Ross Duncan interviews Daniel Britton- Creator of Alphabet ‘Dyslexia Typeface’

 The objective and beauty of art is the ability to communicate. But what happens if an art creator has gone out of their way to make something that not only looks unusual but also successfully does it in a number of mediums. 

Picasso was a prolific master craftsman who was able to incorporate many of his own ideas in how he saw things. As child, he was labelled “reading blind” and “having difficulty differentiating the orientation of the letter”, something that was problematic for him for the rest of his life. Depending how you look at it, and what generation you come from, many would see this as a potential problem. However, it is claimed by scientists at Middlesex University that Picasso’s success may have been down to dyslexia.

Thanks to modern technology, the race to be the first person to land on the moon has been won.  However, the race to find a way in which to simulate and to better understand how and what a child with a visual stress issue can see, an issue many dyslexic people experience, has already got a major boast but not with help of technology.

Daniel Britton was a student with dyslexia and as part of a project at The London College of Communication, he created the revolutionary ‘Dyslexia Typeface’. Being able, in part, to reproduce an art form to show what a child with visual stress sees when looking at letters of the alphabet was the reason behind ‘Dyslexia Typeface’.  More importantly, it was meant to raise awareness. The ‘Dyslexia Typeface’ aims to make each letter of the alphabet ‘illegible’.  It aims to give the non-neurodiverse person an opportunity to see, without explanation, what it is like for a child who struggles to visually process language. The ‘Dyslexia Typeface’ deliberately slows down reading speed to create a level of anxiety which is meant to mirror what some people with visual stress feel when they try to read.

Such was the success and interest of the ‘Dyslexia Typeface’, Daniel decided to raise money for a project to market the ‘Dyslexia Typeface’ globally, to make up packs for primary and secondary children.  The reasoning behind the packs was to improve understanding and enhance education for dyslexic children of all ages.

Ross Duncan

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