digital sleep - a font that shows a digital clock, with distorted vision, representing waking up in the morning to a blur of beeping.

This font draws inspiration from the energy, focus and strength of the gym. It's bold, solid forms reflect power, stability, and endurance. Each letter feels built, not drawn. Designed to express confidence and determination, it embodies the toughness, discipline, and resilience found in both physical training and mental performance.

Elegant, mystical, and shiny. Starlight carries a cosmic motif through its counters and character details. I was inspired by the retrofuturism movement and its focus on outer space and technological advancements, while preserving the refined glamour of 1950s design.

Font inspired and constructed with the blocks from NES Tetris. Had to take some liberties with some characters, such as X and the punctuation.

My inspiration comes from geometric patterns, like Zuzana Licko‘s pattern work on fabrics, and Arabic patterns. The letters are in square tiles inspired by Arabic art. My font also plays on the idea of legibility and futurism, as the letters are skewed making it harder to read, almost like an ‘alien’ code.

When creating this font, I took inspiration from London's tube map. Finding resemblances of letters within the map before overlapping them with the Johnston typeface for sizing and scale. By combining the two, I aimed to make a visually appealing yet confusing font that resembled the TFL tube map.

My font has a formulated and precise composition, it may look simple now but I hope to show it's versatility and inspiration of the through it's use.

This font is based on the old machine programming technique of punched tape. The hole punched tape is fed through a computer which reads the positions of the holes and performs actions accordingly. This design is not legible without a 5-bit code alphabet, unlike my other font.

This font is based on the old machine programming technique of punched tape. The hole punched tape is fed through a computer which reads the positions of the holes and performs actions accordingly. This analogue and old technique inspired my design not just because of its interesting look, but also its potential in the next brief.

Stixel is a pixel-based font inspired by the forms of stencil typography.

I also took inspirations from Zuzana Licko's Lo-Res series of fonts and Argent PX by the Connary Fagen type studio.

VOID.PX .This pixelated typeface draws inspiration from space, blending retro digital aesthetics with cosmic wonder. Star-like dots evoke assemblage , creating a lofi pixalated feel. Merging nostalgia and futurism, the design communicates mystery, exploration, and the vastness of the galaxy—inviting viewers to read as if gazing into the stars.

STATIC* communicates the essence of analogue through its imperfect, nostalgic design inspired by the visual noise of old VHS and TV static. The glitched style reflects the beauty of imperfection, evoking a sense of connection to the raw, pre-digital era.

The inspiration for this font comes from the 90's, where it was more comoon to to see design work that was developed through analogue means. Logos from Japan, and typography that originated from 90's dance/disco heavily inspired this font. However, it also mimics the use of stencils in typography, whihc helps to lnk it back to the theme of the brief.

inky

This font was inspired by traditional Iranian motifs and strong geometric patterns. My goal was to mix cultural heritage with a modern and creative style. The sharp and clean shapes give it a bold identity. It can be used for posters, branding, and digital projects that need a unique and powerful look.

‘Brutalist Bold’ is inspired by Brutalist Architecture, a style characterised by geometric patterns and strong concrete exteriors. The traditional characters of the alphabet have here been systematically partitioned to reflect the notable angles and shapes of brutalist architecture, creating a unique and strong look across the font.

Signal Sans is inspired by analogue sound waves, and each letter features crossbars (or natural curves) which move up and down like waveforms.

Digital signals are binary and predictable, while analogue are continuous, imperfect and human.

This typeface shows how an expressive, fluctuating waveform can exist within a digital grid.

SKWINT - a distorted typeface inspired by doodles expresisng a deteriorating ability to recognise faces and forms.

This font is inspired by retro, old school tech and has a nostalgic feel to it. Its pixellated feel and angular letters really highlight this, and Ziggy is simple yet effective. Its simplicity is its biggest strength as it makes this font versatile, and easy to read. 

I took inspiration from retro futurism and digital clocks, a staple in both functional and decorative interfaces. 

I designed this typeface with the theme 'Analogue' and 'Lo-fi' given in my UWE Graphic Design course. I decided on a simple design that takes from a blend of sharp and flowy sewing tools such as threads, ribbons, tape measures and needles, scissors, seam rippers. I liked the juxtaposition of the sharp & flowy products, and the way they blend together so well despite being so opposing.

I made this typeface with the set theme 'Analogue' and 'Lo-fi' given in my graphics design course. I decided on a huamn vs computer style in reference to the analogue theme (as if a computer had attempted to make a hand-drawn font) and its imperfections in reference to the Lo-fi theme (where a computer would fall short of being about to recreate natural human touch). Only the upper case letters have this effect, I made a simple sans serif font to pair with the main upper case letters.

This typeface I created after being told my original one looked like how a baby robot would write. I created a little robot and can imagine this is how he would have typed when learning how to write.

I created this font as a response to a brief that I was set in Graphic Design, the theme that I had chosen was analogue and I decided to look at retro game consoles as well as sci-fi films from the 70s, which inspired this font.

This typeface was for a project based of off the theme 'Analogue'. For this theme I decided to create my font by using different elements of a clock.  

Second font variation of endpeices

A pixel font designed with another adaptation to act as a link to the internet with pixels of data being uploaded through each font. 

This font was inspired by roughly 12th and 13th century manuscripts. Prior to the invention of the printing press in the second half of the 15th century, hand-made copies of texts and books (manuscripts) were the only system for preserving and transmitting knowledge, and complemented learning by heart, which played a much more important role then than it does today. I took a more digitalised approach, but still not straying away from its calligraphic character.

This font bubble was inspired by a cartoon/robotic theme. During this process I researched into tv shows like the The Powerpuff Girls, by taking inspiration from the font they used and the design of their typeface into creating my own.  I was edging into creating a font that is bold and blocky, by experimenting with creating blocks and designs with rounded angles.

This typeface was designed in response to a brief set by my Graphic Design course at UWE with the theme of Analogue. I took it in the direction of clock hands as I thought it would be an interesting way to portray time. I played around with different thicknesses and arrow placements before settling on this final design.

This typeface - 'Ghost In The Shell' is based on a science fiction/futuristic theme and genre. More specifically the cyberpunk subgenre of science fiction and the futurism movement. I aimed for this typeface to look like something you will see in an aspect of a science fiction movie like Blade Runner or Alien or Akira. Often, sci fi typography will have elements added to it in order to make it look more 'alien' and out of this world. For example, parts missing from characters so they are incomplete but still legible. I have attempted to emulate this design concept in my typeface.

I made a font inspired by the graffiti letters on Bristol street poles and walls throughout the City Centre, Clifton, and other places within Redland and Bristol. I aimed to make each letter have a different style, look funky, and have character and expression. Wanted to make my font different from others that exist with in-consistency, and variety.