CJKV Information Processing, 2nd Edition

464

|

Chapter 6: Font Formats, Glyph Sets, and Font Tools

e eect of changing the kana designTable 6-62.

KozMinPr6N-Regular KozMinPr6N-Regular and TBRyokanMStd-M





 

           





のフォント は とゴ

シック ですが 、スペシャルなフォン

トも あります 。えば 、ゴ シック 、

、、お よ び 

と い うフォント に が ありま

す。

See what I mean? e abundance of kana clearly allows you to change the “look and feel”

of a Japanese document. Of course, implementing this functionality through the deni-

tion of a Composite Font is merely a convenience mechanism. It is obviously possible,

though a somewhat tedious task, to individually change the font for each character as

appropriate.

Adobe FrameMaker, Adobe Illustrator, Adobe InDesign, Adobe PageMaker, Canon EDI-

COLOR, and QuarkXPress are examples of applications that provide users with the abil-

ity to create Composite Fonts whose recipes begin by selecting a base font, and to allow

substitution by character class, such as substituting the Latin and kana glyphs of the base

font with those of a dierent font. For some of these applications, the Composite Font

denitions can be exported to a le, which can then be provided to another user.

Canon EDICOLOR, perhaps as an exception, also allows the user to specify fonts for two

categories of gaiji: system and user. See the description of EDICOLOR in Chapter 7 for