First year UWE student. This typeface revolves around my chosen theme 'squishy' and incorporates organic and cloud-like properties; with 70's inspired assets. 

2019 marks the 100th year of the existence of Bauhaus. In honour of this iconic art movement, I have designed my first Fontstruction based on the minimalist and structured design which embodied the movement from 1919 until the mid-1930s. In order to create this Bauhaus inspired font, I have kept to 5 different 'blocks', that create the form and a 5x7/6 size allowance to keep a uniform structure.

The font TOREN takes its name from a sentient spaceship in the “Ancillary” series by Ann Leckie and is designed as a futuristic display font. Much of the inspiration for this font came from studying science-fiction film posters and book covers which is where the name originated. Important information to know about the font is it is only uppercase and works best as a stand-alone graphic element.  

This font is inspired by the word 'danger'. It is based on the shift in perceptions on graffiti and how some view it as anti-social and therefore a danger to our society. Over time it has shifted to be classed as an art form which creates character on our streets; specifically in Bristol. It is inspired by the recent cleaning of the 'Bearpit' in Bristol.

This font is inspired by the people that rebel, protest and defy our political stances. Taken from the word ‘unstable’ this font aims to convey a sense of political instability. Using the imagery and typefaces created from protest banners I created ‘f*ck boris’ whilst encompassing iconic rebellion symbols used throughout our history.

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.   

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 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.

Using 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.

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 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 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.

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.

This font explores the theme of anger. I took inspiration from heavy metal/rock album covers and tried to recreate the same irregular/jarring lettering they do. To do this I painted letters quickly on varying sizes of paper and translated this onto fontstruct to get a rough/rushed look.

This font is based on how energy is radiated. I created the font using circles as halftones to show motions of energy through word form, there's a range of two different intesties if energy in the typeface. The basis of the font has a curved systematic approach a restriction to the circles only being a quarter, half or whole (or double sized) so that the ascenders, descenders and width matches throughout.

This font is based of the theme 'gregarious'. For this I looked into coral reefs and sea anemone, then developed ideas through print making with acrylic paint and sponges. The type face is inspired by the flowing nature of the sea anemone and how some sea creatures/ plants grow upwards towards the sun. Eventually the type began to look more like flames/ smoke than a plant, which I decided to focus on instead. This shows how a project can completely change from the initial idea and just how it is important to always develop further taking into account others opinions and thoughts.

My first fonstruction is based around the theme of malnutrition, but focuses on lesser acknowledged end of the spectrum, over-nutrition. I took inspiration from nature of skin and fat on overweight or obese bodies, putting emphasis on the folds and bulges you might typically see on the skin of a larger frame.