모리사와최정호폰트 한글폰트의 DNA Morisawa Choi Jeong-ho Fonts DNA of Hangul Fonts
한글폰트 DNA의계보, 최정호서체원도의디지털복원이완성되기까지 금속활자를발명한조상을가진후예의긍지로마땅히조잡한한글활자를개량할의무를느껴야하지않겠소? 한글디자이너최정호 인용, 안그라픽스출판이말은최정호씨가처음으로한글원도제작을결심하게된계기가되었습니다. 문자에는사람의 DNA라고할수있는역사적배경이단적으로집약되어있지않은가 ( 서체의굵기를 패밀리 라고칭하는것은인간의그것과연결되기때문이며, 단순한우연은아닐것이다 ). 그역사가만들어내는토지고유의미의식이나감각은그문화의민족에의해계승되는것으로, 모리사와가최정호씨에게한글원도제작을의뢰한것은지극히자연스러운흐름이었습니다. 지금여기에복원된최정호디지털서체의역사를살펴보는것으로, 최정호씨에의해어떻게한글서체원도가탄생하게되었는지알아보겠습니다. 1960년대중반, 사진식자기의발달에따라활자에서사진식자기로의전환이빠르게이루어지던시기입니다. 활자문화에유래없이긴역사를지닌한국은특히문자에관해서조예가깊어, 사진식자까지높은관심을가지는것은당연했습니다. 신문이나교과서에서의활용이크게예상되었기때문에, 출판사나인쇄소는앞다투어사진식자기를도입하게되었습니다. 이러한배경으로모리사와의사진식자기도대량도입되어, 로컬용한글원반이필요하게됨에따라, 모리사와와최정호씨가만나이큰프로젝트에대응하게됩니다. 훈민정음 에서읽어낸 DNA를그당시부터대대로설계해서구현해온최정호씨의원도는매우귀중합니다. 글자를통해사회에공헌한다 는이념으로, 모리사와는시대의변화와기술의발달속에서도문화적자산을지키며, 한걸음더나아가개발의토대가되어미래로연결시킵니다. 이 14종의서체를통해최정호씨의 DNA와한글폰트 DNA가계승되어지기를바랍니다. 02 03 모리사와최정호폰트전시서문 Morisawa Choi jeong-ho Fonts Exhibiton preface
Genetic family tree of Hangul Fonts, way to completion of digital restoration of the original drawing for fonts by Choi Jeong-ho Being proud of ancestors who invented a metal typeface, should you feel it your obligation to improve roughness of Hangul type, shouldn t you? Cited from Hangul Designer Choi Jeong-ho by Ahn Graphics publishers Inspired by the above words, Choi Jeong-ho decided to develop the original drawing of Hangul. We assume letters are brief collection of historical background. (It is not a coincidence that weight range of typefaces are called 'family' as a common idea with history of human being.) Sense of beauty or feelings peculiar to each land are succeeded by local people. Therefore, it is no wonder Morisawa asked Choi Jeong-ho for production of the original drawing of Hangul. How was the original drawing for Hangul typeface established by Choi Jeong-ho? We shall introduce the history of digital typeface of Choi Jeong-ho. In the middle of the 1960s, accompanied by development of phototypesetter, the age shifted rapidly from letterpress printing to typesetting. Since Korea has a long history and profound knowledge of letter culture, public had strong interests on the transition to typesetting without any doubt. As applying to newspaper and textbooks was powerfully expected, publishers and printing shops competed with others for buying phototypesetters. Since Morisawa's phototypesetters were installed widely and the original board of Hangul for local usage was required at the time, Morisawa met Choi Jeong-ho and decided to work on this giant project. The original drawing of Choi Jeong-ho is truly precious as it expresses a gene of the times, interpreted from 'Hunmin Jeongeum.' With an idea of contribution to the society through letters, Morisawa continues to protect cultural property as a foundation of the further development in the future even though technology gets better and better as time goes forward. Wishing these 14 typefaces to succeed a gene of Choi Jeong-ho and a gene of Hangul Font.
04 05 모리사와최정호폰트최정호이미지 Morisawa Choi jeong-ho Fonts Choi jeong-ho s Images 주간조선, 1985 Weekly Chosun, 1985
마당, 1981 Madang, 1981 한국인, 1986 Hankookin, 1986
06 07 모리사와최정호폰트최정호이미지 Morisawa Choi jeong-ho Fonts Choi jeong-ho s Images 한국인, 1986 Hankookin, 1986 원도를설계중인최정호 Choi jeong- ho, Designing the original drawings of typefaces 최정호의레터링도구 / 세종대왕기념관소장 임학현사진 Choi Jeong-ho s lettering tools / Seojongdaewang memorial hall photographed by Lim Hak-Hyeon
한국인, 1986 Hankookin, 1986
08 09 모리사와 최정호 폰트 Morisawa Choi jeong-ho Fonts 최정호 이미지 Choi jeong-ho s Images
각서체설명 Explanation of typefaces 비고 이번에제작된디지털폰트는주식회사모리사와분켄주식회사에보존되어있는 14서체의문자판 * 을바탕으로이에충실하게복원된폰트이다. * 문자판이란, 문자를축소촬영한네거티브필름을투명한유리 2장에끼워접착시킨것으로, 사진식자기에사용하는문자세트를말한다. 사진식자기문자판의문자수에서 KS코드 (KSX1001) 로의문자확장은 산돌커뮤니케이션의대대적인협력에의해실현되었다. 디지털복원에있어서디자인콘셉트는그대로유지하며이하의수정을진행하였다. -네모틀에서벗어난부분삭제 -글리프자체가 1000유닛이상의글자는 99% 로축소 -문자위치수정 Notes: The digital font produced for this occasion is a revival of the original letter boards* for 14 typefaces which were preserved by Morisawa Bunken Inc. *Letter board is a set of negative film of reduced-size letters, glued between a pair of clear glasses for phototypesetting use. An expansion of the number of characters from the original letter board of phototypesetting machine to KS Code (KSX1001) was able to be made with great cooperation of Sandoll Communications., Inc. On digitizing, the following revisions were made with a concept of design unchanged: -Protrusion from virtual body dissolved -Glyphs of more than a thousand units were reduced in size by 99% -Revised the position of the glyphs.
중명조 HAB1 (1972년) 첫닿자의작은속공간과삐침, 곡선을길게늘어뜨린것으로보아세로쓰기에적절한자형으로써그려졌다는것을알수있다. 한국은 1945년부터서서히세로쓰기문화에서가로쓰기문화로변했으며, 현재세로쓰기문화는거의남아있지않다. 이러한이유로, 세로쓰기에적절한자형으로그려진중명조 HAB1은최정호원도중에서도희소하다할수있다. 안그라픽스출판 한글디자이너최정호 참조 Jungmyeongjo HAB1 (1972) With relatively small aperture, long stroke of ending sweep or curved lines for initial consonants, it is indicated that this typeface is suitable for vertical writing. During the postwar period in Korea, writing custom gradually shifted its style from vertical into horizontal. Today almost no vertical writing is left therefore this Jungmyeongjo HAB1 is one of the unique typefaces among the original drawing of Choi Jeong-ho. 10 11 모리사와최정호폰트각서체설명 Morisawa Choi jeong-ho Fonts Explanation of typefaces Referring to Hangul Designer Choi Jeong-ho by Ahn Graphics publishers
원도제작에서는황무지이던이땅에초현대적인벤턴자모조각기를들여놓고바라보니마치마부에게트럭을갖다준셈이었다. 물론기계의원리를이해할수있고, 기술지도를받을수없었던것은아니니우리라고이기계를부릴수없는것은아니었다. 그러나총알이있어야총을쏠수있는이치로, 원도가있어야조각기를사용할수있을것이아닌가? 나는국문을쓸때옛사람이쓴한글서적을많이뒤져본다. 예스럽게인쇄된것뿐아니라규수들이손으로베낀 낭자전 따위도모두외울만큼들여다봤다. 그러나그아름다움을현대화하기는너무벅차고지난한일이라는것을새삼느낄뿐이었다. 미미한성과지만, 이것을디딤돌로다음세대가결실을맺어주리라희망해본다. Jungmyeongjo HAB1 Size 13 1972 중명조 HAB1 글자크기 13 글자사이 -70 Space -70 글줄사이 24 Leading 24 선을잘긋는다거나손재주만있다고되는것은아닙니다. 글자에대한기본원칙도모르고괜스레세리프같은것을붙인다거나, 제멋대로변형시키는것은사상누각격이지요. 글자의기본원칙같은것을알고나서야베리에이션도할수있게되는것이고자기의취향에따라멋도부릴수있게되는것입니다.
중명조 HAB31 (1972년) 중명조중에서도굵기가얇은부류. 자모음간의공간과첫닿자의속공간이큰것이특징. 1971년에모리사와분켄을방문해서사진식자공정을배운후, 작성되었다. 전체적으로글자무게중심이높은인상으로받침이크며, 속공간이넓어정방형의네모틀에조화롭게맞추어져있어, 일본어서체 Ryumin과의궁합을고려해서그려졌다는것을알수있다. 안그라픽스출판 한글디자이너최정호 참조 인쇄서체의대명사라고할수있는명조의역사는활자서체혁신의역사이기도하다. 본문조판용부터제목용까지폭넓게사용할수있으며, 균형잡힌독특한직선, 경쾌한흐름, 그리고우아한품격을갖춰아름답고, 가독성이뛰어나다. 12 13 모리사와최정호폰트각서체설명 Morisawa Choi jeong-ho Fonts Explanation of typefaces 대응문자판 : 중명조체 ABB1 Jungmyeongjo HAB31 (1972) This typeface has comparatively thin line among Chu-Mincho styles. Spaces between consonants and vowels, and large aperture for initial consonants are characteristics of this style. When Choi visited Morisawa Bunken Inc. in 1971, he studied the process of photo typesetting and produced this font. Overall, a little high center of gravity, relatively large patchim and large aperture lead to the better balance in a regular square shape. It indicates that this font is designed based on consideration of compatibility with Japanese writing (Ryumin). Referring to Hangul Designer Choi Jeong-ho by Ahn Graphics publishers A history of Mincho, in other words, a style of printing, can be considered as a history of innovating typeface. They are easy to read and beautifully shaped for such as typesetting composition or headlines with well balanced unique straight lines, light flow and an air of grace and dignity. Corresponding typeface: Chu-Mincho ABB1 중명조 HAB31 Jungmyeongjo HAB31
글자하나하나에내혼이박힐정도로일에전력을기울였다. 이때야한글이지니는글자의생리를어렴풋이나마깨닫게되는것같았다. 세로로쓸때의글자의기둥과가로로쓸때의글자의기본을어디에두어야한다는이치가잡혀갔다. 나는완전히광인이되었다. 책이든신문이든아무리읽어도그내용을파악할수없었고, 다만보이는것은그글자하나하나가가직있는뼈대요, 늘어서있는글자의종합적인구조뿐이었다. 이러는동안에도시간은흘렀고약반년만에야원도한벌제작이끝났다. 최형한잔합시다. 파안대소하는김사장의얼굴을바라보다가왈칵눈물이쏟아져나왔다. 승리의눈물이라할까. 실패는아닌모양이었다. 어느정도성공에가까웠던것이다. Jungmyeongjo HAB31 Size 20.5 1972 중명조 HAB31 글자크기 20.5 글자사이 -90 Space -90 글줄사이 32.5 Leading 32.5
태명조 HA1 (1973년) 부드럽고청초하며, 상쾌하고고상한분위기를가지고있다. 디자인, 광고관련소제목이나본문, 캐치카피에도대응할수있는밸런스를가지고있다. 속공간이작고, 약간큰돌기가흐르는듯이옆으로넘어진점등, 태명조체의부드러움과우아함을계승하고있다. 대응문자판 : 태명조체 A1 Taemyeongjo HA1 (1973) Soft, graceful and refreshing atmosphere. This font is well balanced and suitable for a wide range of document such as design, subheads, bodies or catch phrases for advertisement. With small aperture, large stroke and fluent down in sideways, it takes softness and grace over Futomincho. 태명조 HA101 (1973년) 태명조HA1에비해종횡선, 삐침등이선명한콘트라스트를이루고있어, 태명조체 A101의특징을엿볼수있다. 대응문자판 : 태명조체 A101 Taemyeongjo HA101 (1973) Compared to Taemyeongjo HA1, it has a sharper contrast, which is a characteristic of Futomincho A101, on such as vertical and horizontal lines, or ending strokes with sweep or hook. Corresponding typeface: Futomincho A101 14 15 모리사와최정호폰트각서체설명 Morisawa Choi jeong-ho Fonts Explanation of typefaces Corresponding typeface: Futomincho A1 태명조 HA1 Taemyeongjo HA1
나는국문을쓸때옛사람이쓴한글서적을많이뒤져본다. 나는 글씨를쓴다 고말하지않고, Taemyeongjo HA1 Size 42 Space -80 Leading 60 1973 태명조 HA1 글자크기 42 글자사이 -80 글줄사이 60 1973 태명조 HA101 Taemyeongjo HA101 자형설계 를한다고 말하기를좋아합니다. Size 42 글자크기 42 글자사이 -60 Space -60 글줄사이 60 Leading 60
활자체 HA301 (1979년) 문자판시대에대응하는모리사와서체는불분명하지만, 라틴 알파벳에있어서모던세리프체의특징 (Bodoni 등에서나타나는 ) 을받아들인것이아닐까라고추측된다. 날카롭고거친콘트라스트의종횡선, 돌기부분, 특히한글자음 ㅇ 의형태등은 Bodoni 계열의알파벳 O 의특징과매우닮아있다. 모리사와대응 : 서체없음 Hwaljache HA301 (1979) Although Morisawa s correspondence to the age of letter boards is unknown, it seems some of the features of modern Serif style (shown on Bondoni) from Latin alphabet are taken into consideration. Vertical and horizontal strokes in sharp and extreme contrast, elements of shooting, and a shape of Hangul consonant ㅇ are especially similar to the features of O from alphabet of Bondoni style. 16 17 모리사와최정호폰트각서체설명 Morisawa Choi jeong-ho Fonts Explanation of typefaces Corresponding typeface: none 활자체 HA301 Hwaljache HA301
모리사와 Hwaljache HA301 Size 160 1979 활자체 HA301 글자크기 160 글자사이 -20 Space -20 글줄사이 150 Leading 150 한글원도
견출명조 HMA1 (1972년) 확실한검은색을띠는두꺼운굵기의한자와, 가늘게설계된날카로운가나문자와의강약이특징인 MA1이나, 최정호는이를절충하여한글을그린것으로보인다. MA1의가나처럼고리, 삐침은날카롭게얇아지지만, 전체적으로는 MA1의한자와가나의중간정도의굵기와검은색을띠고있다. 대응문자판 : MA1 Gyeonchulmyeongjo HMA1 (1972) Contrast between Kanji with certain blackness and Kana with thinness and sharpness is a characteristic of MA1. It seems Choi Jeong-ho was inspired by its harmony of mixture on designing Hangul. As like Kana of MA1, hook/sweep of strokes get sharpened at the ending. On the other hand, overall width/blackness is in accordant with those in-between Kanji and Kana of MA1. 견출명조 HMA31 (1972년) 신문의제목용서체. 점의스타일이나부리는둥그스름한모양을하고있어, 부드러운이미지의문장을짤때선호된다. 크고대담하게구부러지는돌기나굵고둥근맺음부분에서 MA31의요소를많이볼수있다. 대응문자판 : MA31 Gyeonchulmyeongjo HMA31(1972) Suitable for big headlines of a newspaper. Style of dots and bump at the end of brush stroke, a decoration on the line edge have roundness therefore it gives us a favorable impression for writings with gentle tone. Elements such as rapidly curved lines of strokes, or wide and round ending lines show so much elements of MA31. Corresponding typeface: MA31 18 19 모리사와최정호폰트각서체설명 Morisawa Choi jeong-ho Fonts Explanation of typefaces Corresponding typeface: MA1 견출명조 HMA31 Gyeonchulmyeongjo HMA31
요즈음젊은사람들체질에는아무래도어울리지않는모양이야. 원체지루하고따분한작업이다보니처음에는제법의욕을가지고덤벼들다가도몇달이못돼도망을치고말지. 장인의식이있어야해. 장인의식을갖지않고는견딜수없는것이이직업인가봐. 한글의기본원칙부터알고시작해야합니다. 가로줄기가 0.1밀리미터만움직여도전체의균형이깨진다는사실은글자의원리를터득하지못하고는이해하기어렵습니다. 기지도못하는데날려고기교를부리는것은금물입니다. Gyeonchulmyeongjo HMA1 Size 14 Space -50 Leading 24 1972 견출명조 HMA1 글자크기 14 글자사이 -50 글줄사이 24 1972 견출명조 HMA31 Gyeonchulmyeongjo HMA31 글자크기 14 Size 14 글자사이 -40 Space -40 글줄사이 24 Leading 24
극세고딕 HBC501 (1978년) 한글자음 ㄷ 이나 ㅇ 에서알수있듯이, 자음의속공간이크게그려져있어, 전체적으로다소평체처럼보이는인상을준다. 하지만매칭되는일본어서체인 Shingo에는이러한평체의특징은볼수없다. 대응문자판 : BC501 Geugsegothic HBC501 (1978) As you see Hangul consonants with large counters such as ㄷ or ㅇ, the overall look is a little flat. However Shin-Go, as matching Japanese typeface has no feature of flatness. Corresponding typeface: BC501 세고딕 HBC1 (1972) 극세고딕HBC501에비해굵기뿐만아니라, 받침이있는문자는다소장체가되어있는등자형의수정도되어있다. 콘트라스트가적은고딕, 큰속공간중에서안쪽공간을널찍널찍하게형성하고있는문자등, BC1의대응서체로서그특징을잘살리고있다. 또한, 엘리먼트의접합부를일부러떼어놓는것으로얇은고딕체로서의가벼움을연출했다고추측된다. 대응문자판 : BC1 Segothic HBC1 (1972) Compared with Geugsegothic HBC501, there are some amendments on graphic formula, not only boldness but also length on letters with patchim, changing into relatively longer shape. As corresponding typeface to BC1, it has so much feature in boldface or letters with large aperture and counter. 20 21 모리사와최정호폰트각서체설명 Morisawa Choi jeong-ho Fonts Explanation of typefaces Corresponding typeface: BC1 세고딕 HBC1 Segothic HBC1
한글의 기본원칙부터알고 시작해야합니다. Geugsegothic HBC501 Size 40 Space 0 Leading 62 1978 극세고딕 HBC501 글자크기 40 글자사이 0 글줄사이 62 1972 글자란 Segothic HBC1 세고딕 HBC1 사상이나뜻을전달하는 도구입니다. 글자크기 40 Size 40 글자사이 -40 Space -40 글줄사이 62 Leading 62
중고딕HBB1 (1973년) 비교적작은크기와악센트있는엘리먼트가일본어서체BBB1과연결된다. 문자를조합했을때울퉁불퉁한감이 HBC계열보다두드러지므로, 본문용서체로서의가독성과안정성이좋다. 대응문자판 : BBB1 Junggothic HBB1 (1973) Relatively small size and element of accent are common with Japanese typeface BBB1. The roughness when combined with other letters are extremely stood out more than the group of HBC therefore readability and stability as typeface for the body is good. 22 23 모리사와최정호폰트각서체설명 Morisawa Choi jeong-ho Fonts Explanation of typefaces Corresponding typeface: BBB1 중고딕 HBB1 Junggothic HBB1
1973 중고딕 HBB1 글자크기 9 Junggothic HBB1 Size 9 나는동아일보사건물후문에서한참을서성댄뒤에야벌떼처럼쏟아져나오는소년가운데제일앞장서서뛰는녀석을잡아세웠다. 아마이날신문을가장먼저산사람은나였을것이다. 나는가벼운흥분을누르며신문 1면부터차례로훑어내려갔다. 빽빽이짜인지면본문활자위에굵직한제목글자의자획이눈앞으로확대되어들어 글자사이 -70 Space -70 글줄사이 18 Leading 18 오며너울거렸다. 나는나이답지않게긴장된머리를가누기위해눈을지그시감았다. 이날부터 동아일보 는새자모로활자를전면개편했는데, 이활자의초호한글원도를내가썼던것이다. 이원도가실제로신문지면에서어떻게반영되며조화되었을까하는것이이날나의긴장된관심사였던것이다. ( ) 부족한대로나는또하나의일을했다는일말의기쁨을맛볼수있었다. 그러나언제나느끼는일이지만한가지일이끝날때마다숫색시와같은부끄러움과불안감은어쩔수가없었다. 점심을먹으면서도나는계속신문을응시했다. 내가쓴한글자한글자가합쳐서이룩된낱말이나문장이복합된문자로서조화가잘되었는가를살피면서.
태고딕HB1 (1972년) 대응문자판과동일하게세로선의돌기로인해억제된듯한강한힘을띠고있다. 이에따라작은글자에서는선명하게, 큰글자에서는강하게표현할수있어, 여러가지사이즈의문자로산뜻한효과를줄수있다. 대응문자판 : B101 Taegothic HB1 (1972) As same as corresponding letter boards, it has a moderate strength with accent on vertical strokes. This element makes it possible to show clearly in smaller size, strongly in larger size and to give a non-persistent impact with a variety of font sizes. 24 25 모리사와최정호폰트각서체설명 Morisawa Choi jeong-ho Fonts Explanation of typefaces Corresponding typeface: B101 태고딕 HB1 Taegothic HB1
가는 Taegothic HB1 Size 210 1972 태고딕 HB1 글자크기 210 글자사이 -50 Space -50 중간 Leading 240 글줄사이 240 굵은
견출고딕HMB1 (1972년) 굵기는대응문자판 MB1에해당하지만, 디자인에있어서엘리먼트의위치와공간의사용법이다르며, 문자의사이즈에도차이가있다. 대응문자판 : MB1 Gyeonchulgothic HMB1 (1972) Consistency in width is in common with its corresponding board MB1 while position of elements, use of space or size of letters varies. Corresponding typeface: MB1 견출고딕HMB31 (1973년) 신문제목용서체. 고전적인분위기의중후함이느껴진다. 견출고딕HMB1과비교했을때, 견출고딕HMB31가디자인적완성도가월등히높다. 일정하고깔끔한검은색과, 디자인이미지가일치하기때문에정돈되어있다. 대응문자판인 MB31과의정합성과도연결된다. 대응문자판 : MB31 Gyeonchulgothic HMB31(1973) Suitable for headlines of a newspaper. It holds an air of classic steadiness and dignity. In aspect of design, Gyeonchulgothic HMB31 is much more perfect than Gyeonchulgothic HMB1. It has constant beautiful blackness and its concept of design is consistent and well-arranged. It also has certain consistency with corresponding board, MB31. 26 27 모리사와최정호폰트각서체설명 Morisawa Choi jeong-ho Fonts Explanation of typefaces Corresponding typeface: MB31 견출고딕 HMB31 Gyeonchulgothic HMB31
글자란사상이나뜻을전달하는도구입니다. 그러므로읽는사람이피로감을느끼지않게글자가디자인되어야합니다. 글자를하나하나쓴다는것이예술이아닙니다. 그래서나는글씨를쓴다고하지않고, 자형을설계를한다고말하기를좋아합니다. 나는이분야에손을대기시작했을무렵여러난관에부딪쳤다. 이렇다할스승도없었고특별한참고서적도없었음은물론이다. 이런전철을나와같은길을걷고자하는젊은이들에게되풀이되지않길바란다. 그들에게작은길잡이가되고플따름이다. Gyeonchulgothic HMB1 Size 15 Space -50 Leading 25 1972 견출고딕 HMB1 글자크기 15 글자사이 -50 글줄사이 25 1973 견출고딕 HMB31 Gyeonchulgothic HMB31 글자크기 15 Size 15 글자사이 -40 Space -40 글줄사이 25 Leading 25
중환고딕HBDB1 (1978) 다소작은크기로붓의자연스러운흐름을나타내는중환고딕HBDB1은, 대응문자판 Jun의가독성을고려한문자크기와손으로쓴이미지를충실하게계승하고있다. 한글자음의 ㅅ 의왼쪽내림의부드러운곡선이나 ㅍ 의역사다리꼴에모이는세로선등에서손으로쓴인상을받을수있다. 참고문헌없음대응문자판 : Jun Junghwangothic HBDB1 (1978) Jeonghwangothic HBDB1, a little small sized font with fluent flow of stroke takes legibility and image of handwriting over corresponding board, Jun. Some parts gives us an impression of handwriting such as soft curved line of left stop in a consonant of Hangul ( ㅅ ), or vertical lines gathering in shape of trapezoid upside down ( ㅍ ). 28 29 모리사와최정호폰트각서체설명 Morisawa Choi jeong-ho Fonts Explanation of typefaces Reference text: none Corresponding typeface: Jun
글자 올림픽이 Junghwangothic HBDB1 Size 85 1978 중환고딕 HBDB1 글자크기 85 글자사이 -50 Space -50 있다면 Leading 115 글줄사이 115 금메달은 내가 딸것
모리사와최정호폰트 14 종 14 Types of Morisawa Choi Jeong-ho Fonts 부리계열 중명조 HAB1 Jungmyeongjo HAB1 1972 글자란사상이나뜻을 전달하는도구입니다. 30 31 중명조 HAB31 Jungmyeongjo HAB31 태명조 HA1 Taemyeongjo HA1 태명조 HA101 Taemyeongjo HA101 1972 1973 1973 글자란사상이나뜻을전달하는도구입니다. 글자란사상이나뜻을전달하는도구입니다. 글자란사상이나뜻을전달하는도구입니다. 모리사와최정호폰트각서체설명 Morisawa Choi jeong-ho Fonts Explanation of typefaces 활자체 HA301 Hwaljache HA301 1972 글자란사상이나뜻을 전달하는도구입니다. 견출명조 HMA1 Gyeonchulmyeongjo HMA1 1972 글자란사상이나뜻을 전달하는도구입니다. 견출명조 HMA31 Gyeonchulmyeongjo HMA31 1972 글자란사상이나뜻을 전달하는도구입니다. 민부리계열 극세고딕 HBC501 Geugsegothic HBC501 1978 글자란사상이나뜻을 전달하는도구입니다. 세고딕 HBC1 Segothic HBC1 1972 글자란사상이나뜻을 전달하는도구입니다. 중고딕 HBB1 Junggothic HBB1 1972 글자란사상이나뜻을 전달하는도구입니다. 태고딕 HB1 Taegothic HB1 1973 글자란사상이나뜻을 전달하는도구입니다. 견출고딕 HMB1 Gyeonchulgothic HMB1 1972 글자란사상이나뜻을 전달하는도구입니다. 견출고딕 HMB31 Gyeonchulgothic HMB31 1973 글자란사상이나뜻을 전달하는도구입니다. 중환고딕 HBDB1 Junghwangothic HBDB1 1978 글자란사상이나뜻을 전달하는도구입니다.
서체원도와사진식자체 Original drawings of typefaces and phototypesettings
모리사와최정호명조필름 모리사와소장 Morisawa Choi jeong-ho myeongjo films Morisawa collection
모리사와최정호고딕필름 모리사와소장 Morisawa Choi jeong-ho gothic films Morisawa collection
중명조 HAB31 원도 ( 위 ) 모리사와소장 Jungmyeongjo HAB31 original drawings (up) Morisawa collection 활자체 HA301 원도 ( 아래 ) 모리사와소장 Hwaljache HAB31 original drawings (down) Morisawa collection
극세고딕 HBC501 원도 ( 위 ) 모리사와소장 Geugsegothic HBC501 original drawings (up) Morisawa collection 태고딕 HB1 원도 ( 아래 ) 모리사와소장 Taegothic HB1 original drawings (down) Morisawa collection
기준판 모음 모리사와 최정호 서체 typeface masterplates Collections of Morisawa Choi jeong-ho
모리사와최정호폰트 한글폰트의 DNA Morisawa Choi Jeong-ho Fonts DNA of Hangul Fonts 40 41 모리사와최정호폰트 Morisawa Choi jung-ho Fonts 기획 / 편집 / 글 ( 주 ) 모리사와 진행 ( 주 ) 모리사와코리아, ( 주 ) 안그라픽스타이포그라피연구소 디자인 / 제작 ( 주 ) 안그라픽스디자인사업부 인쇄 효성문화 문의 ( 주 ) 모리사와코리아 서울특별시마포구양화로156 LG 팰리스 921호 전화 02-337-3227 홈페이지 http://kr.morisawa.co.jp Planning/Editing/Writing Morisawa Inc. Management Morisawa Korea Inc., Ahngraphics Typography Lab. Inc. Design/Production Ahngraphics Design Dept. Inc. Printing Hysung Munhwa Contact Morisawa Korea Inc. 921 LG Palace Bldg. 156 Yanghwa-ro Mapo-gu Seoul Tel 02-337-3227 Homepage http://kr.morisawa.co.jp