The fonts’ dynamic augmentation feature is designed to ensure good performance on the Web without negatively affecting page load time. Rechs said Abobe plans to add new Japanese type classifications to the Japanese browse UI to target specific situations - such as where readability or tight spacing constraints are critical to the content and context. “CJK is a whole other thing compared to fonts in the western world because of the size of the alphabet and the design of the type.”
“We have done a lot of work around CJK,” said Matthew Rechs, who heads up Typekit at Adobe. While Adobe launched its Japanese UI earlier this year, the Morisawa sets will expand user choices.
So for us, providing fonts to Typekit is the second big business collaboration in the long term.”ĭespite being hundreds of years old with a library of well respected typefaces, Morisawa’s fonts have been difficult to come by outside of Japan. With the collaboration of Adobe, Morisawa was able to enter and claim a victory in Japan’s desktop publishing market. That was the first business we started with Adobe. In 1987, when DPT came in, we created an alliance with Adobe to create PostScript fonts for Japan. “Designing Morisawa fonts was a way to sell our hardware. “We don’t manufacture machines today, but in order for us to sell those typesetting machines we did work for a long time to come up with new typeface designs,” Morisawa told TNW in an interview at the Adobe MAX creative conference. Morisawa fonts were the first Japanese fonts available on PostScript printers, which helped establish the foundry in the desktop publishing arena.Īkihiko Morisawa, president and CEO, recalls his company was originally Japan’s first photo typesetting machine manufacturer. Adobe’s relationship with Morisawa dates back to 1987, with the initiative to license Japanese fonts for PostScript.
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