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I was given the responsibility of designing the programme for my church choir's Christmas concert at the last minute, and threw one together in a single evening. So it's very basic, and I was very limited in my type choices, but I thought typophiles would appreciate a seasonally-appropriate example of multiscript typography (it's a Korean church in France). Sorry about the picture quality.
The Korean typefaces used were Munchebu Jemok Batangche (문체부 제목 바탕체; "Ministry of Culture titling serif") for the display and Nanum Myeongjo (나눔명조) for the text. The Latin uses Arno.
Of course the software had to crash before I had saved any of my work (and I had prepared extra-light versions of several other letters as well), but at least I now know how to interpolate. And I at least salvaged a screen-grab to prove it.
The heaviest a is from a grotesque I've been working on for the past few days. It's quite heavy, almost a demi-bold, so I wanted to know that I could produce lighter weights as needed by drawing an extra-light extreme and interpolating. I can probably do the same thing for darker weights. This, of course, isn't news to any of you type-design wizards, but it's the first time I've tried this thing, all right? Please carry on...
I've just discovered that the printer I've been using at home, an old HP LaserJet 1200 inherited from my parents, actually supports printing at 1200 dpi by 1200 dpi. The driver I had been using only offered resolution up to 600 dpi, and I hadn't bothered to check. Silly me.
I changed the driver, and printed a quick proof of my current type design experiment. Before, using the 600 dpi setting, I had judged the printer unusable for proofing type. Turns out that at 1200 dpi, it's actually quite serviceable, at least for my means and purposes.
Knowing fully well that there is no way I'll get the time to design a complete hangul (Korean alphabet) typeface in the foreseeable future, I started sketching out an idea for a hangul typeface that I had been carrying around in my head.
I'm just drawing around a dozen test glyphs. At this point, I'm most concerned with getting the basic proportions right. It's too early to fine-tune the stroke widths in the individual glyphs.
I just came across the results of the 4th Founder Award Competition in Chinese type design, which can be seen here (in Chinese). There are also critiques in English by Akira Kobayashi on some of the entries.
There are lots of good entries, but one that caught my eye was this an effort by Wang Tianjia (王天甲), titled "Chinese Characters Squared (汉字的平方)". Or at least that's what I think it means; I don't speak Chinese, so I'm relying on my knowledge of Chinese characters and a dictionary.
I'll eventually get to the part where I see a book set in Georgia. But first, some background...
Imagine having to typeset a book in a language--and script--that is not your own. That is the challenge faced by Korean publishers who opt to publish books targeting non-Korean readers, ranging from coffee-table books on Korean palaces to academic works and dictionaries. The vast majority of these books are in English.