PRESS THE “PIXEL” BUTTON ABOVE FOR THE BEST RESULTS.

WELL, IF I WASN’T CRAZY BEFORE, I DEFINITELY AM NOW.

I WOULDN’T RECOMMEND DOWNLOADING THIS FONT. IT WOULD PROBABLY CRASH YOUR COMPUTER OR SOMETHING.

CLASSES

• “A”:AMBASSADOR CLASS

• “B”: OBERTH CLASS

• “C”: CONSTELLATION CLASS

• “D”: DEFIANT CLASS — U.S.S. DEFIANT (STAR TREK: DEEP SPACE NINE)

• “E”: EXCELSIOR CLASS

• “F”: FREEDOM CLASS

• “G”: GALAXY CLASS — U.S.S. ENTERPRISE D (STAR TREK: THE NEXT GENERATION)

• “H”: GALOR CLASS CARDASSIAN WARSHIP

• “I”: INTREPID CLASS — U.S.S. VOYAGER (STAR TREK: VOYAGER)

• “J”: TYPE VI SHUTTLECRAFT

• “K”: TYPE VII SHUTTLECRAFT

• “L”: LUNA CLASS

• “M”: MIRANDA CLASS

• “N”: NEBULA CLASS

• “O”: OLYMPIC CLASS

• “P”: PROMETHEUS CLASS

• “Q”: K'VORT CLASS KLINGON BIRD OF PREY

• “R”: SOVEREIGN CLASS

• “S”: SOYUZ CLASS

• “T”: TYPE XV SHUTTLECRAFT

• “U”: DANUBE CLASS

• “V”: VOYAGER’S AEROSHUTTLE

• “W”: D'DERIDEX CLASS ROMULAN WARBIRD

• “X”: NOVA CLASS

• “Y”: BORG CUBE

• “Z”: NEW ORLEANS CLASS

• SPACE: ACTUAL SPACE

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.

Malnutrition can be seen as an epidemic of the 21st century. Not only is Starvation continuing to rise in less economically developed countries; Countries who have the resources to be healthy choose a malnourished lifestyle. 

It Is not uncommon to only associate malnutrition with not eating enough substantial food; however, it also extends to eating too much food. Both contribute to the crisis and this is why I wanted to incorporate both obesity and anorexia into my typography. 

My typography resembles the stretching of skin as if its being pulled into a new and more desired position. This is a common emotional response to malnourishment and obsessions with weight. 

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 font is produced based off of the buzzword "filthy" which led me to explore the Japanese Yakuza Gang. Inspired by their illustrative tattoos, and jewellery, I produced a typeface which replicates links. Not only do the links visually represent those found in chain necklaces, but they are also metaphorical representations of the fundamentals of gang behaviour, and the brotherhood that is formed

This geometric, sans serif typeface is based on the biological process endocytosis.  Having an interest in science, I wanted to create a font that was both interesting to look at and, in some way, informative. Each letter (cell) is linked to the next by particles. The indents in each letter imitate the invagination of the plasma membrane, forming a pocket around the particle. In the cell, the particles are then ingested and transformed into vesicles. In summary, this is what endocytosis is.

My first fontstruction is based around the theme “confidence”. 

I explored the idea of flowers and the pettels and how they representing opening up. The simplicity emphasises delicacy and innocence. I chose to use the element of pettels throughout.

Inspired by fountain-based architecture, I've created my first fontstruction for the start of my UWE Graphic Design course. For this, I poured water onto different surfaces/objects with varying shapes to capture the cascading effect as reference images. Originally, I was first inspired by watercolour strokes to make a gradient effect, which developed into the idea of water fountains used in contemporary architecture.

This font was originally inrpired by the word "Unstable". From that word i began to look at multiple unstaible chratcters. I chose to then focus on the new Joker film and the new character joaquin Phoenix had created. The font used for the Joker advertisment, was really impressive however, I fehlt as though it didnt really portray his character well. This font was a way for me to better illustrate The Joker's new character. First I created a very comic block letter that would containe a scratchy "unstable" letter. 

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.  

Kitchen is made up of different shapes taken from kitchen utensils.

My starting point was the word unstable which led me into looking at stacking objects before creating letterforms out of them. I found kitchen utensils to be the most effective due to the range of interesting shapes found. 

Concrete Honesty is a font based on brutalist architecture:

My aim was to create a set of letters that emulated brutalism’s raw and unpretentious honesty while still conveying the large scale and uncompromising structure brutalist architecture hold. I wanted each letterform to feel grounded with a strong foundation like the building designs.

The font makes use of bold shapes/surfaces and corners as I tried to find balance between asymmetric design of brutalist architecture and the consistency of a legible typeface.

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.   

I constructed this font with the idea of wires 'trapping' the letters. I wanted the font to be sans-serif, looking like Futura/Gill Sans. My theme was 'energetic' and at first I was looking more into food specifically and how we gain energy but then I took a different approach trying out different ways that I can portray electricity. Finally, I experimented with cutting out letters from pizza cardboard boxes and putting wires around them to try and make the digital fontstruct version look more realistic and accurate.

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.

My first brief I received for Graphic Design at UWE was based on the theme "Wicked". Through lots of studies of branches, dead trees, witches and "Wicked" things. I developed a serif font with branchlike and natural features which resemble a spooky forest like in fairy tales. Many references can be linked to Disney movie fonts like Alice in Wonderland.

BRAIN POWER 

This type face was inspired by the word "energetic", the optical illusion theme deceives the eye and appears to be bend and curved in areas. The energy comes from the deception your brain; the longer you stare, the more you see. I studied mazes and other opticall illusions before coming to this outcome, shading was important as it makes the letters more realistic and 3 dimentional.

Kowloon Condensed is based of of the word Lurid. After breaking down the word and it's different possible meanings, I decided to try to create something that is not only exaggeratory, but also creepy in appearence. After looking into the idea of a creepy font, I came across an article on the Kolwoon Walled City, in China. This city was a very condenced hgih rise place which was abundant with crime, and was the stomping ground for the Triads in China for many years. The concept of this grimy and clostrafobic place teeming with crime is what led to the creation of Kowloon Condenced. The hgh rise appearence and cluttered detailed little houses is quite uncomfortable to look at, or even possibly put the viewer on edge, which i think easily relates back to my theme word of 'lurid.'

This retro font was created around the theme of instability. My inspiration came from pixel video game graphics, patterns and glitching which were used to construct my alphabet.

This is the font I have created around the theme of ‘squishy’. Basing it on Neurons being formed into a typeface, showing how they can be manipulated in various ways. I found this topic very interesting to look into, as Neurons send electrical signals throughout the body, and as humans we communicate through language.

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.

This font was the final production for a project designing my own font based upon the theme 'squishy'. The design concept was to use different shapes and angles to create the feel that each letter has been compressed or squished in some aspect. 

For this project I was given the word "systematic" as inspiration. I looked into the imagery within the chinese military, looking at how the ordering and the syncronisity created an almost optical illusion effect. Because of this the military force looks more powerful than it may actually be, which is something I was intrested in capturing in my font. The typeface is rigid, geometric, and sans-serif.

I created Pixel Volume Two through exploring the theme of ‘Systematic’. I researched different systems in relation to my theme, and eventually came across gaming systems. Specifically looking at retro game design, I began exploring the application of the pixel form/square shape in fonstruct. I explored both serif and sans serif outcomes, creating a full typeface for both styles, however I felt the sans serif outcome fit the theme better.

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 typeface was created from the theme of gregarious. Inspired mainly by the idea that we as sociable creatures live in society amongst people. To create the letter forms I walked around the city of Bristol, mapping my routes, therefore creating my typeface through interacting with the city constricted by the buildings around me. I put my typeface on a small grid to formulate the idea of a route, block by block.

This typeface was created from the theme of gregarious. Inspired mainly by the idea that we as sociable creatures live in society amongst people. To create the letter forms I walked around the city of Bristol, mapping my routes, therefore creating my typeface through interacting with the city constricted by the buildings around me. This typeface focuses on displaying clearly the path I took.

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. 

My first fontstruction was inspired by Eastern Art at the Bristol Museum and Art Gallery. I loved the dragon decoration on the old ceramic pots in this section and have tried to portray a similar theme in my letters. (work in progress)

Ornate has been created based of the theme 'Elegant'. Through the process of producing this typeface I carried out various experiments by hand exploring different styles of typefaces which showcased the concept of elegant; such as Calligraphy and refined san serif/serif typefaces. This serif typeface is my interpretation of elegance and represents the characteristics I explored through researching and experimenting. It’s simple, refined and confident.