The 14th Suzuki Magazine Design

2004.09.13

Charm of Tsukushi Mincho

Book designer Mr. Ichizuki Suzuki, who is not only a designer but also a designer of the whole book including the Text. We have been enthusiastically using "Tsukushi Mincho" and "Min Min Chikushi" in numerous magazines and books, including "Quarterly d/SIGN," which is responsible for editing with Tsutomu Toda. Sharply read the characteristics of the typeface in the book design and develop a skillful typesetting layout.... Mr. Suzuki deeply sought to talk about the charm of Tsukushi Mincho as seen from Mr. Suzuki.

Third generation of digital fonts Mincho ...... soft to the eyes.

Now it's the third generation of digital fonts. The first generation is Ryumin, the second generation is Hiragino, the third generation is Tsukushi Mincho, and the reason why it is the third generation is soft. Where softness comes from is guessed from the user side, but at the time of typesetting, there was "blurring" and "blurring" in the process of printing and developing the dial with light. However, it is disappearing when it is a digital font. I think that the output of photographic paper was still overwhelmingly large in the first generation, but it also decreased with the times and became film output, and now it is CTP output. Data reproducibility has become one-to-one correspondence. On the way, uncertainties such as “blurring”, “blurring”, and “blurring” disappeared.

Significance of the demand for the third generation Mincho

The resolution on the output side is increasing, just as the resolution of digital cameras is increasing. In the old days, the output of photographic paper was 1200dpi (although the world of computer typesetting is still 1200dpi), but when it reached 2400 and reached 3600, there was no intervening process and the resolution increased As it is, it is becoming visible to readers.

I think it can be said that it is represented by the Heisei-Mincho, etc., but the first-generation anchor point-saving fonts are becoming extremely tight. To be honest, the second generation Ming Dynasty is getting a little tighter. So I think the third generation of Mincho is now being requested. There is a sign that the "blurring" or "blurring" that was originally printed in the typesetting characters and prints was incorporated into the typeface design. Even from the viewer's side, at least this is true.

A letter is not a real thing, but exists as a form that resonates with the letter in the person's mind when seen. I think the third generation is where digital fonts are approaching human psychology. At the same time, I think I can say the same thing, but when I look at a book recently made by computer typesetting by Shaken, it looks dull. I feel that the "blurring" of the technology base of phototypesetting is being exposed to the contrary due to the fact that the resolution of the world has risen and has become stable. In that sense, it is a tough time. The resolution will not rise forever, and I think it will stabilize at around 2400. I suppose it is in the direction of producing output with a very high cost performance even with the 2400. For example, it is not a regular grit-shaped halftone dot based on FM screening called Fairdot plate making, but it is equivalent to 600 lines when converted to digital sand, the number of lines so far, but it seems to be stable at 2400 dpi Right. Until now, textbooks have said that it would normally be possible to use 175 lines or 3600 lines, but now it is the time when 600 lines worth of 2400 can be completely secured. Although there is no resolution war forever, when the CTP with stable cost performance at a certain resolution comes to life, the digital font design itself will become severe.

Tsukushi Mincho feeling of use

Easy-to-read ── horizontally arranged ── attractive ── proportional set of "bleeding"

That is, that Tsukushi Mincho is easy to read and is very soft feeling that I have used. And then to feel that I think we also good next set. Why? Because when you think a lot of people is next to a set-only typeface until now, I'm newspaper typeface is flat in the vertical story, so on the basis of common sense that the portrait of the typeface next set, but I wonder have challenged , Tsukushi Mincho and is easy to use lateral sets see why, I guess I'm thinking of the reversal, how people feel like Tsu flat base is not a horizontal set of'm beautiful, not you strong continuity of the transverse whether, you will feel that came out as a back-calculated.

After that I'd think to be related to the fact Tteyuu charm of "bleeding", "bleeding" is it 's attractive, is not it there is, or rather aura of like Kotodama in the vicinity of the character one character at a time (Kotodama) or. That is of Chinese numeral "one (one)" is filled beyond a certain limit and becomes a figure. However, I'm do not know me or graphic When was far in the letter When was the "one" is far Han numbers of Gothic. When you place the Chinese numeral of Gothic at the point with the last minute in the title, it becomes invisible to the character. To be recognized as a character, because the did put the sponge in a full-width between the leaves, a little there is no gap on a little raised above useless. But it was a character along with the periphery of the gap is the Tteyuu character. Tsukushi Mincho some sort of "bleeding" of charm Tteyuu of it fits in well with its aura around the character of, and say whether what has happened, maybe Text I think that I'm proportional set of the beautiful. Line length is no so long, and Japanese-English string comes out, or churning of the key parentheses, if the configuration of the terribly text is deep, multi-type the angle brackets, but it is not spree use. Then because to control the line in double-byte is becoming longer impossible. Certainly be in there is that aesthetics of the print of the full-size solid set of typesetting, that or not than you have to do a proportional set to active, when the one side there is a typesetting side request, the perceived Tsukushi Mincho proportional set of sounds it feels easy to extremely read. There are going to form a line connected to the softness of each other atmosphere.

Tsukushi Mincho Chikushi and Min Min Chikushi are the strongest combination

Tsukushi Mincho was a little single lung flight, but I think that it became the strongest combination because Minkichi Chikushi stuck. In Shaken, it's a balance like there was SHM in MM-OKL. The fact that Tsukushi Mincho is the strongest combination of Minzuku Chikushi suggests that the idea of a family that increases weight one by one is out. In a sense, the idea that Icars and other software can be used to create a family with W1, W2, and W3 engraved in a sense. Chikushi Find Min is a single typeface even if there are A and B, so I feel that the age of a single typeface has come. I think it was quite big to be not a family. As an idea of the way of thinking.

Chikushi has a big text face, I feel like the body is full. At the same point, when Minami Chikushi and Tsukushi Mincho are assembled, Minen Minami looks small. Because it is thick, the skeleton line of the character goes inside. Announcements may be needed. If it looks the same size, it doesn't look the same size without using Mined Min. After that, when using Chikushi Minedo Min, it seems that some adjustment is required. To use it for the title of a book, etc., the designer should manage that character by character, so it doesn't matter. It is absolutely necessary to look up and to the left because the optical illusion occurs when you put them together or combine the upper and lower strings. If there is such a difference between the thin part and the thick part, it would be inevitable.

Tsukushi Mincho is the CTP era Mincho

Tsukushi Mincho can be said to be the Mincho in the CTP era. The horizontal drawing is relatively solid and soft to the eyes. What I would like to hope for as a user is that Weight has a different appearance depending on the type of CTP. It is totally unknown how the character Weight is secured by combining various types of CTP of resin version and CTP baked from negative. It is being deployed nationwide in a scattered state. Even though I used the weight M in the Mincho style before, it looks like only L. It would have been nice to raise the weight by one if it was so thin...it's a festival after that, no matter what. I think it would be nice if the manufacturer could give us some information as well. What do you do with compatibility with CTP? Unlike in the past, CTP does not have a printing plate, so it is not possible to adjust the printing, so at the very least there is only a way to hit the ink level. It's also in the catalog. Tsukushi Mincho-LB may be good when the printing plate tends to be thin. Shouldn't you advertise more?

Fontworks is a manufacturer like a manufacturer

Please stay violent at Fontworks. It feels like we haven't decided on a majority decision. I feel that the designer is relying on his own sensitivity. It is a typeface by a single person. Others often make fonts at meetings. When it comes to making fonts, it's much more crappy, rampage-like, and Kyushu-like compared to Kojiyou Kobo. I'm a fan of Nintendo movies, so even if I say "Yakuza" or "Kyushu", it's a functional aesthetic. I think they are aiming for the same place, but the finish is completely different. There is a place where the character Yubo workshop is well organized, and Fontworks seems to be popping up. But I wonder if that's going well, Mind Chikushi. I think it's hard to do that much. Now, the flow is a reprint of metal type. In the case of Fontworks, it's obviously a new work. And the old taste is revived modernly. If you follow the shadows of the old days, there is a yield and there is only 7 or 8 so it can be said that if Fontworks is popped up, it will hit the things that the times demanded quite a bit. I think Fontworks is a manufacturer. I don't think it's in good shape.
＜ Editor's note ＞

Mr. Suzuki's office is a silver dome-shaped building that creates a unique atmosphere in a quiet residential area. Not to mention the appearance, I was overwhelmed by the large number of books lined up on the bookshelf on the inner wall. From the perspective of a book designer, I received a lot of attention from various aspects such as typeface design, what fonts should be, how information should be provided, and I felt that I should develop together with customers as a font maker. We will continue to develop and disseminate LETS and new typefaces in addition to the "Chikushi series", while referring to the opinions of designers.

＜ profile ＞
Born in Tokyo in 1950. Book designer.
While studying at Tokyo Zokei University, studied under Kohei Sugiura. Independence in 1985. From the book design to the center of my work, I reach the present.
He put forward a "Chiezo" trial as a part of widely disseminating the importance of layout and format while focusing on the Text design along with the dressing.
December 1996 "Pagination Manual" was announced.
Authors include "The Birth of the Screen" (Misuzu Shobo) and "Page and Power" (Seidosha). Major design tasks include "all records of Showa 20,000 days" (Kodansha), "Japan An Illustrated Encyclopedia English Japanese Dictionary", "Memory of the series 20th century" (Mainichi Shimbun), "Japan Almanac" (Asahi Shimbun) Company) "Daijisen" (Shogakukan) and others.