I: What were your first steps commercially? As my graduation work, I designed three typefaces with Fontographer and it won the Mayor’s prize in the graduate works exhibition. I could get all of the words whenever I wanted with my ownLatin typeface, so I plunged into making typefaces rather than posters. I can remember clearly when I saw a typeface I created on the screen for the first time. I would revise outlines and apply kerning values, then generate fonts as needed. I started using it, drawing draft sketches, scanning them, and tracing them with Adobe Illustrator 3.1, then pasting outlines into the glyph box of Fontographer. Unfortunately the course didn’t provide type design or typography curricula at all, but fortunately, there was a Mac iicx with Illustrator 3 and Fontographer 3.1 in one of the classrooms. I thought it would be better to design the letters I wanted myself as I created all of the other materials for the poster – taking photos, illustrating, and creating symbol marks.
I didn’t want to choose typefaces that would not go well with the graphic design that was already in progress. For type choices, I often referred to overseas type specimens, such as Letraset and The Monotype Type Library, but it was always hard to find one I wanted. Kunihiko: While I was a student at Kyoto City University of Arts, I often made posters for the regular weekly curriculum.
Ian: How did you first cultivate an interest in Roman lettering? When was it that you first became interested in lettering? An interview with type designer Kunihiko Okano
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