In recent years, the intersection of typography and accessibility has evolved from a niche concern into a central design challenge, especially in the publishing of sacred texts. Among the most ambitious contributions to this field is The Grace Project, developed for dyslexia-friendly Bibles and New Testament editions, where both the Grace Dyslexic Typeface and its associated Grace Design and Layout principles is applied.

Positioned at the crossroads of readability research, typographic craftsmanship, and pastoral intent, The Grace Project represents a contemporary effort to rethink how the written Word can be made more accessible, without compromising aesthetic or theological integrity.

In this article, Klaus Krogh explores the ambition behind The Grace Project, its development, and its reception, particularly as reflected in reader responses on platforms such as Amazon, based on previous editions published using the Grace typeface and layout principles.

Ambition: Designing for Inclusion Without Compromise
The Grace typeface emerges from a long-standing problem: traditional Bible typography is notoriously difficult to read. Dense layouts, small type sizes, and complex formatting often present barriers, not only for readers with dyslexia, but also for children, elderly readers, and anyone encountering long-form Scripture for the first time.

The ambition behind Grace is therefore twofold:

• Accessibility – to support readers with dyslexia and visual processing challenge
• Universality – to create a typeface that improves readability for everyone, not just a specific group

This dual ambition distinguishes Grace from earlier dyslexia-oriented typefaces such as OpenDyslexic or Dyslexie. While those fonts often signal their function through highly distinctive (and sometimes controversial) letterforms, Grace seeks a quieter integration, embedding accessibility within a more traditional typographic voice.

Importantly, this ambition is not merely technical, but also theological and pastoral. Making Scripture more readable is framed not as a convenience, but as a form of inclusion, ensuring that the act of reading the Bible is not hindered by avoidable design barriers.
 

Development: Typography Meets Cognitive Research
The Grace typeface was inspired by publisher Sarah Grace, designed by 2K/Denmark, and informed by discussions with the University of Cambridge. 

Its design reflects several principles commonly associated with dyslexia-friendly typography:

• Distinct letterforms to reduce confusion between similar characters
• Clear, simplified shapes that avoid unnecessary ornamentation
• Strong baseline stability to support visual tracking
• Increased spacing between letters, words, and lines
• Avoidance of alternative letterforms such as italics and bold
• Avoidance of secondary references such as footnotes and cross-references
• Inclusion of blank lines to create shorter, more manageable paragraphs

These principles reflect broader developments in dyslexia research, where the focus has shifted from “fixing” reading difficulties to optimizing the reading environment. 

However, unlike some earlier approaches, Grace does not rely on exaggerated asymmetry or heavy bottom-weighting. Instead, it strives for balance, retaining the dignity and neutrality expected in Bible typography.

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