There is nothing comic about dyslexia

Imagine the scene: Comic Sans, the font that's been the bane of the design world, suddenly popping up everywhere, nudging designers to step out of their comfort zones. This isn't just about getting a reaction; it's about action. Dyslexia Scotland, through its campaign, brilliantly leveraged the ubiquity of Comic Sans to craft a message that resonated on a deeper level with designers – to create fonts that are both visually appealing and dyslexia-friendly. This campaign's clever juxtaposition of a traditionally derided font with a powerful message on inclusivity shines as a beacon of creativity and empathy.

The initiative, rolled out during Dyslexia Awareness Month, wasn't just another marketing move. It was a call to arms, targeting top designers with a font they often dismiss to consider inclusivity in their creations. The response? A mix of surprise, appreciation, and action. Designers were invited to engage with the content, not only on social media but also in physical spaces where design thrives: from bookstores to magazine ads. The result was a conversation starter that led to more than just talks; it led to the creation and download of a new dyslexia-friendly typeface, "Inconstant Regular."

Key Takeouts:

1. Irony as a Tool for Engagement: The use of Comic Sans, typically scorned by designers, to capture attention was a strategic masterclass in using irony for engagement.

2. Action-Oriented Campaign: Beyond raising awareness, the campaign catalyzed the creation of new, inclusive fonts, showing that real change is possible.

3. Community Impact: With significant global impressions and thousands of downloads, the campaign didn't just preach inclusivity; it practiced it.

+15k downloads of Inconstant Regular, which inspired work that helps 780 million people feel more included in society.

The campaign "There's Nothing Comic About Dyslexia" transcends traditional advertising. It proves that even the most unlikely elements can become champions for change. By harnessing the ironic power of Comic Sans, Dyslexia Scotland and its partners have not only reframed a narrative but also created a ripple effect for good, proving that design can, indeed, be both beautiful and inclusive.

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• Credits

  Gabriel Mattar: European Chief Creative Officer - INNOCEAN Berlin

  Ricardo Wolff: Executive Creative Director - INNOCEAN Berlin

  Maso Heck: Head Of Art - INNOCEAN Berlin

  Anna Berlin: Associate Creative Director - INNOCEAN Berlin

  Andrés Andrade: Associate Creative Director - INNOCEAN Berlin

  Julia Sachse: Senior Designer - INNOCEAN Berlin

  Noha Fahmy: Senior Copywriter - INNOCEAN Berlin

  Elise Chastel: Designer - INNOCEAN Berlin

  Paula Santos: Designer - INNOCEAN Berlin

  Odile Breffa: Senior Creative Strategist - INNOCEAN Berlin

  Mark Preston: Business Director - INNOCEAN Berlin

  Valeria Preisler-Vogel: Producer - INNOCEAN Berlin

  Marcelo Pignatari: Associate Creative Director - INNOCEAN Berlin

  Ellie Botwood: Public Relations - BOT Inc.

  Ragnar Schmuck: Photographer Stills - Freelancer

  Daniel Brokstad: Design & Creative Direction - Brokstad Studio

  Nika Belskaia: Junior Designer - Brokstad Studio

  János Hunor Vári: Junior Designer - Brokstad Studio

  Cathy Magee: Chief Executive - Dyslexia Scotland

  Katie Carmichael: Lead for Creative and Digital - Dyslexia Scotland