The Unvoiced Aesthetics of Japanese Typography

Introduction

This thesis explores unspoken and purely visual elements in Japanese typography¹ from the perspective of a typographer familiar with languages written in the Latin alphabet. It delves into the subtle, typographic features of Japanese script that are relevant in written form and highlights their significance in the broader context of typographic design and communication. The goal is to observe these elements and showcase how they contribute to the overall aesthetics of written Japanese.

This approach is not about cultural borrowing, but rather about the exploration of typographic diversity² and its potential to enrich Latin typography. This exploration is aimed at understanding how diverse typographic elements can coexist and enhance each other. It reflects a broader perspective on the potential for typographic elements to evolve and adapt in a globally connected environment.

This thesis was written as part of the CAS Design Cultures 2023 program at Zurich University of the Arts and based on a field trip to Japan (28. 10. 2023 – 13. 11. 2023) where most observations were documented.

Stefan Huber · Zurich, Switzerland · 2024

Table of Content

Reference mark ※

The reference mark ※, known as the «komejirushi» in Japanese, is a symbol used in Japanese typography with specific usage. It serves to highlight additional information, similar to the usage of footnotes in Western texts. It is typically found in academic texts, annotated works, or in instances where additional information is necessary but not always integral to the primary text. Its distinct appearance, resembling a flower or asterisk. Its name literally translates to «rice symbol», as the symbol resembles to the kanji for «rice» (米)³. The visual appearance is unique, and it adds both functionality and contextual value to the text.

Comparison with Latin Alphabet Typography

When comparing the ※ mark with typographical practices in the Latin alphabet, the closest equivalents are the asterisk (*), dagger (†), and double dagger (‡). These symbols are used in a similar manner, directing readers to footnotes or endnotes for additional information. However, the ※ mark differs in its design and cultural context.
But even in cultures that use the Latin alphabet, not all markings are used uniformly. For instance, in English academic writing, the dagger (†) is often used as a secondary footnote marker after the asterisk (*)⁵. In German texts, the usage is similar, but there is a greater tendency to indicate deceased individuals, particularly in bibliographies, and this practice is more consistent. Nevertheless, both languages employ the dagger sparingly to maintain text clarity.

Brackets

Latin Alphabet

Brackets found in the Latin alphabet, serve not only linguistic but also typographic purposes. Their use varies based on context and the specific types of brackets employed. Brackets in the Latin alphabet are used to organize text, clarify meaning, and ensure readability, while also fulfilling specific linguistic functions in various professional and academic contexts. Their typographical roles complement these linguistic functions by providing visual cues to guide the reader's understanding and interpretation of the text.

Some common uses of brackets in Latin alphabets follow. ⁶

Observations of Japanese Brackets

Japanese typography features a range of typographic symbols⁷, each serving specific aesthetic and functional purposes within the script. This aspect of typographic design showcases the variety and distinct roles these elements play, contributing to the overall structure and style of the script.

Japanese script features various brackets⁸, such as corner brackets「」/『』, lenticular brackets【】, and tortoise shell brackets〔〕. Each type of bracket serves a specific purpose and is chosen based on the context and content of the text. The functional aspects of these brackets are diverse. For instance, corner brackets are commonly used for direct speech⁹ or titles, while lenticular brackets often enclose definitions or explanations. This functional specificity enhances the meaning and clarity of the written text.

Takeaways brackets

With the introduction of global text exchange encoding (Unicode) and it's convenience of accessing numerous characters from various languages, it is only appropriate to embrace the diversity of typographic elements, such as diverse brackets, in Latin texts. The distinct shapes and aesthetics that the Japanese forms offer can provide fresh perspectives. By incorporating these elements into Latin typography, we can enhance the visual appeal of our texts, particularly in formats where our options for text formatting are limited, such as social media. Having a wider range of expression in such contexts is greatly appreciated.

Markers of Approval and Disapproval

In typography, the symbols used to represent concepts can vary significantly between cultures. In the Western world, the cross (✕) and checkmark (✓) are commonly used to denote incorrect and correct items, respectively. The cross (✕), has evolved to become a universal sign of error or disagreement in the context of the Latin alphabet. Similarly, the checkmark (✓), originating as a mark of confirmation or correctness, is well understood in the western world. In Japan, different symbols are used for similar purposes.

Observations of the Japanese symbols

The circle (〇), known as «maru» in Japanese, signifies approval or completion. It is used to indicate that something is correct or acceptable, akin to the checkmark in the Western context. A double line (✕), known as «batsu» in Japanese, is used for marking something wrong or incorrect. It is similar in use to the Western cross.

Other Symbols: Japanese typography may also use other symbols for specific contexts, like in grading or feedback forms. The symbol of a bullseye (◎) is called «nijūmaru» and often used to denote excellence or superiority, A triangle (△) can carry the meaning «so-so» and is named «sankaku»

For instance, a triangle might be used to denote something that needs attention or improvement.

Takeaway markers

The exploration of Japanese and western typographic symbols unveils a interplay between culture, communication, and design. In Japanese typography, the use of «maru» and «batsu» emphasises the importance of understanding cultural nuances in typography, especially for designers and communicators working across different cultural contexts. It underscores the power of typographic symbols in bridging or highlighting cultural divides.

Setting aesthetic accents

Directional Dynamics

Japanese typography, unique in its versatility, allows for both horizontal and vertical orientations in text layout. This dual-directional approach not only accommodates linguistic nuances but also offers a dynamic typographic landscape. Historically, vertical writing (tategaki) was the norm, running from top to bottom and right to left. However, influenced by Western styles, horizontal writing (yokogaki) – running from left to right and top to bottom – has become wide spread in modern Japan, particularly in digital media.¹³
The choice of direction can also be used to separate or accentuate¹⁴ specific elements within a text. This interplay between vertical and horizontal orientations adds a layer of visual interest and meaning, making the text not just a carrier of information but also an element of design.

Sizing and colours

Similar to the Western world, size and colour are important factors in Japanese typography for creating aesthetic accents and directing the reader's focus. However, unlike Western typography, where cursive fonts are often used for emphasis or style, Japanese script does not have a direct cursive equivalent. As a result, alternative methods are necessary for typographic characterization. Font weights are commonly used, and there are many different typefaces available. Similarly, colour is not only used for visual appeal, but also to establish hierarchy and guide the reader's attention.

Underlines and sidelines

In Japanese typography, both horizontal and vertical script orientations have a unique influence on the application and visual impact of underlines and sidelines within the text. This is done as a way to accentuate certain parts. Unlike Latin typography, which follows a horizontal flow, when text is set vertically, sidelines are used instead of underlines to highlight or emphasize specific characters or phrases.

Western Typography

In contrast, Western graphic design typically uses direct URLs or QR codes to guide viewers to websites. URLs provide a straightforward, exact path to a specific webpage. QR codes, while innovative for technical use cases, face accessibility challenges for readers. They depend on specific technology, like smartphones with cameras and Apps understanding QR-codes. This creates barriers for groups like older adults or those without smartphones. Unlike search terms that convey information and can be remembered, QR codes are cryptic and give no hints about their content. Their use also demands immediate, direct interaction with the printed material, which can be inconvenient in public spaces. Unlike URLs or search terms that can be noted or remembered for later use, QR codes must be used at the moment, limiting their flexibility and longevity. While functional, QR codes are often seen as intrusive elements in a design layout, challenging designers to incorporate them without disrupting the visual harmony of the piece.

Takeaways for webpage integrations

The Japanese method of indicating web content through search terms within a graphic representation of a search field offers intriguing possibilities for Western typography and graphic design. It prompts a reevaluation of how we guide viewers to online content and the potential for more integrated, aesthetically pleasing solutions. This approach also underscores the importance of understanding user behaviours and preferences in the digital age.

For Western designers, adopting a similar strategy could mean creating a more seamless bridge between print and digital media. It encourages a thoughtful consideration of keywords, their typographic presentation, and how they can be visually harmonized within a design. This method also invites designers to explore more iconographic elements in typography, blending text and imagery in innovative ways.

The Final Stroke

In conclusion, the vital role of Japanese typography in design and communication aesthetics becomes apparent when viewed through a Western typographic lens. The subtle elements of this typography offer not only aesthetic charm but also a deeper understanding of the cultural context in which it is shaped.

Takeaways: The importance of subtlety and cultural nuances in typography cannot be overlooked, and the fusion of different typographic traditions can greatly enhance global design narratives¹⁷.

Impressum

Author · Stefan Huber, Zurich, Switzerland
Year of publication · 2024
Licence · Creative Commons BY-SA 4.0
Fonts · Work Sans is a versatile typeface created by Wei Huang that draws inspiration from early Grotesques. It has continuously evolved to meet the demands of modern typography.
To provide comprehensive symbol, emoji, and Japanese character coverage, the font Noto was utilized as a fallback option.

Generative AI was used in co-authorship and is clearly marked with footnotes where the AI had a creative process. Other parts of this work might also be supported with AI, but only as a tool to formulate, translate or expand the author's original thoughts.

Published under typography.japan.signalwerk.ch

Footnotes