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

Crystal Clear is a decorative typeface that was inspired by crystals and precious stones.

I bought a couple of different crystals and based the typeface on them, some of the crystals used were rose quartz, fluorite, smokey quartz, clear quartz and a couple of other ones. Some of these stones were already cut and not in their natural form, unlike the rest which were rough looking and not cut to a certain shape.

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

HIGH SOCIETY

This font was created based originally on the word 'Gregarious'. From that I researched Social Housing in the UK. These are spaces designed to house many people for as cheap as possible. I used compound blocks to create complex detailed flats that stack up as high as a tower block usually would.

My fontstruct is based on the theme of theatre. The designs were achieved from my observations of some theatres in Bristol, as well as further research online. The main inspiration came from the achitecture around the stage curtains, which then lead me to a more art-deco style appoach.

This typeface was created based on the theme of confidence and all about being flamboyant. Excess serifs are a fantastic way to present boldness in this form, so my aim was to create a sharp typeface with unnecessarily long serifs at the end of letters. The name emergent came from the idea that my font, with its shadow and serifs, should emerge and become prominent. It is emergent.

This font is based on mazes and labyrinths that focuses on intricate patterns, shapes, and designs. I looked at mazes found in theme parks and gardens while taking inspiration from films such as 'Maze Runner' and 'Labyrinth' to influence my work.

My union font was inspired by my original Aztec font, where I was playing with simple geometrical shapes. It turned out to be too simple, so I changed the placement of the circles which are now the connection between the two parts of the letter. The circle plays an important role in this font, as it represened the imagery of Aztec God, and now reflects unity.

JUNCTION is a typeface created from the intersection of two circles. 

It was created in order to represent an INTROVERT (person who RETREATS mentally) theme. The intersection of the two circles symbolizes the limitations that the characters fit in to. 

Geometries and grids are some of my interests and these are what inspired my ideas. 

First year BA (Hons) Graphic Design at UWE. Typeface inspired by barbed wire on the theme 'dangerous'. Expanding on the idea of both restricting people from dangers and being dangerous itself. After playing with the shape of barbed wire I played with the compact shape of the barbs themselves.

A typeface aiming to combine the elements of old english type and traditional church architecture. Focusing on the "portals" seen at church entrances, with tall stature and patterns. 

This font is inspired by the distortion that occurs during bad signal on digital platforms. The random parts of the letters floating around is meant to simulate the pixels being broken up or "lagging". 

This is a font inspired by the word decorative. It uses letterforms that have been flipped and rotated multiple times to create a pattern. Each Letter is made up of 4 simplified letters. It is a display font as it is difficult to read, and should only be used for large scale posters or as a decorative type.

This font explores the configuration of bubble forms. The font was inspired by markmakings of ink bubbles which imprinted onto a surface, rather than bubbles floating in the air. I have involved lots of depth and tonality into the font, which, despite bubbles being quite a soft concept, gives it a very dark and heavy feel. The outcome also contains a very digital feel, due to the small scale I worked with. 

"Energy" was created with my chosen theme "energetic". I developed my ideas from researching into neon light lettering and after that, looked into circuit boards. I then created guidelines which I would create the fonts within in order to make my type font as consistent as I could. This is version 2; very similar to version 1 but with minor tweaks.

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.

This font was created using a systm that randomly generated angles to score through the letters. This creates the effect that the letters have been randomly shattered, yet each cut is planned out one by one. 

'Fold' was inspired by the theme 'energetic', and coveying movement within a form that doesn't move. I thought about how things fold, creating this type face in which the letters follow the same 'folding' movement.

Petri is a font inspired by the theme "unstable".

The main influence of this font was bacteria.

The font is supposed to represent the growth of bacteria with in a petri dish. I created this effect mainly through weight of line, by using a range of squares, this enabled me to create different amounts of space within the letters making it so that some areas are spaced out and some are crowded. The mixture of size helps portray a loose and some what fuzzy visual which I feel accurately represents the spread of bacteria.

This font i created is based on the theme word Ambitious. I traced back to the 1980s and took inspiration from there. These are considered the years of individual aspiration and cultural diversity. People were more ambitious, expressive and they were creating their own identities and attitudes. So i wanted to create a font that looks bold and energetic to represent that ambitious attitude.

This is my fonstruct, my letters are based on the words and themes of Filth and Obscenity. I was inspired by instagram models, life drawing and delicate fabric. I was influenced by body shapes, delicacy of satin and the detail of patterns found at the hem of the womens underwear. I wanted to subvert the image of filth with something more elegant and fine.

This character set is inspired by the ironwork of balcony railings on Clifton's Victorian buildings. Based on the theme "elegant", I intended to capture the "elegance" portrayed by these ornate artworks,  and so the internal patterns are based on actual pattern works from the iron railings. I felt that a set of capitals best captured the almost boastful and eye-catching nature of the railings.

Inspired by the theme elegant, focusing on jewellery and the chains of necklaces. I researched chains, looking at how they link to create this typeface.

 Distressed is an uppercase font focusing on the theme destruction. Within this element I looked more specifically at mental health and how social media has an affect on our mental wellbeing. I created a cracked and distressed effect on each individual letter to visually express the pressure and insecurity we can experience from social media.

For my font I began with the word ‘Elegant’. I started off by looking and experimenting with flowers and plants and the small details. This led me to looking at the theme of art nouveau and art deco. A style very familiar to Gatsby scene on the 1920’s. I then tried to expand on “elegant’ and started looking at feathers involved in text.

"Roadtrip is a headed upper case font based around the word systematic. Originally inspired by the way roads create paths and shapes when displayed on maps but later developed to exhibit the actual markings on the Highways in the UK. Each letter is made up from the same set of blocks to form the shape, then finished with individual markings. The individual markings also add extra shape and structure to the letters"

Graphic Design Yr 1 - Foundtype 2018

I developed this typeface in response to the theme of 'dangerous', my inspiration was barbed wire and fencing. I associate dangerous with restricted areas and confinement so I felt that creating a typeface reflecting wires and sharp points would accurately represent my theme. The straight, angular lines are similar to metal bars and so I believe give the feeling of a prison. 

I designed this font based on the word 'Thunderous'. My thinking in how the word relates is due to the Norse God Thor. I then started to look in to old Norse culture, this got me interested in runes. So with deeper research in to the Futharks spawned this type.

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 font originates from the adjective 'Energetic'. It's stable centre and shakey outer layer represents the effect of consuming copious amounts of energy stimulating substances, usually resulting in a case of Caffeine Jitters.

This 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.

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.