In your hiding, you're alone. Kept your treasures with my bones.crawl somewhere bettermore quotes

# type: fun

In Silico Flurries: Computing a world of snow. Scientific American. 23 December 2017

# Snellen Optotype Font with Upper and Lowercase characters

In the process of designing my Snellen Eye Chart typographical posters, I came across the Snellen font by Andrew Howlett. I wasn't happy with all the letters, so I made attempts at giving the font an update.

Not being a font designer, I will likely get myself into trouble.

## snellen chart posters

While making my Snellen chart series, I entered the rabbit hole of optotype fonts ... and I can't get out!

A technically accurate Snellen chart using four genetic bases A T G C rendered as optotypes. The chart begins with the start codon ATG and ends in the stop codon TGA, which appears only once in the chart. Print at 16 in × 24 in. (BUY ARTWORK)
A technically accurate Snellen chart using the nautical flag alphabet rendered as optotypes. Print at 16 in × 24 in. (BUY ARTWORK)

The charts don't necessarily use the latest version of my Snellen font design, which fluctuates as my mood about some of the letters changes.

## optotype fonts

The optotype requirement is that letters be designed on a 5 × 5 grid, and have constant stroke width. This means that both lower and upper case letters need to share the grid and stroke. To stay compatible with the eyechart paradigm, letters should be as obvious as possible.

Lorrie Frear's article What are Optotypes? Eye Charts in Focus is a great read about optotypes and eye charts.

## Snellen Optotype Letter Design

### uppercase

The uppercase letter design uses Herman Snellen's original chart as inspiration.

I have modified the design by Andrew Howlett (see below) for some letters. All the changes are relatively minor: more serifs and consistent stroke width for bars on R and K.

### lowercase

The lowercase characters should be considered experimental.

The progress of my redesign is shown below. I would greatly appreciate feedback and suggestions!

The distribution contains both Andrew's version and my redesign.

#### version 7.1 — 4 Jun 2017

Tidied all letter forms with Fontlab 6.

Snellen optotype font (version v7.1 4-jun-2018) that includes both upper and lower case characters, along with most punctuation and some symbols. Based on design by Andrew Howlett. (zoom, download Snellen optotype font)

#### version 7 — 6 Feb 2017

Fixed g and e. Thanks to Makeesha Fisher for suggestions.

Snellen optotype font (mk.v.7). Original design by Andrew Howlett (left) and my redesign (right), which includes both upper and lowercase letters as well as digits and symbols. (zoom, download Snellen optotype font)

#### version 6 — 5 Feb 2017

Adjusted serifs on f, j, l, o, t to extend the full width of the grid. Added a lot more symbols.

Snellen optotype font (mk.v.6). Original design by Andrew Howlett (left) and my redesign (right), which includes both upper and lowercase letters as well as digits and symbols. (zoom, download Snellen optotype font)

#### version 5 — 4 Feb 2017

Snellen optotype font (mk.v.5). Original design by Andrew Howlett (left) and my redesign (right), which includes both upper and lowercase letters as well as digits and symbols. (zoom, download Snellen optotype font)

#### version 4 — 23 Feb 2017

Snellen optotype font (mk.v.4). Original design by Andrew Howlett (left) and my redesign (right), which includes both upper and lowercase letters as well as digits. (zoom)

#### version 3 — 22 Feb 2017

I'm exploring the lowercase characters. I don't know what I want to do with them. Make this into a more standard font in which lowercase letters are smaller, so that letters can fit their roles clearly when text is set in sentence case, or fill out the full optotype grid.

Snellen optotype font (mk.v.3). Original design by Andrew Howlett (left) and my redesign (right), which includes both upper and lowercase letters. (zoom)

#### version 2 — 22 Feb 2017

Flushed out some inconsistencies in the uppercase characters. Added serifs to more letters.

Now all the letters occuppy the full 5 × 5 grid, including the I, whose serifs were widened to allow this. While this new uppercase I isn't as pretty as the old one, it makes the entire typeface more consistent to its optotype roots.

Still struggling with the G. In the original version, the descending stroke was cut off in the middle of a grid, which I didn't like.

The S has been fixed—thanks to Elanor Lutz for feedback.

I've color coded the characters slightly differently, drawing attention to ones that I feel need more thought.

The lowercase characters aren't color coded (yet) because ... most of them need help. Primarily, I'm vacillating between making them fill the full size of the 5 × 5 square, just like the uppercase characters, and keeping them confined to a 4 × 4 square, which incurs loss of legibility. If I make the letters the same size, it will be impossible to distinguish lowercase and uppercase characters some cases (e.g. c, i). Perhaps this is desired?

Snellen optotype font (mk.v.2). Original design by Andrew Howlett (left) and my redesign (right), which includes both upper and lowercase letters. (zoom)

#### version 1 — 22 Feb 2017

First attempt at lowercase characters.

Snellen optotype font (mk.v.1). Original design by Andrew Howlett (left) and my redesign (right), which includes both upper and lowercase letters. (zoom, download font)
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# Molecular Case Studies Cover

Fri 06-07-2018

The theme of the April issue of Molecular Case Studies is precision oncogenomics. We have three papers in the issue based on work done in our Personalized Oncogenomics Program (POG).

The covers of Molecular Case Studies typically show microscopy images, with some shown in a more abstract fashion. There's also the occasional Circos plot.

I've previously taken a more fine-art approach to cover design, such for those of Nature, Genome Research and Trends in Genetics. I've used microscopy images to create a cover for PNAS—the one that made biology look like astrophysics—and thought that this is kind of material I'd start with for the MCS cover.

Cover design for Apr 2018 issue of Molecular Case Studies. (details)

# Happy 2018 $\tau$ Day—Art for everyone

Wed 27-06-2018
You know what day it is. (details)

# Universe Superclusters and Voids

Mon 25-06-2018

A map of the nearby superclusters and voids in the Unvierse.

By "nearby" I mean within 6,000 million light-years.

The Universe — Superclustesr and Voids. The two supergalactic hemispheres showing Abell clusters, superclusters and voids within a distance of 6,000 million light-years from the Milky Way. (details)

# Datavis for your feet—the 178.75 lb socks

Sat 23-06-2018

In the past, I've been tangentially involved in fashion design. I've also been more directly involved in fashion photography.

It was now time to design my first ... pair of socks.

Some datavis for your feet: the 178.75 lb socks. (get some)

In collaboration with Flux Socks, the design features the colors and relative thicknesses of Rogue olympic weightlifting plates. The first four plates in the stack are the 55, 45, 35, and 25 competition plates. The top 4 plates are the 10, 5, 2.5 and 1.25 lb change plates.

The perceived weight of each sock is 178.75 lb and 357.5 lb for the pair.

The actual weight is much less.

# Genes Behind Psychiatric Disorders

Sun 24-06-2018

Find patterns behind gene expression and disease.

Expression, correlation and network module membership of 11,000+ genes and 5 psychiatric disorders in about 6" x 7" on a single page.

Design tip: Stay calm.

An analysis of dust reveals how the presence of men, women, dogs and cats affects the variety of bacteria in a household. Appears on Graphic Science page in December 2015 issue of Scientific American.

More of my American Scientific Graphic Science designs

Gandal M.J. et al. Shared Molecular Neuropathology Across Major Psychiatric Disorders Parallels Polygenic Overlap Science 359 693–697 (2018)