resources
visualizations
presentations
lunch break
Distractions and amusements, with a sandwich and coffee.
Fonts + Design
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. I call this redesign "Snellen MK", to avoid conflict with Howlett's "Snellen".
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!
buy artwork
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!
Download SnellenMK Optotype Font
The distribution contains both Andrew's version and my redesign.
v7.002 11-Jul-2019 — Download SnellenMK optotype font
version v7.002 11-Jul-2019
Tidied all letter forms with Fontlab 6.
version 7 — 6 Feb 2017
Fixed g and e. Thanks to Makeesha Fisher for suggestions.
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.
version 5 — 4 Feb 2017
Added lowercase, digits and symbols.
version 4 — 23 Feb 2017
Adding digits.
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.
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?
version 1 — 22 Feb 2017
First attempt at lowercase characters.
VIEW ALL
news + thoughts
Cover of Nature Genetics August 2020
Our design on the cover of Nature Genetics's August 2020 issue is “Dichotomy of Chromatin in Color” . Thanks to Dr. Andy Mungall for suggesting this terrific title.
The cover design accompanies our report in the issue Gagliardi, A., Porter, V.L., Zong, Z. et al. (2020) Analysis of Ugandan cervical carcinomas identifies human papillomavirus clade–specific epigenome and transcriptome landscapes. Nature Genetics 52:800–810.
Poster Design Guidelines
Clear, concise, legible and compelling.
The PDF template is a poster about making posters. It provides design, typography and data visualiation tips with minimum fuss. Follow its advice until you have developed enough design sobriety and experience to know when to go your own way.
The SEIRS model for infectious disease dynamics
Realistic models of epidemics account for latency, loss of immunity, births and deaths.
We continue with our discussion about epidemic models and show how births, deaths and loss of immunity can create epidemic waves—a periodic fluctuation in the fraction of population that is infected.
This column has an interactive supplemental component (download code) that allows you to explore epidemic waves and introduces the idea of the phase plane, a compact way to understand the evolution of an epidemic over its entire course.
Bjørnstad, O.N., Shea, K., Krzywinski, M. & Altman, N. (2020) Points of significance: The SEIRS model for infectious disease dynamics. Nature Methods 17:557–558.
Background reading
Bjørnstad, O.N., Shea, K., Krzywinski, M. & Altman, N. (2020) Points of significance: Modeling infectious epidemics. Nature Methods 17:455–456.
Gene Machines
Shifting soundscapes, textures and rhythmic loops produced by laboratory machines.
In commemoration of the 20th anniversary of Canada's Michael Smith Genome Sciences Centre, Segue was commissioned to create an original composition based on audio recordings from the GSC's laboratory equipment, robots and computers—to make “music” from the noise they produce.
Virus Mutations Reveal How COVID-19 Really Spread
Genetic sequences of the coronavirus tell story of when the virus arrived in each country and where it came from.
Our graphic in Scientific American's Graphic Science section in the June 2020 issue shows a phylogenetic tree based on a snapshot of the data model from Nextstrain as of 31 March 2020.
