When you were working at the Kohei Sugiura office, you once asked Professor Sugiura for his opinions on the new fonts produced by Mr. Fujita (designer of Tsukushi typeface). At that time, I was asked what kind of font I wanted to use, so I requested Maru Gothic, which did not exist in digital fonts at that time, when I started to be aware of Fontworks fonts. I think.
The "Tsukushimaru Gothic" released just after that was a font with the design I was looking for, perhaps because the wish was heard, or because it was based on the typeface system that I liked to use during the phototypesetting era. Yes I use it as often as the next "Tsukushi Old Mincho".Introducing an example using "Tsukushi Old Mincho"
Settai Komura is a Japanese-style painter who was active from the Taisho era to the early Showa period, and is a pioneer of contemporary designers who also worked on book design and stage art. This book is a collection of works that mainly introduced Settai Komura.
Having worked in the advertising department of a major cosmetics manufacturer, the typeface with the company's name can be imagined that he laid the foundation for his talent in overall design, including binding. I think.
In an era when there was no offset printing, the amazing technique of printing 20 degrees by woodblock printing, the production of using ink such as transparent varnish to make the pattern appear by adjusting the light, and the multicolored front and back Introducing a number of bindings that look much richer than they are now, such as printing.
For the Text of this "Settai Komura Storytelling Design", I used the same font "Tsukushi Old Mincho" as the catalog introduced at the beginning. This method is not very popular with publishers because the lines look blurred or because they are worried about misregistration, but in consideration of the contrast with Settai Komura's work, the colors that are not as strong as Sumi and are not too dark are intentionally combined. We have incorporated a device that makes the characters stand out when used.
This typeface has a "habit", doesn't it? Of course, it means that you can feel the movement of each character. Since the Mincho typeface is originally an abstraction of the character shape by the brush, it is a typeface with traces of the hand in the design, but in "Tsukushi Old Mincho", the momentum of hand movement when writing characters is "Hane". I especially like the fact that it remains in "Harai" and the design feels like speed.
Since it is a little lumpy compared to other typefaces, it is often adjusted by raising the size by about 0.5 to 1 grade, but since it is designed so that you can feel a strong commitment not only to Japanese but also to subordinate European languages, The fact that you don't have to use different fonts in Western languages is another reason why it is one of the most frequently used typefaces.
I love it, but depending on the typeface, it may look like a para-para, so I think it's actually a difficult typeface to handle. Because it's my favorite font, I use it because I want to be careful and look beautiful.
At university, I also give a typography lecture in a graphic design class. In that process, I also teach character sets, but I find it difficult to thoroughly adjust the character sets and the aesthetic sense of the typeface in a short class time.
In China in the 4th century, the fame of "Wang Xizhi" has already roared, and the beauty and ugliness of written characters has been established as a sense of value. It is said that he could not pass the subsequent official appointment test unless he could write Wang Xizhi's characters. From there, I talk about "characters are people", but the characters are simply because there aren't many opportunities to write characters these days, or because terminals such as smartphones that only display system fonts are too familiar. I feel that the recognition of "symbols that convey meaning" is becoming stronger.
As the number of paper media decreases and the media shifts to e-books and other media, the awareness of character sets will diminish. I think that if the design is dematerialized, various harmful effects will occur. The position of the plate and how much margin should be taken are also factors that determine the design. If it is a reflow type text, it will be scaled according to the screen. If this happens, you will lose the consciousness of a fixed plate. I am afraid that there will be no solid foundation.
Naturally, books may be weeded out with the feeling that they are good data and that they want to keep as a form. It may not be a big market, but books may become hobbies such as premium feeling and status. I'm sticking to paper, and I'd like to continue working with a design that makes people want to keep it at hand.
In the old days, there were many designs that I wanted to use but gave up because the print shop didn't have the font. Of course, even at that time, it was good to take an outline and submit it, but when I wanted to use it in the Text, I had to take the greatest common divisor method in consideration of the trouble later. I once again feel that using attractive fonts that match the design is one of the important elements of a book that I want to keep in a safe place.今後のフォントワークスに期待すること 先ほど、話をした王羲之をはじめ、顔真卿や欧陽詢など名だたる大家の書は昔から日本でも手本とされているくらい評価の高いものですから、書家の個性が感じられる楷書体がデジタルフォントとして使えるようになるといいなと思っています。
Sato / Atsushi
Born in Hokkaido in 1959. Graduated from Musashino Art University. After graduating, worked at Kohei Sugiura Design Office. Independent in 2009. Since then, he has been a freelance graphic designer and a part-time lecturer at Musashino Art University. Designs cover most publishing Categories, from dictionaries, academic books and general books to magazines, picture books and comics. Received the Minister of Economy, Trade and Industry Award at the National Catalog and Poster Contest for the "Gifts from Kukai" exhibition catalog. Lives in Tokyo.