├── .gitignore ├── AUTHORS.txt ├── DESCRIPTION.en_us.html ├── OFL.txt ├── README.md ├── build.py ├── fonts └── ttf │ ├── ZenMaruGothic-Black.ttf │ ├── ZenMaruGothic-Bold.ttf │ ├── ZenMaruGothic-Light.ttf │ ├── ZenMaruGothic-Medium.ttf │ └── ZenMaruGothic-Regular.ttf ├── images └── maruGothic.png └── sources ├── BASE-Black.ttx ├── BASE-Bold.ttx ├── BASE-Light.ttx ├── BASE-Medium.ttx └── ZenMaruGothic.zip /.gitignore: -------------------------------------------------------------------------------- 1 | 2 | sources/ZenMaruGothic.glyphs 3 | -------------------------------------------------------------------------------- /AUTHORS.txt: -------------------------------------------------------------------------------- 1 | # This is the official list of project authors for copyright purposes. 2 | # This file is distinct from the CONTRIBUTORS.txt file. 3 | # See the latter for an explanation. 4 | # 5 | # Names should be added to this file as: 6 | # Name or Organization 7 | 8 | Yoshimichi Ohira 9 | Google LLC 10 | Katja Schimmel 11 | Neil Summerour 12 | Aaron Bell 13 | Rosalie Wagner 14 | -------------------------------------------------------------------------------- /DESCRIPTION.en_us.html: -------------------------------------------------------------------------------- 1 |

2 | Zen Maru Gothic is a rounded san serif family that gives a soft and natural impression due to the deep rounds in the corners. Because of this unique soft impression the thin weight is also easy to use in any scenes. Cute and fashionable, soft and easy for any communications. 3 |

4 |

5 | To contribute to the project, visit https://github.com/googlefonts/zen-marugothic 6 |

7 | -------------------------------------------------------------------------------- /OFL.txt: -------------------------------------------------------------------------------- 1 | Copyright 2021 The Zen Maru Gothic Project Authors (https://github.com/googlefonts/zen-marugothic) 2 | 3 | This Font Software is licensed under the SIL Open Font License, Version 1.1. 4 | This license is copied below, and is also available with a FAQ at: 5 | http://scripts.sil.org/OFL 6 | 7 | 8 | ----------------------------------------------------------- 9 | SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 10 | ----------------------------------------------------------- 11 | 12 | PREAMBLE 13 | The goals of the Open Font License (OFL) are to stimulate worldwide 14 | development of collaborative font projects, to support the font creation 15 | efforts of academic and linguistic communities, and to provide a free and 16 | open framework in which fonts may be shared and improved in partnership 17 | with others. 18 | 19 | The OFL allows the licensed fonts to be used, studied, modified and 20 | redistributed freely as long as they are not sold by themselves. The 21 | fonts, including any derivative works, can be bundled, embedded, 22 | redistributed and/or sold with any software provided that any reserved 23 | names are not used by derivative works. The fonts and derivatives, 24 | however, cannot be released under any other type of license. The 25 | requirement for fonts to remain under this license does not apply 26 | to any document created using the fonts or their derivatives. 27 | 28 | DEFINITIONS 29 | "Font Software" refers to the set of files released by the Copyright 30 | Holder(s) under this license and clearly marked as such. This may 31 | include source files, build scripts and documentation. 32 | 33 | "Reserved Font Name" refers to any names specified as such after the 34 | copyright statement(s). 35 | 36 | "Original Version" refers to the collection of Font Software components as 37 | distributed by the Copyright Holder(s). 38 | 39 | "Modified Version" refers to any derivative made by adding to, deleting, 40 | or substituting -- in part or in whole -- any of the components of the 41 | Original Version, by changing formats or by porting the Font Software to a 42 | new environment. 43 | 44 | "Author" refers to any designer, engineer, programmer, technical 45 | writer or other person who contributed to the Font Software. 46 | 47 | PERMISSION & CONDITIONS 48 | Permission is hereby granted, free of charge, to any person obtaining 49 | a copy of the Font Software, to use, study, copy, merge, embed, modify, 50 | redistribute, and sell modified and unmodified copies of the Font 51 | Software, subject to the following conditions: 52 | 53 | 1) Neither the Font Software nor any of its individual components, 54 | in Original or Modified Versions, may be sold by itself. 55 | 56 | 2) Original or Modified Versions of the Font Software may be bundled, 57 | redistributed and/or sold with any software, provided that each copy 58 | contains the above copyright notice and this license. These can be 59 | included either as stand-alone text files, human-readable headers or 60 | in the appropriate machine-readable metadata fields within text or 61 | binary files as long as those fields can be easily viewed by the user. 62 | 63 | 3) No Modified Version of the Font Software may use the Reserved Font 64 | Name(s) unless explicit written permission is granted by the corresponding 65 | Copyright Holder. This restriction only applies to the primary font name as 66 | presented to the users. 67 | 68 | 4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 69 | Software shall not be used to promote, endorse or advertise any 70 | Modified Version, except to acknowledge the contribution(s) of the 71 | Copyright Holder(s) and the Author(s) or with their explicit written 72 | permission. 73 | 74 | 5) The Font Software, modified or unmodified, in part or in whole, 75 | must be distributed entirely under this license, and must not be 76 | distributed under any other license. The requirement for fonts to 77 | remain under this license does not apply to any document created 78 | using the Font Software. 79 | 80 | TERMINATION 81 | This license becomes null and void if any of the above conditions are 82 | not met. 83 | 84 | DISCLAIMER 85 | THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 86 | EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 87 | MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 88 | OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 89 | COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 90 | INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 91 | DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 92 | FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 93 | OTHER DEALINGS IN THE FONT SOFTWARE. 94 | -------------------------------------------------------------------------------- /README.md: -------------------------------------------------------------------------------- 1 | # Zen Fonts Maru Gothic 2 | 3 | ![Maru Gothic](images/maruGothic.png) 4 | Zen Maru Gothis is a rounded san serif family that gives a soft and natural impression due to the deep rounds in the corners. Because of this unique soft impression the thin weight is also easy to use in any scenes. Cute and fashionable, soft and easy for any communications. 5 | 6 | ## The story of Zen Fonts 7 | 8 | #### My encounter with typography 9 | 10 | A few years after I began my work in typesetting, a certain font caught my interest. It wasn’t beautiful per se, but it had a certain allure that attracted me. Converting this font to typesetting was a considerable challenge but one which made my work worthwhile and enjoyable. The outline of the characters appeared to be drawn by hand, so the lines were not clean. It was probably designed to be used for vertical writing because when I aligned them horizontally, there was a slight undulation. The thickness and size were inconsistent, giving the font an old-fashioned analog feel. But these very characteristics gave this font an unparalleled uniqueness and flavor that I found to be extremely fascinating. 11 | 12 | #### Thoughts on aesthetics of Japanese text 13 | 14 | Identifying Japanese text is easier if you imagine them having the following characteristics: kanji is structured and mesh-patterned, hiragana is curvy and soft, katakana is simple and triangular. Japanese text is distinctive in that these different shapes exist together in a sentence. It’s distinct from Latin text in that there is no sense of order or consistency, and it is quite uneven when they’re aligned horizontally. However, there is a certain beauty in the way these irregular shapes together give way to harmony. Kana is used as suffixes following kanji stems to make them easier to read, but perhaps they also serve the purpose of giving “ma (distance/interval),” or blank space that softens the hard edges of kanji placed close together. 15 | 16 | #### Designing for readability 17 | 18 | When you scale the three geometric shapes □△○, the square appears the largest, followed by the circle and the triangle. This is known to be an optical illusion. For instance, the kanji for mouth “口” appears bigger, so making them smaller is ideal. Other characters require such minor adjustments to its size, thickness, and position in order to correct the illusion. When I make my fonts, I replace kanji with □, hiragana with ○, and katakana with △, then adjust their size and center relative to each other. I make the hiragana smaller compared to kanji, and katakana smaller than the other two, so the font looks well-balanced overall. 19 | 20 | #### Creating the conditions for readability 21 | 22 | When I design, I maximize readability using the spacing between characters, lines, length of rows, indention, and the whole page layout. This “ma,” or space, acts as a visual cue to help readers follow the sentence, much like a route map or rest area of an exhibition hall. By setting the characters with this visual aspect in mind, I can create certain conditions for readability while also bringing out the uniqueness of the typeface itself. 23 | 24 | #### Traditions and new challenges 25 | 26 | My typefaces are simple with a combination of old and new styles. The ZEN Old Mincho R that I released in 1997 uses the traditional old style, which is said to have the most legible font shape. It is a Mincho style typeface that accommodates text or title, horizontal or vertical use. The Zen Kaku Gothic N released in 2009 is a simple Gothic font with scalability. For instance, it doesn’t have the “geta,” the ends of the stroke where the vertical line is longer than the horizontal line. Also, it lacks any ornate serifs. Therefore, this font adapts well to graphic edits and making variations. The Zen Maru Gothic N that I released in 2012 take after the Zen Kaku Gothic N in concept. It’s a maru gothic font, and the corners are intentionally rounded so they appear as though they’ve been weather-worn. In the simplicity of the design you will find scalability and rich expression. 27 | 28 | #### Designer 29 | 30 | Yoshimichi Ohira 31 | 32 | ## License 33 | 34 | SIL Open Font License ([OFL.txt](OFL.txt)) 35 | -------------------------------------------------------------------------------- /build.py: -------------------------------------------------------------------------------- 1 | from fontTools.designspaceLib import DesignSpaceDocument 2 | from glyphsLib.cli import main 3 | from fontTools.ttLib import newTable, TTFont 4 | import shutil 5 | import subprocess 6 | import multiprocessing 7 | import multiprocessing.pool 8 | from pathlib import Path 9 | import argparse 10 | import ufo2ft, ufoLib2, os, glob 11 | import fontmake.instantiator 12 | import copy 13 | 14 | def DSIG_modification(font:TTFont): 15 | font["DSIG"] = newTable("DSIG") #need that stub dsig 16 | font["DSIG"].ulVersion = 1 17 | font["DSIG"].usFlag = 0 18 | font["DSIG"].usNumSigs = 0 19 | font["DSIG"].signatureRecords = [] 20 | font["head"].flags |= 1 << 3 #sets flag to always round PPEM to integer 21 | 22 | def step_merge_glyphs_from_ufo(path: Path, instance: ufoLib2.Font, *args) -> None: 23 | textfile = "" 24 | for ar in args: 25 | textfile = ar 26 | 27 | ufo = ufoLib2.Font.open(path) 28 | if textfile: 29 | glyphSet = Path(textfile).read_text().split(" ") 30 | for glyph in glyphSet: 31 | instance.addGlyph(ufo[glyph]) 32 | else: 33 | for glyph in ufo: 34 | if glyph.name not in instance: 35 | instance.addGlyph(ufo[glyph.name]) 36 | 37 | def make_static(instance_descriptor, generator): 38 | instance = generator.generate_instance(instance_descriptor) 39 | 40 | instance.lib['com.github.googlei18n.ufo2ft.filters'] = [{ # extra safe :) 41 | "name": "flattenComponents", 42 | "pre": 1, 43 | }] 44 | 45 | static_ttf = ufo2ft.compileTTF( 46 | instance, 47 | removeOverlaps=True, 48 | overlapsBackend="pathops", 49 | useProductionNames=True, 50 | ) 51 | 52 | DSIG_modification(static_ttf) 53 | print ("["+instance_descriptor.name+"] Saving") 54 | output = "fonts/ttf/"+str(instance_descriptor.familyName).replace(" ","")+"-"+instance_descriptor.styleName+".ttf" 55 | 56 | if instance_descriptor.styleName != "Regular": 57 | base_load = TTFont() 58 | TTFont.importXML(base_load, Path("sources/BASE-"+instance_descriptor.styleName+".ttx")) 59 | static_ttf["BASE"] = base_load["BASE"] 60 | GASP_set(static_ttf) 61 | static_ttf.save(output) 62 | 63 | 64 | def GASP_set(font:TTFont): 65 | if "gasp" not in font: 66 | font["gasp"] = newTable("gasp") 67 | font["gasp"].gaspRange = {} 68 | if font["gasp"].gaspRange != {65535: 0x000A}: 69 | font["gasp"].gaspRange = {65535: 0x000A} 70 | 71 | def cleanup(): 72 | # Cleanup 73 | for ufo in sources.glob("**/*.ufo"): 74 | shutil.rmtree(ufo) 75 | os.remove("sources/ZenMaruGothic.designspace") 76 | 77 | if __name__ == "__main__": 78 | sources = Path("sources") 79 | print ("[ZEN] Generating UFO sources") 80 | for file in sources.glob("**/*.glyphs"): 81 | print ("["+str(file)+"] generating source") 82 | main(("glyphs2ufo", str(file), "--write-public-skip-export-glyphs")) 83 | 84 | for ufo in sources.glob("*.ufo"): # need to put this command in all the source UFOs to make sure it is implemented 85 | source = ufoLib2.Font.open(ufo) 86 | source.lib['com.github.googlei18n.ufo2ft.filters'] = [{ 87 | "name": "flattenComponents", 88 | "pre": 1, 89 | }] 90 | ufoLib2.Font.save(source) 91 | 92 | ds = DesignSpaceDocument.fromfile(sources / "ZenMaruGothic.designspace") 93 | ds.loadSourceFonts(ufoLib2.Font.open) 94 | generator = fontmake.instantiator.Instantiator.from_designspace(ds) 95 | 96 | pool = multiprocessing.pool.Pool(processes=multiprocessing.cpu_count()) 97 | processes = [] 98 | 99 | for instance_descriptor in ds.instances: # GOTTA GO FAST 100 | processes.append( 101 | pool.apply_async( 102 | make_static, 103 | ( 104 | instance_descriptor, 105 | generator, 106 | ), 107 | ) 108 | ) 109 | 110 | pool.close() 111 | pool.join() 112 | for process in processes: 113 | process.get() 114 | del processes, pool 115 | 116 | print ("Cleaning build files") 117 | cleanup() -------------------------------------------------------------------------------- /fonts/ttf/ZenMaruGothic-Black.ttf: -------------------------------------------------------------------------------- https://raw.githubusercontent.com/googlefonts/zen-marugothic/553c872b216d1290e2902a466edcdc9682f0df6a/fonts/ttf/ZenMaruGothic-Black.ttf -------------------------------------------------------------------------------- /fonts/ttf/ZenMaruGothic-Bold.ttf: -------------------------------------------------------------------------------- https://raw.githubusercontent.com/googlefonts/zen-marugothic/553c872b216d1290e2902a466edcdc9682f0df6a/fonts/ttf/ZenMaruGothic-Bold.ttf -------------------------------------------------------------------------------- /fonts/ttf/ZenMaruGothic-Light.ttf: -------------------------------------------------------------------------------- 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