As an important point for creating the thick weight in particular, there is thickness adjustment for strokes. Even when all strokes of kanji, hiragana, and katakana are numerically set at the same thickness, the font does not look complete.
As previously mentioned in “Type Face,” the stroke count of kana is fewer than kanji, and the size is also smaller. Therefore, when kana is in the same thickness as kanji, it looks weaker when it is lined up. In addition, this tendency is stronger in katakana than hiragana. On the other hand, as the number of strokes increases in kanji, it becomes blackish and the stroke sticks. Understanding these points and getting used to the viewpoint, adjustment is gradually made thicker in the order of kanji, hiragana, and katakana. The thickness of Latin may be adjusted thicker than katakana in some cases.
The important thing is to have an overall tone look complete at the time of typesetting text. This requires adjusting the thickness according to the assumed usage of font (whether it is for headings, texts, printing, or display on monitor, etc.).
- Designing Kanji, Hiragana, and Katakana 06: “Kerning Information”
- Designing Kanji, Hiragana, and Katakana 05: “Consistency”
- Designing Kanji, Hiragana, and Katakana 04: “Elements”
- Designing Kanji, Hiragana, and Katakana 03: “Thickness”
- Designing Kanji, Hiragana, and Katakana 02: “Type Face”
- Designing Kanji, Hiragana, and Katakana 01: “Structure”