Because a run of katakana easily leads to uniform lines, I kept the hidden tip, hanging-dew, and suspended-needle techniques in mind at the ends of vertical strokes and the entries of horizontal strokes, loaded the brush with just the right amount of dark ink, and finished in a regular script with a well-ordered structure. Since many of the characters have few strokes, I gave each one a slight difference in breathing and adjusted the thickness of the lines with pressure so they would not become monotonous.
— Sakana NamazuOriginal (Japanese)
カタカナの連続は線の同質化を招きやすいため、縦画の収筆や横画の入りに蔵鋒・垂露・懸針を意識しつつ、濃墨を適量に含ませて骨格の整った楷書に仕上げた。画数の少ない文字が多いので、各字に小さな呼吸の違いを与え、一律にならぬよう筆圧で線の厚みを調整した。
Translated by Claude Opus 5.5