Occlusion Grotesque – Bjørn Karmann Occlusion Grotesque is an experimental typeface that is carved into the bark of a tree. As the tree grows, it deforms the letters and outputs new design variations, that are captured annually. The project explores what it means to design with nature and on nature’s terms.
Observing the GANN learning from the tree and reflecting on the way Occlusion Grotesque grew is both fascinating and complex. The changing shape over time really seems to suggest some underlying growth logic, although rationally we know this is not possible with such simple ML models.
To see the typeface in action, head over to Autralian National University’s School of Cybernetics, where they’ve typeset Richard Brautigan’s poem, All Watched Over By Machines Of Loving Grace.
But what if, instead of your own Beech forest in Denmark, you just have some houseplants?
For those of us who just can’t seem to keep a houseplant alive, Anna prescribes her spiky little Sagauro typeface. Its forms mimic the water-absorbing spines of cacti – the perfect option for people who tend to forget to water their plants.
Then there’s Orkyd, which “grew out of the mystery of the grocery store orchid, the houseplant that is always for sale but rarely seen in the home”. Taking just three days to create, Anna spent hours on the floor of her room tracing the symmetrical forms of blossoms from a “600-something-page encyclopaedia of orchids”. This bold yet whimsical typeface was her favourite to create and has enjoyed well-deserved success, recently being featured in Monotype’s 2022 Type Trends report and a Paloma Wool campaign.
Imagine the patience needed for this photography project.
Alphabet Truck – Eric Tabuchi With this edition of Alphabet Truck, Eric Tabuchi completes a work representing several thousands of kilometers traversed over these past four years.
Handwriting can be bold and mad, or beautifully meaningless, but always personal and genuine, right? Designer Jon Hicks wanted to convert his dad’s “distinctive architect’s handwriting” into its own typeface.
Bryan Font – Hicks There were several stylistic choices my dad made in his handwriting that were vital to reproduce in the font. For example, the shape of the lowercase T altered depending on whether it was written cursively or on its own.
It’s very cool, though the motivation behind it could be seen as a little … morbid?
I’ve had a focus for getting this font ready, as I wanted to use it on the Order of Service for his funeral.
That reminded me a little of Bobby McIlvaine’s diary and the desire to hold on to something handwritten by a lost loved one. Except that this Order of Service has been kind of faked — you don’t write your own, surely?
Anyway, here’s another.
Creating a handwritten font for Culture Amp – UX Collective If you think about your own handwriting, there are always letters that you customise and (whether consciously or subconsciously) have become distinctly yours. I remember that era in school where many of my friends customised their handwriting with little love heart or open circle dots on their i’s ….ah simpler times. But I’m not talking about that. I’m talking about little quirks that come from the way you hold your pen badly (as I am notorious for) or because you the way you learnt to construct a letter was backwards. Those are what moves handwriting from feeling like anybody’s to yours. That’s what this typeface needed.
Can’t really get excited about a new version of Windows, no matter how much the Google News algorithm thing wants to push it at me.
Microsoft looks ready to launch Windows 11 – The Verge It’s not long until we find out whether Microsoft is ready to dial the version number of Windows up to 11. The Windows elevent (as I’m now calling it) will start at 11AM ET on June 24th, and The Verge will be covering all the news live as it happens.
Windows 11 is already full of bugs, but you shouldn’t worry about it – TechRadar Microsoft has released an early version of Windows 11 for members of its Windows Insider Program, and users are already encountering issues and bugs with the new operating system. That’s kind of the point of course, as this developer build is being used as a kind of pre-release beta for the full version that’s expected to launch in “Holiday 2021”, and people who are using it are encouraged to spot and report any bugs and issues.
Windows 11 looks a little different. Here’s what’s changing – CNET Windows 11 features a streamlined new design, with pastel-like colors and rounded corners, and overall a more Mac-like look. The Windows Start menu has moved from the bottom left of the screen to the middle, with app icons arranged in the center next to it.
For years, Apple sold itself as the anti-Microsoft. Now Windows 11 is the anti-Apple – CNET But the Microsoft of old didn’t entirely go away. Analysts believe Nadella’s broadsides against Apple during his Windows 11 launch speech weren’t just about knocking Microsoft’s biggest frenemy. His tone wasn’t jovial, nor was he dismissive like former CEO Steve Ballmer when Apple co-founder Steve Jobs first showed off the iPhone in 2007. Nadella was serious.
This caught my eye, however.
Beyond Calibri: Finding Microsoft’s next default font – Microsoft Design Default fonts are perhaps most notable in the absence of the impression they make. … Calibri has been the default font for all things Microsoft 365 since 2007, when it stepped in to replace Times New Roman across Microsoft Office. It has served us all well, but we believe it’s time to evolve. To help us set a new direction, we’ve commissioned five original, custom fonts to eventually replace Calibri as the default.
So, farewell then, Calibri and hello either Tenorite, Bierstadt, Skeena, Seaford or Grandview.
I’m not sure how the title of that article squares with the title of this one.
Even the Calibri font’s creator is glad that Microsoft is moving on – WIRED It’s the end of an era, but Calibri’s designer, Lucas de Groot, has no qualms about letting his typeface rest for a bit. “It’s a relief,” he says. De Groot created Calibri in the early 2000s, as part of a collection of fonts for enhanced screen reading. “I designed it in quite a hurry,” he says. “I had some sketches already, so I adapted those and added these rounded corners to get some design feeling in it.”
Do you have a favourite?
Microsoft’s new default font options, rated – TechCrunch Bierstadt is my pick and what I think Microsoft will pick. First because it has a differentiated lowercase l, which I think is important. Second, it doesn’t try anything cute with its terminals. The t ends without curling up, and there’s no distracting tail on the a, among other things — sadly the most common letter, lowercase e, is ugly, like a chipped theta. Someone fix it. It’s practical, clear and doesn’t give you a reason to pick a different font.
Regardless, there’s certainly a bewildering number of typefaces out there. Too many?
All you need is 5 fonts – Better Web Type I came to the same conclusion as Massimo and many other designers—I don’t need a huge range of fonts of questionable quality to choose from, I only need a few high quality ones. So I created my own list of 5 fonts that I use most often.
But how about a little background on a very different Microsoft font.
The origin story of the Wingdings font – UX Collective Wingdings was never intended to be typed. Contrary to what happens today, when we can just select one picture from many available online, and copy and paste it on a document; in the ’90s was not easy to find pictures that could be used in an uncomplicated way with the text. In addition, image files were too large for the simple HDs of computers at the time. Therefore, Wingdings offered an alternative for anyone who wanted to use icons in high resolution and that could be resized, but without taking up a lot of space on the machines.
This way, the font can be considered the offline predecessor of the emoji, an alphabet that is now an integral part of modern communication.
Why the Wingdings font exists – Vox “We were influenced by images from similar historical and modern sources,” Bigelow says. The Lucida Icons spanned many eras. “Pointing fingers and hands go back to medieval manuscripts and, before that, to ancient Roman gestures; airplanes are 20th-century inventions; and keyboards, computers, computer mice, and printers, included in the Lucida Icons fonts, were part of office life in 1990 when we drew the images.”
For things that can cost so much money, you wouldn’t think anyone would want to cut corners…
The case for better watch typography – HODINKEE [O]nly a small and decreasing number of watchmakers go to the trouble of creating custom lettering for their dials. More often, watch brands use off-the-rack fonts that are squished and squeezed onto the dial’s limited real estate. Patek Philippe, for example, has used ITC American Typewriter and Arial on its high-end watches. French brand Bell & Ross deploys the playful 1980 typeface Isonorm for the numerals on many of its timepieces. Rolex uses a slightly modified version of Garamond for its logo. And Audemars Piguet has replaced the custom lettering on its watches with a stretched version of Times Roman.
That watchmakers use typefaces originally created for word processing, signage, and newspapers highlights a central paradox of watch design: These tiny machines hide their most elegant solutions under layers of complexity, while one of the most visible components – typography – is often an afterthought.
Of course, it’s not all like that.
Our favourite uses of typography in watches – A Collected Man Good typography should be almost unnoticeable. Blending seamlessly into the rest of the design, it should tell you everything you need to know, without you being aware of it. Despite the many restrictions that are applied to dial layout, the creativity that can be seen in typography across horology is quite staggering. To put it simply, typography is the art and technique of arranging type to make written language legible and appealing when displayed. As the dial is the main point of interaction with a watch, it is arguably one of its most important parts, and certainly one that can produce the most emotion. This is why typeface can play such a vital, yet subtle, role in how we experience and feel about a certain piece.
A rather unexpected instance of a brand using a completely different typeface for just one model is the Patek Philippe 5212A weekly calendar. Perhaps designed to reflect the singularity of the rarely seen complication, this reference was printed with a handwritten typeface that, when studied, almost looks shaky. While this could appear like a mistake at first, it was revealed that the typeface was in fact chosen by their design team to “recall an epoch in the not too distant past when notes were still written by hand in paper diaries.”
Here’s more on that “handwritten” watch.
Complications Ref. 5212A-001 Stainless Steel – Patek Philippe Patek Philippe introduces a new complication to its calendar watches: the weekly calendar, a semi-integrated mechanism displaying the current week number, in addition to the day and date. A particularly useful feature for the modern businessman.
I love that, “the modern businessman” indeed. Like this one, you mean? But anyway, it’s not occurred to me until now that, for these watchmakers, typography is more numerical than alphabetical.
Breguet numerals – Breguet Some Breguet watches display the distinctive numerals that A.- L. Breguet designed. Although he himself was no calligraphist, Breguet’s Arabic numerals show his flair for combining function with elegance. Still used today, particularly on watches with enamel dials, Breguet numerals first appeared before the French Revolution when they shared the dial with tiny stars to mark the minutes and stylised fleur-de-lys at five-minute intervals. By 1790 they had assumed their definitive form.
You can see these Breguet numerals on the Dubuis watch above, as well as the Patek Philippe in the header image. But manufacturing limitations also play their part in watch typography. Have a look at these 4s.
Decimal fonts – Fonts by Hoefler&Co. Watch lettering is printed through tampography, a technique in which ink is transferred first from an engraved plate to a spongy, dumpling-shaped silicone pad, and from there onto the convex dial of a watch. To reproduce clearly, a letterform needs to overcome the natural tendencies of liquid ink or enamel held in suspension: tiny serifs at the ends of strokes can create a larger coastline, to help prevent liquid from withdrawing due to surface tension; wide apexes on characters like 4 and A eliminate the acute angles where liquid tends to pool.
Hence that flat top 4. I hadn’t noticed them before, but they’re everywhere.
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I may have been familiar with this type of word puzzle, though I was unaware of its name or history.
Emoji 🐝4 Emoji – I love Typography Rebus writing substitutes pictures or symbols for words, but not in the same way that pictograms do. With pictograms, a picture of, for example, a bee simply represents the insect. But in rebus writing, a picture of a bee is used to substitute for the letter b or its sound — as in the title of this article. Likewise, a picture of an eye represents the letter i, and so on. The use of rebuses turns what is otherwise an unremarkable broadside advertisement into something much more engaging, fun, and valuable.
Although emoji started out as a limited number of symbols, they were eventually expanded into a dizzying number of pictograms and ideograms, many of which can be used in rebus writing. The ancient Sumerians, Egyptians, and Chinese, to name just a few, used rebuses thousands of years before emoji appeared on our screens. And it would appear that our fascination with symbols, of all kinds, and our willingness to experiment and use them in reshaping how we communicate is motivated by the very same thing that inspired our very distant ancestors — a desire to communicate better.
Sorry to any bean curd enthusiasts out there, but this has nothing to do with coagulating soy milk but is about these little boxes and Google’s plan to get rid of them.
Google Noto Fonts When text is rendered by a computer, sometimes characters are displayed as “tofu”. They are little boxes to indicate your device doesn’t have a font to display the text. Google has been developing a font family called Noto, which aims to support all languages with a harmonious look and feel. Noto is Google’s answer to tofu. The name noto is to convey the idea that Google’s goal is to see “no more tofu”.
I had picked the Noto Sans typeface for this blog without realising any of this — I just thought it looked quite elegant.
Preserving endangered languages with Noto fonts – Google Keyword From billions of readers to very small language communities, the freely available, open source Noto font family from Google Fonts supports literacy for hundreds of languages. The Cherokee Nation, with an estimated 20,000 speakers, uses Noto on phones for texting, email and teaching their language in the USA. Noto is used every day for Tibetan, millions of African users, and hundreds of languages of Asia. The government of British Columbia in Canada, with a population of 5 million people, wanted to cover all their languages, including indigenous ones, in a single font and merged Noto Sans + Noto Sans Canadian Aboriginal into a single font, BC Sans font.
Google and Monotype launch Noto, an open-source typeface family for all the world’s languages – It’s Nice That Many of the scripts required significant research for Monotype, in order to apply the rules and traditions of the individual languages to the designs of their fonts. For example for the Tibetan face, Monotype did in-depth research into a vast library of writings and then enlisted the help of Buddhist monks to critique the font and make adjustments to the design.
“There are some characters you can only see on stones,” says Xiangye Xiao, product manager at Google. “If you don’t move them to the web, over time those stones will become sand and we’ll never be able to recover those drawings or that writing.”
Via The Browser, a look into a font design process I hadn’t really considered before. If “typography is about the spaces between the letters as much as it is about the letters”, then a popular way of evaluating how well those letters and spaces work together is through the use of ‘pangrams’, sentences that contain each letter of the alphabet at least once. But perhaps the quick brown fox has had its day.
Text for proofing fonts – Fonts by Hoefler&Co. The far more pernicious issue with pangrams, as a means for evaluating typefaces, is how poorly they portray what text actually looks like. Every language has a natural distribution of letters, from most to least common, English famously beginning with the E that accounts for one eighth of what we read, and ending with the Z that appears just once every 1,111 letters. Letter frequencies differ by language and by era — the J is ten times more popular in Dutch than English; biblical English unduly favors the H thanks to archaisms like thou and sayeth — but no language behaves the way pangrams do, with their forced distribution of exotics. Seven of the most visually awkward letters, the W, Y, V, K, X, J, and Z, are among the nine rarest in English, but pangrams force them into every sentence, guaranteeing that every paragraph will be riddled with holes. A typeface designer certainly can’t avoid accounting for these unruly characters, but there’s no reason that they should be disproportionately represented when evaluating how a typeface will perform.
In 2015, I dumped the pangrams we’d accumulated and rewrote our proofs from scratch, trading their wacky and self-satisfied cleverness for lists of words that are actually illustrative.
These lists of words, whilst not being as easy to memorise, are far more useful—to the professional typeface designer, at least. Here’s just a part of them.
[…] Linden linden loads for the ulna monolog of the consul menthol and shallot. Milliner milliner modal for the alumna solomon of the album custom and summon. Number number nodule for the unmade economic of the shotgun bison and tunnel. […]
It reminds me a little of lorem ipsum. I wonder if these new typefaces went through a similar process.
Times New Arial is a new experiment utilising the latest technology of variable fonts – It’s Nice That With Times New Arial, the collaborators combine the visual extremes of both Times and Arial into one interpolated typeface. With new technological possibilities, the hybrid represents a new era of font usage, challenging the role of variable fonts in the present cultural scape. As well as being poster children for web typography, Times and Arial also represent progress and proxies within digital design. “We wanted to combine this conventional aesthetic with new technical possibility in order to revive and refine them, so in turn, we could experiment with them in our projects,” continues David.
Scunthorpe Sans 🗯🚫 profanity-blocking font – Vole.wtf A s*** font that f***ing censors bad language automatically. It’s able to detect the words f***, s***, p***, t***, w***, c*** and dozens more, but with a special exemption for “Scunthorpe”; that town has suffered enough.
Logofonts – Behance Often when we see a logo, a question arises: “which font was used?” In this project I did some research on the logos of some of the most famous brands, trying to understand which font they use or which have been modified to get to the final result. Follow Logofonts on Instagram.
More video game nostalgia. You would think that having to fit an entire set of fonts into tiny, 8 x 8 grids would result in some unimaginative typefaces. Think again.
The 8-bit arcade font, deconstructed – Vox
In his book Arcade Game Typography, type designer Toshi Omagari breaks down the evolution, design, and history of arcade game fonts. In the video above, he guides us through this delightful 8-bit world and breaks it down pixel by pixel.
Want to read on? Here’s a link to the book’s publisher.
Arcade Game Typography – Thames & Hudson Arcade Game Typography presents readers with a fascinating new world of typography – the pixel typeface. Video game designers of the 70s, 80s and 90s faced colour and resolution limitations that stimulated incredible creativity: with letters having to exist in an 8×8 square grid, artists found ways to create expressive and elegant character sets within a tiny canvas.
All this news getting too much? Just switch browser fonts.
Color Dot Font – And Repeat
The Color Dot Font is a font composed entirely of colored circles. In the Color Dot Font, each Latin character is replaced with a circle of a certain color. For example, an “a” character is represented by a blue circle, a “t” by a yellow circle, and so forth. Available as a TTF file, the font can be installed and used on any computer operating system.
Trump’s handwriting was in the news the other day, when cameras caught a glimpse of the notes he’d made for himself before meeting reporters.
Handwriting expert says Trump’s ‘I WANT NOTHING’ note bears ‘the sign of a liar’ – Rolling Stone As for the large, blocky writing, Lowe attributes that to him being “someone who has a strong need for security and to be in control, to be looked up to.” The way the letters disconnect point to “someone who was unable to assimilate the difficulties he experienced in childhood, which leaves him open to life’s various adversities. He lacks good coping mechanisms and has trouble relating fully to himself and to others.”
Goodness me, have you ever seen a more attention-seeking, egotistical ‘I’? Now you too can write like the president, though why on earth you’d want to is another matter.
Write your own notes in Trump’s handwriting with this new web generator – Fast Company Part of what made the photo notable was that it revealed that the unique writing style the president uses online—the Twitter-friendly brevity of character count and a seemingly unpredictable all-caps emphasis—applies to good old pen on paper, too. For the website, called Final Word From the Pres, the Jones Knowles Ritchie team took those characteristics and automated them. The generator will autocorrect words, turning “we” to “I,” “Trump” to “Stable Genius,” “big” to “yuuge,” and “SNL” to “unfunny,” so the note you write is adapted to the president’s voice. But there are many more autocorrections, with over one hundred Easter eggs up for discovery as you uncover the distinctive language patterns of a very stable genius.
This isn’t the first time such a typeface has been created.
Tiny Hand will be your new Comic Sans — Buzzfeed News I was struck not only by the peculiar delivery of the notes, but also by the idiosyncratic way Trump writes the alphabet. At that moment it was clear to me — as it surely must be to you, dear reader — I had to make a font based on Donald Trump’s handwriting.
Mad to think that’s from 2016. Here we are, nearly 2020, and he and his juvenile writing/thinking is still here.
Some years ago I came across a photographer who had discovered an alphabet written in the skies over her head. Here are a few more examples of letter-forms in unusual places.
Put words into action with ‘Gerry’, a new font created from the silhouettes of gerrymandered electoral districts
The font, created by Ben Doessel and James Lee, is composed of 26 districts whose absurd boundaries resemble alphabet letters much more than they resemble logical, cohesive population groupings. Alabama’s pronged 1st District bears a striking resemblance to the letter K, while New York’s 8th District looks like an M with its tall legs connected by a curved middle.
And here’s another example.
Stone alphabets
[A]ssembled by Belgian type designer Clotilde Olyff from stones collected at the beach.
Jesse Simon continues to pay attention to the details of his built environment.
The colours of Berlin: yellow
The colours of Berlin is a new bi-monthly series that will run throughout 2019. Where other posts on this blog have attempted to describe typographic trends and phenomena in Berlin, the entries in this series will focus on a particular colour by presenting a collection of images without additional text. Every city has its full spectrum on display; this is the one that belongs to Berlin.
It’s hard not to feel down about the ugly state of my city, when I compare it with those examples of considered design. So here’s something quirky to lift my mood.
“Something illegible still has something to say”: Eliott Grunewald on his type designs
“I’ve been more interested in display typefaces, for their expressiveness and ‘voices’; like type as an image more than the design of a text typeface,” he tells It’s Nice That. “So I guess, sometimes, it does result in letterings which are formally too intense or even illegible. But something illegible still has something to say, to show or to promote, I don’t feel that even if you cannot read the word, you cannot get anything from it.”
And, for a full account of what goes into good typeface design, take a look at this.
Why San Francisco
We got our first glimpse of Apple’s new sans-serif typeface, San Francisco, when the Apple Watch was unveiled in September of 2014—a new typeface designed specifically for legibility at small sizes on a tiny, high-resolution screen. Big news for type nerds and Apple fans alike.
It’s very thorough, and I don’t pretend to understand half of it, but it’s nice to see someone paying such close attention to the details.
* Being deceitful, that is. Or maybe just willfully ambiguous?
Let’s start with Alex Hayman from Which? University.
Students need clarity when choosing a university
It has been almost a year since the Advertising Standards Authority upheld a number of complaints about misleading information in HE. Despite the clear warnings, we’ve investigated and found at least six universities included examples of unsubstantiated or unverifiable claims about their standing on their websites, in likely breach of advertising standards. This just isn’t good enough.
Various examples are listed. This is an interesting line from The Guardian.
UK universities ‘still inflate their statuses despite crackdown’
The continued use of assertions about high international status is evidence of the strain universities are under to increase their domestic and international student recruitment, as well as the effects of global rankings.
Hmm. But, of course, it’s not just the universities that are happy to stretch the truth.
Essay mills: ‘One in seven’ paying for university essays
More students than ever are paying someone else to write assignments for them via “essay mills”, a Swansea University study has revealed. The survey of more than 50,000 students, found 15.7% admitted to cheating since 2014 – up from an average of 3.5% over the last 40 years. […]
It showed the amount of students admitting to contract cheating, when students pass off a custom-made essay as their own, has increased over time. But Prof Newton, director of learning and teaching at Swansea Medical School, suggested the number could be much higher, as students who have paid for essays to be written are far less likely to volunteer to take part in surveys on cheating.
Indeed. But what if you want to exaggerate how much work you’ve done, but are a little short on funds? Free fonts!
Times Newer Roman
Introducing Times Newer Roman, a font that kinda looks like Times New Roman, except each character is 5-10% wider. Fulfill lengthy page requirements with hacked margins, adjusted punctuation sizing, and now, Times Newer Roman!
Times Newer Roman is a sneaky font designed to make your essays look longer
According to Times Newer Roman’s website, a 15-page, single-spaced document in 12 point type only requires 5,833 words, compared to 6,680 for the standard Times New Roman. (That’s 847 words you don’t need to write, which is more than twice the length of this post!) […]
Of course, it’s the digital age, so there are some downsides: Times Newer Roman will only work for assignments you have to submit by hand or in a PDF. If you’re sending in a Word document using a custom font that professors almost certainly don’t have installed won’t help. Similarly, Times Newer Roman is only useful for hitting larger page counts; if you have a strict word count limit, you’re out of luck.
Paul Manafort, Trump’s former campaign manager currently tied up with the ongoing Russia investigation, must have skipped a few MS Office training seminars at work, as he seems to be unaware of Word’s Save As function.
How Manafort’s inability to convert a PDF file to Word helped prosecutors “Manafort emailed Gates a .pdf version of the real 2016 DMI P&L, which showed a loss of more than $600,000,” the indictment claims. “Gates converted that .pdf into a Word document so that it could be edited, which Gates sent back to Manafort. Manafort altered the Word document by adding more than $3.5 million in income.”
Then, according to the indictment, Manafort “sent this falsified P&L to Gates and asked that the Word document be converted back to a .pdf, which Gates did and returned to Manafort.”
By sending these documents back and forth by email, Manafort and Gates made it easy for prosecutors to pinpoint exactly who changed the documents and when.
It reminded me of this story, linking corruption to a popular Microsoft font.
A Microsoft font may have exposed corruption in Pakistan The Microsoft font Calibri is now a key piece of evidence in a corruption investigation surrounding Pakistan’s prime minister. Investigators noticed that documents handed over by the prime minister’s daughter, Maryam Nawaz Sharif, were typed up in the font Calibri. But the documents were dated from 2006 — and Calibri wasn’t widely available at that point, making a good case that they were forged.
How Wikipedia found itself at the centre of a major corruption scandal in Pakistan As I am part of Wikipedia’s counter-vandalism team, I have been engaged in the reverting of unverified information being added to the Calibri page by anonymous users. But as the edit war grew and the sensitivity of the issue became obvious, I had to ask an administrator to lock the page to restrict any further edits in order to avoid misleading information being spread outside of Wikipedia.
Dsxyliea A friend who has dyslexia described to me how she experiences reading. She can read, but it takes a lot of concentration, and the letters seems to “jump around”. I remembered reading about typoglycemia. Wouldn’t it be possible to do it interactively on a website with Javascript? Sure it would.
Much obliged to Christopher Hallas, over on Linked In, who pointed me in the direction of this pdf from the British Dyslexia Association, full of great advice for clear, accessible documents production.
Dyslexia Style Guide (pdf) The aim is to ensure that written material takes into account the visual stress experienced by some dyslexic people, and to facilitate ease of reading. Adopting best practice for dyslexic readers has the advantage of making documents easier on the eye for everyone.
Couldn’t agree more. And here’s another take on recreating the exasperation of reading with dyslexia.
This font shows you what it feels like to be dyslexic “What this typeface does is break down the reading time of a non-dyslexic down to the speed of a dyslexic. I wanted to make non-dyslexic people understand what it is like to read with the condition and to recreate the frustration and embarrassment of reading everyday text and then in turn to create a better understanding of the condition”.
Teen to government: Change your typeface, save millions
Reducing paper use through recycling and dual-sided printing had been talked about before as a way to save money and conserve resources, but there was less attention paid to the ink for which the paper served as a canvas for history and algebra handouts. “Ink is two times more expensive than French perfume by volume,” Suvir says with a chuckle.
Miscellaneous Details 