Exploring typefaces for text (hand written) attempts

As the book contains no hand written aspect it was decided to include hand written titles of the location of each image. Firstly handwritten types were explored, but none applied to the rusticated feel of my images. Due to this I began to develop typefaces in which I belive to be suiting. 

Multiple texts were firstly explored by hand with a focus upon manchester, as it contained the most letterforms. Industrial types were explored, alongside some in which followed a similar format to that of stenciling. In order to gather a greater sense of these types, they were scanned into the computer, in which they will be explored further. Some of the outcomes are explored below. 

This style explores the idea of industry, following that of an architectural feel. The constructive nature of the type follows that of Manchester and Leeds industrial pasts. Although I believe that this type is effective I do not think that it would be effective alongside the imagery. 

Exploring an approach in which appears similar to that of handwriting. This design appears far less restrictive to that of the previous. Capital letters form the basis of this type, relating towards the stand out nature of street art. Although far less restricted, movement appears somewhat limited and thus other attempts will be made.

The spray paint tool was used in order to explore the medium most associated with street art. Straight edges were used in order to format a type in which appears similar to that of the 'ABBZ' image.

The two following typefaces have been developed in the same style but with a slab pen, this then developing a rough aesthetic. This typeface may not appear legible upon a smaller scale. 

Capitals were again used in order to explore the large nature of the city. As the type is not joined it does not feel like quick drawn street art.

Although not joined the free nature of the type allows it to appear similar to street art. When asking my peers about which typeface they believe appears to relate most to my images, it was suggested that this type was most representative. Each letter is individual and does not explore a grid system, stem size or X/Y height, allowing it to follow the free nature of street art. 

Individual letterforms were explored, with the 'L' being the main focus as it appeared unbalanced. Weight was also explored with in order to ensure the word looked well balanced. Kerning was also explored, with a tighter approach feeling more natural. This may also be identified towards a cities packed nature. 

The two words were then compared, with the weight of 'Leeds' appearingly highly off balance. Although not appearing upon the same page, this would restrict the consistency of the book, in turn making it appear unprofessional. The stroke width was then decreased in order for the two to appear consistent. 

Specific locations were then added to the design in order to form contextuality. Composition was then explored with the Leeds not following the same structure to that of the Manchester.

The type was then placed over a double line in order to follow the same structure as the previous text.

A set of typographic pieces were then developed in order to form the titles for the book. Page numbers were also explored as I didn't want to apply a boring structured set of numbers to each page. The introduction was underlined in order to construct it as the initial starting point of the book.