This study, supported by the Audi Design Foundation, formed the final year of a three-year investigation into the relationship between dyslexia and typography. Frensch, who is herself dyslexic, began it while studying for her MA in Communication Art and Design at the Royal College of Art. There are two million severely dyslexic individuals in Britain.
Much has been done in the field of computer software, particularly for children, but relatively little design research has been carried out in the area of type design.
Frensch began by experimenting with hand-drawn letterforms that were independent in character and could be easily distinguished from each other by dyslexics. The project developed through a programme of user research from which a new typeface emerged. This was then exhaustively tested, amended and improved, leading to the introduction of Read, a family of three new typefaces.
This case study demonstrates how significant improvements in ease of reading for dyslexics can result from relatively straightforward but carefully- researched typeface enhancements. An accompanying limited edition book has been produced in English and Dutch and a website (www.readregular.com) introduced to promote the typeface and explain its development.
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Dyslexia, typography, typefaces, reading difficulties, inclusive design
