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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draft and proof revisited

wednesday, 17 july 2024

Kobo with draft</span> and proof fonts

serifless cell width and 1x spacing

after extensive reading with the pencil font with its ascending lower case l and descending capital I, further cell width tightening for these single stroke serifless glyphs is possible without diminishing the overall monospaced visual cadence of the font—the extended lengths of the glyphs providing a distinctive visual separation from adjacent characters.

This in turn, allows a return—after several years!—to 1x cell width spacing while still preserving adequate word spacing—no doubt, my immersion with the pencil font cultivating a visual comfort with this spacing.

double storey “a”

prior to returning to the geometric roots of the pencil font, adrift had been my default ereading font for several months for its high legibility. Replacing the hooky lower case l with the new ascending l glyph transforms the font visually with minimal loss of legibility—the ascending glyph standing out “just enough” whilst also, heightening the new glyph set’s serifless flair.

As much as i gravitate towards the simple open geometric glyph shapes of Futura like fonts, there is no doubt about the increased ease of readability that is achieved with the double storey lower case a. With the new font cell width tunings and heightened legibility, the (revised) proof font has instantly become my current default ereader font, finding that balance between stroke simplicity, flare and readability..

proof font

The draft font with its serifed capital I and standard height/descending fonts remains untouched save for the refined cell width adjustments and is reserved as a complement for page headers and footers..

draft font

As always, YMMV.

repos

These fonts 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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