We live in a world controlled by technology. As a creative professional I rely on tech to perform my primary business activities, whilst I am extremely pro-technology, I also recognise the negative impacts it has on society.
The theme for this project is ‘Dangerous’.
Please feel free to use this font as you wish, I would appreciate being told in advance as I love to see my work in use.
Ed Garrett / edgarrett1982@gmail.com
For the font, I made it by the theme “community”. It then reminds me of bees in the natural world as they often work as a group, which needs good communication to connect each other being part of the community. I made the fonts using hexagon shapes based on the look of the honeycomb that the bees storing the honey from.
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.
Cārakkaṭṭu means "scaffolding" in the oldest language in the world: Tamil. Why use Tamil and what does this have to do with this font? Well, Tamil is the foundation of all modern languages, it is the earliest form of verbal communication. I am exploring what makes a building stable or unstable, so; you need strong foundations for a good building, but scaffolding if it becomes unstable. Cārakkaṭṭu represents the foundations of a building that has become unstable, and needs to be repaired again.
Albatros is the result of a research on the correlation between genius and mental instability in great artists, philosophers and poets. As in Baudelaire's poetry, it symbolises those who are misunderstood and thus isolated and derided. The albatross is a clumsy bird, but once in the sky and raised over the mass it shows everyone its great wingspan. We are all albatrosses until we are given the opportunity to discover the wings power.
Words are often read by looking at the shape and not spelling, what I have attempted to do with this typeface is to make the reader focus more on the letters within the words.
As the name suggests, Balky can be awkward to read due to some of the letters looking similar, as well as its chunky build, making people have to use the context of the sentence. I hope this will make an impact on how well people engage with some text as well as being aesthetically interesting.
This is a cloneThe 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.
Here is my first fontstruction coming to you from a graphic design student at UWE Bristol.
This font is based around the theme 'rebirth' and to me rebirth means growth, open-minded, seeing the world in new ways- an awakening.
So I went down the path of spiritual journeys. Throughout lockdown I have been listening to the one and only, Joe Rogan and his podcasts. Many of which discuss the topic of psychedelics and how they have changed peoples perspectives on life - positively. I then took these topics and found my 'Rebirth'
This font represents; psychedelics, trance and being in the state of stupor...
I based this typeface off the theme of introversion, and so went about creating a font that worked from the idea of the unseen, less obvious shadows of the letterforms, using arrows and angles to continue the theme of what is internal and not what the eye sees immediately.
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.
I 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.
Based on the theme of 'Systematic'. My research led me into compulsions which in turn became developing my own system where I surrendered control and randomly generated a variant of a Triangle, an angle to rotate it to and then a cell it would go into. This would then be removed to create the final letterform. Designed to be a display typeface.
This is my first FontStruction while currently studying graphic design at Bristol UWE. This font was born from the theme of ‘hope’ and that we are hopefull for the future. I looked at lots of different material for insperation, inculding film posters, furteristic clothing and computer games. I developed the high contrast version after the standard weight, after being inspired by a font called ‘Noe Display’.
This is my first FontStruction while currently studying graphic design at Bristol UWE. This font was born from the theme of ‘hope’ and that we are hopefull for the future. I looked at lots of different material for insperation, inculding film posters, furteristic clothing and computer games.
This display typeface was inspired by the return to traditional Celtic iconography within the insular manuscripts of 6th Century Britain. Each letter is highly ornamented, incorporating chains of interlinked geometry that translate the flowing forms of Celtic knots into the grid based format of Fonstruct.
This san serif, textured, pattern, bold font is inspired by traditional Welsh weaved blankets. I was fascinated by the incredible pattern created by the traditional practice of blanket weaving. To create the structure of these characters I worked from researching weaving and knitting patterns and scanned it into the computer to embed the pattern into letters.
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.
This is my first typeface as a first-year graphic design student at UWE. It has been created based on the theme ''Rebirth''. Inspired by the Renaissance which means ''rebirth'' in French the typeface is a transition from the old to the new. It is also connected to moon phases as a symbol of rebirth and change. The typeface is a combination of sharp elements and smooth shapes, has some futuristic and traditional motifs. Each letter is unique and can be used by itself or in a text with the others. Any comments are welcomed.
-" Constructivism's central idea is that human learning is constructed, that learners build new knowledge upon the foundation of previous learning" Phillips, 1995.
This is my first Construction based on the theme of "Rebirth". I chose this theme as I wanted to investigate how a country is "reborn" after a war or a revolution. This led me to read an article about graphic design ideas that came from the Russian Revolution. One of them was Constructivist typography-combination of contrasting shapes and sizes. I looked at the work of El Lissitzky and Alexander Rodchenko. From this research I began to cut out shapes of different sizes and began to construct letters- however, this idea didn't translate well in FontStruct. To widen my research, I looked at Constructivist and Soviet Brutalist architecture which my font was inspired by. It reflects buildings like the Polytechnic Institute of Minsk, The Palace of Ceremonies, and the Georgian Ministry of Highways in Tbilisi.
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.
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.
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 cloneThis typeface is based on the stigma around word ‘unstable’ in relation to mental health. Inspired by artists who deal with mental health issues, specifically looking at Yayoi Kusama and her ‘Dots Obsession’ series in which she recreates hallucinations of repetitive patterns that she sees on her surroundings.
This fontsruction is based on the theme, systematic. It is inspired by popular early 20th century popular fonts such as 'Prisma' created by Rudolf Koch. Wave takes further inspiration from the methodology of Wim Crouwel and his use of grids and allignment using a dot matrix to create systematic letterform
This is a cloneI 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 Chicken Lickin'. It was inspired by the word Lurid and follows an odd train of thought back to my year 5 teacher. She would always wear lurid clothing and a nickname I had at the time was 'Chicken legs' which came from the parents of the football team I played for in my youth, Clapham Colts.