Key Feedback Summary:

1. Wordmark Alone Is Enough – You don't need an image; a well-crafted wordmark can carry the brand.
2. Contextual Relevance – You're working with the London Underground, so find bright, subtle design hooks from there.
3. Typeface Doesn't Fit the Sector – Your serif font feels more suited to fashion or editorial design, not transit or accessibility.
4. Scalability – The strapline text is too small and will disappear when scaled down.
5. Neurodiverse Accessibility – Think carefully about how the font performs for dyslexic or neurodivergent readers.
6. Strongest Visual – The looped line + station circle (top right logo) stands out visually because it reflects the neurodivergent mapping experience.

What's Working Already:

• **The name “**NeuroRoutes" is clever, memorable, and meaningful.
• The concept of divergent paths: The looped line is metaphorically and visually effective.
• Clear strapline: “For Minds That Map Differently" is strong and ties the whole message together.

Typography: Choose a More Suitable Typeface

Look for a typeface that feels modern and clean, but also includes traits that are friendly to neurodiverse users.

I received some feedback suggesting it might be helpful to explore the design of the London Underground for inspiration. While I can't directly copy the existing typefaces or branding, I can take visual cues from them. By collecting typefaces used in and around the Underground, I hope to find one that subtly references transport. This should help steer the design away from the current feel, which leans more towards a restaurant or fashion magazine, and instead give it a more apparent connection to the context of travel.

The primary typeface used in and around the London Underground is Johnston, designed by Edward Johnston in 1916. It is a sans-serif font that has become iconic and instantly recognisable as a core part of the London Underground brand. Johnston was designed for maximum clarity and used extensively across signage, the Tube map, and all printed materials. Both the original and modern versions of the typeface are easily identifiable, particularly due to the distinctive shapes of letters like "n," "t," "e," "o," "J," and "s."

I could explore adapting my typeface by modifying features such as the dots above the "i" and "j," as Johnston did. This would help align my design more closely with the visual language of London transport while maintaining a unique identity.

Another option is a typeface called OpenDyslexic, a free, open-source font specifically designed to improve readability for people with dyslexia—something I explored earlier in my project. It features distinct letterforms, heavier-weighted bottoms, and increased letter spacing to help reduce letter flipping and confusion, thereby supporting easier reading. The font is continually updated and refined based on feedback from the dyslexic community, making it a user-informed and evolving solution.

I initially chose not to use Swan because of its overall aesthetic—I didn't feel it visually aligned with the direction of my project. However, I didn't fully consider how the design principles could influence my typeface. One key feature of Swan is how it alters letterforms by making the bottoms heavier and thicker, while keeping the tops lighter and thinner. This design approach enhances readability for people with dyslexia. I now see the potential in applying this method to adapt my font, improving accessibility while maintaining a style that suits my visual goals better.

Creating My Typeface.