This habit formed overtime as an outcome of cultural imports and exports, but continues to pose practical problems as well as aesthetic ones. Instead, many designers in Hong Kong, Taiwan, and China will often use the Hanzi from Japanese typefaces in their work, since Japan’s font culture and aesthetics are considered the most refined and have had the most time to mature within East Asia.
He remembers asking people how they feel about Chinese typefaces, to which many replied, they don’t. But what exactly has been lost?Įver since Hui was a student at the Hong Kong Polytechnic University in the late 2000s, he’s seen how the mood of a layout could be killed with setting Chinese typefaces. Ku Mincho sets out to be a typeface that revives the innate beauty of Chinese characters. Yet behind this feat was a long, uneasy road. To date, he’s raised more than five times that amount-indicating both an excitement and a clear need for the typeface. The initial goal of four million NTD (a little under $150,000) was reached in only a few hours.
At the beginning of 2021, type designer and typographer Julius Hui launched a crowdfunding campaign for Ku Mincho, a Ming-style typeface he began concepting six years ago.
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