'Sacred Textura', by Studio Sampersand, blends medieval Textura blackletter with contemporary design. Crafted with precision, it balances tradition and innovation. Its structured forms and intricate details convey strength and authority. The font follows a precise wide pen stroke-width that follows the hexagonal grid lines; creating a consistent neo-traditional textura font design.
Legenda Descritiva da Fonte Tipográfica:
Nome da Fonte: Pixel TEC
Descrição: Uma fonte tipográfica baseada no estilo píxel, caracterizada por letras com 4 píxeis de largura, remetendo ao design utilizado em jogos antigos, Minecraft e pixel art
Estilo: Pixel, inspirado em jogos retrô e estética pixel art.
Peso: normal
Finalidade: Ideal para uso em ambientes que evocam a estética pixelada, como jogos, interfaces de usuário e projetos relacionados a Minecraft e pixel art.
Inspirado por: Jogos antigos, pixel art e o universo criativo de Minecraft.
Designer: fabricio_marinh0
Ano de lançamento: 2023
Observações Adicionais: Alguns caracteres podem ter serifa em sua estética, mas sempre de forma suavizada.
This is a cloneThis is my FontStruct created for the What The Font project on the UWE Graphic Design Course 2023. My intention for this font was to combine both English and Korean aesthetics. I made this font using the symbols of the Korean alphabet called Hangul specifically in a calligraphic style. It is named Seoche which is the romanization of ‘typeface’ in Korean.
My typeface is inspired by the style of object posters. I researched into how Before 1900 graphic design expression was rather pictureque and traditional. i looked into how advertisement has changed through time, fluctuation between simplistic and detailed. I researched into many typographers such as Lucian Bernhard (1910) his minemal illustrations and simplistic style a great inspiration. I wanted my typeface to reflect this style. starting each letterform with a square block and then chipping away the letterform. This made me open up to the idea of negative space, keeping my letters super simplistic and bold. my typeface is to be seen more as i image in itself rather a font.
Slim Deco is a stylised sans serif font inspired by the ever-enduring Art Deco era. This font has clean, modern lines and decorative accents which are subtle yet set the style perfectly.
Luxurious and visually striking, Slim Deco is set in all caps and therefore best suited for larger sizes, such as headline copy, magazine covers, movie titles, brand identities, coffee shop menus, posters etc.
This font takes you back to the roaring 1920s, the clinking of champagne glasses, the sound of jazz music and the bustling of people at fabulous parties. No matter how you use Slim Deco it will be seen as a glamorous and distinct font with strong shapes and architectural leanings that will creative an eye catching design.
For this font I was inspired by elegant and decorative type. I looked at old English style and modern cursive fonts to inform my design. My font would be described as script, pixelated, and formal, using thick and thin strokes, ligatures, and fluid strokes to simulate handwriting.
A typeface loosely based around Robert Perine's logo for Fender, characterised by natural, fluid shapes. The aim was to construct each letterform with minimal 'brushstrokes' - further details are captured with smaller, flicks/strokes. Additionally, the texture is supposed to mimick inkblots when using a fountain pen, for example.
This font takes inspiration from traditional pub signs. The wide variety of different fonts utilized in these signs caught my interest. Trying to emulate and create original letters inspired by the signs would prove a great challenge within the 24x24 grid restriction. I think the font captures the idea of competition between 'The Local's, as they tussle to have the most eye-catching designs on their signs, as every letter in my font is as eye-catching as the next. Many of the letters are individual variations of Blackletter (Old English), bold and lightly serifed type.
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.
"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.
My typeface currently encapsulates the verb “protect” through two opposing connotations; one of them being to self protect; this phrase is conventionally associated with weapons, and I have illustrated this through sharp edged strokes to imitate knife-like objects. The other being is to hide; this is inferred the personification of the fact that elements of my letters are hiding themselves.
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.
'Rebirth' is a display font designed for use in a large scale, for example as a title on a poster. The font was designed in response to a first term university brief and responded to the word 'rebirth'. The font centres around the idea of growth which led to the geometric elements as a connection to the symbol of an arrow, which I personally associated with growth.
Based on the theme of rebirth, ‘Fill in the blanks’ draws inspiration from the Renaissance era. Looking at the original printing press, traditional blackletter and Renaissance calligraphy, ‘Fill in the blanks’ offers a modern twist on some of the oldest typefaces to date. By looking at the brush strokes of blackletter and the serifs used in the printing press typefaces, this font is a combination of these characteristics. By using just these features the human eye can still recognise the letter form, essentially allowing your mind to ‘Fill in the blanks.’
For my chosen theme Community (specifically biological community)
I decided to work with a worm/snake shape. Trying to figure out the final letter shapes during the creative process I got inspired by the snake game I'm sure everyone played on their old Nokia including me.
I observed the snake's movements in the game and created a typeface based on that. I would characterize my typeface as a simple combination of retro and modern at the same time.
Created by Nicole Rybáková as a first-year graphic design student at UWE Bristol Uni.
Working 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.
My font is inspired by Navajo rugs and blankets and the main theme I went with was ReBirth. I thought this was fitting as the Navajo people create these rugs to tell a story of there beliefs and religion, which has been implemented in this font but instead, the words can tell the story and the design is inspired by the Navajo rugs and blankets.
I created this typeface based on the theme ‘Hope’. While being or becoming blind is extremely hard, there is always light after the dark, even for the people who cannot see. I tried to include every character from the Braille alphabet (white dots) to the original English alphabet (black dots), so it would be learnt and understood easily.
This is my first fontstruction, created whilst studying graphic design at UWE Bristol. I experimented using script brushes and calligraphy on Procreate and also tried to incorporate some of my own handwriting to make it more personal. The font is blocky and cursive to represent how people see hope and good in the bad. Our paths in life are never smooth sailing.
This san serif font is inspired by the concept of ‘Community’. I explored the idea of unhealthy, anti-communities and real life examples of them, which lead me to Hollywood. Hollywood, beneath all the glamour, proves to often be a toxic community, considering the examples of misogyny, racism and sexual abuse that has taken place within the community. I wanted to recreate the iconic Hollywood sign and modify it to have cracks appearing, representing the real-life cracks appearing in Hollywood’s community. These cracks will represent examples such as Harvey Weinstein and the #MeToo movement.
This is a font inspired by the word 'systematic'. My main influence when creating this font was archiecture and the form of buildings. I focused strongly on lines and the grid system as I felt this really fit the theme of 'systematic' and archiecture as both remind me of acting according to a fixed plan or system; methodical.
This is a cloneInspired 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.