Part 0. Designer Introduction
Q. Hello, designer Kang In-gu, nice to meet you! Could you briefly introduce yourself?
Hello, I'm Kang In-gu who runs kigtype. I enjoy imbuing letters with diverse roles and am very interested in creating interesting and unique letterforms. I currently teach combinatory type design at the Hangeul Typography School.
Q. Was there a particular reason you started font design?
When I began design as an undergraduate student, other design disciplines seemed to have an established sequence leading up to the final outcome. Hangeul design also had a set order, but understanding the structure was challenging. Even if I followed the sequence, I often had to redraw, so it required self-study over time. Perhaps that's why I spent a lot of time studying Hangeul design and naturally gravitated towards font design.
Q. Are there any keywords that introduce your brand? Or is there a direction kigtype aims for?
I think producing high-quality fonts is basic professionalism. Rather than just being a font production brand, I want to experiment with diverse expressions through letters. So I try to find interesting shapes or novel appearances, and develop ways to render abstract images as letters. Therefore, the keywords would be 'fun, diverse, new.'
Q. [Balance Game] If you had to choose between using only the fonts you created for life or only fonts created by others, which would you pick?
'Using only the fonts I created' feels more comfortable. If I only used my own fonts, it would give me a chance to think about what fonts are needed in the areas I've experienced, and there's also the appeal of being able to create them as I intend to present them.
Part 1. Introducing the 'Cheongsong' Font
Q. I'm curious about how 'Cheongsong' started. It began as a gungche (old Korean calligraphic style) font, right?
Yes, while it's not difficult to find fonts made in the gungche style, I felt that upon closer inspection, they tend to be interpreted and produced in similar contexts as before, so it's hard to call them truly diverse styles.
Gungche Font Search Results
For instance, if you search for 'gungche fonts', you can easily find what calligraphers would consider well-written letters, but the letterforms and gungche fonts appear similar in structure, expression, stroke speed, weight, and force. However, letters and fonts differ in their production methods and usage, so rather than simply replicating them, I wanted to deconstruct and reassemble the existing order. So for each component, I matched different sharp and soft textures, and considered how varying the weight could change the appearance. Through this process, while the printed texture is similar to gungche, the softness is more vivid, and rather than a firm, rigid line, it flows in a more natural way with balance.
Gungche Comparison: From top, 'Gungche Regular', 'Chosun Gungche', 'Cheongsong', 'Munche Gungche Jeongja'
Gungche Comparison: 'Cheongsong' and 'Chosun Gungche' Sentences
Q. Why did you name it 'Cheongsong'?
I gave a lot of thought to the name. 1) I wanted a word that could represent the characteristics of gungche, 2) work well in both directions, 3) be easy to pronounce, and 4) have a suitable meaning. So I first determined the features to highlight, specified the consonants and vowels, then found a word containing the meaning 'pine tree' to create the name. I didn't specifically intend for it to include 'pine tree', but the steadfast green impression of pine trees seemed to complement the letterforms.
Features Reflected in the Name
Q. What are the key features of 'Cheongsong'?
The 'Cheongsong Jungpil' (medium weight) that has been added is suitable for subheadings and titles. If a gungche texture is required for the purpose, it can also be used for body text over 10pt. While the strokes and structure follow gungche, I modified the spacing between strokes as I went along. A specific feature is that I replaced the sharp textures of gungche with curved forms. I plan to add two additional weights – a light 'Sepil' tailored for body text with a sleek impression, and a bold 'Daepil' for titles with a strong, sturdy impression based on brush thickness variations.
Gungche Comparison: 'Cheongsong' and 'Chosun Gungche' Features
Q. What area did you focus on the most during the design process?
More than anything, the bidirectional design aspect. Designing solely for horizontal writing felt somewhat inadequate to be called gungche, so I felt the need for a vertical writing version. But since the structure changes with direction, I had to draw the Hangeul twice. Beyond having to draw it twice, the bigger challenge was modifying the different structures to appear the same size.
Q. How would you recommend using 'Cheongsong'?
Generally, I think it suits book titles, short texts, poems, and anywhere that needs a thicker voice or formal strength compared to a standard text typeface.
Part 2. Designer's Thoughts
Q. Thank you for sharing the story of 'Cheongsong'. I'd also like to hear your personal thoughts as a designer. What makes a good font?
In my view, a good font is one that is designed as intended with few errors. There are many decisions involved in creating a single font, from the planning and design approach to functionality and usability. So I think a font approaches being a 'good font' when each of those aspects meets a certain level of quality.
Q. Then what do you think is needed to become a font designer? Do you have any advice for fellow or aspiring designers?
While having a self-taught, studious attitude is good, I tend to recommend getting instruction because the tools and methods themselves are unfamiliar, and there is relatively less information available compared to other design fields.
Q. As a font designer, is there anything you hope for?
It seems the profession of font designer or letter designer is relatively less known compared to other fields. As a result, there are often cases where it's lumped together with the profession of handwriting calligraphy. So I wish that even people outside the design field would become aware that there is a profession dedicated to designing fonts and letters.
Q. Could you share your future font production plans?
First, I plan to complete the 'Cheongsong' family by adding the light 'Sepil' and bold 'Daepil' weights. I'm thinking of finishing the 'Daepil' around June 2023, after which I'll likely begin full production on one of the several font ideas I have outlined. I also plan to create relatively light and fun fonts like 'Arario' from time to time, about once a year.
'Cheongsong' Sepil, Jungpil, Daepil
'Cheongsong' Jungpil Usage Example
Part 3. Joining SandollCloud
Q. Could you share the reason for choosing SandollCloud and a brief comment?
The current SandollCloud is undoubtedly the service with the highest overall usability. Now that individual font services have been introduced, there's no bigger reason in making this choice! I appreciate your continued support.
Q. Could you leave a comment for customers awaiting (welcoming) kigtype's addition?
Look forward to fun and well-made fonts! :-)