Flesh-Free Font Friday


A classic Halloween visual. Here’s a skeleton font from a new-to-me source: home machine embroidery. How the embroidery works: you install software from a website or disk and it tells your home embroidery machine—your enhanced sewing machine or dedicated device—how to make the letterforms or designs. This alphabet was developed by trishsthreads.com and is available here in several embroidery machine formats and two sizes for $7.99. You can contact trishsthreads at pschmiedl@q.com.

NOTE: I’m showing these letters for viewing purposes only. Please don’t use them for online or print purposes.

Here’s the font in action:

tote bag with "Trish" embroidery


Continue reading “Flesh-Free Font Friday”

Fenotype Foundry Font Friday

Fenotype Font Company is the type foundry of Finland-based type designer Emil Bertell. Bertell started Fenotype in 2012 and has designed hundreds of typefaces since then. You can see all his fonts at http://www.fenotype.com/font/fontpage.htm and download the free ones there.


Below is a short article from MyFonts, where Bertell’s commercial typefaces are available. His typefaces there are often script, or have script variations, often with swash and alternate versions.  Continue reading “Fenotype Foundry Font Friday”

Font Technologies Font Friday

Parametric fonts: Diagram of capital "A"
This article, from SmashingMagazine.com, explicates the concept of parametric fonts. The concept has been around for 40+ years but it has novel applications in web type design.

How Font Technologies Will Improve the Web

PARAMETRIC FONTS (original article)

Words are the primary component of content for the web. However, until a short while ago, all we had at our disposal were but a few system fonts. Adding to that, those system typefaces weren’t necessarily coherent from operating system to operating system (OS). Fortunately, Windows, macOS and Linux made up font-wise, and since then, all modern fonts have been compatible across those OS’. There’s no question, the future of web typography looks promising. Continue reading “Font Technologies Font Friday”

Flip-Free Font Friday

Christian Boer designs typeface for readers with dyslexia

“When they’re reading, people with dyslexia often unconsciously switch, rotate and mirror letters in their minds,” said Boer, who is dyslexic himself. This “anti-flip” typeface is designed to reduce that possibility.

Istanbul Design Biennial 2014: a typeface created specifically for dyslexic people by Dutch designer Christian Boer is on show at this year’s Istanbul Design Biennial.

Dyslexie typeface by Christian Boer

Although it looks like a traditional typeface, Dyslexie by Christian Boer is designed specifically for people with dyslexia – a neurological disorder that causes a disconnect between language and visual processing making it difficult for the brain to process text. Dyslexia is estimated to affect 10 per cent of the world’s population, according to UK charity Dyslexia Action.

Related story: The Average Font combines hundreds of characters into a single typeface

“When they’re reading, people with dyslexia often unconsciously switch, rotate and mirror letters in their minds,” said Boer, who is dyslexic himself.

Dyslexie typeface by Christian Boer

“Traditional typefaces make this worse, because they base some letter designs on others, inadvertently creating ‘twin letters’ for people with dyslexia.”

Dyslexie typeface by Christian Boer
Click for larger image

The 26 letters in the Roman alphabet are commonly derived from a set of vertical, horizontal, diagonal and rounded strokes.

Dyslexie typeface by Christian Boer

These abstract forms are usually replicated for neatness and consistency across a typeface. This means the letters become more similar, making it harder for dyslexics to distinguish between them.

For example in Swiss typeface Helvetica, the letter “n” is used upside down as a “u”, “d” is a back to front “b”, and “q” is a mirrored “p”.

Dyslexie typeface by Christian Boer

In Boer’s typeface, the letters are designed with heavier bottom portions to prevent the reader’s mind from turning them upside down.

Lengthened ascenders and descenders – the portions of the characters that stretch beyond the two main horizontal guides – also makes them easier to tell apart.

Letters that usually appear similar are subtly italicised and have added tails where possible, so they no longer look alike and pose less risk of the reader mirroring them.

Boer has also added larger spaces between letters and words, as well as bold capitals and punctuation marks so the start and end of sentences can be better differentiated.

Dyslexie typeface by Christian Boer

“By changing the shape of the characters so that each is distinctly unique, the letters will no longer match one another when rotated, flipped or mirrored,” Boer said. “Bolder capitals and punctuation will ensure that users don’t accidentally read into the beginning of the next sentence.”

Boer first designed the typeface for his thesis project at Utrecht Art Academy in 2010 and presented it during a TED talk in 2011. The project is currently on display for the second Istanbul Design Biennial, which continues until 14 December.