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.
My fontstruction inspired by building structures, each letters ascenders and descenders inspired me to shape each letter in their individual way. I tried to include different aspects of what you see in buildings throughout the alphabet like stairs, windows, doors, roofs etc.
My chosen theme name was systematic and I followed that theme through to my style of type face by how buildings and structures are systematic, they work together as a big system and fit into a city.
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.
Inspired by George Orwell's '1984', the Dystematic font largely revolves around the concepts of societal collapse and dystopia. The hybrid of the words 'dystopia' and 'systematic' hint at the notion of overcivilisation leading to systemic collapse. The imagery within the type suggest broken buildings with revealed scaffolding/foundations which was inspired by concept art pieces of post-apocalyptic societies. The subject of systematic futility can be largely relative to the political and socioeconomic polarity we are currently seeing in the UK and the US.
This typeface has stemmed from the word ‘unstable’. The adjective mainly holds negative connotations, which is why I explored the dynamic impact of cracks in pavements and how they are unpredictable and disruptive. I also focussed on how the cracks appear as roots when experimenting with font. This brings a more positive light to ‘unstable’, combining both man-made cracks and natural roots to create a font resembling root heave.
This typeface has been designed by taking inspiration from the theme ‘decorative’. I started to explore different aspects of this word which lead me to Moroccan/ Marrakesh tiles, not only are they a key feature of their country but they are also frequently used around the world and with their intricate geometric designs, they are distinctive in design. What drew me to these designs was how there was such an intricate design within a simple shape. Keeping this in mind, I wanted to create a decorative font that portrayed this.
With this font, I have developed and tried to capture the theme 'Filthy'. In my brainstorm I came up with the idea that people sometimes use the word filthy to describe a drop in a song, which then lead me on to researching festivals and raves as they are filthy environments. In my research of raves I confirmed the most filthy place is usually the floor and how rubbish is scattered about. This then gave me the practical idea to go outside grap dead leaves and pour them onto glue which spelt the word filthy. I then copied the out come next to it which then i developed onto Fontstruct.
Ornate has been created based of the theme 'Elegant'. Through the process of producing this typeface I carried out various experiments by hand exploring different styles of typefaces which showcased the concept of elegant; such as Calligraphy and refined san serif/serif typefaces. This serif typeface is my interpretation of elegance and represents the characteristics I explored through researching and experimenting. It’s simple, refined and confident.
My first brief I received for Graphic Design at UWE was based on the theme "Wicked". Through lots of studies of branches, dead trees, witches and "Wicked" things. I developed a serif font with branchlike and natural features which resemble a spooky forest like in fairy tales. Many references can be linked to Disney movie fonts like Alice in Wonderland.
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.
This typeface was created from the theme of gregarious. Inspired mainly by the idea that we as sociable creatures live in society amongst people. To create the letter forms I walked around the city of Bristol, mapping my routes, therefore creating my typeface through interacting with the city constricted by the buildings around me. I put my typeface on a small grid to formulate the idea of a route, block by block.
This typeface was created from the theme of gregarious. Inspired mainly by the idea that we as sociable creatures live in society amongst people. To create the letter forms I walked around the city of Bristol, mapping my routes, therefore creating my typeface through interacting with the city constricted by the buildings around me. This typeface focuses on displaying clearly the path I took.
For my first project for the type introduction, I was set the challenge based of an initial project topic. My exploration originally consisted of looking at the word 'Filthy' further on to 'Dirty'. For my first step of topic exploration, the word Dirty initially related to looking at fast foods and oily foods eg. 'dirty burger' after looking at this I created a more indepth, zoned in idea of Diabetes. My final font has been drawn from the idea of looking at chemical structures of insulin and their bonds.
I created Pixel Volume Two through exploring the theme of ‘Systematic’. I researched different systems in relation to my theme, and eventually came across gaming systems. Specifically looking at retro game design, I began exploring the application of the pixel form/square shape in fonstruct. I explored both serif and sans serif outcomes, creating a full typeface for both styles, however I felt the sans serif outcome fit the theme better.
Based on the word: 'Destructive', the 'Beta Build' font is one that resembles a somewhat destroyed buildng. Having the solid chunks of the letters correspond with the steel beam-like structure of the inside sets it as both a work in progress building as well one that is crumbling due to an unforseen man made or natural disaster.
This is a cloneUsing 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.
After choosing the adjective 'systematic' to create a typeface, I designed this based on the typography seen on communist propaganda, in particular around the period of the Russian Revolution, Leninism and later Stalinism.
Taking inspiration from contructivist art and architecture, I created block-like letterforms with these slanted corners.
I wanted to create a cold and harsh feeling typeface that was based around the Cyrillic alphabet, translating shapes from one alphabet to then be used for English; thus why I chose a sans-serif bold font in all capitals.
For this project I was given the word "systematic" as inspiration. I looked into the imagery within the chinese military, looking at how the ordering and the syncronisity created an almost optical illusion effect. Because of this the military force looks more powerful than it may actually be, which is something I was intrested in capturing in my font. The typeface is rigid, geometric, and sans-serif.
This is a clone of Formation QB (first draft)This is the font I have created around the theme of ‘squishy’. Basing it on Neurons being formed into a typeface, showing how they can be manipulated in various ways. I found this topic very interesting to look into, as Neurons send electrical signals throughout the body, and as humans we communicate through language.
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.
BRAIN POWER
This type face was inspired by the word "energetic", the optical illusion theme deceives the eye and appears to be bend and curved in areas. The energy comes from the deception your brain; the longer you stare, the more you see. I studied mazes and other opticall illusions before coming to this outcome, shading was important as it makes the letters more realistic and 3 dimentional.
This is a cloneKowloon 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.'
(Due to the size of the letters, looks a lot better zoomed in!)
This font was created around the theme of 'filthy' and 'decay'. The final design was inspired by fungus spores and bacteria at a microscopic level. I took inspiration from existing fonts -Norway Round- and -Cubano-.
Developed from the theme wicked, 'Scelerate Acri' stemmed from a combination of the shapes in the symbols used in witchcraft. From that research and fascination into the symbols and shapes came 'wickedly sharp' or translated into latin - Scelerate Acri.
This typeface has been inspired by close ups of the body. I began by looking at the patterns in brain scans and vein compositions. I experimented though sketching and multiple attempts in Font Struct, to discover which sizes and shapes would turn out most successful. To try and inform my research I also created a 3D model of my font using pieces of spaghetti, this led me to try and incorporate more organic curves in to my work. This was a challenging process, which I found I could only complete with the straight, horizontal and triangle half squares.
This is a cloneConcrete Honesty is a font based on brutalist architecture:
My aim was to create a set of letters that emulated brutalism’s raw and unpretentious honesty while still conveying the large scale and uncompromising structure brutalist architecture hold. I wanted each letterform to feel grounded with a strong foundation like the building designs.
The font makes use of bold shapes/surfaces and corners as I tried to find balance between asymmetric design of brutalist architecture and the consistency of a legible typeface.
Tialoc is a block capital font based around the idea of duality inspired by the contrasting but inseperable qualities of thunder and lightning. The form of the lettering is derived from illustrations of thunderbolts on ancient Greek pottery, exploring the theme of thunderous laterally, avoiding the modern bolt motif.
This font was originally inrpired by the word "Unstable". From that word i began to look at multiple unstaible chratcters. I chose to then focus on the new Joker film and the new character joaquin Phoenix had created. The font used for the Joker advertisment, was really impressive however, I fehlt as though it didnt really portray his character well. This font was a way for me to better illustrate The Joker's new character. First I created a very comic block letter that would containe a scratchy "unstable" letter.
This font is a representaion of the growth and life of my Grandmother. what I mean by this is how the eldery go from very educated and respectful people of society to facing demintia, Charles Bonnet sydrome and many more diseases. This causes the elderly to go back to child like ways and loosing their own personality. My type is elegent yet sharp, showing a study of the moods and movement of my Grandmother throught a 6 week period. what I understood from this was how my Grandmothers true self was screaming to come out yet the dieases would not allow it, this is shown through the sharp edges. Then the discreate soft edges on a few letters is the true women that is my Grandmother who is a religios and elegant trying to show herself to the world.
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.
Subtract is a minimalist typeface, reducing detail to the simplest legible form of each character, using a fluid mix of curved and linear forms for an aesthetic that is refined, uncluttered, precise and stylish.
Elegance in typeface design is usually associated with decorative, scriptive or serif fonts. Subtract takes away from the basic letterform rather than adding.
This is a cloneI based this tyepface on the theme of 'Systematic'. Each letter was constructed based on a certain set of rules and was later altered. It is named after my previous attempt to create this font that was too big to save on fontstruct.