This font is based around the theme of “Introvert” in which I looked more specifically at categorising existing fonts into what I consider to be introverted and extroverted fonts and then slicing and gluing them together. This is the result of that experimentation; named such because it is an exercise in forcing introverted fonts to socialise with extroverted fonts, with little success. 

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. 

A display typeface (probably best viewed small, I'm aware!) based upon some physical type I made from dark food colouring etched into sugar syrup. 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 second version which displays what happens when the food colouring bled into the sugar syrup. 

 Mltng Pnt is a typeface that took form from the word destructive. It's aim is to be an illustrative typeface that focuses on the destruction of the natural letter form. This process creates a lot of visual noise, distorting the viewers vision and adding to this sense of destruction on a more palpable level. The figures were inspired by melting butter, hence the name 'Mltng Pnt' (melting point). This name also suggests a point of no return, capitalising on the theme of destruction.

This font draft was created with the theme of massive, I wanted to create something that looked physically imposing and noticeable. To create the structure, I looked at buildings and cityscapes around the busiest parts of Bristol City and wanted to play with perspective as if the viewer was standing beneath a building and looking up at it, I ended up making a font that reflected the uniformity and scale of buildings.

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 typeface has come from the initial theme of malnourished, where I looked at using real bones to make a physical typeface. From this, I have developed my idea to look into the deeper meaning of eating disorders and specifically the mental illness surrounding it. My typeface therefore is a representation of body dysmorphia in anorexia, using limb like shapes to create letterforms, showing the reality and perception of people who see themselves as over weight when really they are dangerously underweight.  

Topolegs 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.

Richter is a font inspired by the idea of instability. I initially looked at the idea of falling; the aftermath of an earthquake. However, the current design looks not at the aftermath of an earthquake, but at the aftermath of falling. The design is heavily inspired by breaking, smashing and the general consequences of an unstable object splitting apart.  

Gloria is inspired by 1930's architecture. The theme for this idea is ‘destructive'. I looked at the exterior of buildings and the disappearance and destruction of 1930's architecture and the art deco era and style. The font is a combinination of curves and straight edges which expresses the style of architecture from that time. The detail on the letters will look better at a larger scale so it would be best for display. Anyone wanting to convey a period time or the art deco movement this is the font for you.

I created this typeface around the theme of gregarious, focusing on gregarious plants. I started with drawing the letterforms in ink using a rolled up leaf. The results were twig-like marks which reminded me of the illustrations from 'A Monster Calls' so I developed the letters thinking how they could work alongside this or another story. The name 'This Wild Earth' is taken from the book and I think reflects the scratchy and bold feel of the typeface.

In this typeface, I have explored the idea of order and systematic design in an urban surrounding. Following the natural lines from the cement of a regular brick wall I have used the repetitive pattern and method to mark the outline to my type face. This font is primarily created for using in titles and headings rather than in a body of text as it is more impacting as well as visually striking and eye catching.

RIBCAGE.

This typeface has been made from the starting theme of 'Malnourished', from this I started to look intowhat it truley means to be malnourished and the people and places that are affected by this around the world. Through my research I looked at how the body is affected by malnutrition and being malnourished and saw when looking at images that it has a effect on the ribcage that is raher significant. From here I looked at the ribcage and how the bones fir together taking a few striking bones and using them to create letterforms. Each letterfrom ismade up of 2 or more ofthe bones that make up the ribcage that slot together in a simular way to that of the ribs.

My new typeface 'Coup de ruban' represents the beauty of human movement through interpretive dance. I decided to name my elegant font 'ribbon stroke', but in French, as French is seen as a beautiful language. The thin, curved flourishes follow the movements of the dancer Megan Batoon's hands and feet when dancing to her own choreography. The thick strokes represent ballerina ribbon which ground the flourishes to create a bold, yet elegant display font. -Sam

My initial research for this font was into the word gregarious. I started looking at the idea of things that group together; people, plants etc. I also looked at repetition in surface design and architecture. To me the repeated shapes act in a social way – grouping together. I started to look at ways of representing these initial ideas I had. I came up with the idea of using magnets to spell out a word and then pouring iron filings on top to create a social typeface. I got good results, so that was the basis of my font. The characters also look very organic which is relevant to the original theme of gregarious.

Priceless is a font primarily based on the changes that technology has on the way that society spends money. Noticibaly, the 21st century the world around us has accelerated and revolutionised the methods that we use to pay. It has become incredibly easy to spend money with the click of a button. This has resulted in the use of cash slowly diminish and it is believed that one day in the future, cash will be completely removed from the way people give and recieve capital.

Topo 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. 

Desk bound is inspired by the shape of paperclips. The theme for this idea is ‘systematic’, my initial interpretation of this was something heavy and solid, to represent machinery/construction, based on industrial systems. The idea behind the paperclips comes from the notion that every ‘system’, in a broader sense of the word, requires careful planning and organisation. The physical form of the letters is intended to appear both soft and geometric, making use of the rounded rectangular shape of the paperclips to communicate this and remain consistent, reflecting back on the original ‘systematic’ theme whilst looking lighthearted and playful.

First there is a flourish, in which the beauty of progression is materialised through growth. Followed by distortion and an imminent spoil - I was inspired by this cyclic process. 

Angles cant quite define this typeface, so 'Spoiler' as a decorative font chooses to ignore certain standardisation rules; each letter tries to recoil back into what came before. 

The lettering, as I discovered through paper manipulation and layering, works organically off screen, for collage and mixed media poster design. 

I created this font inspired by my theme 'Dangerous'. I wanted my font to look dark and scary, which could be used for advertisement for horror films or shows. I created this 'dangerous' affect by using sharp straight edges rather than curves, I also varied the black thickness in lines so that it stood out.