Even if you say book design in a word, how much you can design depends on the publisher and the book. What they have in common is the "outer" part of the book. Of course, we design and design covers and belts, but we also direct and design a variety of things such as the types of paper for doors and facing sheets, the types of spins, and the colors of flower cloth. The first stage is repetition of meetings, ordering work, confirmation, etc., and the actual design is after all the materials are gathered. Naturally dealing with letters is also the last part of the design.


The difficult part of book design for literary books (such as novels) is that you have to convey the content without spoiling it. I'm always thinking about how to adjust the scoop so that readers can expect what the story is like when they pick up the cover. With that in mind, the cover of a literary book may be close to a movie trailer. If the cover is the Video, the sash wrapped around it is narrated. For hours, immersing yourself in the narrative world is like reading a movie. When I design a book, I'm drawn to the world of the story, to keep the image of the artist, and to remain on the reader's bookshelf. I always want to make things that fit the reader's wishes.

About three years ago (2014), I introduced LETS when I became independent from the binding room of Kadokawa Shoten. I also used Fontworks font in the binding room, and at that time I especially liked "Greco". At that time, I was also in charge of the design of the series, so I decided to introduce it immediately so that I could continue the font environment in the binding room as much as possible.

When the design environment becomes independent, it is difficult to obtain new information. In that respect, with LETS, even if I don't know that there is such a new typeface, I can always get the latest environment. It's easy to forget, but this is a big advantage.


In the work of book design, we have to constantly think of various ideas in order to create something that is eye-catching. It's a constant search for visual creators such as illustrators and photographers, but I think the typeface is an indispensable spice to make something that will impress you. That's why LETS, which provides a lot of typefaces, is very appreciated.

This time, I tried to look at the bindings I made again, but there are many things that use "Tsukushi Old Mincho" (laugh) I like "A", "B", "C". When I bound for the first time using the Tsukushi Old Mincho, I saw the finished book and thought that I encountered the typeface that fits my physiological feeling the most.


Personally I like the typeface with rounded kana, and in Tsukushi Old Mincho, it feels like "no", "na", or "tsu". There is a roundness that does not overdo, and you can feel a gentle warmth. And the one I like the most is the processing of the edges of the kanji. Tsukushi Old Mincho isn't sharp and is being processed quickly? It may be a little bit, but in the case of books, characters are often handled in large series as titles, so the beauty of Tome and Hara is very anxious. It doesn't work well when the edges of the element are hidden when enlarged. When I was really worried, I sometimes adjusted the corners of the edges, but if I overdo it, the shape of the letters will collapse. It was a very difficult and nervous task.

Tsukushi Old Mincho, there is a sense of temperature in the curvature of the curves and fluctuations in the vertical/horizontal images, rather than requiring that work. The scales are also fluffy without horns. It fits well both vertically and horizontally, so I think it's easy to handle and easy to read.


Besides, the design of the old font is also wonderful. Not only do the sides and the straw change, but other elements are also properly designed due to differences in parts. The user does not feel any stress, so I think the typeface really supports the text.


Recently, the usage rate of "Tsukushi B Old Mincho R", whose nuance is classical and interesting, is increasing. When used as a title, it has a strong impression, so I think you can get a sense of the story from the title.


And "Tsukushi Old Gothic" has an ambiguous outline that seems to be blurred when printed using print. Even though it is Gothic, it feels like Mincho, but there is a modernity not found in Mincho. The temperature felt from the typeface itself is warm. It's a mysterious story to feel the temperature of the typeface, but there are things that can only be described in Tsukushi Old Gothic.


What kind of Tsukushi typeface feels is the strength of the nuances that increase the "narrative nature." Especially, I often use "Tsukushi Antique L Mincho L" and "Tsukushi Antique S Mincho L", but I often see them at bookstores. Despite its unique strength, the Weight vertical and horizontal images is not so different, making it readable. Actually, there aren't many typefaces whose readability does not change even if you specify color or gradation.

As I said at the beginning, choosing the typeface is the last and last part of the design work. The pictures and photos will come up, arrange them around the size of the cover and wrap them around a dummy book to determine the appearance for the first time.


Here, I try to put the title of the book and the name of the author, etc., but if it does not fit, it is said that the visual is "different" (laugh) On the contrary, when it is perfect, from the visual side, "this This is good!"

This was exactly the case for the cover of the work "God Spider." When I tried to type in titles and author names in a European typeface as usual, I appealed that the picture was "not right". I used "Tsukushi Old Gothic B" for the Japanese part, so I tried applying this Western part as it was. Then I was surprised when the picture told me "This is it!"

Because, it was a theory in me that the European part uses European typeface. I was confused because it would be a big title for the book, but I had the strength to support the picture unless it was a subordinate Roman text of Tsukushi Old Gothic B. I think that one of the reasons is the difference in X height (typeface height). That was exactly the typeface that the picture demanded.


I took a look at the subordinate Western texts of the Chikushi typeface again after taking the design of this book as a starting point, and it was my favorite taste. Fujita-san's subordinate European feel ── I like the height difference and roundness.

Yeah, "Tsukushi A MaruGothic" is also good. Even before that, there were various Maru Gothic styles. All of them are cute, but when I was wondering if there would be more movement, "Tsukushi A MaruGothic" came out. When I saw this, I was surprised whether I could make something with such a round Gothic nuance. Since it is a round Gothic that has the characteristics of both Gothic and Mincho, it can be used in books for adults. It is a cool and fresh round Gothic type that doesn't look childish.


When presenting a design with a different typeface, the typeface chosen will always have a reason, and one that appeals will be chosen. Even though the visuals and the size of the letters are the same, the face of the book really changes only by the different typeface. I hadn't really thought about the artistic nature of the typeface, but when I recalled my favorite part of the Tsukushi typeface again, I found that the scales were plump, the corners were gentle, and the design was every corner. You can find out more about what you are doing and why you like it.


But I don't usually think about it. I don't usually think about it, but I feel like it's the artistic nature of the Tsukushi typeface that I'm rushing into next door, and I'm still comfortable, and I'm unconsciously appealing to me. I will.
When I talk about the Chikushi typeface in this way, I can't stop (laughs), but if I could make one request, I would like the weight variation of the Tsukushi Old Gothic ── I also want a thin weight. Now, even if I want to make it all in Tsukushi Old Gothic, I sometimes worry that it may be too heavy or crushed to make it difficult to read, depending on the size of the letters. Tsukushi Old Gothic has a thin weight, it's invincible. I would be happy if you could make it.