CJK Typesetting in 2025: Challenges, Workflows, and Best Practices

Designing for Chinese, Japanese, and Korean (CJK) text presents unique typesetting challenges and opportunities. By 2025, software and typography standards have evolved to better support CJK scripts, but mastering these projects still requires understanding the nuances of the languages and the latest tools. This guide explores the challenges of CJK typesetting, modern workflows and software (Adobe InDesign, Figma, Adobe Firefly, etc.), and best practices – with special attention to Unicode/OpenType font support, smart line breaking, character handling, AI-assisted design, and cultural design considerations.

Unique Challenges in CJK Typesetting

CJK scripts differ fundamentally from Latin alphabets, leading to distinct typesetting requirements:

• Logographic Characters & Volume: A CJK font must support thousands of glyphs, whereas a basic Latin font may have only a few hundred. This large character set means font files are huge and managing glyph coverage (e.g. Simplified vs Traditional Chinese forms) is complex. Unicode unifies many Chinese/Japanese characters under single code points, so the font or software must render the correct regional variant for the audience. One font or codepoint can appear differently in Chinese vs. Japanese contexts, so using region-appropriate typefaces or OpenType locale features is critical to avoid text that looks “off” to native readers.
• Monospaced Em Square vs Proportional: Chinese and Japanese characters traditionally fit within a square em-box (monospace), unlike the variable widths of Latin letters. Even Korean Hangul (once monospaced) is now usually proportional, but still often aligned to a consistent grid. As a result, when mixing Latin and CJK text at the same point size, Latin letters may appear too small and need scaling up for optical balance. Good CJK typography often involves pairing a Latin font with a CJK font to maintain visual harmony.
• Horizontal and Vertical Writing: CJK scripts can be written horizontally (LTR like English) or vertically (top-to-bottom, columns right-to-left). Vertical text is common in traditional publications (especially Japanese, also in Traditional Chinese contexts) but rare in modern Korean and Simplified Chinese usage. Designing vertical layouts introduces challenges with rotating glyphs and handling headings or Latin text within vertical lines. For instance, Japanese design may use tate-chu-yoko (rotated small horizontal text within vertical lines) for numbers or acronyms to improve readability. By contrast, most modern media in China and Korea uses horizontal text, so vertical format is usually reserved for specific cultural or artistic pieces.
• Line Breaking and Spacing Rules: Unlike English, Chinese and Japanese do not use spaces between words – text is continuous, and lines can break after any character (Korean uses spaces between words, but still doesn’t hyphenate at line breaks). Hyphenation is never used to split words in CJK languages. Instead, professional typography follows strict rules (kinsoku) about which characters can begin or end a line. For example, a comma or period should not start a new line (it should stay with the previous character) and opening brackets or quotation marks should not be left at a line end. These conventions ensure punctuation hangs properly and text feels natural to readers. Continuous CJK text is also typically fully justified into neat rectangles, adjusting character spacing if needed – the uniform square glyphs make full justification look clean, whereas ragged-right setting often appears less balanced. This is the opposite of Latin typography, which often prefers ragged alignment over uneven spacing. Designers must pay attention to line-height as well: CJK text blocks generally require more leading (around 170% of font size is recommended) to avoid looking cramped, since the dense strokes of Han characters need breathing room.
• Emphasis and Case: CJK scripts lack the stylistic variations familiar in Latin text such as uppercase vs. lowercase or italics. All Chinese characters occupy a square and don’t change shape; Japanese kana have no case. Italic or oblique styling is not traditionally used (though shatai, an angled-slant effect, exists in Japanese print for emphasis). This means designers cannot rely on italicization or letter-case changes for emphasis. Instead, other methods are used: switching font weight (bold), using emphasis marks (dots or lines next to the text in Japanese), or changing color. Even letterspacing (tracking) is seldom applied to body text in CJK. As one UX designer notes, Chinese characters “lack variants like italic, capitalization, and letter spacing,” forcing designers to think creatively about text emphasis. What appears as a cluttered, busy layout to Western eyes may still be perfectly legible and normal to a native reader, whose eye is trained to parse complex characters quickly.

These challenges mean that successful CJK typesetting requires both robust technical support from software and informed design decisions by humans. Fortunately, modern tools have evolved significantly to handle these needs.

Advances in Software: InDesign, Figma, Firefly, and More

Adobe InDesign and DTP Tools

For high-end publishing, Adobe InDesign remains the gold standard for CJK typesetting in 2025. InDesign’s CJK-specific features are mature and comprehensive, though they may need to be explicitly enabled. Adobe distributes specialized CJK versions of InDesign (or language packs) that unlock Japanese, Chinese, and Korean typography controls. Designers can install, for example, the Japanese edition to access all CJK layout options while still using an English interface via workaround.

Key InDesign capabilities for CJK include:

• Advanced Composition Engines: InDesign offers dedicated Japanese Paragraph and Single-line composers (as well as counterparts for general Latin text) which evaluate line breaks and spacing according to CJK rules. These composers apply the JIS X 4051 industry standard – the “bible” of Japanese layout – to handle mojikumi (spacing classes) and kinsoku (line break prohibitions) automatically. The Paragraph Composer looks at the entire paragraph and optimizes breaks to minimize awkward gaps, even adjusting prior lines to avoid bad breaks later. In practice, this means InDesign will automatically prevent a period or small kana from stranding at the wrong line position and will tweak character spacing to achieve justified edges within defined tolerances. By contrast, many simpler text engines lack these holistic algorithms. (Even Apple’s iWork only belatedly added vertical CJK text support in 2019, and did so with minimal typographic finesse.)
• Vertical Text and Layout Controls: InDesign fully supports vertical writing mode. Text frames can be set to vertical orientation, and all the accompanying fine controls are available – such as rotating Latin characters upright in vertical lines, spacing between vertical lines, etc. Features like Tate-chu-yoko allow a run of Western text or digits to stay horizontal within a vertical text column for readability. InDesign can do this automatically for short sequences (e.g. a 2-digit number in a vertical sentence) by a setting in paragraph styles. Ruby text (furigana phonetic annotations) can be added easily to Japanese text, appearing either above horizontal text or alongside vertical text. In fact, competitor tools are catching up: QuarkXPress 2025 now also supports ruby annotation positioning in vertical text stories. These capabilities are essential for Japanese layouts (e.g. academic text with pronunciation guides, or Chinese text with pinyin).
• Mojikumi and Spacing Tweaks: InDesign provides Japanese mojikumi presets – rules governing spacing before/after characters, punctuation, numbers, etc. It includes 14 preset mojikumi sets for Japanese and 2 for Chinese out of the box. These govern, for example, how much space to leave after a comma or around parentheses in justified text. Designers can even create custom mojikumi sets or adjust these values for fine-tuning. Such granular control ensures punctuation spacing can be tailored to regional conventions (e.g. centered punctuation vs. corner punctuation in vertical text). For Korean, mojikumi is less applicable since Korean uses primarily Western-style spacing and punctuation rules. Nonetheless, InDesign’s engine will still honor basic Korean conventions like not breaking after a leading consonant or before a final punctuation.
• OpenType CJK Features: InDesign is one of the few design apps that fully supports OpenType locale features and language tagging for text. This means if you use a Pan-CJK font (like Source Han Sans or Noto Sans CJK), InDesign can activate the correct glyph shapes for Simplified Chinese vs. Traditional Chinese vs. Japanese, etc., based on the language assigned to the text span. The ‘locl’ OpenType feature swaps glyphs to region-specific forms. For example, the character for “knife” (刀) has a slightly different shape in Japanese fonts versus Chinese fonts; with language tagging, a single font can display the appropriate variant automatically. InDesign also exposes other OpenType features relevant to CJK: alternate glyph sets, vertical alternates (glyphs that have a special form when used in vertical text, like rotated digits or brackets), proportional vs. monospaced numeral forms, etc. These settings are accessible in the character palette when using a compatible font. By supporting Unicode and OpenType fully, InDesign ensures that a document can handle the full range of CJK characters (including rare extension characters) and typographic refinements.

It’s worth noting that to leverage all these features, designers should ensure the text is tagged with the correct language in InDesign’s character/paragraph style settings. For instance, mark Chinese text as “Chinese: Simplified” or “Chinese: Traditional” as appropriate, so that hyphenation (if any), line breaking, and font glyph selection follow the right rules.

Beyond InDesign, other DTP tools have improved CJK support in recent years, albeit not always to the same level:

• QuarkXPress: QuarkXPress 2024/2025 has introduced or enhanced CJK typesetting features as it tries to compete in global markets. It supports vertical text layout and ruby annotations now, and offers controls for CJK line breaking and spacing similar to InDesign’s (like grouping characters and scaling in vertical layouts). Quark historically offered separate XTensions for East Asian publishing; now much of that functionality is built-in.
• Affinity Publisher: Serif’s Affinity Publisher, a newer competitor, has basic Unicode support for CJK text input and can handle the characters visually, but it notably lacks vertical text and right-to-left writing support as of version 2.x. The company has stated “no plans to add RTL or vertical text” currently, which is a significant limitation for serious CJK typesetting. Workarounds (like manually rotating text frames 90°) are clumsy at best. So, while Affinity is a cost-effective desktop publishing tool for many languages, it’s not yet ideal for complex Chinese/Japanese layouts.
• Microsoft Office and Others: Even general office tools have made incremental progress. Microsoft Word supports input of CJK and offers some rudimentary control over line breaking (with Asian typography settings for line-end character restrictions). Apple’s Pages, as mentioned, added vertical text support only in 2019 and still implements it in a limited way (no automatic ruby positioning, etc.). These tools can handle simple bilingual documents, but professional publishers typically rely on Adobe’s solutions or specialized software for high-quality CJK typography.

Figma and Modern UI Design Tools

For digital and UI/UX design, Figma has become a primary tool – and while its focus is not long-form typesetting, it has steadily improved support for CJK text in screen designs. Figma works off web font rendering, which by default uses system fonts and Unicode. Key points about Figma’s CJK capabilities:

• Font Support and Fallbacks: Figma allows any installed font (via the Figma desktop app or Font Helper) to be used, including Chinese, Japanese, or Korean fonts. On macOS and Windows, it also lists common native fonts for each language by default (e.g. Apple SD Gothic Neo for Korean, Hiragino for Japanese, SimSun/YaHei for Simplified Chinese, etc.). Importantly, Figma has a built-in font fallback mechanism. If your chosen font doesn’t contain a certain CJK character, Figma will automatically render that character using Google’s Noto font as a fallback, rather than showing a tofu (empty box). For example, if you use a limited Latin font but type a Chinese character, Figma will substitute from Noto Sans SC so you see a proper glyph. This is a boon for designers because missing glyphs are handled gracefully. However, one must watch out: the fallback might use a different regional variant than intended. Figma notes that it might choose “the wrong version of a character” in some cases; the solution is to explicitly switch to the Noto font for your specific language or another fully supporting font. In practice, many designers simply choose a known CJK font family to start with, to maintain consistency.
• No Native Vertical Text (Yet): One limitation in Figma is the lack of a native vertical text flow feature. Text boxes cannot be rotated to flow top-to-bottom; the only workaround is to manually rotate a text layer 90°, which isn’t true vertical typesetting (and editing such text is cumbersome). Users in the community have requested East Asian vertical text support, recognizing that it’s a common need for certain Chinese/Japanese designs (think of vertical menu labels, or decorative text in a UI). As of 2025, Figma still doesn’t support vertical writing mode out-of-the-box. Designers have to simulate it, or use a plugin, or do that part of the design in another tool and import it as outlines. By contrast, CSS on the web does support vertical text via writing-mode properties, so web developers can implement vertical text that the Figma design had to fake. We may anticipate Figma adding this in the future as it internationalizes further.
• Localization & Variants: An exciting 2024 update in Figma was the introduction of Variables, including string (text) variables and mode support. This allows design teams to manage multiple language versions within a single file more efficiently. For example, one can define a text string variable for a tagline, with a mode for English copy and another mode for Chinese copy, and then toggle modes to see the design in each language. While this feature is general (not CJK-specific), it greatly aids CJK design workflows because teams can prepare layouts for different locales and quickly switch the UI copy without maintaining separate files. Combined with Figma’s prototype and dev handoff features, this helps ensure that when a UK-based design team works on, say, a Chinese version of an app, they can preview how the longer or shorter text fits, and adjust styles accordingly.

Overall, Figma supports Unicode and fonts well, so Chinese/Japanese/Korean text will display as long as you choose appropriate fonts. Designers should be mindful of setting appropriate line-height (the default may be a bit tight for dense CJK text) and avoid relying on auto-hyphenation (since there is none – text will wrap character-by-character). Additionally, when mixing Latin text in CJK in Figma, consider the font pairing: one common trick is using Google’s Noto Sans or Serif for CJK which are designed to harmonize with Latin, or manually adjusting the font size of English text to optically match the surrounding characters.

Adobe Firefly and AI-Assisted Design

Adobe Firefly represents a new wave of AI-assisted creativity that can be particularly useful in multilingual design contexts. Adobe Firefly is a family of generative AI models integrated into Creative Cloud apps, enabling features like text-to-image generation and text effects via natural language prompts. Recent advancements include:

• Multilingual Prompt Support: As of mid-2023, the Firefly web service began supporting text prompts in over 100 languages, including Simplified and Traditional Chinese, Japanese, and Korean. This means a designer can write a prompt in their native language (for example, a Japanese designer could prompt in Japanese to generate an image) and Firefly will interpret it. This is a big step in making generative AI accessible globally. For instance, a UK designer who doesn’t speak Chinese could still input an English prompt like “Chinese New Year background with red lanterns” to get an image, but a native Chinese speaker could write the same idea in Chinese and potentially get results more closely aligned with Chinese cultural context. The expansion of prompt languages helps ensure AI-generated visuals “speak” the right language both literally and metaphorically.
• Text Effects and Styling: Firefly includes a text effect generator where you can apply styles to text (e.g. render a word so that it looks like a landscape, or made of floral patterns). With multilingual support, designers can use CJK characters as the input text for these effects. For example, you could generate a stylized logo of a Chinese word with a particular texture. In the past, many AI text effects were limited to Latin letters, but Firefly’s updates aim to handle non-Latin scripts as well. This can be a game-changer for creating decorative typography in Chinese or Japanese – something that used to require manual illustration or painstaking work can now be prototyped via AI and then refined.
• Integration into Workflows: Adobe has embedded Firefly in apps like Photoshop, Illustrator, and Express, so designers can use AI generative fill and other features directly in their workflow. While these are not CJK-specific, they benefit CJK design work too. For example, if you have a magazine layout in InDesign with a large Chinese calligraphic header, you might use Photoshop with Firefly to generate a quick background image that complements the Chinese aesthetic (perhaps some ink wash texture) by just describing it. Firefly’s integration means less context switching and faster iteration. Adobe emphasizes Firefly as a “creative co-pilot” that can remove barriers between imagination and blank page, which is very relevant when designing for unfamiliar languages – the AI can generate numerous variations of a concept (say, a Korean-themed infographic background) and the designer can then pick or refine the one that fits best.
• Other AI Tools: Beyond Firefly, Adobe’s Sensei AI and other industry AI tools offer features that aid typesetting and layout. For instance, Adobe Sensei powers Liquid Layout adjustments in InDesign, which can intelligently re-flow content for different page sizes or orientations – helpful if you need to adapt an ad originally designed for English A4 into a vertical Chinese scroll layout. AI can also help with font selection: experimental tools analyze a given design and suggest font pairings or hierarchy adjustments. According to recent insights, AI algorithms can analyze content and even suggest appropriate font styles and sizes for improved readability. In publishing, some AI-powered systems automatically adjust line spacing and font size to improve accessibility without manual efforthurix.com – for example, ensuring Chinese text isn’t set too small for older readers, or adding extra spacing for clarity. While these features apply broadly, they certainly assist CJK workflows, where readability can be impacted by dense character strokes.
• Machine Translation & Localization: A side aspect of AI in 2025 is the use of language models for translation. While design teams should always use professional human translators for nuanced marketing copy, AI translation can provide a quick preview of how text expands or contracts. Some tools and plugins integrate services like Google Translate or DeepL directly into design apps, allowing designers to generate a rough CJK translation of their English text and see how it fits the layout. This speeds up early-stage layout decisions (like “Do I need to allot more space for Japanese text here?”) before the final copy is available. And AI can assist in content generation too – for example, generating alternative taglines in Korean, or rewriting text to better suit the local tone. Again, human oversight is crucial, but AI is increasingly part of the toolkit.

In summary, 2025’s software landscape provides robust support for CJK typography: InDesign and similar desktop publishers handle the heavy typography lifting, Figma and digital design tools ensure on-screen designs accommodate these languages, and AI tools like Firefly inject efficiency and creative options into the process. Next, we’ll look at practical best practices and cultural considerations to apply when using these tools.

Best Practices for CJK Typesetting Workflows

Even with great software, the designer’s approach makes a huge difference in quality. Here are best practices and workflow tips for CJK projects:

1. Use the Right Fonts (and Pairings): Choose fonts that are intended for the target language and region – and use matching Latin fonts if your design mixes alphabets. A common mistake is to use a Chinese font’s built-in Latin characters for English text; often these look incongruous because the font’s focus is on Chinese glyphs. Instead, pick a Latin font that complements the CJK font. Many foundries release CJK fonts together with Latin counterparts or recommend pairings to ensure the x-height, weight, and style harmonize. Also verify the font covers all needed glyphs (for instance, don’t use a Japanese font to typeset a paragraph of Simplified Chinese – many characters will be missing or in the wrong style). If using a Pan-CJK font like Noto Sans CJK, be sure to tag the text’s language so the correct regional shapes display.
2. Work in Unicode and Tag Languages: Always operate in Unicode — fortunately virtually all modern tools do. Avoid old legacy encodings. When laying out, set the language attribute of text frames or styles (e.g., mark text as Japanese, Korean, Simplified Chinese, etc.). This not only ensures correct dictionary and hyphenation settings (if any) but, as mentioned, enables OpenType localized forms in apps like InDesign. It also affects line breaking: InDesign’s composer will apply Japanese line break rules only if the text is set to Japanese language, for example. In CSS/web contexts, similarly use the lang attribute so the browser applies proper line-break algorithms. Correct language tagging also helps any downstream processes (search indexing, screen readers, PDF extraction).
3. Leverage Fallbacks and Check for Tofu: In cross-platform projects, different systems might substitute fonts for missing characters. Figma’s automatic Noto fallback is helpful, but if you export assets or hand off code, make sure the final product has font-fallback strategies as well (web CSS should list fallback fonts that cover CJK). Double-check all characters display correctly – especially rare characters or Traditional Chinese variants – and manually replace any that use an unintended fallback font. A missing glyph box in a printed piece is embarrassing, so do a pre-flight in your layout program: InDesign has a glyph coverage view and will flag if a character isn’t supported by the chosen font.
4. Manage Line Breaks and Spacing: Trust the software’s smart line breaking but also review it. Tools like InDesign will handle most line break decisions automatically, but there are edge cases – for instance, a long Latin word in a Japanese paragraph might cause large gaps since it can’t hyphenate. You might manually tweak by inserting zero-width space hints or adjust tracking on that line. Use non-breaking spaces or no-break character styles for sequences that must stay together (e.g., a short company name that shouldn’t split across lines). In bilingual layouts, consider using quarter- or half-width spaces (available in Unicode and many fonts) where appropriate to fine-tune mixed text spacing. For justified CJK text, monitor spacing expansion – InDesign allows setting minimum and maximum character spacing for justification. The defaults (often 0.5–1.0 times font width) usually work, but tight budgets can make text look too cramped or too loose, so adjust the justification settings or edit text to balance it.
5. Employ Styles and Templates: Maintain consistency by using paragraph and character styles for your CJK text, just as you would in English. Define styles that include the proper language setting, font, size, leading, etc., and apply them throughout. This makes global changes easier (e.g., if you need to switch to a different Chinese font, or increase line spacing for readability, you can do it in one place). For recurring document types, create templates with preset text frames that have the correct columns (if vertical) or grids. In Japanese print workflows, it’s common to use grid systems to ensure an exact number of characters per line/page, a practice called kumihan. InDesign supports setting up a baseline grid or frame grid for CJK, which can be part of your template.
6. Include Native Proofing: If you’re not a native speaker of the target language, always have a native-speaking colleague or professional review the text in situ. They might catch things that are hard to automate – for example, a line break that technically follows rules but creates a subtle misreading, or an incorrect character variant that a non-expert wouldn’t notice. They can also check that font choice and styling feel appropriate (e.g., a font might technically render Korean but a native might find its style unpleasant or old-fashioned for that context). This step is vital for marketing copy where tone is as important as technical correctness.
7. Utilize AI as a Helper, Not a Final Arbiter: AI tools can speed up parts of your workflow – use them to generate dummy text or translations to test a design, create quick graphic elements, or suggest layout tweaks – but treat their output as first drafts. For instance, if you use a generative AI to produce a Chinese calligraphy-style heading, consider it a concept to potentially hand to a calligrapher or refine manually, especially if authenticity is crucial. If you use machine translation to flow in Japanese text to see how it fits, make sure a human translator provides the final copy. AI can also help with repetitive tasks like expanding spacing for accessibility; in fact, some AI-driven typesetting tools automatically adjust line spacing and font size for optimal legibility. Embrace these assists, but always validate the results.
8. Test Across Platforms: Particularly for digital products, test your designs on actual devices with the target language settings. Sometimes a design that looked fine in Figma or Sketch using a certain font might render differently in the real app if a fallback font kicks in. Mobile apps, for example, might default to system fonts for CJK text for performance and user preference reasons. Ensure your typography choices hold up where they will be seen. If designing responsive web layouts, test how Chinese or Korean text behaves at different breakpoints – fewer characters per line might make the layout look sparse or, conversely, too dense if line-height isn’t sufficient.

By following these best practices, you’ll avoid common pitfalls and elevate the quality of CJK typography in your projects. Modern software will handle the heavy lifting of Unicode, line breaks, and glyph substitution – but the designer’s informed touch ensures the result is not just correct, but elegant and culturally resonant.

Cultural Considerations in Typography and UX

Finally, beyond technicalities, understanding the cultural context of CJK typography and user experience is crucial. Good design is culturally sensitive and user-centric. Here are some considerations when targeting Chinese, Japanese, or Korean audiences:

• Regional Typography Conventions: Each CJK market has its own typographic norms. For example, Simplified vs. Traditional Chinese not only use different characters but also have different font style preferences. Mainland China favors Simplified characters and typically uses fonts like simplified Song (serif) or Hei (sans serif), whereas Taiwan and Hong Kong use Traditional characters and may prefer Ming (serif) or a slightly different aesthetic in their typeface designs. Japan uses its own simplified kanji forms (shinjitai) – Japanese readers expect to see those forms, so using a Chinese font in Japan would look wrong. Always choose fonts localized for the specific locale (fonts often have region codes like SC for Simplified Chinese, TC for Traditional, JP for Japan, KR for Korea). Also note differences like punctuation placement: Traditional Chinese (Taiwan, HK) centers certain punctuation in the character square (especially for vertical text), whereas Japanese and Simplified Chinese position periods and commas in the bottom corner of the square. Such subtle differences are instantly noticed by readers – e.g., a comma centered in text will signal “this looks Taiwanese” to a mainland Chinese reader. Using region-appropriate fonts and settings avoids these hiccups.
• Vertical vs. Horizontal Aesthetics: As mentioned, vertical text is deeply cultural. Japanese publications (novels, newspapers, manga) still often use vertical layouts, which carry a traditional, formal feel. A vertical slogan or banner might appeal in Japan for a nostalgic or elegant touch. In contrast, in Korea vertical text is almost extinct in everyday media; using it might feel archaic. Mainland Chinese design occasionally uses vertical text for a classical ambiance (e.g. on a book cover or a scroll in a graphic), but for most modern content horizontal is standard. Be mindful of these preferences. If you do use vertical text in a design for, say, a Japanese client, ensure you follow Japanese conventions (ruby for pronunciation if needed, proper line-breaking rules – which InDesign or CSS can handle). If you’re creating a multi-language exhibit design and want to present Chinese text vertically for artistic reasons, consider that younger audiences in China may find it less accessible since they see it rarely. Provide a horizontal translation or make the context clear.
• Density and Information Load: It’s often observed that Chinese and Japanese user interfaces appear more crowded or text-heavy to Western eyes. This is partly due to the writing system – a single Chinese character conveys more meaning than a single English letter, so interfaces can pack more information in the same space without increasing word count. Chinese users are accustomed to scanning dense text and may prefer seeing more options upfront. For example, Chinese apps might put many menu items or product listings on the home screen, whereas a Western design might hide some behind menus for simplicity. When localizing UX, be cautious about stripping down content; what feels “busy” by UK standards might feel informative and efficient to a Chinese audience. The general rules of whitespace, text sizing, etc. are applied differently – Chinese designs often use slightly smaller font sizes and tighter line spacing to maximize info, yet remain legible to their users. As a designer, find a balance: respect local norms of density, but also ensure readability. If you have control, increase line height for paragraphs as recommended (it will still look normal to them, and improves comfort).
• Emphasis and Hierarchy: As noted, CJK languages don’t have italics or uppercase. In Western design, we rely on those for hierarchy (like Title Case Headlines, ALL CAPS BUTTONS, italics for emphasis). In CJK design, you must use other means. Common techniques:
• Weight: Use bold or a heavier weight for emphasis or headings. Nearly all CJK font families come in multiple weights (Light, Regular, Bold, etc.).
• Color: It’s common in Chinese/Japanese posters to see a splash of red or a different color to emphasize a keyword (red being auspicious in Chinese culture). Be mindful of color symbolism though – red text in Japanese design might connote something different (e.g. in financial reports, red could mean negative numbers as in Western usage). Know the connotations.
• Quotation Marks or Brackets: Sometimes enclosing words in brackets or special quote marks can highlight them. Japanese often use corner brackets 「」 for quotes, which themselves draw attention.
• Size and Spacing: You can enlarge text slightly for effect. Letterspacing (tracking) is occasionally used in display typography – for instance, spacing out the characters of a short Japanese slogan can create a stylish, elegant effect (similar to all-caps tracking in English). But for body text, do not add tracking; CJK characters are normally grid-aligned with no extra spacing.
• Underlines or Overlines: In vertical Japanese text, a thin dot or line placed next to the text (called bouten) can indicate emphasis. Some software supports adding emphasis marks to text runs. In horizontal text, underlines can work (though underlining Chinese characters can collide with descenders or go through complex strokes, so it’s not common in print).
• Graphic elements: Many East Asian designs integrate calligraphic seals or icons to draw attention to text, a nod to traditional chops/seals.
• Cultural Aesthetics in Font Choice: Just as typography in the West carries tone (e.g. a frilly script vs. a modern grotesque sans), in CJK the typeface style sends a message. A brush-style Chinese font evokes tradition or formality; a minimalist sans-serif suggests modernity. In Japanese, using a Mincho (serif) font often feels bookish or official, while a Gothic (sans) feels contemporary or techy. Moreover, each country has preferred type styles for certain media – for example, in Korea, classic publishing often used a typewriter-like Gothic, but today web content commonly uses humanist sans like Apple’s SD Gothic Neo or Noto Sans KR for clarity. For a UK designer, it’s wise to consult a native or do research: for instance, if designing a luxury brand poster in Chinese, one might choose an elegant traditional calligraphic font or a high-end designer font from a Chinese foundry, rather than a generic system font, to convey premium feel.
• UX Writing Differences: The way information is conveyed in CJK can differ. Chinese text can be very concise (since each character is a concept), but formal Chinese may also use idiomatic four-character phrases for elegance, which might be lost on non-natives. Japanese often uses polite forms or specific typography for prices (e.g. using full-width characters for numbers to align neatly). Also, line-breaking in UI is important: Japanese and Chinese will not insert hyphens, so a long label might wrap awkwardly. In a UI, it might be better to manually break a long string with a newline at a logical point (if the system doesn’t do it well). Ensure your designs accommodate more characters if needed (German is often cited for long words, but in CJK sometimes translated text can actually shrink or expand unpredictably depending on phrasing).
• Testing with Native Users: Finally, incorporate feedback from the target users if possible. Conduct usability tests or get opinions on the design. Sometimes a design element that seems fine to us might carry unintended meaning. For example, certain Chinese characters have strong associations – using them decoratively might imply things. Or a font might be associated with a certain era (like a 90s video game aesthetic font being used unintentionally for a serious text). UX is about meeting user expectations and preferences, so it pays to double-check with representatives of those users.

By respecting these cultural nuances, your CJK designs will not only be technically sound but also resonate properly with audiences. It’s about combining typographic knowledge with cultural empathy.

Conclusion

Designing and typesetting for Chinese, Japanese, and Korean in 2025 is more accessible than ever. With robust Unicode and OpenType support across modern tools, designers can trust that the characters will appear correctly and that advanced features (like smart line wrapping and locale-specific glyphs) are at their fingertips. Adobe InDesign and other professional DTP software provide a rich arsenal to tackle vertical text, large character sets, and fine typography rules. Meanwhile, digital design tools like Figma have adapted with improved font handling and workflow features for multi-language projects. The emergence of AI assistance – from Adobe Firefly’s generative content (now conversant in many languages) to intelligent layout adjustments – adds a powerful new dimension to the workflow, helping designers iterate faster and bridge language gaps.

Yet, the heart of successful CJK typesetting still lies in understanding the languages and their cultures. From choosing the right font (and avoiding a mismatched Latin typeface) to applying the correct line breaking rules and knowing when to use vertical text, a designer must combine technical knowledge with cultural literacy. Little details, like adjusting line height for better readability or ensuring a Japanese comma sits in the correct corner of its grid cell, distinguish a polished, professional result. Likewise, embracing local UX conventions – perhaps allowing a denser information layout for a Chinese app or adding creative emphasis in a Japanese poster without italics – shows respect for the audience and enhances communication.

For UK design and marketing professionals expanding into East Asian markets, the learning curve is well worth the effort. By leveraging the latest software advancements and following best practices, you can produce CJK layouts that are not only technically correct but also aesthetically pleasing and effective for the target readers. In 2025, our tools may be global and intelligent, but it’s the informed human touch that truly makes typography transcend language barriers. With knowledge and care, your CJK typesetting can reach its highest potential – delivering your message with clarity, beauty, and cultural authenticity.

In an increasingly connected world, the ability to present your message clearly and culturally appropriately across languages is no longer a luxury—it’s a necessity. With Asian language typesetting, every detail matters: from the script’s flow and font pairing to the subtle cultural signals embedded in layout and line breaks. By combining cutting-edge design tools with deep linguistic knowledge, you can ensure your communications not only look right, but feel right to your audience. At Asian Absolute, we’re proud to help you bridge that gap—so your message travels as clearly and powerfully in Beijing, Tokyo, and Seoul as it does at home.

Sources:

• Typotheque – Typesetting principles of Chinese, Japanese, and Korean (CJK) text (May 2025) typotheque.com
• Typotheque – Understanding CJK regional character variants typotheque.com
• Adobe Help – Compose CJK characters in InDesign helpx.adobe.com
• Adobe Help – Format CJK characters in InDesign helpx.adobe.com
• Ken Lunde (Adobe CJK Type Blog) – InDesign Tips: Japanese/CJK Functionality ccjktype.fonts.adobe.com
• Figma Help Center – Add text in Chinese, Japanese, and Korean help.figma.com
• Adobe News Release – Adobe Firefly Expands Globally, Supports Prompts in 100+ Languages news.adobe.com
• UX Collective – Key differences between designing for China and the West uxdesign.cc
• Hurix Digital – Goodbye, Clunky Layouts! AI is Here to Perfect Typesetting hurix.comhurix.com
• Affinity Support – Does Affinity V2 support vertical text? support.serif.com
• QuarkXPress 2025 User Guide – Text and Typography (Ruby alignment) quark.com