CODESPHERE:

THE INSPIRATION FOR MY FONT WAS DRAWN FROM RETRO, MORE SPECIFICALLY FONTS USED ON COMPUTERS FROM THIRTY TO FORTY YEARS AGO. MY GOAL WAS TO ACHIEVE A SENSE OF NOSTALGIA IN PEOPLE WHO PLAYED THE FIRST COMPUTER GAMES. CODING ALSO WAS A BIG PART OF MY INSPIRATION FOR THE FONT.

This font references the art of Stained Glass window making and the patterns and frames Glaziers use. Every stained glass display is unique! Inspired by a stained glass doorway in Bristol along North Street, Bedminster. Named after Winona, Minnesota.

Have you ever seen just a single character and though "Why don't they all look like that".

Thats what I thought seeing the letter A from a certain font. This font started with the A, the biggest thing I wanted to keep in this font was that fat stroke at the top of each letter. Its not a pretty picture, its not perfectly geometric and nearly every character looks kinda funny. 

5HEAD is arguably the most top heavy font ever made; its thick, its nasty, something about it is obscene. When originally sketched, it was a clean and smooth 70s esc font - once put through Fontstruct its become a futuristic, isometric mess. Enjoy.

Main inspirations are the font Baveuse as well as a poster from Pearljam (Dismemberment Plan).

This typeface is based on the hand-painted names seen on the side of canal boats. The inconsistent, grainy texture of each letter is meant to represent the irregularities in using paint, for example the general wear and tear from the elements like chipped or peeling edges. This was my approach to the idea of “analogue” and a brief set to explore what that means. To me, in the context of the brief, analogue could be defined as possessing a nostalgic or "old school" quality- something replicated in an unauthentic manner in order to create a look-alike imitation of a time gone by. I focused on the old method of transport in Bristol: boats. To further this idea of a 'time gone by', I created this font in the set to look like ink stamped letters.

This typeface is based on the hand-painted names seen on the side of canal boats. The inconsistent, grainy texture of each letter is meant to represent the irregularities in using paint, for example the general wear and tear from the elements like chipped or peeling edges. This was my approach to the idea of “analogue” and a brief set to explore what that means. To me, in the context of the brief, analogue could be defined as possessing a nostalgic or "old school" quality- something replicated in an unauthentic manner in order to create a look-alike imitation of a time gone by. I also designed these letters to look like bubbles on the surface of water, hence the name 'Analogue Fizz'. I focused on the old method of transport in Bristol: boats.

An updated typeface inspired by the home of Fine Art in Bristol, the Arnolfini Building, now including a lower case and numbers. This takes queues from its grotesque, black-letter typeface along the outside. Working on a small scale allowed me to ensure the uniformity of each character in the font.

During my first semester of studying graphic design at UWE I was briefed to create a digital display typeface that responded to the theme of analogue. After carring out a range of reseach into different areas of analog I decided to focus on screnprinting. Screenprinting is an analogue method of printmaking and it is very common for people to utilise halftones to get a more detailed image. A halftone is a mathmatical dot pattern that represents the grayscale value of colour and are created based on a grid. From here I decided to create a typeface using this halftone method. 

 This typeface is based on the hand-painted names seen on the side of canal boats. The inconsistent, grainy texture of each letter is meant to represent the irregularities in using paint, for example the general wear and tear from the elements like chipped or peeling edges. This was my approach to the idea of “analogue” and a brief set to explore what that means. To me, in the context of the brief, analogue could be defined as possessing a nostalgic or "old school" quality- something replicated in an unauthentic manner in order to create a look-alike imitation of a time gone by. I focused on the old method of transport in Bristol: boats.

Inspired by the digital aspect of CDs and DVDs, I decided to create a font that takes influence from The Prodigy's 1992 album "Experience" which is an album that I used to listen to as a child on my CD player. I liked the use of soft yet harsh lines and ovals hidden in between circles, along with the mismatched uppercase and lowercase letters. I tried my best to make the font seem clean cut and smooth but I am not the best at using this website so far haha so I will need some more practise, especially in the K, W, X and Z letters as the diagonal sides were confusing to make.

when researching and coming up w/ ideas for this typeface i decided to explore the oldest known typeface: blackletter. 

A font inspired by a combination of old gothic and block type, designed for bigger bodies of text and mastheads, using this font for smaller paragraphs would result in less legibility. I aimed to combine the straight and structured characteristics of slab serif block fonts and the artistic elements of gothic fonts. As a result i have created Ribbon Edge, a clear typeface with stylized ends.

I ran with the concept of 'analouge fun', inspired by boardgames and playing cards. I wanted to display the opulent elements of ferns and botanical motifs found on vintage cards, and the caligraphic typefaces found on older baordgames but also contrast that with 'node like' elements and squared off features to represent the sort of stepping-stones on a game board. 

Whilst designing my typeface i decided to explore the places i live near on stokes croft and study the typefaces they use for their branding, Its mainly pubs and music venues that stand out to me so i attempted to create a font that i could imagine on the face of a cosy candlelit music venue/pub. It ended up looking more like it should belong outside CEX but i tried :o

My inspiration for this font was Tim Burtons typeface that was used throughout his films. I was also inspired by the old VHS tapes and the way they would glitch out sometimes making the typefaces look a little odd at times. I decided to make mine look a little off in some places with some letters to show the inspiration from this along with a little hint of Tim Burton's style. 

The origin of this design was me thinking about all the times I have seen a poster or ad, where the modern style of the typography has had success trying communicate the message that was intended. It became a personal goal to create a font that would unite a piece of my personal life, which in this case it is the city where I was born and my chosen style. My country is known for having many volcanos, so I decided to place elements that would represent the volcano but at the same time keeping the modern style. The circles in each letter imitate the view of a volcano from above, it is subtle but it is there, and to me will always be fascinating when we get to discover new information when it is explained by the artist, but it was always there, however, we were not able to see it through the artist’s point of view.

Inspired by the iconic analogue synthesizers of the 1980s and audio in its rawest form.

Juno is primarily built around the basic shapes of the Square, Triangle and Sawtooth waveforms. Each glpyh is specifically designed to be as unique as possible and incorporates a mixture of left and right diagonal cut-throughs in order to maximise legibility.

Inspired by water movement, this typeface was created for my 'What The Font' project for UWE. I became inspired by the rippling and fluidity of water when looking through photos from my recent snorkelling trip in the Red Sea. I began experimenting on grid paper to form a draft typeface that I could build onto in Fontstruct.

A modern revamp of the font used in the original release of Windows, "Fixedsys", many of the fonts used in this era have been kept updated and modernised, such as Chicago, the first macOS font, whereas Fixedsys hasn't. I looked to those other modernisations and applied the same principles here to update this classic typeface.

(UNFINISHED) My inspiration for the creation of this typeface was Urban Graffiti, the scrawly, scribbly-kind rather than the larger, bubblier ones. I took the small motifs and other themes that commonly appeared and turned them into a more legible typeface. For this project I was also given a 26x26 limit when creating my type.

"Cassette" a font that echoes the essence of analog technology, particularly the classic cassette. It encapsulates the significance of a time when cassettes were a cultural cornerstone, infusing your designs with a nostalgic touch of that bygone era.

Inspired by Russian typography, this typeface was created for the 'analogue' typeface project for UWE. My inspiration came from looking at old Russian propaganda posters, predominately Agitprop, and their bold, visually striking typefaces. I began by drawing and experimenting on grid paper to which I then translated onto Fontstruct to create 'DYSTOPIA'.

A FONT EXPLORING RUBBINGS AND TEXTURES SURROUNDING MANHOLE COVERS. WORKS MUCH BETTER IN CAPS IF YOU FANCY TRYING IT. 

The idea for my font was inspired by the style of Art Deco, and more specifically tiling. I made sure to use the key elements of art deco - which is geometry, elongated lettering, a regular and bold mix, all-caps, arched and decorative details. I was inspired by designers such as A.m Cassandre and Tony Forster. Often Art Deco designs have ornate details - so I have tried to include this by having a specific, unique element that carries through most of the letters.

This font was inspired by the graffiti and events posters in Bristol. I came across one bit of street art in particular during my research that became my main bit of inspiration. The letters looked very psychedelic based which I loved and therefore made the outcome of my font have a hint of psychedelia. It is named "Spike" as you can see a spike-like aspect feature in each of the letters. This is what gives it its psychedelic flair.

Catclaw was inspired by my cat Meow mix's claws, and arabic indic numerals. This font has two meanings; one being that the shapes of the letters look like cat claws, and the other relfecting off of cats attitude in general. Crazy, wild, and independant beings.

Analogue can be defected and worn over time, which is the inspiration for this typeface. I looked at posters and stickers around Bristol that had been ripped or destroyed. The typeface was created from a 'P' shape I found by enlarging a torn up section on a poster. 

Sprocket is a display font inspired by the use of old Film stock found in VHS tapes, Cine cameras and Film photo cameras. It contains elements of Origami to create a sense of fluidity and as if some characters were formed from one peice of film stock. I named it Sprocket after the use of sprocket holes on the edges of the font, the holes are used to help keep the frame centered whilst traveling through a camera or tape.

My fontstruct is inspired by Telephone Boxes. I was interested in the history of the first mass technology in Britain and telephones boxes are a famous symbol of that. The british emblem shape on the telephone boxes inspired the shape of the type and I developed it into all the letters. 

I chose to base this font on a deck of cards to play into the idea of complex simplicity. Playing cards start off as the most simplistic form of gameplay where games vary in complexity all the way from go fish snap to bridge and poker. 

A typeface inspired by the home of Fine Art in Bristol, the Arnolfini Building. This takes queues from its grotesque, black-letter typeface along the outside. Working on a small scale allowed me to ensure the uniformity of each character.