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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adrift font

sunday, 25 february 2024

following hot on the recent cell width tunings for the serifless capital I and lower case l, comes the adrift font with cell width adjustments for the lower case hooked glyphs..

adrift font

adrift is essentially the drift font with the descending capital I unique to the typefaces produced on this site—its name at six characters to differentiate it from the regular I cap height of the other fonts in my rotation.

The descending capital I adds an anchor point to the font and makes the letter stand out even more, especially in first person narratives. In headings it takes some getting used to—but each to their own.

More importantly..

cell widths

as an advocate of monospaced fonts for the uniform visual cadence they provide for reading, glyph set combinations have largely settled down in this exploration of high readability fonts using non-mirrored asymmetric glyph shapes.

This culminated in the base set of fonts drift, draft, stria and patio. With glyph sets combinations having possibly come to an end(!), attention has returned to the visual density of these (largely) monospaced fonts.

With the subtle refinement offered by the extended width upper and lower case M W and the narrowed width of serifless capital I and serifless lower case l, serifless and hooked glyph spacing for combinations of the lower case i and l began to stand out more. Thus, the following cell width adjustment for the above fonts..

font 0.85x 0.925x (new) 1.25x
adrift descending capital I hooked i j l M m W w
drift serifless capital I hooked i j l M m W w
draft serifless l hooked i j M m W w
stria serifless capital I hooked i j tailed l M m W w
patio serifless l hooked i j M m W w

These subtle cell width adjustments render a more uniform visual density while maintaining the overall visual cadence afforded monospaced fonts (perhaps marking the conclusion of this font journey! :)

The proportions are derived purely from visual experimentation at the very small font sizes i happen to read at. Future eye sight requirements for reading at larger font sizes may necessitate revisiting the values applied.

drift font on Oasis

repos

These cell width adjusted fonts may be found on OneDrive.

The previous font sets have been moved to the “archive” folder.

Kindle specific fonts with wider line spacing adjustments (to accommodate Kindle’s limited layout control) are no longer generated—finally jail broke my Oasis and installed KOReader. These fonts may still be used on Kindles, just limited to the devices’ line spacing options.

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hiding

thursday, 22 february 2024

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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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