Western typography was imported from the United States to Japan in the late nineteenth century. Its success is usually attributed to just two people: Tomiji Hirano and Shozo Motoki. Even though Kawaka Ikehara reportedly provided them with the original drawings and is thus potentially the source of all modern Japanese typefaces, he is a much lesser-known figure. His typeface provided a bridge between the unique Japanese calligraphy (Wayo) in use until the late Edo period and modern typographic forms from the Meiji period, and its influence deserves wider recognition. This talk sheds light on Ikehara and tries to reestablish his position in the history of Japanese typefaces.
Haruta Yukari is a graphic designer. In addition to her work, she has been involved in typography study groups. There, she learned hiragana and the typography of the early Meiji era, which she has publicized through writing and lectures. Her writing includes “On Kawaka Ikehara,” “A Hundred Vistas of Letters #98” (Robundo, 2000), “Kawaka Ikehara: A Man between Calligraphy and Type,” “Japanese Modern Type: Shozo Motoki And His Surroundings” (the Committee of the Japanese Modern Type: Shozo Motoki and His Surroundings and NPO Modern Printing Preservation Society, 2003), and a thesis titled “Early Modern ‘Hiragana Type’ and Its Designer: Kawaka Ikehara and His Surroundings” (Japan Society of Typography Journal #09, 2016). She is the principal of Haruta Design Studio and a member of the Japan Society of Typography, and was a lecturer at Robundo Shinjuku Private Typography School from 2006 to 2018. 春田ゆかりはグラフィックデザイン業務の傍ら、1996年頃よりタイポグラフィに関する勉強会に参加、平仮名や明治時代初期のタイポグラフィに関心をもち、執筆や講演の機会を得る。 主な著述は、「池原香穉のこと」『文字百景098』2000年 朗文堂、「書と活字のはざまにいた池原香穉」『日本の近代活字 本木昌造とその周辺』2003年 『日本の近代活字 本木昌造とその周辺』編纂委員会 NPO法人 近代印刷活字文化保存会、論文「近代初期「平仮名活字」の書き手について――池原香穉とその周辺」『タイポグラフィ学会誌 09』2016年 タイポグラフィ学会。 春田デザイン室主宰、朗文堂タイポグラフィ・スクール新宿私塾講師（2006年より2018年まで）、タイポグラフィ学会会員。