Advertisement

Design and Communication

  • Federico Alfonsetti
  • Uberto Cardellini
Conference paper
Part of the Advances in Intelligent Systems and Computing book series (AISC, volume 824)

Abstract

Visual Communication: We read almost as often as we breathe and reading is the main communication vehicle. We read to study, work, obtain information, for pleasure, and on all media: from paper to screens… and even road signs.

Reading, like any other human activity, involves the use of energy and if we can’t decipher the written word in a fluid and immediate way, reading becomes a struggle and leads to asthenopia. The eye muscles, used first in the process to transform the image into information that can be perceived by the human brain, are strained causing typical clinical symptoms: red, sore or watery eyes, double vision. The font is the transmission belt between the text and the reader and when it is easy to read all our energy can be spent in understanding the content.

Design for All: The EasyReading font project was originally conceived to make reading easier for people with dyslexia - which affects an estimated 10% of the world’s population, i.e., about 750 million people. During its development, inspired by the ideas of the maestro Bruno Munari, the concept was transformed as a broader Design for All approach was adopted. The difficulties encountered by dyslexic readers were thus seen as an opportunity to design a font that could make reading easier for everyone. Hence it became an inclusive project.

Recognitions: At international level, EasyReading is the only font to have been described by an autonomous and independent scientific study, conducted by Christina Bachmann (Clinical Psychologist and Psychotherapist), as “A valid compensatory tool for readers with dyslexia and a facilitating font for all categories of readers”.

It has received a positive opinion from the Italian Dyslexia Association (AID) for its specific graphic characteristics that are useful in facilitating reading by those with dyslexia problems.

For its innovative design, it has been granted financial incentives by the Italian Ministry of Economic Development, through the Italian Value Foundation, Permanent Exhibition of Made in Italy and Italian Design.

Work in Progress: In 2018, the new “EasyReading Pro” version will be released which, in addition to the Latin alphabet, will include the Cyrillic, Greek (ancient-modern) and Coptic alphabets.

Keywords

Ergonomics Design for all Characters Font Dyslexia Legibility Usability 

Notes

Acknowledgments

Christina Bachmann, Emma Bagnato, Enzo Bartolone, Eva Benso, Marco Canali, Anna Gallino, Rosanna Leonardis, Lauro Mengheri, Nino Truglio.

References

  1. 1.
    Wiholm C (2006) Advanced knowledge work and stress-related symptoms. Acta Universitatis Uppsaliensis, UppsalaGoogle Scholar
  2. 2.
    Bagnato E, Eur Erg. MD, ASA GroupGoogle Scholar
  3. 3.
    Leonardis R: Ophthalmic SurgeonGoogle Scholar
  4. 4.
    Munari B (1968) Design e comunicazione visiva. Laterza, Bari, p 72Google Scholar
  5. 5.
    NABA (Nuova Accademia di Belle Arti Milano): Bruno Munari, 40 anni di design. Semplicità senza tempo, (Interview with), video. http://www.youtube.com/watch?v=nZdwVKmZBmw (0:40)
  6. 6.
    Online version of the Treccani Encyclopaedia, 26 April 2018: Bruno Munari, Italian designer, sculptor and writer (Milan 1907–Milan 1998). Considered one of the greatest protagonists of art, design and graphics of the 20th century […]Google Scholar
  7. 7.
    Stella G, (Lecturer in Clinical Psychology at the University of Modena and Reggio Emilia) (2017) La dislessia. Il Mulino, BolognaGoogle Scholar
  8. 8.
    Stein J (2018) What is developmental dyslexia? US NCBI NLM NIHGoogle Scholar
  9. 9.
    Favero G. (Curated by) (1969) Incontri con Bruno Munari, video, 2:42–2:56. www.youtube.com/watch?v=1VDleiU47bs
  10. 10.
    Munari B (1981) Da cosa nasce cosa, Laterza, Bari, p 61Google Scholar
  11. 11.
    Munari B (1968) Design e comunicazione visiva. Laterza, Bari, p 13Google Scholar
  12. 12.
    Pelli et al (2007) define the visual span through the construct of the crowding effect. Therefore, the visual span is the maximum number of letters that can be read on one fixation without any crowding effect. The visual span is the number of letters, arranged side by side as in text, that can be recognised accurately without moving the eyes. This span is inversely proportional to eccentricity (distance from the centre)Google Scholar
  13. 13.
    Translated from english by the author: Original title: Può un font essere uno strumento compensativo per i lettori con Dislessia? The research was published in the scientific journal: Dislessia. Giornale italiano di ricerca clinica e applicativa (No. 3/2013). Centro Studi Erickson, TrentoGoogle Scholar
  14. 14.
    Brain Sciences (2018) 8(5):89. Mpdi, Basel. http://www.mdpi.com/2076-3425/8/5/89/html#

Copyright information

© Springer Nature Switzerland AG 2019

Authors and Affiliations

  1. 1.Designer Chairman EasyReading Multimedia SrlTurinItaly
  2. 2.External Consultant EasyReading Multimedia SrlTurinItaly

Personalised recommendations