Designing Kanji, Hiragana, and Katakana

It is a basic requisite to design any Japanese character in an imaginary body of the same size. However, there may be dispersion in the space between characters at the time of typesetting, a…

Even in one character, several patterns, such as “connecting/separating strokes,” may be allowed. When the difference is neither superior nor inferior from a wide perspective, it is required…

Mincho typeface is a standard typeface in Japanese typesetting often used in texts, etc. in books. Comparing kanji and kana in Mincho typeface, the elements are quite different. Originating …

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 th…

Each glyph of a font is designed in the square frame called “imaginary body.” Furthermore, a frame one size smaller than imaginary body called “type face” is set in Japanese glyphs to use as…

Features of Japanese notations using three character types, titled “Typesetting Kanji, Hiragana, and Katakana” are described previously in this blog. Focusing on the perspective of design wo…