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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laft font

tuesday, 3 june 2025

version 33.x of the Iosevka font introduces an angled “top-cut” single storey lower case a in three glyph variants—serifless, serifed and tailed. The laft font introduces the tailed top-cut single storey a to the luft font.

The angled top-cut glyph is significantly more distinguishable than the standard serifless single storey a, at least to these eyes—i suspect it is due to the asymmetry of the glyph’s vertical bar, breaking the visual comparison of what would otherwise be two competing symmetrical glyph shapes a and o.

The “tail” adds to the legibility of the glyph, as well as, offering a pleasant visual “flow”, especially to the singular “a”. Several other glyph differences from the luft font are reintroduced as a cascading result whilst still maintaining the non-mirrored glyph shape emphasis of the font..

  • the rounded lower case m—being more visually complimentary with the rounded emphasis of the single storey a
  • the tailed lower case d—further replicating the visual flow of the single storey a
  • the toothless corner serifless lower case b
  • the eared serifless lower case p.

laft font

On 300 PPI eink screens, even at small font sizes, this top-cut font is highly legible—much more so than previous font sets with the serifless single storey a. The double storey luft and lift fonts still remain more legible but the added air the single storey a imparts to the page—with its third most common letter frequency and with the frequent “ea” bigram—is a refreshing reading alternative.

typeface rank readability aid readability penalty visual air
lift 1 double-storey a,
serifed I (eye)
   
luft 2 double-storey a serifless I (eye)  
laft 3   single-storey a,
serifless I (eye)
increased

My current KOReader layout setup displaces the luft font with the new laft font for its decreased visual page density (increased air) as my default font—the luxury of good visual acuity (knock on wood!). 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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