Eizan railway, the one-man operating train has two cars runs through northern Kyoto city, which left the terminal station named Demachiyanagi in northern Kyoto city. It was a retro-car that had woody interior when I got on this train about fifteen years ago, but it seemed to be updated into the state of the art cars that had wide view windows. After getting on the train for about twenty minutes, the train arrived at the Kyoto Seika Univ. station. I came to this college several times while I went to Kyoto City Univ. of Art about sixteen years ago, but the college had completely changed.

I looked for the class room the lecture would be held. There were only three persons in the room. After a while, the chime rang and then a bunch of students came into the room.

I would like to hear this lecture because not only Akira Kobayashi would give a presentation but also there was a program on Corporate Type. Besides, Osamu Torinoumi would show the presentation. Torinoumi is a type designer for Japanese font and General manager of Jiyu-Kobo, which is one of famous type foundries in Japan and designed Hiragino series bundled in MacOSX. I’d never hear his talking, so I was looking forward to seeing his presentation.

First of all, Akira Kobayashi talked about his projects that he worked with Hermann Zapf and Adrian Frutiger, and the type conference such TypeCon and AtypI. And then he explained about his work shop in AtypI St. Petersburg. He demonstrated how to draw alphabet letters in order to learn natural letter forms using brush and the Double pencil method, which was the same way he did in his workshop. We learned how to draw the Roman capital letters with double pencils. He said this method was the same way Europian design colleges did.

（Left）Signage in Kyoto Seika Univ. and the letter I draw with the double pencil method.（Right）

And Second, Masao Takaoka, is owner of Kazui Press, which is the most famous letter press in Japan, explained about Corporate Type. He explained about the Suntory Project, which is the first case for Corporate Type in Japan. Suntory is a beverage and alcohol maker.

Torinoumi explained about the digitize letter project for Shiseido, is cosmetics maker in Japan. That was very interesting story. Shiseido has an exclusive typeface for its advertising. According to Torinoumi, designers who join Shiseido company need to learn how to draw the exclusive typeface by hand at first. However, there are only two master designers who can teach newbie the way of lettering. Both of veterans will have to retire soon. So, Shseido decided to record the letter forms so that newbie will be able to reference letter forms whenever they want. Then, Shiseido asked Jiyu-kobo to digitize its letter forms.

Jiyu-Kobo started the project with two veterans. Jiyu-kobo digitized the letter and asked veterans to check the data. Both of veterans pointed out the same place, but the opinions how it should be revised were a little difference each other. Jiyu-Kobo often confused which opinion we should take. They repeated to check again and again. It took a lot of time to confirm the letter forms one by one.

After digitizing all letters, Jiyu-Kobo suggested making an “exclusive font” but Shiseido denied. “Shiseido told me that” Torinoumi said. “We don’t need a font. We know it’s easy to get the letter forms and to set letters using font, but we think it’s important that designers draw letters to know its forms and to hand down them to the following generations.” Torinoumi explained.

Picked Shiseido typeface up from the magazines and catalogues Shiseido issued. These are not the same one Jiyu-Kobo finalized but you can see what the Shiseido typeface looks like.
(Top Left) Shiseido letters in its advertising. (Top Right) Logotype for the magazine titled  Hanatsubaki 花椿 literally “Flower of Camellia”, Shiseido used to issue for sales promotion. (Bottom Left)  Shiseido company logotype. (Bottom Right) Shiseido symbolmark called Hanatsubaki. Shiseido uses the bottom one now.

Shiseido typeface has really unique letter forms. These forms reminds me of Japan’s old days. Shiseido kept the letter forms for over eighty years. “These letter forms were very funny, but elegant,” Torinoumi said, looking back the project.

At last, Kobayashi hinted that the one of Corporate Type projects will out in 2010. “I’m going to be busy to make fonts from the beginning of next year” he continued. After the Suntory project, there was no Corporate Type project in Japan. So I’m looking forward to seeing which company will out it and what the font looks like.

A really interesting talk show with two type designers for Japanese fonts was held at 5tanda sonic: pronounce gotanda sonic. Akira Kataoka, who designed unique Ming-cho style font named “Maru ming-cho: 丸明朝” and “Maruming old: 丸明オールド” , and Yoshihide Okazawa, who works for Jiyu-Kobo, which is one of the leading design companies for Japanese fonts and was famous that Jiyu-Kobo designed Hiragino family that bundled with MacOSX.

Maruming old is unique Ming-cho style font that have rounded edges and traditional skeleton, especially Hiraganas and Katakanas. There was no style like Maruming ever before, so a lot of designers welcomed to use it into their works. I think you might see Maruming old at least once a day in the posters everywhere you go and the commercial films while you see TV programs.

Left: Yoshihide Okazawa (Left). Right: Akira Kataoka

They started with looking back days when they started type design for the first time. Okazawa talked about his college days when he started to design letters. “Emigre and Neville Brody were hot in that days,” he mentioned. As he is my age, I had a lot of similar experience with him. I also started to design when I was college student using Fontographer 3.1 as I’ve got an impression of Emigre and Neville Brody. Okazawa finally made a Japanese typeface, using a function of Japanese word processor, which was able to make letters, for his graduation works. As I knew the way of making typeface using word processor was very hard and needed a lot of times, so it was hard to believe his story. If it was a true, I thought his energy for making fonts was enormous.

Kataoka also mentioned his old days and episode when he started to design letters for the first time. While he worked for a design office, he always wrote a lot of letters on presentation boards for a business show that the client would be held. And decades passed,the economy situation turned down around 90s, known as the collapse of the bubble economy. “I needed to have special skills so that I could survive the severe economic situation,” Kataoka said. He thought that he could draw letters and love to draw letters. “If I could make a font, I could have it as a property,” Kataoka continued.

At the second part of the show, Okazawa demonstrated how to make Japanese digital fonts that Jiyu-kobo did using a software named “Bezier editor” from URW. According to Okazawa, Jiyu-Kobo usually begins with making basic reference characters for Kanji letters. They always draws two Kanji letters “国:country” and “東:east” to decide basic design for a starter. The reason they begin with these letters is that these two letters have several kind of characteristic elements for Kanji letters such as serifs, strokes, counters and body size. After that, they scan these images into the PC and traced them using Bezier editor. Then repeat this process for basic 12 letters as well.

The part of Kanji letters that they made before were available to share with the rest letters. For example, in case he wants to make the letter “明”, he assembled the left part of “昭” and the right part of “朝”. It must be revised to fit the space where the part should be, but it’s faster way than making all parts one by one.

I was astonished that he controlled bezier curves to fit the sketches very fast!! It took around only ten minutes per one letter. I was sure he had a lot of experience to control bezier curves. That’s why he did it very quickly.

Then, he demonstrated how to design Hiragana letter “あ”, which is a phonetic character that we pronounce it “a”. “To make all parts of (more than 7000) Kanji letters, we just draw only few Kanji letters, on the other hand, we need to draw all (more than around 100) Kana letters to design them” Okazawa said. I guessed Hiragana and Katakana have a lot of gorgeous curves, so they need to draw all Kana letters in order to decide the design of Kana characters. The skills of drawing letters by hand must be faster than controlling bezier curves.

Left: The basic letters “国” and “東”. Jiyu-Kobo judges several kind of factor such as body size, counter, serif and weight by these basic letters. Right: Okazawa demonstrated how to trace the letter “あ”.

Meanwhile, Kataoka showed his method to design Kanji letters. “I think the skeleton of the letter is very important factor to design letters” Kataoka said. He usually gathered several style of typefaces that he was interested in, not only old and ancient ones but also the one his staff drew by hand. Then, he selected two completely different style of typefaces and overlapped them. He picked up overlapped image and traced it. I thought it was like a blending method. The letter that he traced overlapped image was completely different design compared with the typefaces he selected at first. According to Kataoka, the way of design of Maruming was the same method he demonstrated. I thought it was very unique method to design new one.

Left: Kataoka picked up a image by overlapping both of two different images. Right: The horizontally stroke elements for Kanji letters as a prototype.

I’ve already heard how to make Japanese font, but I’ve never seen the method directly like the way they introduce this time. I thought these were very interesting and I was happy to see live-actions. I was pretty sure these fascinated audiences.

Have you ever experienced casting hot metals, or do you know a process how to make hot metals?

I’d got a chance to join a workshop event casting hot metals. I happened to hit the information of the event while I looked for info on hot metals. The workshop was held by Tsukiji Katsuji, means Tsukiji hot metals, however, it has little to do with Tsukiji-tai: 築地体, located in Yokohama where is near from Tokyo about thirty minutes by train.

Left: The Tsukiji Katsuji. Right: Six casting machines in two lines.

I expected the building was like a factory but it was very clean like a show room for an interior furniture. I prepared a fatigue, but there seemed to be no worry about getting clothes dirty. The room had some shelfs and cases which stocked a thousands of hot metals and matrices, and on the left hand, six casting machines stood in two lines on the floor. The owner of the office, Mr. Hirakou let participants look around in the room and permitted to take photos until the time the workshop would start.

After all participants had arrived at the office, first, Mr. Hirakou started to explain the outline and history of the office. Second, a craft man of the office, Mr. Ohmatsu explained the process of casting hot metals and then demonstrated it.

Left: Mr.Hirakou explained about the stock shelfs of hot metals and matrices. Right: Mr Ohmatsu, a craft man of casting metals, explained about how to casting metals.

Left: A thausand of hot metals in the stock shelf. Right: Matrices in the box.

Left: The Hakko’s auto casting machine. Right: The machine had a change-speed mechanism with the belt harnessed the shaft which tapered right to left.

Left: The ingot made from lead, antimony and tin which came from mainly mainland China. Right: The dissolution temperature of the ingot was around 350-400 degrees. “It is very difficult to control setting temperature while summer season, because if it was not proper temper, the dissolved metal would stuck inside the machine,” Ohmatsu said. The room was sizzling. The ingot melted as soon as he put it into the machine.

Left: Ohmatsu set the matrix to the machine. Right: All participants could cast the one of letters which was included in their own name. We need to set the matrix at proper position. I thought it was good position, but Ohmastu could tell at a glance that the position was wrong, and revised it immediately.

Left: The hot metal had just made. The metal was very hot, but Ohmatsu didn’t care to have it at all. Right: The composition in a galley for a specimen book of Tsukiji Katusji.

While Ohmatsu explained every process of casting, he told us some episodes when he was a pupil of the office. The customers often came to the office at midnight and asked staffs to get hot metals. So the shop staffs needed to stay there in twenty-four seven and 365days so that they provide types to customers whenever they wanted. That’s why, the staffs couldn’t go for a trip to anywhere for a long time. All his episodes he introduced us were very interesting.

At last of the workshop, one of participants, who had owned a printing house before, showed us some hot metals he had used, which included the one casted by the Linotype machine, a huge hot metal and the unique one, which had forty-nine letters within around one centimeter square, made by the Benton machine.

As I’m a digital font generation, I’d hardly used not only the hot metal printings but also photo type setting before. However, a magazine that features letter press and hot metals are increasing gradually. “So, designers who want to use a letter press are increasing now,” according to Hirakou.

Left: A type smaller than fingertip had forty-nine letters included Kanji and Katakana within about one centimeter, which made by the Benton punch-cutting machine. It reads that ‘昭和三十年十月於名古屋市第四回印刷文化典記念株式会社光文堂製ベントン彫刻母型KK活字高級凸版印刷機’. Right: A huge type and its explanation sheet.

A line of type casted by Linotype machine.

The types, reads 岡野邦彦 (Okano Kunihiko), is my name, which were presented by Tsukiji Katsuji. All participants could get types of their own name each.

The workshop seems to be held on an irregular base. I’m afraid that the workshop was in Japanese only, though.

As you know the type designer giant Adrian Frutiger, in Japan, there is also a type designer giant for Japanese font. Masahiko Kozuka, is 79 years old, who is famous for Adobe Kozuka family bundled with Adobe applications, gave a presentation about his works.

In an impressive monochrome photo Kozuka showed at the beginning of the talk show, a young lad was standing surrounded by a bunch of veterans, he seemed to be shy but to have enormous energy for making typeface. The photo was taken when he was a newbie worker for Mainichi Shinbun: Mainichi newspaper, is one of major newspaper companies in Japan, with its veterans. And then about fifty-years passed, he was standing in front of the audience who came to hear and talk to them looking back at his old days.

He had careers for three generations of making typeface, hot metals, photo type setting and digital fonts. He showed a lot of photos and important 8mm movie archives he owned and introduced how to making typeface of each of generations.

His career for making typeface started when he joined Mainichi Shinbun: Mainichi Newspapers Co., Ltd, around fifty years ago. He worked to make matrices for the newspaper typeface, now we call it “Mainichi Ming-cho”. And some decades passed, Morisawa, is a font vendor in Japan and known for holding Morisawa award, asked Kozuka to come to Morisawa as a advisory staff. While working for Mainichi, he also went to Morisawa corp. once every week. After retiring Mainichi, he completely moved to Morisawa. Then Morisawa started the Shin-Go:新ゴ project. To make Shin-Go family fast, which has five weights and every weight has more than 8,000 characters, Kozuka organized a font team and built a software for group sharing, which connected to the similar way which he used in Adobe to make Kozuka family.

He also had contributed to a developing country to develop letterpress system or to provide how to make typefaces, but the project often had to postponed due to war, civil war or conflict. “To improve making type face technology, it can be needed the world is peace,” Kozuka said. It was very impressive.

Left: The one of his best known works, Kozuka family by Adobe. He demonstrated how to make fonts using a customized software for making Japanese font by Adobe. Right: The facade of the event hall CCAA Art Plaza, which is an ex-elementary school in Shinjuku Ward, Tokyo.

Kozuka looked back at his life as saying that “I think one generation was about two decades, then closing up every generation carefully, I find it has at least two or four branches.” That means he had careers at least six generations. For almost of type designers, it must be rare chance to have experience for changing printing media. However, Kozuka had a couple of chances and fit new technology with new type technology. I’m sure he was struggling to fit them every time.

Looking back at my life, I’ve never had any chance to face changing generations. But I expect to get a chance the transition to new technology within a decade. What would it be like next generation? I’ll try to get a lot of clues and hints by understanding past generations.

Reference.
Robundo publishing inc., A special seminar for The Shinjuku private school. “Kozuka talks three generations of type.”
Jiyu-Kobo inc., Mojimaga, means letter magajine, “The type designer giant” #2 Type designer Masahiko Kozuka

A typeface designer Yasuyuki Miyake’s personal exhibition titled Moji wa Ikiteiru 文字は生きている, means ‘The living letters’ was held at Nerima Art Museum in Nerima Ward, Tokyo. This exhibition had two parts. The one was themed Letter Design and the other was Letter Art.

He designed a lot of Japanese typefaces for more than fifty years, which were displayed in Letter Design room and showed 10 new typefaces as well. The famous round edged san-serif typeface family Jun from Morisawa Library and JTC Win family from Nis Library were also included. The large letters on the presentation boards were hand-trimmed black papers. He seemed to think it was important to draw letters by hand. And he showed some lettering works that designed names of sports athletes, entertainers and famous persons for several kind of magazines.

Meanwhile, there were a lot of print art works, which seemed to be silk-screen printings, in the Letter Art room. He dipicted several sceneries with Kanji letters 風 (wind), 雷 (thunder) and Kanji letters known as a symbol of nature. These letters were dynamic as if letters were alive and they were very unique and had humor feelings. I could find the difference between these two parts ’static and dynamic.’

Left: The post card on the exhibition and Specimen sheet were provided at the gallery. Right: Nerima Art Museum.