Posts in Category "Type"

NHK World: Design Talks

[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]

NHKワールドでは、ロンドン時間で6月13日(木)1:30–2:00の番組『Design Talks』で、日本語タイポグラフィを取り上げる。ひらがな、カタカナ、漢字、ローマ字など種々の異なる種類の文字が用いられる現代の日本語タイポグラフィは、手書きの時代に築かれた、多彩な芸術的な成果とも深く関係している。この番組では、書体デザイナーに取材することで、日本語タイポグラフィの特質を明らかにする。


NHK World’s TV program, Design Talks, to be broadcast from 1:30 to 2AM on Thursday, June 13th (UTC, London Time), will feature Japanese typography and typeface design. Various kinds of characters, such as Chinese ideographs, Japanese hiragana and katakana syllables, as well as Latin alphabet characters are used in Japanese typography, and it has a deep relationship with the tradition of Japanese calligraphy and handwriting, which were artistically made, and represent a culmination from the past. This program tries to shed light on the unique characteristics of Japanese typography by interviewing talented type designers of today, one of whom is Adobe’s own Ryoko NISHIZUKA (西塚涼子).

Ryoko Nishizuka



For more information about the TV Program: Design Talks (please refer to the links on that page to find out the program schedule and how to watch the program).

[For those in the US, you can check the schedule to find out when this program will be broadcasted. The easiest way to watch the program is by using the “NOW ON AIR” pod in the upper-right corner of the main page. For those in the PDT time zone, such as California, it will be broadcasted at 6:30PM and 10:30PM on Wednesday, June 12th, and at 2:30AM, 6:30AM, 10:30AM, and 2:30PM on Thursday, June 13th. — KL]

Gothic/Myungjo or Dotum/Batang?

The prototypical Serif and Sans Serif typeface style distinction in Korean has traditionally used the names Myeongjo (명조체/明朝體 myeongjoche) and Gothic (고딕체/고딕體 godikche), respectively. But, in 1993, the Republic of Korea (South Korea) Ministry of Culture, in an attempt to standardize typographic terms, recommended the use of Batang (바탕 batang) and Dotum (돋움 dotum) as the proper names for these two typeface styles.

At the time the Ministry of Culture recommendation was made, which was a period when printing was the most common use of fonts, Batang was meant for body text, and Dotum was for display or emphasis purposes. Mobile devices have provided a new use for Dotum, because its lack of serifs provided superior readability on mobile devices with smaller screens that necessitated smaller point sizes, and the original rationale for these new names seems to no longer apply.

From what I can tell, Korean type foundries have not embraced the Batang and Dotum names, and have actually resisted their use. What probably didn’t help was the fact that Microsoft released TrueType fonts with these exact names, with no additional qualifiers: Batang and Dotum. In other words, it seems that Microsoft’s use of these names polluted their chance at more widespread use, because they were treated as typeface names, not typeface style names.

In closing this brief article, I am curious about what our blog readership thinks about this particular issue. I welcome any and all comments.

Heisei “StdN” Fonts

We recently released alternate versions of two Heisei (平成) fonts, specifically Heisei Mincho StdN W3 (平成明朝 StdN W3) and Heisei Kaku Gothic StdN W5 (平成角ゴシック StdN W5). As the “StdN” designator suggests, JIS2004 glyphs are the default for these two fonts (the Heisei “Std” fonts use JIS90 glyphs by default).

These two fonts also differ from the Heisei “Std” fonts in that they include significantly more glyphs. The Heisei fonts were developed by a consortium of companies, and Adobe is one of the member companies. Interestingly, JIS X 0213:2004 glyph data was developed only for Heisei Mincho W3 and Heisei Kaku Gothic W5, and JIS X 0212-1990 glyph data was developed only for the former font. So, one of my projects last year was to map as many of these glyphs as possible to Adobe-Japan1-6 CIDs.
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Adobe Blank: Another Adobe-Identity-0 Implementation

As I wrote nearly a year ago, the Adobe-Identity-0 ROS is useful for building special-purpose fonts, especially CJK ones whose glyph coverage does not match one of our public ROSes. Our latest Adobe-Identity-0 ROS font is the open-source Adobe Blank, whose purposes and implementation details are described on our sister blog, Typblography.

Announcing Source Code Pro

Following again in the tradition of Adobe’s first open source font, Kenten Generic, the Adobe Type team announced today the release of their second open source typeface family, Source Code Pro. This monospaced typeface family was designed by our team’s own type designer Paul Hunt, who based the work on Source Sans Pro, Adobe’s first open source typeface family, released just last month. Six weights of Source Code Pro, along with its source files, can be download from the Open@Adobe portal on SourceForge, and for those who want to clone and fork the project, please refer to the GitHub location. The fonts are also available for Web use through Typekit, WebINK, and Google Web Fonts.

To learn more about the inspiration behind Source Code Pro, and how its design was adapted from Source Sans Pro, please refer to Paul Hunt’s Typblography article.

Adobe Type Community Translation

Today the Adobe Type team launched a new pilot program for Community Translation. This program is aimed at getting translations for Adobe’s typeface notes and will reward contributors with free fonts. The team will be using an internal Adobe tool, the Adobe Translator application, to get translations for their 400+ typeface notes (also referred to as typeface histories). These typeface notes provide users additional information about the typeface and often include information about the history of the typeface. On average, these typeface notes are about 100 words in length. Continue reading…

Adobe’s First Open Source Font: Kenten Generic

Hoping not to detract from the attention that Paul Hunt‘s Source Sans Pro, Adobe’s first open source typeface family, deserves, I’d like to use this opportunity to point out that another font, a single typeface design with a very small number of glyphs, was Adobe’s first entry in the open source world, in terms of font offerings. Kenten Generic was released on November 4th, 2010 at the Open @ Adobe portal. It includes only thirteen glyphs—ten of which are functional—that are intended for use in typesetting emphasis marks, which are referred to as kenten (圏点) in Japanese, hence the font’s name. The easiest way to view its glyphs is to download its Unicode-based glyph synopsis.
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Hong Kong or Bust!

I just received good news, in the form of confirmation that both of my ATypI Hong Kong 2012 presentation abstracts were accepted, which means that I will definitely be attending this conference. I alluded to this in the March 30th, 2012 CJK Type Blog article. One of the abstracts is for a 30-minute presentation entitled Kazuraki: Under The Hood, which will immediately follow a 30-minute presentation entitled Kazuraki: Its Art & Design, that will be presented by my colleagues Taro Yamamoto (山本太郎) and Ryoko Nishizuka (西塚涼子). For those who are not aware, Ryoko is the typeface designer of Kazuraki (かづらき), which is the centerpiece of both 30-minute presentations. The other is for a three-hour workshop entitled Manipulating CID-keyed Fonts Using AFDKO Tools, which will be co-presented by my colleague Masataka Hattori (服部正貴).

I am very much looking forward to attending an ATypI conference for the first time, and meeting many people. If you are planning to attend ATypI Hong Kong 2012, please be sure to introduce yourself to me, in case I don’t introduce myself to you first.

Making “Character Codes” Look Better

In my work, I need to deal with character codes on a regular basis, such as Unicode scalar values and hexadecimal values for legacy encodings. This includes writing documents that include them. For most purposes, especially when used in tables, tabular figures work best because they are monospaced. Of course, one could simply choose to use a monospaced font. But, unless a different font is actually desired for character codes, using the same typeface design is usually preferred, because it better matches the surrounding text. The issue is that very few, if any, fonts include tabular glyphs that support hexadecimal notation, specifically referring to ‘A’ through ‘F’ (or ‘a’ through ‘f’ for lowercase). Luckily, I was able to solve this particular dilemma.
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Kazuraki Poster Redux

Almost three years ago, in a September 2009 article on the sister blog, Typblography, we showed a poster for our Kazuraki (かづらき) typeface, which was designed by Ryoko Nishizuka (西塚涼子), who was also its typeface designer. A request came in today for a PDF version of the poster, and instead of posting it into that relatively old (and now buried) article where it would not likely be noticed, I figured that it’d be best to post it here, today.

Click ☞ here ☜ to get the PDF version of the Kazuraki poster.

Enjoy! And for those in Japan, have a safe and enjoyable Golden Week!

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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       前文介绍了字库名称的重要性,如何真正命名字库,还需要字库开发者在制作字库时仔细按照OpenType specification的说明设置name table,每个参数设置的正确与否直接关系到字库是否能正确工作于各个平台。概括来说,name table主要包含的信息有:用于不同平台不同语言的字体家族名称、字体风格、PostScript 名字、字体版本、版权信息以及自定义的样本文字等等,可以说在该表中定义了字库的“身份”信息,是非常重要的一个表。 Continue reading…

Adobe Web Fonts


        本周Christopher Slye(Adobe Type Team Lead) 在 Adobe typblography blog 中宣布了Adobe 和Typekit的合作,介绍了Adobe 新的字体形式:Adobe Web Font。翻译如下:
  很多制作网站的人都听说过网络字体(Web Font)这个名词, 目前常用的浏览器都支持网络字体发布(通过CSS @font-face),这为设计人员提供了比以往任何时候都丰富的排版选项。在Adobe 我们一直在寻找一种最佳的方式去传递我们最受欢迎的设计给您,在此我们非常高兴地宣布和Typekit的合作,Typekit是位于旧金山的网络字体开拓者,从去年开始,他引领了网络字体技术和应用的开发。  

  在二十多年前,Adobe原创字体就在数字化字体领域竖立了一种标杆,它们不仅是经典、获奖无数的设计,而且其技术质量使它们成为了设计师和排版人员值得信赖的工具。网页质量和印刷质量同样重要,对于那些喜欢使用我们字体输出的用户而言,当您使用Adobe 网络字体时,会发现相同的质量和可靠性被呈现在网页中。   Continue reading…

「かづらき」がTDC2 2010のタイプフェイスデザイン部門で受賞

Dr.Ken Lunde
2010年1月2日付の私のTypblographyの記事で述べたように、アドビの画期的なOpenType日本語フォント「かづらき」は、西塚涼子の初期の習作をさらに発展させて実用的なフォントの形として実現したものですが、今回、TDC2 2010のタイプフェイス部門で受賞しました

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Kazuraki 正式发布了!

Kazuraki (かづらき)是一款具有开创性的日文OpenType字体,现已正式上线销售。该字体由Adobe高级字体设计师 西塚涼子 设计,曾获得2002年日本森泽国际字体大赛银奖。作为一款假名日文字库,它不仅包含完整的片假名和平假名,同时也包含1,082个汉字、符号及标点符号。

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Adobe CoolType

Adobe CoolType不是字体名称,而是一种在LCD上清晰显示文本的字体还原技术。基本原理就是通过解析子象素来提高屏幕显示文本的清晰度,使屏幕字形清晰易读、接近印刷效果,该技术早已被成功应用到了Adobe CS系列产品中。

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在北京举办的Icograda世界设计大会已经结束两周多了,我有幸参加了这次大会。 四天的论坛涵盖了设计、生产、教育及艺术评论。聆听了几场与字体相关的演讲,并参观了在美院举办的一系列展览,收获就是听到了不同的见解,看到了不同的设计,欣赏到了很多平面设计中的字体设计和应用,同时也了解到优秀的平面设计师往往都有字体设计造诣。

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关于字间距(二): InDesign 的字间距调整功能

  无论是原始字距还是专业字距,它们都是字体设计师权衡利弊之后设置的最佳距离值,至少在他们眼中是这样的:-) 由于字距的设置并没有一个绝对的标准,所以同一款字形,不同的设计师会有不同的设置方法,无论怎样的设置,目的都是为达到更好的阅读效果。如果排版者没有足够的专业排版经验,那么请相信专业字体设计师的选择,不要随意修改字距。而对于经验丰富的排版者,可以使用InDesign所提供的字间距调整功能适当地调节字距。

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关于字间距(一): 字间距在字库中的设置


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A New Face For Adobe

You’ve seen it in the “mnemonic logos” and splash screens of Adobe’s Creative Suite 3 and 4, and perhaps you wondered what that typeface was. After more than 25 years in the type development business, Adobe decided to have its own corporate typeface family. The Creative Suite uses were early versions of a family designed by Robert Slimbach. Now that it’s been officially adopted at Adobe, I can tell you about our latest design, called Adobe Clean. There’s no plan to make it available for licensing, but you’ll be seeing more of it in Adobe materials and products as time goes on.
Please click here to read the original article.

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