TYPE DESIGN INFORMATION PAGE last updated on Mon May 20 09:04:31 EDT 2013
Typefaces for dyslexics
Leo Kelion writes for the BBC: The OpenDyslexic font is designed to give "gravity" to letters to prevent the characters rotating in readers' minds.
Alejandro Valdéz Sanabria
Belgian artist, thinker and autodidact, b. 1954, Antwerpen. The DITT writes this about him: André is an adult dyslexic. Formerly working in the arts, he is now working on a monologue entitled The Illusionist. He researches the interface between psychology and physics. His "act" (a sort of humorous lecture) gives insight into his findings, interests, and himself as an illusionist. At Bridges 2009, he presented an experimental typeface on which he had been working since 1975, under the title Zen Art. In 2007, he created another experimental geometric face, Alphabet Candy. [Google] [More] ⦿
Christiaan Theo Boer
Codesign (or: Aviation Partners, or AVP)
Nicholas Garner (b. 1949, Windsor) runs Codesign (or: Aviation Partners), a small London-based design firm which has created these commercial type families:
Dyslexica Font Foundry
Typefoundry in Covington, GA, est. 2013. The goals of the foundry are to provide quality fonts and to develop dyslexic friendly font families and variations.
Foundry whose fonts are sold via Fontworks UK, who write: The Heinemann fonts were initially developed by the in-house design team at Heinemann educational publishing out of the necessity to find the perfect font for use in early primary reading books and literacy products. Basic Heinemann is defined by longer ascenders and descenders which help children to distinguish between letters; rounded edges on all letterforms help focus the reader on the individual letter shape; and modified characters (e.g., a, g) ensure instant recognition of letterforms. Heinemann Special offers further modified characters and kerning pairs ideal for dyslexic or special needs use (eg a, d, b). The Heinemann fonts were developed in partnership with children, literacy advisors, teachers of special needs/dyslexia and primary school teachers, and are now released in response to hundreds of requests from publishers, designers and teachers to purchase them. They have been trialled in schools and learning institutions over an 8 year period, and are a favourite for use in both print and electronic product. Heinemann is a 12-style sans family. [Google] [MyFonts] [More] ⦿
Alejandro Valdéz's web site and blog, in Spanish, from Asuncion, Paraguay. Sarakanda is a typeface he made for dyslexics. Arguing in terms of bouma (word outlines), the font was developed to create bouncy and individualistic boumas by working on the ends of the ascenders and descenders. His script face López won an award at Tipos Latinos 2010.
Over 600 million people in the world are dyslexic. Kanny Yeung (New York City) started a typography project in 2012 to address two types of Dyslexia. Kanny introduced an alphabet that has very different glyphs, and is remotely related to Latin. [Google] [More] ⦿
Rica Dujon, a graphic designer in Singapore, created the sans typeface Lexis in 2013. It was based on the analysis of a dyslexic child's handwriting. Lexis Regular is a font specially designed to help dyslexic individuals better see, read and process words and information. Lexis was a school project at the Lasalle College of the Arts. [Google] [More] ⦿
Dr. Robert Hillier is a Senior Lecturer at Norwich University College of the Arts in the UK. He designed and developed the Sylexiad range of fonts for adult dyslexic readers as part of his doctoral research. He has presented his research findings at design institutions and conferences, including the St.Bride Library Conference Fast Type Slow Type, Birmingham (2006). Sylexiad has been featured in publications including, Novum, Etapes, Ultrabold and the Journal of Writing in Creative Practice. Thesis in 2006 entitled A Typeface for the Adult Dyslexic Reader. Speaker at ATypI 2011 in Reykjavik, where we read this: The findings of developmental typeface testing identified the typographic characteristics adult dyslexic and non-dyslexic readers preferred and why. For the majority of non-dyslexic readers tested it was the combination of serif-style, lowercase forms, large x-heights, medium weight, variable strokes and normal inter-word spacing that was preferred. The non-dyslexic readers also favoured the form of Times New Roman. Conversely, for the majority of dyslexic readers tested it was the combination of handwritten style, uppercase forms, long ascenders and descenders, light weight, uniform strokes, perpendicular design and generous inter-word spacing that was preferred. The dyslexic readers also favoured the form of Serif Sylexiad.
Type design student at Reading who created Grover (2004), a serif-sans-casual family specially designed for dyslexic people. Grover is Sally's maiden name. Sally also made the 3d typeface Blockup. [Google] [More] ⦿
Serif vs sans serif
Faruk Ate discusses this old dilemma. Serif is more legible in print, but less so on screen. Serif is better for dyslexics though, as there is less confusion. At small screen size, sans serif is recommended. He concludes: Personally, I still prefer sans-serif for large chunks of text with a lovely serif heading. [Google] [More] ⦿
Studiostudio (The Netherlands) developed a commercial casual face called Dyslexie (2008) to minimize the errors perceived by dyslexics. Created by Christian Theo Boer (who lives in Zeist), the research was carried out at the University of Twente. In a research article about Dyslexie, Judith van de Vrugt writes: Dyslexia>.. it is a word that many dyslexics find hard to pronounce. Christian Boer is one of them. Being a dyslexic student, he came upon the idea for his thesis to design a font that would make letters more distinguishable for someone with dyslexia. Due to the visible distinc- tion, it would be easier to read, and letters would dance less. [Google] [More] ⦿