This time, Mr. Shimizu, the representative of Malp Design, who designs more than 400 books a year, and Mr. Sano, who works together, talked about how to select typefaces and how they are used.

Malp Design Co., Ltd. is a company that mainly designs books.

Based on the idea that we want to provide what we can do, we have a gallery inside our office, and we plan and produce exhibitions at the request of outside galleries and design at the request of educational institutions. I am also focusing on lectures and workshops for those involved in illustration.

When I encountered "LETS", I often thought "I want to use that Maru Gothic" in the streets and books. In the Text layout I was working on at that time, I was working on a cute [maru Gothic style] like Seurat for the Heading. Since it was a book for young people who makes use of the teachings of Buddha in modern times, I felt that it was a little too cute. So I thought that the image would be perfect if I applied the "LETS" [Chikushi Maru Gothic]. (Mr. Sano)

Digital fonts like [Tsukushimaru Gothic] weren't used by other font vendors either, so I was worried that they were used not only in books but in various places. At that time, I had a chance to consider purchasing a typeface, so I chose it as a candidate. Sano was also a typeface I was interested in, so I decided to introduce it now! (Mr. Shimizu)

That's right. I signed a contract for "LETS" and changed the Heading that I was worried about immediately to [Tsukushi A MaruGothic], and the discomfort disappeared, and I was closer to the image I was drawing. Not only the soft atmosphere from [Maru Gothic], but the intelligent and calm form of [Tsukushi A MaruGothic] fits the image of Buddhist teaching for young people.

At first, I wanted to use this [Tsukushi A MaruGothic], so I put in a license for "LETS", but nowadays, I have every typeface play an active role quite often. I am the main author of the Text, and Shimizu is mainly doing the dressing, but it has a wide range of weights and designs for each, so it is very easy to use. (Mr. Sano)

When asked, I first read the contents of the manuscript and then compose the Text. I choose the typeface that matches the “voice” that comes from the manuscript. What kind of texture do you want to feel? Is it a mature and gentle female voice like an announcer or an intelligent and reliable male voice like a professor? We are trying to convey that from the layout, such as character spacing, line spacing, and how to insert characters on paper.

I would be happy if I could become a bridge that connects people who communicate (the author) and people who accept it (the reader). (Mr. Sano)

I also think that the impression on paper is unintentionally voiced by readers. What kind of voice can you hear from the illustrations and text, or how do you want it to be heard? Listening to the voice that the paper is trying to convey is an important point in dressing. What type of design could express the contents of this book based on the Text designed by Sano and the contents of the book? Can readers be interested? I will proceed while thinking about that.

Previously, there was a book project covering the current situation of idols from the 80s and 90s, and I was worried about choosing the typeface to use for the title. I was particularly worried about the weight. A thin weight gives a nervous impression, but a thick typeface lacks delicacy. What is the strength of the former idols who are hurt but still living positively, what is their reality that the author is trying to convey? The best thing that came to my mind was the weight B from [Tsukushi Mincho]. Even the same typeface family has different voices. At this time, the voice heard from Weight B of [Tsukushi Mincho] came nice.

I think that typeface is one of the materials that expands the range of expression so that you can choose the paper used for dressing from the cover, the door, and the Text. Not all typefaces match all books, so I would like to convey the content and appeal of each book by using the one that I think is the best from the many typefaces.

I often use the Chikushi typeface these days. The other day, a friend's designer laughed and said, "Mr. Shimizu is using [Chikushi typeface] like he's been crazy lately." I use it so much that I can say, "But (even those friends) aren't just using Chikushimaru Gothic." (Mr. Shimizu)

I think the typeface is like a seasoning in terms of food. Seasoning is indispensable when you want to make it taste like this. Once you use it and learn how to make it, you can't let go. That also applies to typefaces, and I think that each designer cannot get this feeling without this typeface.

I think that typefaces are used while being unknowingly judged by people such as designers, people who were involved in the creation of the product, purchased users, etc. is. I think that the fonts that you often see, including the Chikushi typeface, are naturally accepted and accepted by many people.

I think many people are wondering whether to introduce "LETS". I know that they are promoted to handle fonts at exhibitions, but I hope there will be an environment where you can feel more about "LETS". For example, we ask students who are studying design to use “LETS” to create assignments and produce independently. Learn how to use fonts and how to use them properly from an early stage before going out to work. As a result, I think that more designers who are conscious of typeface will grow. How about creating such an opportunity in the future? (Mr. Shimizu)

By letting a lot of people know about the font design and system of "LETS", I am happy that I can work with the fonts I want to use without being restricted in the design, typesetting and printing sites. Because it is a font maker used by many designers, I would like to create an environment where anyone who is interested in design can easily approach. (Mr. Sano)

The introduction of “LETS” has expanded the range of font selection and the range of expressions. Recently, there are more and more opportunities to use the Tsukushi typeface that feels "mature and mature" in the Text.

In addition, there are books that were made because they are included in "LETS". Our chief designer Watanabe was in charge of this book with a lot of humor, and it uses a lot of pop typefaces of "LETS".
I'm talking with the staff as if it were a Fonts of "LETS". (Mr. Sano)