the darnedest thing is written and designed by Steven Hum with the following..

production environment


the darnedest thing

comments processing

  • Ruby Mail library
  • Gmail spam filtering

web server

hosting services

Other tools used to construct this site can be found here.

keyboard layouts

are a primary subject of interest on this site. Writing and caring about the tools to do so seem to go hand in hand.

Corne BEAKL Wi

The current daily driver being used to compose these blog entries can be found in daily beakl.


somehow fonts became a thing on this site. My source code typeface has always been of paramount importance to me, being on my computer screen persistently. Since migrating from PragmataPro to Iosevka, short of a few configuration customizations, my Iosevka settings remained unchanged for years.

The Atkinson Hyperlegible Font and the Kindle—now Kobo—changed all that and i began to heavily customize my Iosevka font for various purposes. The current font customizations can be found in monolexic timeline.

The previous recommended dyslexic fonts for maximum legibility—Monolexic and Unolexic—have now been supplanted with their quasi-proportional M and W extended cell width counterparts—dyslexic and grotesk.

That being said, in the ongoing pursuit of a font for my ereading pleasure—which produced the elementary, eloquence and articulate fonts—comes the striking quasi-proportional typograffic font, fusing the most unique glyph attributes of its progenitors into a distinctively modern yet highly legible typeface..


This latest font variant possibly (never say never, see calligraffi :) concludes my dyslexic ereader font exploration.

tl;dr: see monolexic type, hyperlegible dyslexic, unolexic, dyslexic variations and quasimono.


the current dotfiles containing the sources, configuration files and scripts described in the various articles can be found here.

To avoid an unnecessarily large download including all historical commits, pull only the latest repository files with..

git clone --depth 1

»»  about

monday, 14 march 2016

it’s a slow and methodical process. Step by step, extending an already feature rich window manager, molding it to one’s will. Fixing corner cases that invariably pop up over extended usage. Then adding visual flair with ricing scripts to enhance the user experience and keep it fresh.

Distraction free plugins for vim complete my particular setup which is now complemented by an artful desktop. Time to return to the other threads on this site which were always the original intent of this hardware (keyboard and layouts) and software detour to create a publishing environment..

comment ?


wednesday, 30 november 2022

typograffic has been my favourite font of late.. the culmination of two years of font experimentation—beginning innocently with a monospaced facsimile of the Atkinson Hyperlegible Font (for coding) and expanding into (too) numerous variants as an ereader font with a dyslexic focus—arriving at a very unique and satisfying contemporary ereader font (in my humble opinion).

Save for the short-serifed capital I (inherited from the Atkinson font), typograffic is a clean sans serif typeface. Highly readable at small font sizes on ereaders.

typograffic appeared to be my grail font, there being no other Iosevka glyph variations to increase dyslexic readability and general legibility (imo). Arriving at a final pair of typefaces— articulate and typograffic—all that was missing (from a personal preference) was a typeface variant with a serifless capital I.

Most of the typefaces produced on this site for distribution have been produced with both the serifed and serifless capital I. Its omission in typograffic (and articulate) was determined by the serifed glyph’s superior legibility. The serifless capital I—at small font sizes in particular—lacks visual definition in words containing the lower case l and a few other all capitals instances, its readability muddied without inline context.

Enter the..

descending capital i

to uniquely distinguish the glyph from adjacent letters—especially the lower case L—by extending its stroke length.

With fontforge..

# descending serifless capital I Open(<calligraffi.ttf>); Select(0u007c); Copy(); Select(0u0049); Paste(); Transform(100,0,0,105.75,0,0); Move(0,-55); Generate(<calligraffi.ttf>);

..replace the capital I with Bar, lengthening it (to match the vertical length of the descending capital J) and then adjusting its vertical position downwards to align with the tops of the capital letters. (The Bar glyph remains distinct with its shorter stroke length and centered position, though, should not be an issue for most ebooks in general).

Presto, calligraffi..


Note: the capital I in the font file is the length of the descending capital J.

The new calligraffi variant of typograffic with a serifless capital I—the name phonetically alluding to the script like flair of the glyph’s lengthened stroke. For many ebooks one might be hard pressed to note the difference between the two fonts but for first person narratives it can be striking.

i don’t expect everyone to find themselves being drawn to this new font, the serifed capital I being the most familiar and comfortable for the vast majority. And it can look odd—unfamiliar—initially within all caps headings.

i am not aware of any other font (within my font space) using a descending glyph shape for the capital I. But i quite like it (perhaps for that and) for the added air it imparts to the typeface and the distinct character it imparts as the leading capital in words.

typograffic, articulate and now calligraffi—three very striking yet highly legible typefaces to satisfy one’s ereading mood and visual needs. As always, YMMV.


calligraffi may be found in the opencaps folders of the quasi mono repos.

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