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The main difficulty was to obtain a consistent sense of slanted rim lighting and negative space for contrast between strokes for both simple and complex characters.
 

But what if the strokes and negative space worked together to simulate traditional brush stroke orders?
 

This allowed for a more flexible solution where strokes did not need to follow the traditional order while maintaining legibility. In fact, strokes could be broken down into even smaller parts without losing fidelity at variable scale.

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Common components can also be reused more flexibly.
Varied radicals could be reconstructed with even smaller
‘sub-radicals’ which promotes consistency in structure at
multiple levels of complexity.

 

At smaller sizes, strokes that are removed due to legibility
adaptations can be restored by illusions of strokes from
the negative space.

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Motion examples

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