i carry your heart with me(i carry it in
my heart)i am never without it(anywhere
i go you go,my dear;and whatever is done
by only me is your doing,my darling)
                                 i fear
no fate(for you are my fate,my sweet)i want
no world(for beautiful you are my world,my true)
and it’s you are whatever a moon has always meant
and whatever a sun will always sing is you

here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud
and the sky of the sky of a tree called life;which grows
higher than soul can hope or mind can hide)
and this is the wonder that’s keeping the stars apart

i carry your heart(i carry it in my heart)

e. e. cummings © 1952

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grotesq font

sunday, 28 september 2025

early on in this dyslexic font journey, a universal grotesk font variant was created with its unique descending lower case f, aptly named grotesk whilst applying the signature non-mirrored glyph set common to the fonts created on this site.

The grotesq font adds this glyph to the lajt font with its latest edition of the non-mirrored dyslexic glyph set which, with the descending capital J, imparts a “script like” flair to the font (reminiscent of cursive descenders)..

grotesq font

NOTE: the extended lower case f artifacts as shown above, are the font viewer app’s interpretation of the glyph customizations (to extend both the stem and hook separation) and are not visible in use.

non-mirrored glyph sets

continue to be the hallmark of the dyslexic fonts developed on this site.

Two sets of non-mirrored glyphs now exist: those prior to—and including the luft and lift fonts—and those belonging to the recent quad of fonts—laft, lait, lajt and grotesq fonts—which introduced the tailed lower case a and d glyphs and the resultant alternate glyph shapes improving (IMO) their non-mirrored visual differentiation and flow.

For the lower case b d p q..

glyph grotesq font lift font
b toothless-corner toothless-rounded
d tailed toothed
p eared earless-corner
q hook-tailed hook-tailed

The non-mirrored lower case m n u remain unchanged..

glyph grotesq font lift font
m earless-rounded earless-rounded
n straight straight
u toothless-rounded toothless-rounded

distinctive glyph flares

glyph grotesq font lift font
G toothed-hookless toothed-hookless
I (eye) serifless serifed
J descending-serifless flat-hook-serifless
B P Q R open open
a double-storey-tailed double-storey-toothless-corner
f flat-hook-extended flat-hook
l (el) extended-serifless extended-serifless
t hookless-asymmetric hookless-asymmetric

Refer to the laft font for the glyph variations distinguishing the laft, lait and lajt fonts (notably the capital I and lower case a).

‧   ‧   •   ‧   ‧

This latest set of fonts with the minor tailed glyphs marks a significant departure from the prior sans serifed oriented typefaces. The fonts still reflect a sans serif slant but loosening this constraint introduces a pleasing visual flow (with imperceptible impact to the overall monospaced cell width character of the fonts) further relaxing (IMO) the visual effort to consume printed content.

The extended lower case f is reminiscent of the Universal Grotesk variants created very early on—an aesthetic return?—loosing some of the sans serifed glyphs in favour of visual flow and non-mirrored glyph shapes. Combined with the descending capital J, the subtle counterpoints to the extended lower case l render a pleasing visual (height/depth) balance to text lines.

Every typeface created, of course, quickly becomes a favourite for reading with, the nature of novelty.. but grotesq feels like a cumulative end game keeper :-)

My particular KOReader settings—font size, margins and line spacing—have elevated the grotesq font to a fiction favourite with its visual accent of occasional descenders. As always, YMMV.

repos

This font may be found on OneDrive.

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monday, 16 october 2023

still more font changes. Though, it feels like the journey has finally reached an end, near full circle to a geometric sans serif font.

While the Atkinson Hyperlegible Font played a large role in the various typefaces created here, it is the abandonment of the various hooks towards starker strokes—of the grote font—that now find favour with my ereading.

A return to the Bauhaus geometric tradition. Some glyph anchoring provided by hooked strokes is lost but added air is gained in the monospaced cells. The asymmetrical lower case t completes this minimalist expression. (Only the serifed lower case i j remain, the top serif more clearly emphasizing the glyphs’ dot).

While a somewhat stark font, i have found it to be a highly legible font, seemingly easier to read at speed—due to its air and minimalist glyph shapes which lessen the visual effort. (The web font here differs with the vertical crossing capital Q due to the lower resolution of computer monitors).

It has been a year of changes under this visual surface. A move to Alpine Linux for the server and development platforms. And to Helix from the Vim editor—this may not seem like much, but for someone who has written with Vim forever for everything, it is a huge shift (welcome in the change it brings with its unfamiliarity and new tricks to learn). A good year of changes.

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