Shantell Powell

Sylexiad. A typeface for the adult dyslexic reader: "The investigation concerns a series of typeface legibility and readability studies which have resulted in the creation of a number of new typefaces including Sylexiad. Sylexiad is grounded and informed from a dyslexic viewpoint and is a typeface for the adult dyslexic reader."

Good fonts for dyslexia: "In this paper, we present the first experiment that uses eye-tracking to measure the effect of font type on reading speed. Using a within-subject design, 48 subjects with dyslexia read 12 texts with 12 different fonts. Sans serif, monospaced and roman font styles significantly improved the reading performance over serif, proportional and italic fonts. On the basis of our results, we present a set of more accessible fonts for people with dyslexia."

Special Font For Dyslexia?: "Reading errors like switching letters is a persistent characteristic of errors for
dyslectics (Braams, 2001). This type of error can be explained by the magnocellular theory
(Stein, 2001; Stein, Talcott, & Walsh, 2000). The font “Dyslexie” is developed to increase the
reading accuracy and readability of texts for dyslectics, so that the errors by switching letters
are reduced."

A short introduction to font characteristics: "Serifs make individual characters more distinct. In their sans serif variant many characters look remarkably, if not exactly, like mirror images of each other. During the reading process they are easily confused, especially by persons suffering from dyslexia. The advantage of serifed typefaces over their non serif counter parts, in this respect, is easily seen from the following example:
b d
p q
b d
p q"

Dyslexia, Reading and the Brain: A Sourcebook of Psychological and Biological Research: p. 3: "These were followed in 1900 by a report of “congenital word-blindness” in two boys aged 10 and 11 years (Hinshelwood, 1900) and a further report of four cases from the same family (Hinshelwood, 1907).

In his papers, Hinshelwood referred to previous work by Kussmaul (1877), who apparently coined the term “word-blindness” (wortblindheit) to describe the reading difficulties of previously literate brain-damaged patients. No less a person than the president of the Neurological Society, Sir W.H.(Henry) Broadbent, pointed out (Broadbent, 1896), however, that the condition of word-blindness was not first described by Kussmaul, as might have been inferred from Hinshelwood’s (1895) report. Broadbent (1872) himself had described patients who were unable to read following brain injury, albeit that they also showed some evidence of “verbal aphasia” (p. 150). On the other hand, Broadbent (1896) conceded that it might have been Kussmaul who first described difficulty with reading as “an isolated condition”—that is, as occurring in the context of intact speech (see also Dejerine, 1891, 1892). The word dyslexia was first used (see Hinshelwood, 1896) by a German ophthalmologist, R.Berlin, when referring to reading difficulties caused by cerebral disease or injury (Berlin, 1887).

Inspired by Hinshelwood’s (1895) report, a general practioner in Sussex, W.P.Morgan, wrote to The Lancet giving an account of the reading problems experienced by an apparently normal boy who had suffered no brain damage. Thus it is to Morgan (1896) that we owe the first description in the medical literature of what is now referred to as developmental dyslexia or specific reading disability. His account of what he called “congenital word-blindness” ran as follows:

Percy F.—a well-grown lad, aged 14—is the eldest son of intelligent parents... He has always been a bright and intelligent boy, quick at games, and in no way inferior to others of his age. His greatest difficulty has been—and is now—his inability to learn to read. This inability is so remarkable, and so pronounced, that I have no doubt it is due to some congenital defect...the greatest efforts have been made to teach him to read, but, in spite of this laborious and persistent training, he can only with difficulty spell out words of one syllable... The schoolmaster who has taught him for some years says that he would be the smartest lad in the school if the instruction were entirely oral... His father informs me that the greatest difficulty was found in teaching the boy his letters, and they thought he never would learn them. (Morgan, 1896, p. 1378)

Broadway and Thorne’s Fat Face are typefaces with a long and illustrious history. Thorne’s Fat Face is the older of the two typefaces, dating back to the dawn of the nineteenth century. Its creator, Robert Thorne, was a pioneer of typography and a prominent type founder. With the advent of readily-available printing technology, there was a huge rush in print advertising. Thorne’s business was thriving under this demand, and he developed this extra-bold typeface, which was described as “fat”, in 1803.

Thorne’s Fat Face was a sensation. It was sought after by advertisers because its engorged letterforms paired with hair-thin serifs and connecting strokes made it dominate a page (Kennard, 2014, para. 1). It was well-suited for ornamentation because of its thick letters, as can be seen in this reward poster for a missing horse.



Although it was much sought-after by advertisers, critics were aghast. One referred to it as having “preposterous disproportions” (de Jong et al, 2017, p. 108) Despite the criticisms, it was a successful typeface, and ended up having a significant effect on how text was used in advertising.

Before the advent of fat typefaces, advertisements were wordy, with long narratives. Since there was no room for many words on a poster dominated by Thorne’s Fat Face, advertising evolved to use fewer words, and to be punchier and more concise (de Jong et al, 2017, p. 109).

Compare the verbosity of the preceding poster with this poster from the 17th century:



Thorne’s Fat Face made advertising quickly readable without anyone needing to squint.

The next typeface to be compared, Broadway, was and is used for other purposes altogether. Superficially, they seem quite different. Thorne’s Fat Face is turgid and bloated, especially paired with its miniscule serifs. However, Broadway is not entirely dissimilar despite its more elegant appearance. It also relies on the pairing of thick strokes with thin ones, but to a different effect.

Broadway was designed in 1927 by Morris Fuller Benton. Originally, it was created with only uppercase letterforms, but lowercase letterforms were developed in 1929 by Sol Hess (P22 Type Foundry, 2018, para. 1). Unlike Thorne’s Fat Face, Broadway is a decorative sans serif typeface, and where Fat Face evokes a feeling of snake oil salesmen and wanted posters, Broadway is the textual embodiment of the Roaring Twenties. It is the quintessential Art Deco typeface, as can be seen in this poster:



It was also used for its namesake as evinced by this original cast recording for the production of Bullets Over Broadway:



The Broadway typeface contains no descenders in its lowercase letterforms which makes it ideal for bold underlining. Its angular tangents between thick and thin also give it high contrast, making it ideal for colourful compositions (Microsoft, 2018, para. 1).

Both typefaces have a distinct appearance, and both effectively take viewers back to the times in which the letterforms were created.

---

And here is my study of the two typefaces, hand-drawn on fondant-covered cookies.

References

De Jong, C., Purvis, A., & Tholenaar, J. (Eds.) (2017). Type: A Visual History of Typefaces & Graphic Styles. Cologne, Germany: Taschen.

Kennard, J. (2014, February 6). The Story of Our Friend, the Fat Face [Blog post]. Retrieved January 24, 2018 from https://fontsinuse.com/uses/5578/the-story-of-our-friend-the-fat-face

Microsoft (2018). Microsoft Typography: Broadway. Retrieved January 24, 2018 from https://www.microsoft.com/typography/fonts/family.aspx?FID=86

P22 Type Foundry (2018). Broadway. Retrieved January 24, 2018 from https://p22.com/family-Broadway

Part of the project involves a hand-lettered book cover. I knew I wanted to do something with the Arjowiggins Inuit typeface, but as a bespoke typeface, it is not commercially available. I wrote to Arjowiggins Creative Papers, and they were nice enough to share it with me for my project.

At first, I was planning on replicating the typeface with tech pen, but while talking to folks at the Aboriginal Services Centre at Conestoga College, I saw Christina Restoule doing traditional indigenous beadwork. I asked Tauni Sheldon, an Inuk elder, if the beadwork was also used by Inuit, and she said that yes, it is a common element used on parkas and such. And so I decided I wanted to do my lettering in traditional beadwork.

Ms. Restoule told me she'd get me started with the technique, and on Friday, December 15, she helped me find the right sized beads and some leather to work with. I used an actual-sized printout of the title as a template.

The process is time-consuming. I worked on the beading all afternoon and into the late evening on Friday, throughout the day on Saturday and Sunday, then picked the template out painstakingly on Monday before adding the final accent red bead in the tittle.

I chose black leather to contrast with white and sparkly blue glass beads. The single red bead represents blood.

I've been looking around for typefaces for my ever-evolving project and found the Arjowiggins Inuit typeface. I think it's gorgeous.





(from Arjowiggins Inuit on Behance)



(from Jeremy Tankard Bespoke Studiotype)