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Project 2:Font Mannerisms

Part 1.1.Font family display A

The first time I heard the name of this typeface, I thought it must a fun type – Rock, like roll; then I realized that’s the stone rock. This typeface is under serif classification, slab serif, geometric serif. This typeface is a strong display type for posters and headlines. It’s designed by Frank Hinman Pierpont, Monotype Drawing office in 1934. Country of Origin is United Kingdom. This typeface has nine fonts-Rockwell Std-Light, Rockwell Std-Light Italic, Rockwell Std, Rockwell Std-Italic, Rockwell Std-Bold, Rockwell Std-Bold Italic, Rockwell Std-Extra Bold, Rockwell Std-Condensed and Rockwell Std-Bold Condensed.

Here are four fonts that I chose for the stage one of this projct.

part1.1.rockwell italicRockwell Std-Italic

part1.1.rockwell extra bold regularRockwell Std-Extra Bold

part1.1.rockwell bold italicRockwell Std-Bold Italic

part1.1.rockwell regularRockwell Std

This is the step that will walk us into the basic observation of the typeface. First we set up an main Illustrator document which is 11″*17″ with a 9″*12″ rectangle that will be using for all stages of this project- all the work should be done within the rectangle, plus information of the font and couse number under the area below the rectangle.

After set up the basic layers, type in a complete uppercase and lower case alphabet, numbers and glyphs for four fonts that I’ve chose from the typeface on separate layer( one font per layer). Then draw lines for ascender, cap height, x height, baseline and descender.

Ascender is the portion is the portion of a lower-case letter that is above the font’s x-height, ex:b.

Cap height is the height of a upper-case letter that is flat, such at H.

X-height is the height of the lower-case letter, ex: x.

Baseline is the line that most letters sit on, again I use letter “x” for determining the baseline.

Descender is the portion of a letter extends below the baseline, ex: portion below the bowl area of “q”.

Each family member has is own setting of these elements and it’s fixed which means they won’t change, even though some letters or glyphs may have parts are beyond the setting heights(ex: cap-height does not move up even letter G is slightly higher than letter T because of its rounded top).


Part1.2. Font family display B


This part is to decide eight adjectives to describe the typeface.

I have : geometric, powerful, strong, harmonious, flexible, decorative, legible, distinctive.

Set up these workd with different point size :8/10, 10/12, 12/16, 14/18, 18/24, 24/30, 36/40.

Notice when the size is getting larger, letters will eventually off the rectangle, that means, whenever we decide the size of the font, we must consider the space of the entire layout and the arrangement of the objects around.


Part2.1.Visual analysis


part2.1.5this part is to identify the parts the typeface which really allows us get into the anatomy of the letters, and it’s helpful for us to recognize the constitution of a particular type and how is it different from other types, and how is its characteristic come up with.


PART 2.2: Visual analysis

part2.2.5.bowl part2.2.width of fonts part2.2.5.eye part2.2.5.ear part2.2.5.crossbar part2.2.5.bracket copy

This part is to compare and contrast parts of the family members. I choose to overlap same size of letters from each font, and change the opacity to make the letter transparent, so the similarity and difference will be more obviously shown because we can see the overlap section and distinction. To enlarge the area that I want to analysis, I magnify the the letter outline and try to set this particular area at the center of the page.

This is a fun part because we can use color. Besides comparing and contrasting the parts, it’s more like a design stage. While placing the element on the page, we can use the letters themselves to create patterns, Also the opacity allowes to create depth and layers of the layout. In order to stand out the parts that I want to compare for this project, I cover rest of the letter by using opacity 70% white rectangle, and I find out this is another way of designing of the layout. Fun!

And this is leading to the next step.


Part 3: Design

I actually just play around with the letter patterns, type in different size of the letter from family members, also change the leading and tracking size. I have outline of the letter/letter groups set in different layers, then I just move around the pattern, using the pattern themselves and the space around until I get a form that I think it’s related to my word. Then I come up with these two compositions.

part3.powerful powerful-powerful often make mess because of it’s impulse force. It may look peaceful, as lower left corner, but it does has the potention to explore, and attracts viewers’ attention on it.

part3.harmoniousharmonious- numbers and letters are flowing around but at the same time, they are softly arranged. There is not much overlapping in this composition. I arrange outline of numbers from 0 to 9, increasing numbers with increasing size of shape, to make the composition as a reasonable and harmonious in order.  Some of the overlapping letter is to create a sense of depth of the space which helps us to think about musical notes that are flowing around and create harmonious melody(numbers here are not indicate musical notes.)


Cover of book




Posted by Yan Wen Pan on February 4, 2013

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