2026.10/5

Book of the Month (October 2026): “Typographic Composition: Selected Masterpieces of Typography”

Today, I would like to introduce “Typographic Composition: Selected Masterpieces of Typography,” written by Yoshihisa Shirai.

“The frame is a 3 mm grid, so it’s forbidden territory.” “The text size is set at 13.5Q, with an astonishing 14H character spacing!” These are quotes from the text, and I believe that some readers may find themselves scratching their heads, while others may nod in agreement. As for me, I was reading with only a superficial understanding, skimming the surface in a vague, unfocused way. Engage with typesetting, get your hands moving, and open this book again. Through this process of repetition, your understanding will gradually deepen.

Did it seem a little intimidating? However, if there is one thing I can say, it is that I would encourage even beginners to give it a read. It carefully unpacks the art of typesetting from both logical and intuitive perspectives, and every page is beautifully crafted and filled with love. You will come across the people and books featured in this book time and again as you study typesetting, and each time, you will surely find yourself wanting to return to this book.

Related to “Typographic Composition: Selected Masterpieces of Typography,” here’s a comment from Mr. Suzuki at our company regarding the selected book:

The author’s keen eye and skill with words, honed through years in the field of typography, have been compiled into a book by the author’s own hand. I’m sure quite a few people have been eagerly awaiting a book written solely by Mr. Shirai. Those who pick up “Typographic Composition: Selected Masterpieces of Typography” will first realize that it is not the book they expected, but will sense that it is a book they will want to keep close at hand and return to time and again.

It visualizes the hidden structures behind the value of work that can only be understood when placed along a historical timeline, and behind examples of typesetting (particularly Japanese typesetting) that have been buried without receiving the recognition they deserve, thereby revealing the intentions of typography and the significance of the typographer. Speaking about Japanese typesetting, which is rarely the subject of critical discussion, requires not only a discerning eye but also courage. The occasional brief critiques are forceful, but they subtly convey a sense of respect beneath the surface.

Perhaps because I was reading “The Collected Writings of Masaru Katsumi” at the same time, reading “Typographic Composition” made me think that every field of design deserves a book like this. It is no longer possible for one person to fill the void left by the absence of design criticism, nor would that be a desirable state of affairs. At a time when the expertise and value of design itself are being called into question, this is an issue that designers in every field should consider for themselves.

The true value of this book will be tested from here, depending on what kinds of books those who pick up this book go on to create. I presume that Mr. Shirai’s hope is that readers inspired by “Typographic Composition” will publish good books and, in turn, go on to create the next “Typographic Composition” book. Isn’t Mr. Shirai trying to say that this is the mission and power of books?

I hope this book, filled with the author’s love and respect for typography, as well as the technical knowledge he has cultivated by valuing both practice and theory in professional and educational settings, will reach those who will shape the future of books.