L. E. T. S. D. A. N. C. E.

A colorful medley of inventive type animations puts the alphabet in motion
Designer Ben Huynh submitted animated letters for each day of the open call which he combined into a short film. The video presents his three-dimensional type in the form of Mephis-style office supplies, modern furniture, and abstract neon light installations, all set to the song “Sunshine” by Gym and Swim.

36 Days of Type 05

One space or two? One! Every time!

This has been a bone of contention between me and my better half for a while now. She was trained as a touch-typist back in the Twentieth century. I wasn’t.

One space between each sentence, they said. Science just proved them wrong.
The rules of spacing have been wildly inconsistent going back to the invention of the printing press. The original printing of the U.S. Declaration of Independence used extra long spaces between sentences. John Baskerville’s 1763 Bible used a single space. WhoevenknowswhateffectPietroBembowasgoingforhere.Single spaces. Double spaces. Em spaces. Trends went back and forth between continents and eras for hundreds of years, Felici wrote.It’s not a good look.

And that’s just English. Somewrittenlanguageshavenospacesatall and o thers re quire a space be tween ev e ry syl la ble.

Ob viously, thereneed to be standards. Unless you’re doing avant – garde po e try, or something , you can’tjustspacew ords ho w e v e r y o u want. That would be insanity. Or at least,


I really hadn’t appreciated how much of an issue this was. Some US psychology researchers sought to determine the correct approach once and for all.

First, they put the students in front of computers and dictated a short paragraph, to see how many spaces they naturally used. Turns out, 21 of the 60 were “two-spacers,” and the rest typed with close-spaced sentences that would have horrified the Founding Fathers.

The researchers then clamped each student’s head into place, and used an Eyelink 1000 to record where they looked as they silently read 20 paragraphs. The paragraphs were written in various styles: one-spaced, two-spaced, and strange combinations like two spaces after commas, but only one after periods. And vice versa, too.

And the verdict was: two spaces after the period is better. It makes reading slightly easier.

So it seems scientific research is against me. I’m still not changing my mind, though, as the study’s methodology is not without its critics.

No, you still shouldn’t put two spaces after a period
The study used Courier New… This alone makes the test useless. One-spacers already agree that typewriters and monospace fonts use two spaces after the period (except some screenwriters, who use one space). But reading a proportional font and a monospace font are two completely different scenarios. The study even acknowledges this: “It is possible that the effects of punctuation spacing seen in the current experiment may differ when presented in other font conditions.” Of course it’s possible—that’s what the whole debate is about! Why would you use Courier New!

Words on the street

From Atlas Obscura, an interview with Jesse Simon about his Berlin Typography project.

Celebrating Berlin’s typography, before it vanishes
“I came across a sign for a shop called Betten-König, an exquisite, yellow, cursive neon sign attached to the façade of what otherwise looked to be a fairly modest shop,” Simon recalls. “Something snapped into focus.” He realized that he’d been thinking about Berlin’s civic and commercial signs only in terms of their function. And yet, “this Betten-König sign, which seemed somehow too grand and too glorious for its purpose, was doing something entirely different. It brought a kind of joyous irreverence to the street,” he says.

There are some wonderful examples of street typography here, with a range of styles unlike anything I’ve seen before, I think.

Something else one finds in Berlin (and in most larger German cities) is a kind of creative tension between Western European and traditional German approaches to typography. Although German uses the Latin alphabet now almost exclusively, blackletter or Fraktur scripts were dominant in the previous centuries, and the influence is still present today. German also has its own orthographic traditions and its particular variations on the Latin alphabet, specifically the umlauted letters and the Eszett (ß). Again, this is not unique to Berlin, but is definitely a part of what makes its urban typography so distinctive.

I’ve heard of Blackletter, at least, but Sütterlin? No idea.


Sütterlin is a form of handwriting that was prevalent in Germany during the first half of the 20th century; it fell out of common use in the second half of the century but, as with Blackletter, is still used in signage to evoke the values of a previous age. The sign here reads ‘Alt-Berliner Wirtshaus’ although this is not immediately apparent. If you stare at it for long enough (or go to the Sütterlin Wikipedia page) it begins to make sense.

The Atlas Obscura interview covers more examples but check out his Berlin Typography website for his extensive, and growing, collection. Long may they last out there, the streets will look poorer without them.

Caught out by their own documents

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.

A fascinating look into what it’s like reading with dyslexia

This is very clever, a great use of Javascript.

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”.​​

Typography saves the day


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.



“I always envisioned the Clampersand as an ideal bookend for an open ended shelf,” remarks Ruth. “I use them to clamp several books upright into a freestanding centerpiece. Or I simply stand it up by itself on a table. I’d recommend using it to clamp verbally associated objects together into some sort of visual pun: bacon and eggs, salt and pepper, turner and hooch. That sort of thing.”


Speaking of punctuation

Following on from that punctuation post just then, here are a few more:


I’m finding the dictation feature on my new phone very handy, but even though it supports a whole range of spoken punctuation marks and “new line” and “all caps” and all that, it seems to be struggling with Andorpersand, Hedera and Love Point. Shame.