Background According to our previous study, Thai Typefaces (Part 1): Assumption on Visibility and Legibility Problems, we examined underlying stages in the visibility and legibility matters of the Thai typefaces where the results have provided the assumption for developing the glyphs of the Thai universal design font (UD font). However, studying the visibility and legibility of Roman letters has still been a necessity, as it represents the international language. Developing high visibility and high legibility of the Roman typeface is requisite for supporting the Thai UD font as well.
A Otf Morisawa Ud Font 23
Methods The current study qualitatively initial tested the tolerance of Roman characters under blurred conditions. We applied seventy Roman fonts in the form of 'The Internal Relationship of Letters in the Feature Comparison Theory' in the same x-heights as stimuli, which simulated the low visual acuity at different blur levels.
Results The simulated condition suggests significant advantages and disadvantages of each Roman type concerning visibility and legibility. The results improved ideas and possible solutions, which may assist with the approach of designing high-performance Roman letterforms that contribute to the Thai UD font as a Roman character set.
Conclusions In order to improve the visibility and legibility of the Roman letterforms toward a UD font, the current pilot study conducted an investigation via blurred Roman types. The study revealed the advantages and disadvantages of several Roman letterforms, which suggest approaches to developing the Roman characters actively in low visual acuity conditions. The improvement involves manipulating the counter space of the Roman types and considering the letter key features.
In Japan, awareness of Universal Design is enormous and quite extensive in every field of design. On the discipline of inclusive typeface design, notable examples of the Japanese Universal Design fonts were initiated by Iwata Corporation in association with Panasonic Corporation, which developed a font based on scientific evidence. Iwata' UD font was released in December 2006 as the first UD font for use as a corporate font of Panasonic Corporation (Ryu, 2015; Panasonic, 2017). Besides, Morisawa Inc. (including TypeBank Company) produced a Japanese UD font series, which has been proven through its performance with blur tolerance (Morisawa Inc., n.d.). There is also the FA UD Gothic font by NEC Corporation (NEC Corporation, n.d.), which was designed and tested in matters of readability, visibility, legibility, and display adequacy (Hakamada et al., 2011). These are examples of a new context of typeface legibility investigation in cooperation with academic designers and researchers who have been developing typefaces as test material and conducting experiments that employ evaluation methods by psychophysical scientists.
In order to examine the legibility of a typeface, most psychological studies have focused on a few typefaces. For instance, some quantitative research (as mentioned above) tested the comparative legibility of a single font, or at least two different typefaces, e.g., the serif and sans serif fonts. However, no study has inclusively investigated the performance of various Roman typeface categories at the same time. According to Punsongserm, Sunaga, and Ihara (2017), the existence of qualitative research as an initial study is an effective way of preliminary verifying and defining certain assumptions, and suggesting avenues for further research. The current study has sustained this opinion.
To simulate the conditions of low visual acuity, Arai et al. (2010), Legge, Pelli, Rubin, and Schleske (1985), and Nakano et al. (2010) employed a wide view ground glass filter. Also, Hakamada, Ohya, Sakai, Sakurada, and Tomomi (2011), Panasonic Corporation (2019), and Waleetorncheepsawat, Pungrassamee, Ikeda, and Obama (2013) applied pseudo-cataract experience goggles. Besides, Yamamoto & Yamamoto (2000) applied the blur simulation by computer software for testing the performance of Japanese fonts, while Punsongserm et al. (2017) used this method for examining the underlying stages in the legibility and visibility of various Thai typefaces.
Likewise, the study of Punsongserm et al. (2017) simulated the low visual acuity conditions of the Gaussian blur filter by blurring the selected Roman fonts using the Gaussian blur effect on Adobe Illustrator CC, Windows 7. In current study, the levels of blur were defined to 6, 8, and 10 pixels (i.e., the standard deviation of Gaussian function: 2.08, 2.78, and 3.47 mm, respectively) for the x-height of 2.5 mm (7.087 pixels), and 12, 15, and 18 pixels (i.e., standard deviation of Gaussian function: 4.17, 5.21, and 6.25 mm, respectively) for the x-height of 5 mm (14.173 pixels). The blur levels were approximately proportional to the x-heights.
In contrast, it seems that the capitals /Q/ in the group of Gothic Sans, such as New Gothic (Q10) and Whitney (Q11), as well as A-OTF UD Shin Go Pro (Q9), had a lower visibility, but with inferior capitals /Q/ among the group of the serif font. In other words, /Q/, of New Gothic, a tail that was drawn from its inner-counter, did not contribute for better visibility. /Q/ of Whitney and Gill Sans MT (Q14) exhibited a black spot at the connected corner because they were excessively short for their diagonal right tails. Besides, /Q/ of the ITC Lubalin Graph (Q13) was obscured within its counter.
The visibility problems of characters /C, c/ are also involved in the issue of legibility intimately. A negative space (counter) is significant for the character /C, c/; therefore, defining the aperture magnitude as much as possible would improve the character /C, c/ in accordance with the appearance of characters /C, c/ Albertus (Cc3) and UD fonts (e.g., Cc4, Cc5, and Cc6), as shown in Figure 4.
The findings suggest that each of the different letterforms revealed shortcomings and potentiality of type characteristics for improving visibility and legibility of the Roman letterforms as a universal design font (UD font).
Freeware pixel font editor for Mac OS X by Mark Leisher. It works natively with BDF fonts, but can import Metafont PK/GF fonts. Han Bitmap Font format (HBF) fonts. Linux console (PSF, CP, and EGA/VGA) fonts. Sun VF fonts. OpenType (OTF & TTF) fonts (using
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