Hiragino Kaku Gothic Std W8 31 ((LINK))

Hiragino Kaku Gothic Std W8 31

my goal was to recreate a new style of typeface that would be suitable for latin sans serifs. however, we had to take into account that this had to be a typeface that was able to be used in japanese. this in turn meant that we had to look into hiragino serif and incorporate some of its features. to this end, we carried out some restructuring, by adding serifs to the top of the strokes and decomposed the crosses. in terms of spacing between glyphs, we eliminated any space that was not required. and we also avoided any kind of over-reading.

for the hiragino sans, i wanted to add shading to the “w” and “i”, so that they would appear like slanted strokes. as for the hiragino serif, i tried to find a new japanese sans serif to use, then tried to blend it with sans serif and find a point at which to make a compromise.

in general, when you want a typeface that is on the safe side, you do not increase weight. but what we are doing here is changing the weight from light to heavy to medium, which is completely out of the ordinary. in terms of the details such as details to make the parts lighter, we increased the amount of texture and reduced the amount of strokes.

after xetex made fonts available on windows, mac os x came out with mono. so what about third-party mac users? for them we created a mac version of hiragino. its available in 10 versions. hiragino sans mono, kaku gothic w8, and kaku gothic w8 extra b and c, are all full sets. hiragino sans and hiragino gothic are also available separately. because the two families are not fully compatible, you cannot use hiragino sans with hiragino gothic and mac users cannot use hiragino gothic with hiragino sans. so the choice is simple: use hiragino sans or hiragino gothic depending on your needs.

torinoumi: hiragino gothic is roughly the same weight as lucida. when lucida was released, we realized that apple did the right thing. but it took us a long time to realize this because we wanted hiragino to look good. i wanted hiragino to match lucida. i felt that by matching the two up, users wouldnt have any problems. (the user doesnt actually read the kana.) we spent a lot of time with kyosuke torinoumi, the designer of hiragino. he helped me with the kana and we settled on the final draft. we took about 20 years to complete the kana.
torinoumi: the text is the same as lucida, just with kana variations. apple already made some corrections to the katakana on the verticals. but we werent allowed to change the horizontal stem, because we didnt know how to differentiate it from the kana. so in order to make them look different, i modified it with a tail from the horizontal line. i did so to make it both visually and compositionally more striking. i am certain there will be at least one user who willnt like the variations, but thats okay with me.
torinoumi: with regards to the difference between hiragino and lucida, the hiragino has a more delicate and appropriate kana form. we drew a specialized graphic designer for katakana, but with hiragino, we decided to use the characters that we currently use in the hiragino family. you can see the trend in other japanese families. hiragino is fairly minimalistic. the hiragino wasnt intended for books. the kana look good, and we made it clear they look good. but they arent quite as attractive as the katakana that we use at the dainippon screen company. this is usually the way it is in japanese typography. when you make a new typeface, you start with a primary font and extend your library. hiragino is, in my opinion, a superior primary typeface.
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