Posts in Category "Essay"

ATypI Hong Kong 2012

I am extraordinarily pleased that the upcoming ATypI (Association Typographique Internationale) conference will be held in Hong Kong: ATypI Hong Kong 2012. The dates are October 10th through the 14th, 2012, and the theme is between black and white (墨 in Chinese). For font developers who relish at the thought of discussing font-related issues and ideas with others in the same industry, the annual ATypI conference represents a unique opportunity. And, given its venue for this year’s iteration, a larger-than-usual number of CJK font developers are likely to attend, and the number of CJK-related presentations and workshops should be greater than usual.

In any case, I am planning to attend and present at this conference, and very much look forward to meeting other CJK font developers there.

Not One, But Three, IVD Code Charts

Thanks to an excellent suggestion from Taichi Kawabata (川幡太一), the 2012-03-02 version of the IVD (Ideographic Variation Database) includes three IVD Code Charts, which were released today. The two earlier versions of the IVD—2007-12-14 and 2010-11-14—included only one IVD Code Chart, named IVD_Charts.pdf.
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Morisawa Type Design Competition 2012

[I'd like to preface this article by stating that it was written and contributed by our esteemed colleague, Taro Yamamoto (山本太郎), who manages our Japanese typeface design efforts in our Tokyo office. — KL]

We were very pleased to hear the news that Morisawa announced the Morisawa Type Design Competition 2012 to be held this year. This triennial competition was held from 1984 to 2002, and this announcement means that they have reintroduced it. The type design categories for entries are Kanji and Latin.
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CJK Compatibility Ideographs

Unicode Version 6.1 includes a total of 1,002 CJK Compatibility Ideographs. The February 22, 2012 CJK Type Blog article includes a table that provides the details in terms of when they were added to Unicode, version-wise.

Of the 1,002 CJK Compatibility Ideographs that are in Unicode, 89 have Japanese sources. The Japanese sources are JIS X 0213:2004, Jinmei-yō Kanji (人名用漢字), IBM, and ARIB STD-B24. In addition, some of them have multiple Japanese sources, and while most of them are intended to use the same glyph regardless of the source, a very small number of them—three to be precise—do not.
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IUC36

I am pleased to announce that Adobe once again has the privilege and honor of being a Gold Sponsor of the Internationalization & Unicode Conference, the 36th iteration of which will take place in October of this year.

For those who have had the opportunity to attend this conference in the past, I am preaching to the choir when I state that much of the benefit of attending is not from listening to the scheduled sessions—though they have incredible value—but rather that there is an opportunity to have face-to-face discussions with others in the industry.

If you plan to attend IUC36, I hope to see you there!

CJK Unified/Compatibility Ideographs in Unicode Version 6.1

Unicode Version 6.1 was released on 01/31/2012, and now includes 74,617 CJK Unified Ideographs, along with 1,002 CJK Compatibility Ideographs. 732 characters were added, and there are now a staggering 110,116 characters in the standard.

Speaking of staggering, as Unicode grows, it becomes more important to keep track of what character is encoded where, and sometimes it is useful to know when a character was encoded. For this purpose, the DerivedAge.txt datafile is an incredibly useful resource.

In terms of CJK Unified Ideographs and CJK Compatibility Ideographs, I spent part of the morning assembling a single-page PDF file that encapsulates many important details of their history. I hope that readers of this blog find it to be useful.

CMap Resource Names Explained

For the longest time I have felt that the names used for many of our CMap resources deserve some amount of explanation. I see these names written in books from time to time, and it usually gives me a chuckle, mainly because I am the one responsible for coining many of them. This post is an opportunity for me to provide (some) definitive answers, along with some history. Of course, if this post raises more questions, please submit a comment, and I will make an honest effort to provide a timely answer.

In general, and with few exceptions, a CMap resource name is composed of a character set name, and encoding name, and a writing direction. For the most part, it is the character set names that deserve some explanation, because the encoding and writing direction names are fairly straight-forward. Also, whenever I mention a CMap resource name, it almost always has a corresponding vertical CMap resource.
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Excruciating details about the Adobe Tech Note #5079 update

I spent the early part of this week updating Adobe Tech Note #5079 (The Adobe-GB1-5 Character Collection). The number of glyphs remained the same (30,284), as did the glyphs themselves. So, why the update? Well, mainly to bring it in line, format-wise, with the other three related Adobe Tech Notes: #5078 (The Adobe-Japan1-6 Character Collection), #5080 (The Adobe-CNS1-6 Character Collection), and #5093 (The Adobe-Korea1-2 Character Collection). The biggest effort was to create its 61-page glyph table. Besides announcing the update, building the glyph table is the substance of this blog post.
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Adobe-Japan1-6 Turns 20 Years Old

The Adobe-Japan1-6 Character Collection, which has become the de facto glyph set for today’s mainstream OpenType Japanese fonts, celebrates its 20th anniversary this year. This glyph set began its life in 1992, as Adobe-Japan1-0 (Supplement 0). Given that I have been at Adobe longer than 20 years, and was involved in the development of this glyph set, I will use this opportunity to detail some of its history, at least as seen through my eyes.
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Genuine Han Unification

I have been attending the Internationalization & Unicode Conference (aka, IUC) every year for the past several years, and I typically deliver a presentation (or two) during the two-day conference proper. I was given the opportunity to present about an intriguing and forward-looking topic at IUC35 last October that I entitled Genuine Han Unification (click on the title to view the presentation slides).
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不该忘却的记忆:铅字印刷

当我们手捧薄薄的电子书的时候,铅字印刷离我们已越来越遥远,油墨味也已成为了一种模糊的味道,但铅字印刷作为印刷史中重要的一部份是不该被忘却的。

很多铅字印刷的术语一直沿用至今,而电脑中的许多著名的字体也源自过去的字模。无论是在西方还是东方,都有人在为保留、记录铅字印刷这段历史而默默地努力着,在此将以前看过的几个视频与大家分享。
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一字一生

大概两个月前,与Ken Lunde谈及新出版的《文字をつくる 9人の書体デザイナー》,其中有介绍到Adobe 的西塚凉子,Ken告诉我去年在香港出版了类似题材的一本中文书《一字一生》,而且他正在预订中,恰巧有同事要去圣何塞出差,于是就托他帮我订了一本,就这样,书从香港到圣何塞再到北京,辗转到了手中。

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Hello, World!

We are responsible for CCJK(Chinese, Japanese and Korean) Type Quality Engineering in Adobe. There is no doubt in our mind that font is an important element for applications and fonts tie with applications to show various type features. It’s complementary between fonts and applications. Therefore, we are also interested in all of popular DTP applications on top of type areas.
This blog will contain our thoughts about CCJK Type , DTP applications and Type-related knowledge. We’ll write blogs in English or Chinese, and we‘d like to translate some contents into Japanese or Korean .

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