Poetry is just the evidence of life. If your life is burning well, poetry is just the ashburn somethingmore quotes

EMBO Practical Course: Bioinformatics and Genome Analysis, 5–17 June 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 — 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)
VIEW ALL

# Happy 2017 $\pi$ Day—Star Charts, Creatures Once Living and a Poem

Tue 14-03-2017

on a brim of echo,

capsized chamber
drawn into our constellation, and cooling.
—Paolo Marcazzan

Celebrate $\pi$ Day (March 14th) with star chart of the digits. The charts draw 40,000 stars generated from the first 12 million digits.

12,000,000 digits of $\pi$ interpreted as a star catalogue. (details)

The 80 constellations are extinct animals and plants. Here you'll find old friends and new stories. Read about how Desmodus is always trying to escape or how Megalodon terrorizes the poor Tecopa! Most constellations have a story.

Find friends and stories among the 80 constellations of extinct animals and plants. Oh look, a Dodo guardings his eggs! (details)

This year I collaborate with Paolo Marcazzan, a Canadian poet, who contributes a poem, Of Black Body, about space and things we might find and lose there.

Check out art from previous years: 2013 $\pi$ Day and 2014 $\pi$ Day, 2015 $\pi$ Day and and 2016 $\pi$ Day.

# Data in New Dimensions: convergence of art, genomics and bioinformatics

Tue 07-03-2017

Art is science in love.
— E.F. Weisslitz

A behind-the-scenes look at the making of our stereoscopic images which were at display at the AGBT 2017 Conference in February. The art is a creative collaboration with Becton Dickinson and The Linus Group.

Its creation began with the concept of differences and my writeup of the creative and design process focuses on storytelling and how concept of differences is incorporated into the art.

Oh, and this might be a good time to pick up some red-blue 3D glasses.

A stereoscopic image and its interpretive panel of single-cell transcriptomes of blood cells: diseased versus healthy control.

# Interpreting P values

Thu 02-03-2017
A P value measures a sample’s compatibility with a hypothesis, not the truth of the hypothesis.

This month we continue our discussion about $P$ values and focus on the fact that $P$ value is a probability statement about the observed sample in the context of a hypothesis, not about the hypothesis being tested.

Nature Methods Points of Significance column: Interpreting P values. (read)

Given that we are always interested in making inferences about hypotheses, we discuss how $P$ values can be used to do this by way of the Benjamin-Berger bound, $\bar{B}$ on the Bayes factor, $B$.

Heuristics such as these are valuable in helping to interpret $P$ values, though we stress that $P$ values vary from sample to sample and hence many sources of evidence need to be examined before drawing scientific conclusions.

Altman, N. & Krzywinski, M. (2017) Points of Significance: Interpreting P values. Nature Methods 14:213–214.

Krzywinski, M. & Altman, N. (2017) Points of significance: P values and the search for significance. Nature Methods 14:3–4.

Krzywinski, M. & Altman, N. (2013) Points of significance: Significance, P values and t–tests. Nature Methods 10:1041–1042.

# Snellen Charts—Typography to Really Look at

Sat 18-02-2017

Another collection of typographical posters. These ones really ask you to look.

Snellen charts designed using physical constants, Braille and elemental abundances in the universe and human body.

The charts show a variety of interesting symbols and operators found in science and math. The design is in the style of a Snellen chart and typset with the Rockwell font.

# Essentials of Data Visualization—8-part video series

Fri 17-02-2017

In collaboration with the Phil Poronnik and Kim Bell-Anderson at the University of Sydney, I'm delighted to share with you our 8-part video series project about thinking about drawing data and communicating science.

Essentials of Data Visualization: Thinking about drawing data and communicating science.

We've created 8 videos, each focusing on a different essential idea in data visualization: encoding, shapes, color, uncertainty, design, drawing missing or unobserved data, labels and process.

The videos were designed as teaching materials. Each video comes with a slide deck and exercises.