Judges’ Comments

• Osamu Torinoumi

  The characteristics of this powerful Socho typeface with its strong, exaggerated brush beginning can also be seen in Tsuda Sanseido’s typefaces. However, a closer look reveals some ideas, such as the softness of the right sweep stroke in kanji and the original interpretation of the hand movements of the kana. It is close but not yet their own unique typeface; however, it demonstrates both respect for the existing Socho typeface and an attempt to create a unique Socho typeface of its own.

• Ryoko Nishizuka

  This appears to be a typeface based on Tsuda Sanseido’s Socho typeface. Among several similar typefaces, this one gives an overall impression of strength and sharpness. When the types are set, a sense of stability is created by adjusting the width of the letters to be relatively narrow. The kana in particular appears to be well-balanced and arranged to retain the original image, while the kanji looks a bit unstable. There is room for improvement in the thickness of horizontal strokes, Hane (flick strokes), and the tenacity of the left sweep stroke.

• Issay Kitagawa

  The elaborate design efforts, such as eliminating sharpness despite distinct serifs and Hane (flick strokes), as well as rounding off the pointy tips of the sweep strokes, have achieved a typeface with a sense of warmth. It also has a certain profundity peculiar to the aged, worn-out types. The handwritten quality of a brush makes it suitable for literary works, the text of classic picture books, and subtitles for movies.