Mary Sans Serif
Mary Sans Serif by Alessia Colucci
Font anatomy of the source font
Font: Rotis Designer: Otl Aicher, 1988 Copyright: Agfa
Flat Apex
Shoulder
Stroke slighly narrower
0°
Sans Serif
Closed aperture and open counter
Low contrast
Open counter and open aperture
Apex
Moderate tapering finial
90°
°
30
Ascender line and Cap line x-line
Base line Descender line
Closed counter
Vertical stress
Uppercase Letters
ABCDE FGHIJK LMNOP QRSTU VWXYZ
A A A A
fffff
Lowercase Letters
abcde fghijk lmnop qrstu vwxyz
Numbers
Diacritics
à è é ò
Punctuation, signs and symbols
. , : ; ! ? ' " ‘ ’ “ ” & «»@_ #™©%* +-=<> /\(){}[]€
Evolution Midline drawing of source font Rotis
m a r y
Midline adaption Application of the brushes
Cuttings
Brush Angle 0°, Roundness 100% , Dimention 7pt Used on all letters (stem and strokes)
Font anatomy of the source font New font: Mary Serif
Font anatomy of the source font
Font sizes in use 24pt
THE REVOLT OF "MOTHER"
12pt/14,4 pt
This is a story of character against a New England background. Each character is worked out with the delicacy and minuteness of a cameo.
10pt/13pt
"Father!" "What is it?" "What are them men diggin' over there in the field for?" There was a sudden dropping and enlarging of the lower part of the old man's face, as if some heavy weight had settled therein; he shut his mouth tight, and went on harnessing the great bay mare. He hustled the collar on to her neck with a jerk."Father!" The old man slapped the saddle upon the mare's back. "Look here, father, I want to know what them men are diggin' over in the field for, an' I'm goin' to know." "I wish you'd go into the house, mother, an' 'tend to your own affairs," the old man said then. He ran his words together, and his speech was almost as inarticulate as a growl. But the woman understood; it was her most native tongue. "I ain't goin' into the house till you tell me what them men are doin' over there in the field," said she. Then she stood waiting. She was a small woman, short and straight- waisted like a child in her brown cotton gown. Her forehead was mild and benevolent between the smooth curves of gray hair; there were meek downward lines about her nose and mouth; but her eyes, fixed upon the old man, looked as if the meekness had been the result of her own will, never of the will of another.They were in the barn, standing before the wide-open doors. The spring air, full of the smell of growing grass and unseen blossoms, came in their faces. The deep yard in front was littered with farm wagons and piles of wood, on the edges, close to the fence and the house, the grass was a vivid green, and there were some dandelions.The old man glanced doggedly at his wife as he tightened the last buckles on the harness. She looked as immovable to him as one of the rocks in his pastureland, bound to the earth with generations of blackberry vines. He slapped the reins over the horse, and started forth from the barn. "FATHER!" said she. The old man pulled up. "What is it?" "I want to know what them men are diggin' over there in that field for." "They're diggin' a cellar, I s'pose, if you've got to know." "A cellar for what?" "A barn." "A barn? You ain't goin' to build a barn over there where we was goin' to have a house, father?" He hurried the horse into the farm wagon, and clattered out of the yard, jouncing as sturdily on his seat as a boy.
7pt/9pt
[Footnote: From "A New England Nun and Other Stories," by Mary Eleanor Wilkins Freeman. She is a prominent 19th-century American author,
born on October 31, 1852 in Massachusetts. Copyright, 1891, by Harper & Bros. Reprinted by special permission.]
Typographic scale
80pt
70pt
60pt
50pt
40pt
30pt
Feminism Feminism Feminism Feminism Feminism Feminism
20pt
Feminism
10pt
Feminism
5pt
Feminism
Font anatomy of the source font Good girl
5pt
Good girl
10pt
Good girl
20pt
Good girl
Good girl
Good girl
Good girl
Good girl
Good girl
30pt
40pt
50pt
60pt
70pt
80pt
Font anatomy
Flat Apex
Shoulder
No stress
0°
Sans Serif
Open aperture and open counter
No contrast
Open counter and open aperture
Horizontal terminal
0°
Ascender line Cap line x-line
Base line Descender line
Closed counter
yyyyy
y
Font anatomy Font of the characteristics source font
1. Short descenders The descenders on lowercase letters, such as j and p are short. 2. Long ascenders The ascenders on lowercase letters are longer then the descenders. 3. Longer descender The lowercase letter y has a longer descender. 4. Angled terminals The terminals on letters b, c, d, g, p, q, r, s and uppercase letters G, S, and R are cut of 65 degree angles. 5. Asymmetrical Crossbars/Arms The arms and the crossbars on the lowercase f and t are not of the same lenght and lay on the x-line. 6. Rectangles points Points such as the point in lowercase "i" and "j" are rectangles. 7. Flat Apexes The apexes are flattered in characters such as the uppercase A, M, N and the lowercase t. 8. Horizontal Crossbars Crossbar All the crossbars are horizontal and don't have any inclination.
txjy dcG ftji oA
Font relations of uppercase letters
OOOOO OQC GD EFL PP PR IJHNK MTUB VA X Y Z S Same crossbars
Same bowl
Same stem
Letters characterized by the reuse of the same shape of an other letter.
Same inclination of 68,42 degrees between V and A.
Indipendent letter that dont have any similarities with other letters.
Same inclination of 121,7 degrees between X and Y.
Same inclination of 56,31 degrees between X and Z.
Font relations of lowercase letters
Letters characterized by the same joint.
Letters characterized by the use of the same shape.
Letters characterized by bowls, stem and crossbars..
Same inclination between v, w and y.
Same stem between group of letters.
Indipendent letters that dont have any similarities with other letters
Font anatomy of the source font
f ine.
Faculty of Design and Art Free University of Bolzano - Bozen WUP 2020/21 Typeface designed by Alessia Colucci Prof. Antonino Benincasa Andreas Trenker Emilio Grazzi Font created with Illustrator & Fontself