. My aim was to ensure the user could read the letters yet still relate it to the theme.
This character set is inspired by the ironwork of balcony railings on Clifton's Victorian buildings. Based on the theme "elegant", I intended to capture the "elegance" portrayed by these ornate artworks, and so the internal patterns are based on actual pattern works from the iron railings. I felt that a set of capitals best captured the almost boastful and eye-catching nature of the railings.
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 STACKEDUnder the theme destruction, I explored ways to advertise environmental harm we are causing. I took inspiration from the increasing amount of plastic being deposited in the ocean and how it is moulded. I want this font to communicate the harsh impact this plastic waste has on the oceans, the life they hold and how it impacts other aspects of the environment.
Mandeljot is the idea of simplicity. What you are looking for is deeper, it doesn’t just appear upon the surface. The font being based upon a basic San Serif type only enhances the real fluidity of the fractal. There’s a series of repetition within the letters, at a glance it is hard to understand want the font is trying to portray or connected to. Nature, diversity, humanity or even practicality. The ability to glare and focus on the question of the font is the importance, it’s elegant yet so real. With flourishes being created through shading. The form of it being fractals makes it look delicate. It’s meant to represent something within everyday life that is “Beautiful, damn hard, useful’ design. Mandelbrot should be used within Nature/Technology/Sound/Structures/Art/Law.
This is a clone of MandeljotMy font theme is systematic, I aimed to make a font that was precise and but also referenced technology in the patterns of a motherboard and the pixelated style. The dots also help form the illusion of curves.
My fontstruct steamed from the word wicked this lead my to the word fear. At first I wanted to create a type that looked evil. I made the word fear by using materials to create the letters and putting them in a box for people to touch. One of the materials that I used was pipe cleaner. I based my fontstruct around pipe cleaner. I thought this would be interesting because I had to manipulate the pipe cleaners without using scissors therefore you are restricted and the letters become basic.
This is a font that I designed in relation to the word ‘unstable’. My font is inspired by the classic block game Jenga where players take in terns to pull a block hopefully not knocking over the tower. With this font, I am trying to communicate that although something might look stable, one subtle movement could cause it to come tumbling down.
A display typeface based upon some physical type I made from dark food colouring etched into sugar syrup - this is the second part in which the food dye has bled into the sugar syrup much more. This was to represent the brief theme I picked of 'unstable', hence why all the characters are completely induvidual in size and shape. I have also published a first version of this type before the dye bled into the syrup.
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.
'PASTE'
A font which can be used to add a handrawn effect. The font evolved from me intially using toothpaste to create an alphabet and finding it effective , My aim was to try and recreate similair characteristics within my font. The tootpaste flicked off at the ends and collected in certain areas which created a really intersting typographical style. The lines are wobbly and unique on each letter as I wanted the font to have movement, energy and a bounce.
TREETOPS FONT
When I decided to go with the theme ‘Elegant’ for this project I knew that my font must be simplistic, I considered what elegance meant to me personally and came up with the following words, modesty, simplicity and nature. I wanted this font to reflect all of these aspects so I created the tall letters to mimic trees in a forest and simplified each letter to keep it clean, modern and modest.
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.
Aloe is a font based on shadows and geometry. The idea is to create the illusion of depth within the font. The concept all stems from diligence, at first I thought about the characteristics a diligent person has and wanted to represent this in a font.
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.
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.