https://www.w3.org/TR/jlreq/ W3C Requirements for Japanese Text Layout Ri Ben Yu Zu Ban Chu Li noYao Jian (Ri Ben Yu Ban ) W3C Working Group Note 11 August 2020 This version: https://www.w3.org/TR/2020/NOTE-jlreq-20200811/ Latest published version: https://www.w3.org/TR/jlreq/ Latest editor's draft: https://w3c.github.io/jlreq/ Previous version: https://www.w3.org/TR/2012/NOTE-jlreq-20120403/ Editors: Qian Xie Hong Xing (Hiroyuki Chiba) (Invited Expert) Zhi Ben Shun San Lang (Junsaburo Edamoto) (Invited Expert) Richard Ishida (W3C) Shi Ye Hui Yi Lang (Keiichiro Ishino) (Antenna House) Jia Teng Cheng Yi (Seiichi Kato), (Di 2Ban 2nd edition) (Microsoft) Xiao Lin Long Sheng (Tatsuo Kobayashi) (1st edition, JustSystems; 2nd edition, Invited Expert) Xiao Lin Min (Toshi Kobayashi) (Invited Expert) Nathaniel McCully, (Di 2Ban 2nd edition) (Adobe) Xiao Ye Ze Xian San (Kenzou Onozawa) (Invited Expert) Felix Sasaki (1st edition, University of Applied Sciences Potsdam; 2nd edition, DFKI GmbH) Xia Nong Chun Si (Atsushi Shimono), (Di 2Ban 2nd edition) (W3C) Yan Ze Yuan (Hajime Shiozawa), (Di 2Ban 2nd edition) (Invited Expert) Xie Fu Qiao (Fuqiao Xue), (Di 2Ban 2nd edition) (W3C) Former editor: A Nan Kang Hong (Yasuhiro Anan), (Di 1Ban 1st edition) (Microsoft) Participate: GitHub w3c/jlreq File a bug Commit history Pull requests Copyright (c) 2020 W3C^(r) (MIT, ERCIM, Keio, Beihang). W3C liability, trademark and permissive document license rules apply. --------------------------------------------------------------------- Abstract This document describes requirements for general Japanese layout realized with technologies like CSS, SVG and XSL-FO. The document is mainly based on a standard for Japanese layout, JIS X 4051, however, it also addresses areas which are not covered by JIS X 4051. This version integrates errata and links to related materials. konoWen Shu ha,CSS,SVGoyobiXSL-FOnadonoJi Shu deShi Xian gaQiu merareruYi Ban De na Ri Ben Yu Zu Ban noYao Jian woJi Shu shitamonodesu.konoWen Shu ha,Zhu toshiteJIS X 4051( Ri Ben Yu Zu Ban Gui Ze )niJi duiteimasuga,Yi Bu ,JIS X 4051niJi Zai sareteina iShi Xiang nimoYan Ji shiteimasu.konoBan deha,Wu rinoDing Zheng yaGuan Lian Qing Bao henorinku Zhui Jia nadogaXing wareteimasu. Status of This Document This section describes the status of this document at the time of its publication. Other documents may supersede this document. A list of current W3C publications and the latest revision of this technical report can be found in the W3C technical reports index at https:// www.w3.org/TR/. konoJie hakonoWen Shu noGong Kai Shi Dian denoZhuang Kuang woShu beteimasu.Ta noWen Shu niyorikono Wen Shu gaGeng Xin sareteirukotogaarimasu.Xian Zai no W3C noWen Shu toZui Xin Ban noJi Shu Bao Gao norisutoha,https://www.w3.org/TR/ niaruW3C Ji Shu Bao Gao Yi Lan karaRu Shou de kimasu. This is a maintenance version of a document that describes requirements for general Japanese layout realized with technologies like CSS, SVG, XSL-FO and eBook standards. The document is mainly based on a standard for Japanese layout, JIS X 4051, however, it also addresses areas which are not covered by JIS X 4051. The second version of the document added a significant amount of additional information related to hanmen design, such as handling headings, placement of illustrations and tables, handling of notes and reference marks, etc. This version integrates errata and links to related materials. konoWen Shu ha,CSS,SVG,XSL-FOoyobieBooknadonoJi Shu deShi Xian gaQiu merareruYi Ban De naRi Ben Yu Zu Ban noYao Jian woJi Shu shitaWen Shu noDing Zheng Ban desu.konoWen Shu ha,Zhu toshi teJIS X 4051(Ri Ben Yu Zu Ban Gui Ze )niJi duiteimasuga,Yi Bu ,JIS X 4051ni Ji Zai sareteinaiShi Xiang nimoYan Ji shiteimasu.konoDi 2Ban dehaBan Mian dezainniGuan suruShuo Ming woDa Fu niZeng yashimashita.Li eba,Jian Chu shinoXi i,Tu Ban yaBiao noPei Zhi , Zhu yaHe Yin nadodesu. This document was developed by participants in the Japanese Layout Task Force. It will be published by the Internationalization Working Group. Previous versions of the document were developed by participants in the previous Japanese Layout Task Force, with input from four W3C Working Groups, CSS, Internationalization Core, SVG and XSL. konoWen Shu ha JLReq Ri Ben Yu Zu Ban tasukuhuosunoCan Jia Zhe niyoriZuo Cheng sareteori ,Guo Ji Hua Wei Yuan Hui nioiteGong Kai saremasu.Yi Qian nobaziyonnokonoWen Shu ha JLReq Ri Ben Yu Zu Ban tasukuhuosunoCan Jia Zhe niyori,CSS, Internationalization Core,SVG,XSL no4tsuno W3C wakingugurupuka ranoQing Bao woCan Kao niZuo Cheng sareteimasu. The document was originally authored in Japanese, then translated to English under the guidance of the Japanese authors. In order to reach the largest international audience, the W3C works in English, so the English version of the document is the authoritative version. However, the Japanese version of this document is also available. konoWen Shu haRi Ben Yu deJi Shu saretamonowo,Ri Ben Yu Ban Zuo Cheng Zhe noJian Xiu nomotoniYing Yu niFan Yi shitamonodesu.Zui Da noGuo Ji De naLi Yong Zhe niJie kerutame,W3C haYing Yu woBiao Zhun toshiteirutame,konoWen Shu haYing Yu Ban gaGong Shi tonarimasu.nao,Ri Ben Yu Ban mo Ti Gong shiteimasu. Note To make it easier to track comments, please raise separate issues or emails for each comment, and point to the section you are commenting on. Zhi Zhai woZhui Ji shiyasukusurutame,sorezorenoZhi Zhai Dian nitsuiteDui Xiang tonarusekushi yonwoMing Ji noue,Ge Bie no issue moshikuhameruwoSong tsutekudasai. Ri Ben Yu English All konoWen Shu haGuo Ji Hua wakingugurupuniyoriwakingugurupunototoshi teGong Kai sareteimasu. konoWen Shu niGuan suruYi Lun niha GitHub Issues noLi Yong gaWang maremasu. wakingugurupunototoshitenoGong Kai ha W3C Hui Yuan niyoruZhi Chi woYi Wei shimase n.konoWen Shu haCao An deari,Geng Xin yahokanoWen Shu niyoriZhi kiHuan erareruKe Neng Xing gaChang niarimasu.Zuo Ye Ban Yi Wai toshitenoCan Zhao haTui Jiang saremasen. konoWen Shu haW3C Te Xu porishiniCong tsuteYun Ying sareteirugurupuniyoriZuo Cheng sa remashita.konogurupuhakonoWen Shu wo W3C Quan Gao tosurukotowoXiang Ding shiteimase n. konoWen Shu ha2019Nian 3Yue 1Ri Ban noW3C purosesuWen Shu niCong tsuteimasu. This document was published by the Internationalization Working Group as a Working Group Note. GitHub Issues are preferred for discussion of this specification. Publication as a Working Group Note does not imply endorsement by the W3C Membership. This is a draft document and may be updated, replaced or obsoleted by other documents at any time. It is inappropriate to cite this document as other than work in progress. This document was produced by a group operating under the W3C Patent Policy. The group does not expect this document to become a W3C Recommendation. This document is governed by the 1 March 2019 W3C Process Document. Table of Contents 1. 1. Introduction Xu Lun 1. 1.1 Purpose of This Document konoWen Shu noMu De 2. 1.2 How This Document was Created konoWen Shu noZuo Cheng Fang Fa 3. 1.3 Basic Principles for Development of This Document konoWen Shu noZhi Bi Fang Zhen 4. 1.4 The Structure of This Document konoWen Shu noGou Cheng 5. 1.5 Reference of Definition and Others Yong Yu noCan Zhao sonoTa 2. 2. Basics of Japanese Composition Ri Ben Yu Zu Ban noJi Ben 1. 2.1 Characters and the Principles of Setting them for Japanese Composition Ri Ben Yu Zu Ban niShi Yong suruWen Zi toPei Zhi noYuan Ze 1. 2.1.1 Characters Used for Japanese Composition Ri Ben Yu Zu Ban niShi Yong suruWen Zi 2. 2.1.2 Kanji, Hiragana and Katakana Han Zi Deng ,Ping Jia Ming ,Pian Jia Ming 3. 2.1.3 Principles of Arrangement of Kanji and Kana Characters Han Zi Ji biJia Ming noPei Zhi noYuan Ze 2. 2.2 Page Formats for Japanese Documents Ri Ben Yu Wen Shu noJi Ben tona ruZu Ti Cai 1. 2.2.1 Specification of Page Formats Zu Ti Cai noShe Ji 2. 2.2.2 Basic Templates of Page Formats Ji Ben tonaruZu Ti Cai 3. 2.2.3 Elements of Page Formats Ji Ben tonaruZu Ti Cai noZhu naShe Ji Yao Su 4. 2.2.4 Elements of Kihon-hanmen Ji Ben Ban Mian noShe Ji Yao Su 5. 2.2.5 Kihon-hanmen and Examples of Real Page Format Ji Ben Ban Mian toShi Ji nopezinoShe Ji Li 3. 2.3 Vertical Writing Mode and Horizontal Writing Mode Zu Fang Xiang (Zong Zu toHeng Zu ) 1. 2.3.1 Directional Factors in Japanese Composition Ri Ben Yu Zu Ban niokeruZu Fang Xiang 2. 2.3.2 Major Differences between Vertical Writing Mode and Horizontal Writing Mode Zong Zu toHeng Zu noZhu naXiang Wei Dian 4. 2.4 Specifying the Kihon-hanmen Ji Ben Ban Mian noShe Ji 1. 2.4.1 Procedure for Defining the Kihon-hanmen Ji Ben Ban Mian no She Ji Shou Shun 2. 2.4.2 Considerations in Designing the Kihon-hanmen Ji Ben Ban Mian noShe Ji noZhu Yi Dian 5. 2.5 Page wise Arrangement of Kihon-hanmen Elements Ji Ben Ban Mian no She Ji Yao Su noGe peziniDui suruShi Yong 1. 2.5.1 Examples of Items Jutting Out of the Kihon-hanmen Ji Ben Ban Mian karahamiChu suLi 2. 2.5.2 Line Positioning based on the Kihon-hanmen Design Ji Ben Ban Mian deShe Ding shitaXing Wei Zhi noShi Yong 3. 2.5.3 Character Positioning based on Kihon-hanmen Design Ji Ben Ban Mian deShe Ding shitaWen Zi Wei Zhi noShi Yong 6. 2.6 Running Heads and Page Numbers Zhu tononburu 1. 2.6.1 Positioning of Running Heads and Page Numbers Zhu Ji binonburunoWei Zhi 2. 2.6.2 Principles of Arrangement of Running Heads and Page Numbers Zhu Ji binonburunoPei Zhi noYuan Ze 3. 2.6.3 Ways of Arranging Running Heads and Page Numbers Zhu Ji binonburunoPei Zhi Fang Shi 3. 3. Line Composition Xing noZu Ban Chu Li 1. 3.1 Line Composition Rules for Punctuation Marks Yue Wu nadonoZu Ban Chu Li 1. 3.1.1 Differences in Vertical and Horizontal Composition in Use of Punctuation Marks Zong Zu toHeng Zu deYi naruYue Wu nado 2. 3.1.2 Positioning of Punctuation Marks (Commas, Periods and Brackets) Ju Du Dian ya,Gua Hu Lei nadonoJi Ben De naPei Zhi Fang Fa 3. 3.1.3 Exceptional Positioning of Ideographic Comma and Katakana Middle Dot Du Dian Ji biZhong Dian noLi Wai De naPei Zhi Fang Fa 4. 3.1.4 Positioning of Consecutive Opening Brackets, Closing Brackets, Commas, Full Stops and Middle Dots Shi me Gua Hu Lei ,Zhong wariGua Hu Lei ,Du Dian Lei ,Ju Dian Lei Ji bi Zhong Dian Lei ga Lian Sok su ru Chang He no Pei Zhi Fang Fa 5. 3.1.5 Positioning of Opening Brackets at Line Head Xing Tou no Shi meGua Hu Lei no Pei Zhi Fang Fa 6. 3.1.6 Positioning of Dividing Punctuation Marks (Question Mark and Exclamation Mark) and Hyphens Qu Qie riYue Wu Ji bihai hunLei noPei Zhi Fang Fa 7. 3.1.7 Characters Not Starting a Line Xing Tou Jin Ze 8. 3.1.8 Characters Not Ending a Line Xing Mo Jin Ze 9. 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End Xing Mo niPei Zhi suruZhong wariGua Hu Lei , Ju Dian Lei ,Du Dian Lei Ji bi Zhong Dian Lei no Pei Zhi Fang Fa 10. 3.1.10 Unbreakable Character Sequences Fen Ge Jin Zhi 11. 3.1.11 Character Sequences which Do Not Allow Increase of Spacing as Part of Line Adjustment Processing Xing noDiao Zheng Chu Li de Zi Jian wo Kong keruChu Li ni Shi Yong shinaiGe Suo 12. 3.1.12 Examples of Line Adjustment Xing noDiao Zheng Chu Li Li 2. 3.2 Japanese and Western Mixed Text Composition (including Horizontal-in-Vertical Text Composition) He Ou Wen Hun Zhi Chu Li (Zong Zhong Heng Chu Li woHan mu) 1. 3.2.1 Composition of Japanese and Western Mixed Texts He Wen toOu Wen tonoHun Zhi 2. 3.2.2 Mixed Text Composition in Horizontal Writing Mode Heng Zu noHe Ou Wen Hun Zhi niYong iruWen Zi 3. 3.2.3 Mixed Text Composition in Vertical Writing Mode Zong Zu noHe Ou Wen Hun Zhi niYong iruWen Zi 4. 3.2.4 Method for Setting Full-width Latin Letters and European Numerals Quan Jiao nomonosupesunoOu Zi Ji bi Quan Jiao no mo nosupesuno arabiaShu Zi no Pei Zhi Fang Fa 5. 3.2.5 Handling of Tate-chu-yoko (Horizontal-in-Vertical Settings) Zong Zhong Heng noChu Li 6. 3.2.6 Handling of Western Text in Japanese Text using Proportional Western Fonts puroposhiyonaruna Ou Zi woYong i ta He Ou Wen Hun Zhi Chu Li 3. 3.3 Ruby and Emphasis Dots rubitoQuan Dian Chu Li 1. 3.3.1 Usage of Ruby rubinoShi Yong 2. 3.3.2 Choice of Base Characters to be Annotated by Ruby rubinoFu keFang 3. 3.3.3 Choice of Size for Ruby Characters rubinoWen Zi saizu 4. 3.3.4 Choice of Sides for Ruby with Respect to Base Characters Qin Wen Zi nodochiraCe nirubiwoFu keruka 5. 3.3.5 Positioning of Mono-ruby with Respect to Base Characters monorubinoQin Wen Zi niDui suruPei Zhi Wei Zhi 6. 3.3.6 Positioning of Group-ruby with Respect to Base Characters gurupurubinoQin Wen Zi niDui suruPei Zhi Wei Zhi 7. 3.3.7 Positioning of Jukugo-ruby with Respect to Base Characters Shou Yu rubinoQin Wen Zi niDui suruPei Zhi Wei Zhi 8. 3.3.8 Adjustments of Ruby with Length Longer than that of the Base Characters rubigaQin Wen Zi yorihamiChu shitaChang He noChu Li 9. 3.3.9 Composition of Emphasis Dots Quan Dian noChu Li 4. 3.4 Inline Cutting Note (Warichu) Ge Zhu Chu Li 1. 3.4.1 Where the Inline Cutting Note (Warichu) is used Ge Zhu noLi Yong 2. 3.4.2 Character Size for Inline Cutting Notes and Line Gaps Ge Zhu noWen Zi saizutoXing Jian nado 3. 3.4.3 Handling an Inline Cutting Note when it Straddles Two Kihon-hanmen Lines Ge Zhu woBen Wen no2Xing Yi Shang niwatatsutePei Zhi suruChu Li 5. 3.5 Paragraph Adjustment Rules Duan Luo Zheng Xing ,soroeJi biDuan Luo Mo Wei Chu Li 1. 3.5.1 Line Head Indent at the Beginning of Paragraphs Duan Luo Xian Tou Xing noZi Xia ge 2. 3.5.2 Line Head Indent and Line End Indent Zi Xia getoZi Shang ge 3. 3.5.3 Single Line Alignment Processing soroenoChu Li 4. 3.5.4 Widow Adjustment of Paragraphs Duan Luo Mo Wei Chu Li 6. 3.6 Tab Setting tabuChu Li 1. 3.6.1 Usage of Tab Setting tabuChu Li noLi Yong 2. 3.6.2 Types of Tab Settings tabuChu Li deZhi Ding suruPei Zhi Wei Zhi ni soroeruXing Shi 3. 3.6.3 The Method of Setting the Target Text tabuChu Li woXing uDui Xiang noWen Zi Lie noPei Zhi Fang Fa 7. 3.7 Other Rules of Japanese Typesetting sonoTa noXing Zu Ban Chu Li 1. 3.7.1 Superscripts and Superscripts Tian eZi Chu Li 2. 3.7.2 Furiwake Processing Zhen Fen keChu Li 3. 3.7.3 Jidori Processing Zi Qu riChu Li 4. 3.7.4 Processing of Math Symbols and Math Operators Deng Hao Lei toYan Suan Ji Hao noChu Li 8. 3.8 Line Adjustment Xing noDiao Zheng Chu Li 1. 3.8.1 Necessity for Line Adjustment Xing noDiao Zheng Chu Li noBi Yao Xing 2. 3.8.2 Reduction and Addition of Inter-Character Spacing Jie meruChu Li toKong keruChu Li 3. 3.8.3 Procedures for Inter-Character Spacing Reduction Jie meruChu Li noYou Xian Shun Wei 4. 3.8.4 Procedures for Inter-Character Space Expansion Kong ke ruChu Li noYou Xian Shun Wei 9. 3.9 About Character Classes Wen Zi kurasunitsuite 1. 3.9.1 Differences in Positioning of Characters and Symbols Wen Zi Ji Hao niyoriZhen ruWu iFang haYi naru 2. 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen keru 3. 3.9.3 Positioning Methods for each Character Class Ge Wen Zi kurasunoPei Zhi Fang Fa 4. 4. Positioning of Headings, Notes, Illustrations, Tables and Paragraphs Jian Chu shiZhu Tu Ban Biao Duan Luo noPei Zhi Chu Li 1. 4.1 Handling of Headings (including Page Breaks) Jian Chu shiChu Li ( Gai peziChu Li moHan mu) 1. 4.1.1 Types of Headings Jian Chu shinoZhong Lei 2. 4.1.2 Elements of Block Heading Bie Xing Jian Chu shinoGou Cheng 3. 4.1.3 Font Selection and Heading Font Size Jian Chu shiniakuse ntowoFu keru 4. 4.1.4 How to Handle Headings with New Recto, Page Break and New Column Gai Ding Gai peziGai Duan Chu Li 5. 4.1.5 Handling of Space just before the New Recto, Page Breaks and New Edges Gai peziDeng noZhi Qian pezinoChu Li 6. 4.1.6 Processing of Gyou-dori Xing Qu rinoChu Li Li 7. 4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page Xing Qu riChu Li shitaJian Chu shigapeziMo nikitaChang He noChu Li 8. 4.1.8 Processing when a One Line Space is Set Before a Low Level Heading Xiao Jian Chu shinoQian wo1Xing akinishitaChang He noChu Li 9. 4.1.9 Processing of Run-in Headings Tong Xing Jian Chu shinoChu Li 10. 4.1.10 Processing of Cut-in Headings Chuang Jian Chu shinoChu Li 11. 4.1.11 Processing of Column Spanning Headings Duan Ba kinoJian Chu shinoChu Li 2. 4.2 Processing of Notes Zhu noChu Li 1. 4.2.1 Kinds of Notes Zhu noZhong Lei 2. 4.2.2 Note Numbers Zhu noFan Hao 3. 4.2.3 The Processing of the Reference Mark He Yin noChu Li 4. 4.2.4 Processing of Endnotes in Vertical Writing Mode or Horizontal Writing Mode Zong Zu You haHeng Zu noHou Zhu Chu Li 5. 4.2.5 Processing of Footnotes in Horizontal Writing Mode Heng Zu noJiao Zhu Chu Li 6. 4.2.6 Processing of Sidenotes in Vertical Writing Mode Zong Zu noBang Zhu Chu Li 7. 4.2.7 Processing of Headnotes (in Vertical Writing Mode), Footnotes (in Vertical Writing Mode) and Sidenotes (in Horizontal Writing Mode) Tou Zhu (Zong Zu )Jiao Zhu (Zong Zu )Bang Zhu (Heng Zu )noChu Li 3. 4.3 Positioning of Illustrations Tu Ban noPei Zhi Chu Li 1. 4.3.1 Specification of the Position of Illustrations Tu Ban Pei Zhi noZhi Ding Fang Fa 2. 4.3.2 Basic Concepts about Illustration Positioning Tu Ban Pei Zhi noJi Ben De naKao eFang 3. 4.3.3 Requirements for Illustration Positioning in Vertical Layout Zong Zu niokeruTu Ban Pei Zhi noTiao Jian 4. 4.3.4 Requirements for Illustration Positioning in Horizontal Layout Heng Zu niokeruTu Ban Pei Zhi noTiao Jian 5. 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051 JIS X 4051niokeruTu Ban Pei Zhi noJi Ben De naKao eFang 4. 4.4 Processing of Tables Biao noChu Li 1. 4.4.1 Elements of Tables Biao noGou Cheng 2. 4.4.2 Direction of Tables Themselves Biao noQuan Ti noZu Fang Xiang 3. 4.4.3 An Example of Layout with a Table Biao woPei Zhi shitaLi 4. 4.4.4 Kinds of Tables from Allocation to Page Position pe zihenoPei Zhi karamitaBiao noZhong Lei 5. 4.4.5 Processing of Tables Allocated in a Spread Jian Kai kini Pei Zhi suruBiao noChu Li 6. 4.4.6 Processing of Dividable Tables Fen Ge woKe tosuruBiao noChu Li 5. 4.5 Block Direction Setting Process of Lines, Paragraphs etc. Xing Duan Luo nadonoXing Song riFang Xiang noPei Zhi Chu Li 1. 4.5.1 Line Gap Arrangement with Ruby and Other Objects ru binadogaFu itaChang He noXing Jian noChu Li 2. 4.5.2 Processing of Space between Paragraphs Duan Luo Jian Chu Li 3. 4.5.3 Adjustment of Processing of Realm in Block Direction Xing Song riFang Xiang noLing Yu noDiao Zheng Chu Li 5. A. Character Classes Wen Zi kurasuYi Lan 1. A.1 Opening brackets (cl-01) Shi meGua Hu Lei (cl-01) 2. A.2 Closing brackets (cl-02) Zhong wariGua Hu Lei (cl-02) 3. A.3 Hyphens (cl-03) haihunLei (cl-03) 4. A.4 Dividing punctuation marks (cl-04) Qu Qie riYue Wu (cl-04) 5. A.5 Middle dots (cl-05) Zhong Dian Lei (cl-05) 6. A.6 Full stops (cl-06) Ju Dian Lei (cl-06) 7. A.7 Commas (cl-07) Du Dian Lei (cl-07) 8. A.8 Inseparable characters (cl-08) Fen Li Jin Zhi Wen Zi (cl-08) 9. A.9 Iteration marks (cl-09) Zao Fan shiJi Hao (cl-09) 10. A.10 Prolonged sound mark (cl-10) Chang Yin Ji Hao (cl-10) 11. A.11 Small kana (cl-11) Xiao Shu kinoJia Ming (cl-11) 12. A.12 Prefixed abbreviations (cl-12) Qian Zhi Sheng Lue Ji Hao (cl-12) 13. A.13 Postfixed abbreviations (cl-13) Hou Zhi Sheng Lue Ji Hao (cl-13) 14. A.14 Full-width ideographic space (cl-14) He Zi Jian Ge (cl-14) 15. A.15 Hiragana (cl-15) Ping Jia Ming (cl-15) 16. A.16 Katakana (cl-16) Pian Jia Ming (cl-16) 17. A.17 Math symbols (cl-17) Deng Hao Lei (cl-17) 18. A.18 Math operators (cl-18) Yan Suan Ji Hao (cl-18) 19. A.19 Ideographic characters (cl-19) Han Zi Deng (Han Zi Yi Wai noLi )( cl-19) 20. A.20 Characters as reference marks (cl-20) He Yin Zhong noWen Zi ( cl-20) 21. A.21 Ornamented character complexes (cl-21) Qin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21) 22. A.22 Simple-ruby character complexes (cl-22) Qin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki)(cl-22) 23. A.23 Jukugo-ruby character complexes (cl-23) Qin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23) 24. A.24 Grouped numerals (cl-24) Lian Shu Zi Zhong noWen Zi (cl-24) 25. A.25 Unit symbols (cl-25) Dan Wei Ji Hao Zhong noWen Zi (cl-25) 26. A.26 Western word space (cl-26) Ou Wen Jian Ge (cl-26) 27. A.27 Western characters (cl-27) Ou Wen Yong Wen Zi (cl-27) 28. A.28 Warichu opening brackets (cl-28) Ge Zhu Shi meGua Hu Lei (cl-28) 29. A.29 Warichu closing brackets (cl-29) Ge Zhu Zhong wariGua Hu Lei (cl-29 ) 30. A.30 Characters in tate-chu-yoko (cl-30) Zong Zhong Heng Zhong noWen Zi ( cl-30) 6. B. Spacing between Characters Wen Zi Jian noKong kiLiang 1. B.1 Legend of Table 1 Biao 1noJian Fang 2. B.2 Notes Zhu Ji 7. C. Possibilities for Line-breaking between Characters Wen Zi Jian deno Fen Ge noKe Fou 1. C.1 Legend of Table 2 Biao 2noJian Fang 2. C.2 Notes Zhu Ji 3. C.3 Addendum Bu Ji 8. D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo 1. D.1 Legend of Tables 3, 4 and 5 Biao 3,Biao 4Ji biBiao 5noJian Fang 2. D.2 Notes Zhu Ji 9. E. Opportunities for Inter-character Space Expansion during Line Adjustment Xing noDiao Zheng Chu Li de Kong keruChu Li ga Ke Neng naGe Suo 1. E.1 Legend of Table 6 Biao 6noJian Fang 2. E.2 Notes Zhu Ji 10. F. Positioning of Jukugo-ruby Shou Yu rubinoPei Zhi Fang Fa 1. F.1 Principles of Jukugo-Ruby Distribution: Part 1 Shou Yu rubino Pei Zhi Fang Fa noYuan Ze sono1 2. F.2 Principles of Jukugo-Ruby Distribution: Part 2 Shou Yu rubino Pei Zhi Fang Fa noYuan Ze sono2 3. F.3 Principles of Jukugo-Ruby Distribution with Inter-Character Space Expansion Shou Yu rubinoQin Wen Zi noZi Jian woKong ke ruChu Li noYuan Ze 4. F.4 Examples of Jukugo-Ruby Distribution with Inter-Character Space Expansion Shou Yu rubinoQin Wen Zi noZi Jian woKong keruChu Li Li 11. G. Terminology Yong Yu Ji 12. H. References Can Kao Wen Xian 13. I. Acknowledgements Xie Ci 14. J. Revision Log Bian Geng Ji Lu 1. Introduction Xu Lun 1.1 Purpose of This Document konoWen Shu noMu De Each cultural community has its own language, script and writing system. In that sense, the transfer of each writing system into cyberspace is a task with very high importance for information and communication technology. subetenoWen Hua Ji Tuan ha,Du Zi noYan Yu ,Wen Zi ,Shu Ji shisutemuwoChi tsu.soreyue, Ge "noShu Ji shisutemuwosaibasupesuniYi Zhuan surukotoha,Wen Hua De Zi Chan noJi Cheng toiuYi Wei de,Qing Bao Tong Xin Ji Shu nitotsuteFei Chang niZhong Yao naZe Wu toieyou. As one of the basic work items of this task force, this document describes issues of text composition in the Japanese writing system. The goal of the task force is not to propose actual solutions but describe important issues as basic information for actual implementations. konoZe Wu woShi Xian surutamenoJi Chu De naZuo Ye toshite,konoWen Shu deha,Ri Ben Yu toi uShu Ji shisutemuniokeruZu Ban Shang noWen Ti Dian womatometa.Ju Ti De naJie Jue Ce woTi Shi surukotodehanaku,Yao Wang Shi Xiang noShuo Ming wosurukotonishita.soreha,Shi Zhuang reberu noWen Ti woKao eruQian Ti Tiao Jian womazuMing Que nisurukotogaZhong Yao dearutoKao etakarade aru. 1.2 How This Document was Created konoWen Shu noZuo Cheng Fang Fa This document was created by the W3C Japanese Layout Task Force. The Task Force has discussed many issues and harmonized the requirements from user communities and solutions from technological experts. It includes the following participants: konoWen Shu noZuo Cheng ha,W3C Japanese Layout Task ForcegaXing tsuta.konotasuku huosuha,Ci noyounamenbadeGou Cheng sare,yuzakomiyuniteikara noYao Wang toZhuan Men Jia niyoruJie Jue Ce woDiao He saserutameniYang "naYi Lun woXing tsutekita. 1. Japanese text composition experts (The editors of "JIS X 4051 : Formatting rules for Japanese documents"). Ri Ben Yu Zu Ban noZhuan Men Jia ("JIS X 4051:Ri Ben Yu Wen Shu noZu Ban Fang Fa "noedeita tachi) 2. Internationalization and standardization experts in Japan (from Microsoft, Antenna House, JustSystems). Ri Ben niokeruGuo Ji Hua ,Biao Zhun Hua Huo Dong noZhuan Men Jia (maikurosohuto,antena hausu,ziyasutoshisutemunoShe Yuan ) 3. Members of the W3C CSS, SVG, XSL and i18n Core, Working Groups. W3CnoCSS,SVG,XSL,Guo Ji Hua koanoGe wakingugurupumenba This task force also constitutes an important innovation due to its bilingual work-flow. Discussion is mainly conducted in Japanese, because of the Japanese composition issues, but minutes and one mailing list were in English. To support development, the task force held face-to-face meetings with participating Working Groups. mata,konotasukuhuosuha,bairingaruniyorumonotoshitemo,Hua Qi De na monotoieyou.deisukatsushiyonha,Ri Ben Yu noZu Ban woWen Ti tosurukotokara ,Zhu toshiteRi Ben Yu deXing tsuta.shikashi,Yi Shi Lu tomeringurisutohaYing Yu nomo nowoYong Yi shita.mata,W3CnoCSS,SVG,XSL,Guo Ji Hua koanadonowakingugu rupumenbatonoYing Yu Ji biRi Ben Yu niyoruhueisutsuuhueisunoHui Yi moKai Cui shita. The document itself was also developed bilingually, and is published bilingually. We carefully avoided using jargon for technical terms. Even if there were English words corresponding to the Japanese, we carefully studied any potential differences in the nuances of meaning, and if there were differences between corresponding concepts, we provided the Japanese jargon in romaji (Latin transliteration) for future discussion. Moreover, we prepared as many figures as possible, with clear and understandable English, to help non-Japanese readers. Wen Shu moRi Ben Yu deZhun Bei shi,korewoYing Yi shi,2tsunoWen Shu woGong Kai surukotonishita.Yong Yu nitsuitemo,Te Shu naYong Yu haJi Li Bi keruyouniNu meta.Ying Yu noYong Yu tonoDui Ying nitsuitemo,Yong Yu noDing Yi Nei Rong woJian Tao shi,Gai Nian niDui Ying dekinaiBu Fen woChi tsuChang He ha,Ri Ben Yu noYong Yu haromaZi deBiao Xian shi,Jin Hou noKe Ti toshiteCan shita.sarani, Ri Ben Yu Zu Ban woJian Guan reteinaiDu Zhe notameni,Yao Wang Shi Xiang noShuo Ming wowakariyasui Ying Yu toTu Biao deXing uyouniNu Li shita. 1.3 Basic Principles for Development of This Document konoWen Shu noZhi Bi Fang Zhen Japanese composition exhibits several differences from Western composition. Major differences include: Ri Ben Yu Zu Ban ha,Ou Wen Zu Ban toYi naruShi Xiang gaaru.Zhu niCi noDian deYi naru. 1. The use of not only horizontal writing mode but also vertical writing mode. Ri Ben Yu Zu Ban niha,Heng Zu dakedenaku,Zong Zu gaaru. 2. In principle, all character frames of ideographic (cl-19), hiragana (cl-15) and katakana (cl-16) characters used in Japanese composition are designed in a square box, and these characters are composed without intervening spacing (i.e. set solid). In this document, notations such as ideographic (cl-19) and hiragana (cl-15) characters indicate character classes (see SS 3.9 About Character Classes Wen Zi kurasunitsuite ). Yuan Ze toshite,Ri Ben Yu Zu Ban deShi Yong suruHan Zi Deng (cl-19),Ping Jia Ming (cl-15) ,Pian Jia Ming (cl-16)noWen Zi noWai Waku ha,Zheng Fang Xing nidezainsareteori,kore wo,Xi Jian nakuJie meteZu ndeiku.nao,"Han Zi Deng (cl-19)","Ping Jia Ming ( cl-15)"nadotoShi sumonoha,Wen Zi kurasuMing dearu(Wen Zi kurasunoXiang Xi ha SS 3.9 About Character Classes Wen Zi kurasunitsuitewoCan Zhao ). This document mainly explains the characteristics of Japanese composition along the lines of the following policy. konoWen Shu deha,konokotowoQian Ti nishite,Zhu niRi Ben Yu Zu Ban noTe Zheng woCi noFang Zhen de Jie Shuo suru. 1. It does not fully cover all issues of the Japanese composition system, but mainly discusses the differences from Western composition systems. Ri Ben Yu Zu Ban noarayuruShi Xiang woDui Xiang tosurunodehanaku,Ou Wen Zu Ban toYi naru Shi Xiang woZhu niQu riShang geta. 2. It focuses on the requirements for the Japanese visual presentation form of text composition. Technology-specific interpretations of the requirements and/or how to implement them are out of scope for this document. Ri Ben Yu Zu Ban noBiao Xian saretaJie Guo You haBiao Xian sarerubekiJie Guo dakewoWen Ti tosuru .akumadeRi Ben Yu Zu Ban toshiteYao Qiu sareruShi Xiang woQu riShang ge,Ju Ti De nidono youniChu Li surukahaBie noCi Yuan noWen Ti toKao erukaradearu. 3. It explicitly refers to JIS X 4051 "Formatting rules for Japanese documents" as much as possible. This document focuses on fundamental and important issues of Japanese layout as much as possible, and for more detail references the corresponding clause of JIS X 4051. The JIS X 4051 topics that are not described in this document, are only for exceptional, corner cases or to provide some specific line composition algorithms. On the other hand, some topics that are not described in JIS X 4051 are described in detail. Accordingly, this document is sufficient to implement Japanese layout processing for most parts of the Japanese market. Ri Ben Yu Zu Ban niGuan suruRi Ben Gong Ye Gui Ge (JIS)ni"JIS X 4051(Ri Ben Yu Wen Shu no Zu Ban Fang Fa )"gaaru.koretonoCan Zhao Guan Xi wodekirudakeShi sukotowoXin Gua keta .Ben Wen Shu deha,Ji Shu wodekiruXian riBen Zhi De deZhong Yao naShi Xiang niXian Ding shita.sono tame,Xiang Xi naChu Li Nei Rong haJIS X 4051niyuzuri,Can Zhao dakedeShi shitaGe Suo ga aru.JIS X 4051noJi Shu nouchi,Ben Wen Shu niJi Shu ganaiBu Fen ha,Te Bie naLi Wai De naChang He ya,Xing Zu Ban nitsuitenoJu Ti De naarugorizumuJi Shu niXian rareru .nao,Ben Wen Shu deha,JIS X 4051deGui Ding sareteiruNei Rong dakedehanaku, soreYi Wai deZhong Yao toSi wareruShi Xiang nitsuitemoJie Shuo suruyounishita.shitaga tsute,Ben Wen Shu noNei Rong woShi Zhuang surukotode,Ri Ben noDa Bu Fen noShi Chang Yao Qiu niYing e rukotogadekiru. In accordance with the stated policy, this document provides tutorial- or summary-like, supplementary explanations, related background, and additional descriptions for JIS X 4051 information. This document covers all the fundamental issues of Japanese text layout, but the reader will need to refer to JIS X 4051 for advanced discussion of exceptional topics. mata,konoWen Shu toJIS X 4051tonoGuan Xi deieba,JIS X 4051noYao Dian noJie Shuo aruihaYao Yue ,Bu Zu Shuo Ming ,soreniGuan waruZhou Bian Qing Bao noZhui Jia ,JIS X 4051 deGui Ding shiteinaiShi Xiang noJie Shuo toiukotoninaru.shitagatsute,Ji Ben De na Shi Xiang woLi Jie surutamedeareba,konoWen Shu deShi Fen dearuga,Xi Bu niwataru Li Wai De naNei Rong woZhi rutamenihaJIS X 4051woCan Zhao suruBi Yao gaaru. 4. It provides typical examples of actual use for key composition features, to enable better understanding of their usage. aruZu Ban Chu Li ga,donoyounaJu Mian deShi Yong sarerukawodekirudakeShi suyou niXin Gua keta. 5. For non-Japanese readers, frequency of use is indicated for each requirement. These frequencies are not the outcome of any accurate research, but arise from the long experience of the authors. They are intuitive for ordinary Japanese text readers; however, for non-Japanese readers it may be difficult to imagine without explicit information. These frequencies are only rough information to prioritize the importance of issues. Ri Ben Yu Zu Ban niRi Chang De niJie shiteinaiDu Zhe notameni,Shuo Ming shiteiruShi Xiang no Shi Yong Pin Du nitsuiteJian Dan niJie Shuo shita.korehaShi Ji niDiao Cha shitaJie Guo dehanaku ,Zhi Bi Zhe noDu Shu Jing Yan niyoruPan Duan dearu.korehaRi Chang De niRi Ben Yu Zu Ban niJie shiteiruDu Zhe nihaaruCheng Du Pan Duan dekirukotodearuga,soudenaiDu Zhe no tameni,aruCheng Du noShi Yong Pin Du Qing Bao woChuan erutamedearu.shitagatsute,Zu Ban Chu Li Shi Xiang noZhong Yao sawoaruCheng Du Pan Duan dekiruyounisurukotowoZhu naMu De to surunode,Qing Bao noZheng Que Xing woYi Tu shiteirumonodehanai. For example: "warichu (inline cutting note) is not frequently used, but is useful to simply annotate persons, things, and so on, at the place where the text appears, especially in classic texts or translations.", or "ruby is frequently used in modern documents, including newspapers." Li eba,"Ge Zhu noShi Yong Pin Du haDuo kunaiga,sonoGai Dang Yong Yu gaChu tekitaGe Suo ni Zhi Jie Bu Zu Shuo Ming dekirukotokara,Gu Dian yaFan Yi Shu nioiteRen Wu Yong Yu Deng noJian Dan naShao Jie niZhong Yao naYi Ge woGuo tashiteiru"noyouniShuo Ming shi,koreniDui shi," rubiha,Zui Jin dehaXin Wen demoCai Yong shiteori,Duo kunoWen Shu deLi Yong sareteiru" noyouniShi sukotonisuru. 6. In consideration of non-Japanese readers of this document, figures are used for explanations wherever possible. Ri Ben Yu Zu Ban niJie shiteinaiDu Zhe woKao Lu shi,dekirudakeTu Jie shiteShi suyou nishita.mata,Li Shi moDuo kusuruyouniXin Gua keta. 7. Text layout rules and recommendations for readable design are different things, however these two issues are difficult to discuss independently. In this document, these two aspects are carefully separated. The aesthetic design recommendations are mainly described using notes. Zu Ban Chu Li toDu miyasuiZu Ban She Ji noGuan Xi haBie Wen Ti dearu.shikashi,Liang Zhe ha Bu Ke Fen noGuan Xi gaari,Jie Shuo demoLiang Zhe woTong Shi niShuo Ming suruShi Xiang moChu tekuru. shikashi,dekirudakeLiang Zhe woQu Bie shiteJi Shu surukotowoXin Gua keta.Ju Ti De na Fang Fa toshiteha,Du miyasuiZu Ban She Ji noJie Shuo ha,dekirudakeZhu Ji deShu beru younishita. 8. The main target of this document is common books. The authors' experiences are mainly related to common books, and the quality required for common books is the highest in the market. There are many kinds of books in the market, and the requirements are quite diverse. The task force has a lot of accumulated experience in requirements and solutions for Japanese text composition. Nonetheless, many issues, which have been discussed over a long period of time, are applicable for other kinds of publication. konoWen Shu noJie Shuo deha,Zu Ban Chu Li noDui Xiang woZhu niShu Ji tosuru.Zhi Bi Zhe noJing Yan gasonoDian niZui moShen ikotomoaruga,Ri Ben Yu Zu Ban Chu Li nioiteZhi noMian kara Shu Ji noZu Ban gaZhong Yao toKao erukaradearu.Liang gaDuo itoiudakedenaku,Zhi noMian karaJian ruto,Shu Ji Zu Ban haDuo kunoWen Ti Dian woChi tsuteiru.Shu Ji Zu Ban ha, sonoChu Li Nei Rong gaDuo Yang deari,koreranitsuiteZui moGu kukaraDuo kunoRen "ni yoriWen Ti Dian gaKao erare,katsuZhi Zhai saretekitaJing Wei gaaru.Chu Li sonomono nitsuiteha,Shu Ji noZu Ban Chu Li hamuzukashiku,mataYao Qiu noreberugaGao katsu tatoiuDian moaru.mata,Shu Ji deKao eraretekitaShi Xiang noDuo kuga,sonoTa noWen Shu demoYing Yong dekiruDian gaDuo itoieyou. In terms of frequency of use, the importance of magazines, technical manuals, and Web documents rates alongside common books. However, there are several characteristics in these publications, which are different from common books. These issues should be treated more fully in future documents. shikashi,Shi Yong Pin Du toiuDian deieba,Za Zhi ,maniyuaru,WebShang noWen Shu Deng noZhong Yao Xing ha,Shu Ji toBian waranai.mata,koreranoWen Shu noZu Ban Chu Li deha, Shu Ji tohaYi naruShi Xiang moHan ndeiru.koreraniokeruWen Ti Dian ha,Ci noKe Ti toshitai. 1.4 The Structure of This Document konoWen Shu noGou Cheng This document consists of four parts: konoWen Shu ha,Ci no4tsunoBu Fen deGou Cheng sareteiru. 1. SS 1. Introduction Xu Lun 2. SS 2. Basics of Japanese Composition Ri Ben Yu Zu Ban noJi Ben 3. SS 3. Line Composition Xing noZu Ban Chu Li 4. SS 4. Positioning of Headings, Notes, Illustrations, Tables and Paragraphs Jian Chu shiZhu Tu Ban Biao Duan Luo noPei Zhi Chu Li SS 2. Basics of Japanese Composition Ri Ben Yu Zu Ban noJi Ben explains the characteristics of letters and symbols which are used in Japanese composition, their differences in vertical writing mode and horizontal writing mode, and the design and adaptation of the kihon-hanmen. SS 2. Basics of Japanese Composition Ri Ben Yu Zu Ban noJi Ben deha,Ri Ben Yu Zu Ban deShi Yong sareruWen Zi noTe Zheng ,Zong Zu toHeng Zu noXiang Wei Dian ,Ji Ben Ban Mian noShe Ji Fang Fa Ji biso noShi Yong Fang Fa nadonitsuiteJie Shuo suru. SS 3. Line Composition Xing noZu Ban Chu Li explains line composition methods for ideographic (cl-19), hiragana (cl-15), katakana (cl-16) characters and punctuation marks, together with ruby (inter-line pronunciation information and annotation) and Japanese and Western mixed text composition, i.e. mixtures of Japanese characters and Western characters (cl-27). SS 3. Line Composition Xing noZu Ban Chu Li deha,Han Zi Deng (cl-19),Ping Jia Ming ( cl-15),Pian Jia Ming (cl-16)Ji biYue Wu dakedenakuWen Zi niTian eteXing Jian niPei Zhi sare rurubiChu Li Ji biOu Wen Yong Wen Zi (cl-27)woHan muHe Ou Wen Hun Zhi nadonoXing noZu Ban Chu Li Bing biniXing Nei denoWen Zi Pei Zhi Fang Fa woJie Shuo suru. SS 4. Positioning of Headings, Notes, Illustrations, Tables and Paragraphs Jian Chu shiZhu Tu Ban Biao Duan Luo noPei Zhi Chu Li describes construction methods and composition methods for headings, notes, illustrations and tables. SS 4. Positioning of Headings, Notes, Illustrations, Tables and Paragraphs Jian Chu shiZhu Tu Ban Biao Duan Luo noPei Zhi Chu Li deha,Jian Chu shi,Zhu ,Tu Ban ,Biao nadonoGou Cheng Fang Fa Ji biPei Zhi Fang Fa woJie Shuo suru. In principle, characters in Japanese composition are designed in a square box and positioned without extra spacing, i.e. solid setting. This is taken as a basic premise for the design of the kihon-hanmen, the basis of book layout. Furthermore, to understand Japanese layout, it is important to understand the design of the kihon-hanmen and how to position illustrations, characters, symbols etc. in relation to it. Hence, SS 2. Basics of Japanese Composition Ri Ben Yu Zu Ban noJi Ben describes in detail the design of the kihon-hanmen and its dependencies. In particular, SS 2.5 Page wise Arrangement of Kihon-hanmen Elements Ji Ben Ban Mian noShe Ji Yao Su noGe peziniDui suruShi Yong provides prototypical patterns for the three guidelines listed after this paragraph: what recommendations need to be strictly taken into account, and what exceptions are possible. (The goal of these explanations is an understanding of Japanese composition. Since detailed explanations of the various elements of the kihon-hanmen are given in SS 3. Line Composition Xing noZu Ban Chu Li and SS 4. Positioning of Headings, Notes, Illustrations, Tables and Paragraphs Jian Chu shiZhu Tu Ban Biao Duan Luo noPei Zhi Chu Li , some explanations are repeated.) nao,Ri Ben Yu Zu Ban ha,Yuan Ze toshiteQuan Jiao nomonosupesunoWen Zi Ji Hao woZi Jian wo Kong kezuni(betaZu nishite)Pei Zhi suru.konokotowoQian Ti nishiteBen noJi Ben tonaru Ban Mian (Ji Ben Ban Mian )woShe Ji suru.sonouedeShi Ji nopezideha,Ji Ben Ban Mian noShe Ji niCong iTu Ban yaWen Zi Ji Hao nadowoPei Zhi suru.konoJi Ben Ban Mian noShe Ji to,soreni Cong idonoyouniTu Ban yaWen Zi Ji Hao nadowoPei Zhi surukawoLi Jie surukotoha,Ri Ben Yu Zu Ban woLi Jie suruZhong Yao napointodearu.sokode,SS 2. Basics of Japanese Composition Ri Ben Yu Zu Ban noJi Ben deha,Ji Ben Ban Mian noShe Ji tosonoShi Yong Fang Fa nitsui te,Xiang Xi niJie Shuo shita.Te ni,SS 2.5 Page wise Arrangement of Kihon-hanmen Elements Ji Ben Ban Mian noShe Ji Yao Su noGe peziniDui suruShi Yong deha,Ci no3Dian nitsui te,Ji Ben Ban Mian deShe Ji shitaShi Xiang nodokowoYan Shou shi,donoyounaLi Wai gaChu rukanitsu ite,Dian Xing De naLi woJie Shuo shita.kokodenoShuo Ming noMu De ha,Ri Ben Yu Zu Ban woLi Jie shi temorautamenomonodeari,Ge Yao Su noXiang Xi naJie Shuo ha,SS 3. Line Composition Xing noZu Ban Chu Li toSS 4. Positioning of Headings, Notes, Illustrations, Tables and Paragraphs Jian Chu shiZhu Tu Ban Biao Duan Luo noPei Zhi Chu Li deXing unode ,Shuo Ming gaYi Bu dehaZhong naruBu Fen moChu tekuru. 1. Keep to the basic size and column numbers of multi-column format that were decided upon in setting up the kihon-hanmen, with some exceptions. Ji Ben Ban Mian deJue Ding shitaBan Mian noQuan Ti nosaizuYou haDuan Zu nadosonoGou Zao wodekiru dakeWei Chi suru.tadashi,Li Wai gaaru. 2. Keep to the line positions that were decided upon in setting up the kihon-hanmen, with some exceptions. Ji Ben Ban Mian deJue Ding shitaXing noWei Zhi wodekirudakeWei Chi suru.tadashi,Li Wai gaa ru. 3. Keep to the letter positions that were decided upon in setting up the kihon-hanmen, with some exceptions. Ji Ben Ban Mian deJue Ding shitaWen Zi Wei Zhi wodekirudakeWei Chi suru.tadashi,Li Wai gaa ru. 1.5 Reference of Definition and Others Yong Yu noCan Zhao sonoTa The definitions of technical terms are described in the SS G. Terminology Yong Yu Ji appendix. Terms are linked to corresponding places in the Terminology appendix only at first appearance and in important places. If there is no appropriate English terminology for Japanese terminology, or the English terminology may possibly cause misunderstanding, the Japanese terminology is only transliterated to Hepburn style romaji notation (except that "m", not "n", is used before "b", "m" and "p"). konoWen Shu deShi Yong shiteiruYong Yu noDing Yi ha,SS G. Terminology Yong Yu Ji niJie geru. Yong Yu noBiao Ji ,Can Zhao Deng ha,Ci noyouniXing tsuta."Yong Yu Ji "niJie geruYong Yu henoCan Zhao ha,Jie Xiang Mu noChu Chu noGe Suo Yi Wai ha,Te niGuan Lian gaShen iGe Suo niXian tsuteXing tsuta.nao ,Ying Yu Ban noDui Ying Yong Yu nitsuiteha,Dui Ying suruYing Yu noYong Yu ganai,aruihaYi Wei noJin iYong Yu gaatsutemo,sonoYong Yu noShi Yong niyoriWu Jie woSheng muKong regaaruYong Yu ha ,hebonShi noromaZi Biao Ji toshita(tadashi,b,m,pnoQian deha"m"toshinaide ,"n"toshita). Also, the definitions of terminology in the Terminology appendix are basically the same as the definitions of JIS Z 8125 or JIS X 4051, with respect to common Japanese usage of terminology. mata,"Yong Yu Ji "niJie geruYong Yu nitsuiteha,Ri Ben niokeruBiao Zhun De naDing Yi woShi su kotowoKao Lu shi,JIS Z 8125 You ha JIS X 4051 niDing Yi sareteiruYong Yu de,katsu ,konoWen Shu deShi Yong suruYong Yu noYi Wei toChai Yi nonaimonoha,sokoniShi sareteiru Ding Yi woJie geta. Each character class has its own character class number in parentheses. Members of each character class are listed in SS A. Character Classes Wen Zi kurasuYi Lan , except for CJK Ideographs. Each character in this document is named and referred to using the character names of ISO/IEC 10646 (UCS). Wen Zi kurasuMing niha,sonoHou ronoGua Hu Nei niWen Zi kurasuFan Hao woJie geta.sorezore noWen Zi kurasuniHan mareruFei Han Zi noYi Lan ha,SS A. Character Classes Wen Zi kura suYi Lan niJie geta.Ge "noWen Zi nitsuiteha,sonoHou roniISO/IEC 10646(UCS) noMing Cheng woJie geta. The formal title of the frequently mentioned Japanese Industrial Standard JIS X 4051 is as follows: konoWen Shu deyokuCan Zhao shiteiruJIS X 4051noMing Cheng ha,Yi Xia dearu. JIS X 4051 : 2004 Formatting rules for Japanese documents JIS X 4051 : 2004 Ri Ben Yu Wen Shu noZu Ban Fang Fa (Formatting rules for Japanese documents) JIS X 4051 is available from the Japan Standards Association (http:// www.jsa.or.jp/), but a PDF version is not available from JSA. The PDF version is accessible from the Japanese Industrial Standards Committee site (http://www.jisc.go.jp/), however it is not possible to download it. JIS X 4051 ha,Ri Ben Gui Ge Xie Hui (http://www.jsa.or.jp/)karaRu Shou dekiru( PDFdetanoBan Bu hashiteinai).tadashi,Ri Ben Chan Ye Biao Zhun Diao Cha Hui (http:// www.jisc.go.jp/)de,konoGui Ge woJian Suo surukotoniyori,PDFnoYue Lan gaKe Neng de aru(Yue Lan nominiXian rareru). 2. Basics of Japanese Composition Ri Ben Yu Zu Ban noJi Ben 2.1 Characters and the Principles of Setting them for Japanese Composition Ri Ben Yu Zu Ban niShi Yong suruWen Zi toPei Zhi noYuan Ze 2.1.1 Characters Used for Japanese Composition Ri Ben Yu Zu Ban niShi Yong suruWen Zi Japanese letters used for composing Japanese text mainly consist of ideographic (cl-19), hiragana (cl-15) and katakana (cl-16) characters (see Figure 1). Ri Ben Yu Zu Ban niShi Yong suruHe Wen Wen Zi deha,Zhu niHan Zi Deng (cl-19),Ping Jia Ming (cl-15 )Ji biPian Jia Ming (cl-16)woShi Yong suru(Figure 1). Kanji, hiragana and katakana. Han Zi Deng Ping Jia Ming Pian Jia Ming Figure 1 Kanji, hiragana and katakana. Han Zi Deng Ping Jia Ming Pian Jia Ming Note In addition to ideographic (cl-19), hiragana (cl-15) and katakana (cl-16) characters, various punctuation marks (see Figure 2) as well as Western characters (cl-27), such as European numerals, Latin letters and/or Greek letters, may be used in Japanese text. In this document these characters are classified into character classes, for which explanations are given describing their behavior in type-setting. Ri Ben Yu Zu Ban niha,Han Zi Deng (cl-19),Ping Jia Ming (cl-15)Ji biPian Jia Ming (cl-16)Yi Wai ni,Duo kunoYue Wu Lei woShi Yong suru(Figure 2).sonoTa ni,arabiaShu Zi ,ra tenWen Zi ,girishiyaWen Zi nadonoOu Wen Yong Wen Zi (cl-27)woHun Yong suruChang He gaaru. konoWen Shu deha,Ri Ben Yu Zu Ban deShi Yong suruWen Zi nitsuiteZu Ban Shang noZhen ruWu ikaraWen Zi kurasutoshiteFen Lei shi,Jie Shuo suru. Examples of punctuation marks. Ri Ben Yu Zu Ban niShi Yong suruYue Wu Lei noLi Figure 2 Examples of punctuation marks. Ri Ben Yu Zu Ban niShi Yong suruYue Wu Lei noLi Note The details of character classes used in this document will be explained in SS 3.9 About Character Classes Wen Zi kurasunitsuite , as well as in SS A. Character Classes Wen Zi kurasuYi Lan . Also, in "Spacing between Characters" all non-Kanji characters included in ISO/IEC 10646 (UCS) Annex A collection 285 (Basic Japanese character set) and collection 286 (Extended non-Kanji character set) are explicitly classified by character class. konoWen Shu niokeruWen Zi kurasunoXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeJie Shuo suru.mata,SS A. Character Classes Wen Zi kurasuYi Lan niGe Wen Zi kurasuniHan mareruWen Zi Ji Hao toISO/IEC 10646(UCS)noAnnex Ade Gui Ding sareteiru"Ji Ben Ri Ben Wen Zi Ji He "(UCSnokorekushiyon285)Ji bi"Kuo Zhang Fei Han Zi Ji He "(UCSnokorekushiyon286)niHan mareruFei Han Zi tonoDui Ying woShi su. 2.1.2 Kanji, Hiragana and Katakana Han Zi Deng ,Ping Jia Ming ,Pian Jia Ming Ideographic (cl-19), hiragana (cl-15) and katakana (cl-16) characters are the same size, and have square character frames of equal dimensions. Aligned with the vertical and horizontal center of the character frame, there is a smaller box called the letter face, which contains the actual symbol. Character size is measured by the size of the character frame (see Figure 3). "Character advance" is a term used to describe the advance width of the character frame of a character. By definition, it is equal to the "width" of a character in horizontal writing mode, whereas it is the height of a character in vertical writing mode (see Figure 3). Han Zi Deng (cl-19),Ping Jia Ming (cl-15)Ji biPian Jia Ming (cl-16)ha,Zheng Fang Xing noWen Zi no Wai Waku woChi tsuteori,sonoWen Zi noWai Waku noTian Di Zuo You Zhong Yang ni,Wen Zi noWai Waku yoriyaya Xiao sakushitaZi Mian woChi tsuteiru(Ni niieba,Zi Mian noShang Xia Zuo You toWen Zi noWai Waku to noJian niha,Zi Mian niyoriDa kisahaYi naruga,Ruo Gan noKong Bai woChi tsuteiru).Wen Zi saizuha,konoWen Zi noWai Waku nosaizudeShi su(Figure 3).nao,Zi Fu ha,Wen Zi woPei Lie suruFang Xiang (Zi Jie meFang Xiang )noWen Zi noWai Waku noDa kisawoii,Heng Zu dehaWen Zi noFu tonaruga,Zong Zu dehaWen Zi noGao satonaru(Figure 3).Han Zi Deng (cl-19) ,Ping Jia Ming (cl-15)Ji biPian Jia Ming (cl-16)noWai Waku haZheng Fang Xing nanode,sonoZi Fu ha Quan Jiao tonaru. The size of kanji and hiragana, and the character frames. Han Zi toJia Ming nosaizunoShi shiFang Figure 3 The size of kanji and hiragana, and the character frames. Han Zi toJia Ming nosaizunoShi shiFang Note In vertical writing mode, the letter face of small kana (cl-11) characters (aiuaiu etc.) is placed at the vertical center and to the right of the horizontal center of the character frame; in horizontal writing mode, it is placed at the horizontal center and below the vertical center (see Figure 4). Also there are punctuation marks with letter faces that are not placed at the vertical and horizontal center of the character frame. Xiao Shu kinoJia Ming (cl-11)(aiuaiunado)ha,Zong Zu dehaWen Zi noWai Waku noTian Di Zhong Yang deYou Ji ri,Heng Zu dehaWen Zi noWai Waku noZuo You Zhong Yang deXia Ji riniZi Mian woPei Zhi suru( Figure 4).mata,Yue Wu nadodeha,Wen Zi noWai Waku noTian Di Zuo You Zhong Yang niPei Zhi shinai Li gaaru. Small kana and the position of their letter face in the character frame. Xiao Shu kinoJia Ming toWen Zi noWai Waku Figure 4 Small kana and the position of their letter face in the character frame. Xiao Shu kinoJia Ming toWen Zi noWai Waku 2.1.3 Principles of Arrangement of Kanji and Kana Characters Han Zi Ji bi Jia Ming noPei Zhi noYuan Ze In principle, when composing a line with ideographic (cl-19), hiragana (cl-15) and katakana (cl-16) characters no extra spacing appears between their character frame. This is called solid setting (see Figure 5). Han Zi Deng (cl-19),Ping Jia Ming (cl-15)Ji biPian Jia Ming (cl-16)ha,Xing niWen Zi woPei Zhi shiteikuJi niha,Yuan Ze toshite,Wen Zi noWai Waku woMi Zhao sasetePei Zhi surubetaZu nisu ru(Figure 5). Example of solid setting in horizontal writing mode. betaZu noLi (Heng Zu noChang He ) Figure 5 Example of solid setting in horizontal writing mode. betaZu noLi (Heng Zu noChang He ) Note In the letterpress printing era ideographic (cl-19), hiragana (cl-15) and katakana (cl-16) characters were designed so that they were easy to read in solid setting, regardless of text direction. However, unlike the letterpress printing era, when several sizes of the original pattern of a letter were required to create matrices, in today's digital era the same original pattern is used for any size simply by enlargement or reduction. Because of this, it might be necessary to adjust the inter-character spacing when composing lines at large character sizes. When composing lines at small character sizes, hinting data is used to ensure that the width of the strokes that make up a character look correct. Huo Zi Zu Ban noShi Dai karaHan Zi Deng (cl-19),Ping Jia Ming (cl-15)Ji biPian Jia Ming (cl-16) noShe Ji ha,Zong Zu demoHeng Zu demoDu miyasuku,katsu,betaZu toshitaChang He niDu miya suiyouniShe Ji sareteita.tadashi,Huo Zi Zu Ban deha,Wen Zi saizuBie niHe Duan Jie kaniFen keteYuan Tu (Mu Xing noYuan ninarumono)woZuo Cheng shiteita.shikashi,Jin Ri deha ,Tong Yi noYuan Tu karaDan Chun niKuo Da Suo Xiao shiteShi Yong surunode,Da kinaWen Zi saizuni shitaJi niha,Zi Jian noDiao Zheng gaBi Yao ninaruChang He moChu tekita.(nao,Xiao saiWen Zi saizunisuruChang He ,sonomamaSuo Xiao suruto,Jie Xiang Du niyotsutehaWen Zi noXian Fu niba ratsukigaChu ru.sokodeGe Wen Zi gotoniXian Fu noBu Zheng Qing Bao (hintodeta)woChi ta se,Chu Li Pin Zhi noWei Chi gahakarareteiru.) Note Depending on the context, there are several setting methods used in addition to solid setting, as shown below. Ci noyounibetaZu nishinaiFang Fa mo,Yin Shua Wu noNei Rong niyotsutehaCai Yong sareteiru . 1. Fixed inter-character spacing: Text set with a fixed size spacing between each character frame (see Figure 6). akiZu :Zi Jian niYi Ding noKong kiLiang woRu reteWen Zi woPei Zhi suruFang Fa (Figure 6) . Examples of fixed inter-character spacing in horizontal writing mode. akiZu noLi (Heng Zu noChang He ) Figure 6 Examples of fixed inter-character spacing in horizontal writing mode. akiZu noLi ( Heng Zu noChang He ) Fixed inter-character spacing is used in books for the following cases: (Fixed inter-character spacing, including also even tsumegumi, is defined in JIS X 4051, sec. 4.18.1 b.) Shu Ji niokeruakiZu ha,Ci noyounaChang He niLi Yong sareteiru.(akiZu ni tsuiteha,Jun Deng Jie mewoHan meteJIS X 4051no4.18.1nob)niGui Ding sareteiru .) 1. To achieve a balance between running heads with few and with many characters. Fixed inter-character spacing is used for the running heads with few characters. Examples of fixed inter-character spacing for running heads are given in JIS X 4051, annex 5. Zi Shu noShao naiZhu toZi Shu noDuo iZhu tonobaransuwotorutameni,Zi Shu no Shao naiZhu woakiZu nisuru.Zhu noakiZu noLi ha,JIS X 4051noFu Shu Shu 5 niJie gerareteiru. 2. To achieve a balance between headings with few and with many characters. Fixed inter-character spacing is used for the headings with few characters. Examples of fixed inter-character spacing for headings are given in JIS X 4051, annex 6. Zi Shu noShao naiJian Chu shitoZi Shu noDuo iJian Chu shitonobaransuwotorutameni ,Zi Shu noShao naiJian Chu shiwoakiZu nisuru.Jian Chu shinoakiZu noLi ha,JIS X 4051noFu Shu Shu 6niJie gerareteiru. 3. For captions of illustrations and tables, which only have a few characters. Fixed inter-character spacing is used to balance with the size of the illustration or table. Tu Ban yaBiao nokiyapushiyonnoZi Shu gaShao naiChang He ni,Tu Ban yaBiao nosaizu tobaransuwotorutameniakiZu nisuru. 4. In some cases, fixed inter-character spacing is used for Chinese and Japanese poetry where one line has only a few characters. 1Xing noZi Shu gaShao naiHan Shi yaRi Ben Yu noShi Ge deakiZu nisuruChang He gaaru. 2. Even inter-character spacing: Text set with equal inter-character spacing between characters on a given line, so that each line is aligned to the same line head and line end (see Figure 7). Jun Deng Ge ri:Zi Jian woJun Deng niKong ke,Wen Zi Lie noLiang Duan woXing Tou Ji biXing Mo nisoroeru Fang Fa (Figure 7). Example of even inter-character spacing setting in horizontal writing mode. Jun Deng Ge rinoLi (Heng Zu noChang He ) Figure 7 Example of even inter-character spacing setting in horizontal writing mode. Jun Deng Ge rinoLi (Heng Zu noChang He ) Even inter-character spacing setting is used in books for unifying the length of table headings with Japanese text (see Figure 8). There are also examples (e.g. lists of names) in which parts of a person names receive inter-character spacing. (Even inter-character spacing, including processing of jidori, is defined in JIS X 4051, sec. 4.18.1.) Shu Ji niokeruJun Deng Ge riha,Biao noHe Wen noXiang Mu Jian Chu shinoChang sawosoroeruChang He niLi Yong sareteiru(Figure 8).mata,Ming Bo nadodeRen Ming noBu Fen deJun Deng Ge rinisuruLi gaaru.(Jun Deng Ge rinitsuiteha,Zi Qu riChu Li woHan meteJIS X 4051no4.18.1niGui Ding sareteiru.) Example of a table with inter-character spacing. Biao noJun Deng Ge rinoLi Figure 8 Example of a table with inter-character spacing. Biao noJun Deng Ge rinoLi 3. Tsumegumi (kerning / tracking): Text is set with negative inter-character spacing by arranging characters so that a portion of two character frames overlap each other. This is divided further into two types, depending on the methods used for inter-character spacing reduction. One method involves reducing by the same amount of inter-character spacing (even tsumegumi or tracking, see Figure 9) and the other involves determining the amount of spacing to reduce based on the distance between the two letter faces of adjacent characters (face tsumegumi or letter face kerning, see Figure 10). Jie meZu :betaZu yoriZi Jian woJie mete,Wen Zi noWai Waku noYi Bu gaZhong naruyouniWen Zi woPei Zhi suruFang Fa .konoChang He ,Zhong naruLiang woTong Yi nisuruFang Fa (Jun Deng Jie me, Figure 9)to,Jia Ming yaYue Wu Deng noZi Mian niYing zite,Zi Mian gaZhong naranaiCheng Du ma deJie meteWen Zi woPei Zhi suruFang Fa (Zi Mian Jie me,Figure 10)gaaru. Example of even tsumegumi in horizontal writing mode. (The 1st line is the same text with solid setting, for comparison.) Jun Deng Jie menoLi (Heng Zu noChang He ,Shang Ce habetaZu ,Xia Ce gaJun Deng Jie menoLi ) Figure 9 Example of even tsumegumi in horizontal writing mode. (The 1st line is the same text with solid setting, for comparison.) Jun Deng Jie menoLi (Heng Zu noChang He ,Shang Ce habetaZu ,Xia Ce gaJun Deng Jie menoLi ) Example of face tsumegumi in horizontal writing mode. (The 1st line is the same text with solid setting, for comparison.) Zi Mian Jie menoLi (Heng Zu noChang He ,Shang Ce habetaZu ,Xia Ce gaZi Mian Jie menoLi ) Figure 10 Example of face tsumegumi in horizontal writing mode. (The 1st line is the same text with solid setting, for comparison.) Zi Mian Jie menoLi (Heng Zu noChang He ,Shang Ce habetaZu ,Xia Ce gaZi Mian Jie menoLi ) In the main text of books, the most reader-friendly approach is to use solid setting. However, if the character size is larger, the distance between characters may become unbalanced, and tsumegumi will be applied. For example, there are books where tsumegumi is used with headings set in large character sizes. These methods are rarely used in books, since ease of reading is very important, but in magazines or advertisements there are many more examples of tsumegumi. Magazines tend to use type to differentiate themselves from others, and so devices like this are sometimes used for that purpose. Jie meZu ha,Shu Ji dehaDa kinaWen Zi saizunoJian Chu shiDeng deCai Yong sareteiruLi ga aru.Zi toZi tonoJian Ge nitsuite,Ben Wen dehabetaZu gaZui moDu miyasui.shi kashi,sonomamaKuo Da shitaChang He niha,Da kinaWen Zi saizuninatsutaChang He ,Zi toZi tonoJian Ge noJian eFang nitsuite,yayabaransuwoQian kuLi moari,Cai Yong sa reteiru.mata,Du miyasusawoZhong Shi suruShu Ji noBen Wen deCai Yong shiteiruLi ha Shao naiga,Za Zhi noBen Wen yaGuang Gao nokopiDeng deha,Jie meZu woCai Yong shiteiruLi gaaru.Zhi Mian Gou Cheng nodezainwoZhong Shi ,Wen Zi Bu Fen womatomatsutamonotoshite Yan Chu shitaitoiukotodearou. 2.2 Page Formats for Japanese Documents Ri Ben Yu Wen Shu noJi Ben tonaruZu Ti Cai 2.2.1 Specification of Page Formats Zu Ti Cai noShe Ji The page format of a Japanese document is specified by: Ri Ben Yu Wen Shu noZu Ti Cai ha,Yi Xia noShun Xu deShe Ji suru. * Firstly, preparing a template of the page format, which determines the basic appearance of pages of the document; mazu,Ji Ben tonaruZu Ti Cai woShe Ji suru. * Then, specifying the details of actual page elements based on the templates. Ci ni,sorewoJi Zhun toshiteWen Shu noShi Ji nopeziShe Ji woXing u. 2.2.2 Basic Templates of Page Formats Ji Ben tonaruZu Ti Cai Generally, books use only one template for page format, whereas magazines often use several templates. Ji Ben tonaruZu Ti Cai ha,Shu Ji deha1patandearukotogaDuo iga,Za Zhi dehaYi Ban niShu patanwoZuo Cheng suru. Although in books, as will be mentioned in c of SS 2.2.5 Kihon-hanmen and Examples of Real Page Format Ji Ben Ban Mian toShi Ji nopezinoShe Ji Li , there tends to be one template for the page format, the basic pattern is typically adapted. For example, the table of contents may contain small modifications. Furthermore, there are many examples of indexes with a different page format than the basic page format, and vertically set books often have indexes in horizontal writing mode and sometimes multiple columns. This still holds true where the goal is to make the size of the hanmen for indexes close to the size of hanmen in the basic page format. Shu Ji deha,1patantoitsutemo,SS 2.2.5 Kihon-hanmen and Examples of Real Page Format Ji Ben Ban Mian toShi Ji nopezinoShe Ji Li nocdeJie Shuo suruyouni, Mu Ci nadohaJi Ben tonaruZu Ti Cai woYuan niShe Ji woshinaosu.mata,Suo Yin ha,Ji Ben to naruZu Ti Cai tohaYi naruShe Ji ninaruLi gaDuo ku,Zong Zu noShu Ji demo,Suo Yin haHeng Zu to shi,Duan Zu tosuruLi gaDuo i.konoChang He demo,Ji Ben tonaruZu Ti Cai deShe Ji shitaBan Mian saizutoSuo Yin noBan Mian saizugaJin Si suruyouniShe Ji suru. Magazines gather articles of different kinds. Often the page format will differ depending on the content of the article. For example, one part may have 9 point character size and 3 columns, and another part 8 point character size and 4 columns. Za Zhi ha,Xing Ge noYi naruJi Shi noJi He dearu.sokodeJi Shi Nei Rong niyori,aruBu Fen ha9pointono3Duan Zu ,aruBu Fen ha8pointono4Duan Zu to,Ji Shi Nei Rong niyoriZu Ti Cai woBian eteiruLi gaDuo i. 2.2.3 Elements of Page Formats Ji Ben tonaruZu Ti Cai noZhu naShe Ji Yao Su Example of a page format in vertical writing mode. Ji Ben tonaruZu Ti Cai no She Ji Yao Su (Zong Zu noLi ) Figure 11 Example of a page format in vertical writing mode. Ji Ben tonaruZu Ti Cai noShe Ji Yao Su (Zong Zu noLi ) The following are the basic elements of a page format. Figure 11 illustrates an example of a page format in vertical writing mode. Ji Ben tonaruZu Ti Cai noZhu naShe Ji Yao Su toshiteha,Ci gaaru(Zong Zu noLi woFigure 11 niShi su). 1. Trim size and binding side (vertically set Japanese documents are bound on the right-hand side, and horizontally set documents are bound on the left-hand side. See Figure 12.) Shi Shang risaizutoZhui ziruCe (Figure 12,Ri Ben Yu Wen Shu dehaYi Ban niZong Zu dehaYou Zhui zi,Heng Zu dehaZuo Zhui zi) 2. Principal text direction (vertical writing mode or horizontal writing mode). Ji Ben tonaruZu Fang Xiang (Zong Zu You haHeng Zu ) 3. Appearance of the kihon-hanmen and its position relative to the trim size. Ji Ben Ban Mian noTi Cai Ji bisonoShi Shang risaizuniDui suruWei Zhi 4. Appearance of running heads and page numbers, and their positions relative to the trim size and kihon-hanmen. Zhu tononburunoTi Cai Binding-side (bound on the right-hand side and bound on the left-hand side). Zhui ziruCe (You Zhui zitoZuo Zhui zi) Figure 12 Binding-side (bound on the right-hand side and bound on the left-hand side). Zhui ziruCe (You Zhui zitoZuo Zhui zi) Note Establishing a kihon-hanmen may be seen as defining not only a rectangular area on a page, but also within that area an underlying, logical grid, to guide the placement of such things as characters, headings, and illustrations. However, once a kihon-hanmen is established, there is no absolute requirement to align characters with the grid, especially when setting characters inside a line. The only factors that influence the placement of characters are strong gravitational forces that (i) attract the first and last characters on a line to align with the border of the kihon-hanmen, and (ii) attract each line position to the line positions on which the kihon-hanmen is based. Ji Ben Ban Mian woJue Ding surukotoha,Dan nipeziniChang Fang Xing noLing Yu woShe Ding surudakedeha naku,sonoLing Yu niLun Li De naGe Zi woShe Ding shi,Wen Zi yaJian Chu shi,Tu Ban nadowoPei Zhi su ruJi Zhun toshiteiruyouniSi warerukamoshirenai.shikashi,Yi Dan Ji Ben Ban Mian woJue Ding shitaatoha,Wen Zi wosonoyounaGe Zi niYan tsutePei Zhi suruBi Yao hanai.Ji Ben Ban Mian deJue Ding saretaLun Li De naXing noWei Zhi woBao Chi shiyoutosuruQiang iZhong Li noyounaLi ha Dong iteiru.shikashi,Wen Zi noXing henoPei Zhi niJi shiteha,Ge Zi noCun Zai woKao Lu suru Bi Yao haYi Qie nai.Wei Yi noLi ha,Xing Tou toXing Mo woJi Ben Ban Mian noTian toDi niHe waseyou tosurumonodakedearu. It may help in understanding the basic concepts of Japanese layout and kihon-hanmen to think in terms of a slit-based model, rather than a grid-based model. Each slit is the full length of the lines on which the kihon-hanmen is based. Ri Ben Yu Zu Ban toJi Ben Ban Mian noJi Ben De Gai Nian woLi Jie surutameniha,Ge Zi moderuyorimo ,Da kisagaJi Ben Ban Mian no1Xing niXiang Dang suru,iwabasuritsutomoderuwoimezishita Fang gaLi Jie gaRong Yi dearou. 2.2.4 Elements of Kihon-hanmen Ji Ben Ban Mian noShe Ji Yao Su The kihon-hanmen is the hanmen style designed as the basis of a book. The following are the basic elements of the kihon-hanmen (see Figure 13). Ben noJi Ben toshiteShe Ji sareruBan Mian Ti Cai gaJi Ben Ban Mian dearu.Ji Ben Ban Mian noShe Ji Yao Su toshiteha,Ci gaaru(Figure 13). 1. Character size and typeface name Shi Yong suruWen Zi saizuJi bihuontoMing 2. Text direction (vertical writing mode or horizontal writing mode) Zu Fang Xiang (Zong Zu You haHeng Zu ) 3. Number of columns and column gap when using multi-column format Duan Zu noChang He ha,Duan Shu Ji biDuan Jian 4. Length of a line 1Xing noXing Chang 5. Number of lines per page (number of lines per column when using multi-column format) 1peziniPei Zhi suruXing Shu (Duan Zu noChang He ha1Duan niPei Zhi suruXing Shu ) 6. Line gap Xing Jian Elements of kihon-hanmen. (Example in vertical writing mode.) Ji Ben Ban Mian noShe Ji Yao Su (Zong Zu noLi ) Figure 13 Elements of kihon-hanmen. (Example in vertical writing mode.) Ji Ben Ban Mian noShe Ji Yao Su (Zong Zu noLi ) Note To understand the characteristics of Japanese composition, it is important to understand how the various elements of the kihon-hanmen are applied to a real page. The details will be explained in SS 2.5 Page wise Arrangement of Kihon-hanmen Elements Ji Ben Ban Mian noShe Ji Yao Su noGe peziniDui suruShi Yong . Ji Ben Ban Mian deShe Ji shitaGe Yao Su ga,Shi Ji nopezidedonoyouniShi Yong sarerukahaRi Ben Yu Zu Ban noTe Zheng woLi Jie surutamenoZhong Yao napointodearu.sokode,sonoXiang Xi haSS 2.5 Page wise Arrangement of Kihon-hanmen Elements Ji Ben Ban Mian noShe Ji Yao Su noGe peziniDui suruShi Yong deJie Shuo suru. Note The normative definition of kihon-hanmen is provided in JIS X 4051, sec. 7.5. Ji Ben Ban Mian noZhi Ding Deng nitsuiteha,JIS X 4051no7.5niGui Ding sareteiru. Note Format examples (including running heads and page numbers) and composition examples for kihon-hanmen in different trim sizes are available in JIS X 4051, annexes 3 and 4. Shi Shang risaizuBie noJi Ben Ban Mian noShe Ji Li (Zhu Ji binonburunoShe Ji Li moHan ku)Ji bi Zu Ban Li ga,JIS X 4051noFu Shu Shu 3Ji biFu Shu Shu 4niJie gerareteirunodeCan Kao nina ru. Note Depending on the application, character sizes can be specified in multiple ways. For books, character size is mainly specified using points or Q/q. Points are used for letterpress printing. In JIS Z 8305 (size units of printing type), one point is determined to be 0.3514mm. This is the size that is usually used. However, some commonly used applications adopt one point as 1/72 inch, ca. 0.3528mm. Q was used for photo typesetting. One Q is 0.25mm. It is very difficult to unify the unit sizes for character size specifications, because actual users prefer the unit to which they are accustomed. In some companies, multiple types of unit are used together. Chu Li Xi nimoyoruga,Wen Zi saizunoZhi Shi nihaFu Shu noDan Wei gaShi Yong dekiru.Shu Ji ni oite,Wen Zi saizunoZhi Shi niShi Yong sareteiruDan Wei toshiteha,Zhu nipointoto Ji (Q,q)gaaru.pointoha,Huo Zi Zu Ban deShi Yong sareteitaDan Wei de,JIS Z 8305(Huo Zi noJi Zhun Cun Fa )deha,1pointoha0.3514mmtoGui Ding shiteori,konosa izugaXian Zai demoShi Yong sareteiru.tadashi,1pointowo1/72inchi(Yue 0.3528mm)tosurukotogadekiruChu Li Xi moDuo ku,konosaizuwoCai Yong shiteirumo nomoaru.Ji haXie Zhen Zhi Zi deShi Yong sareteitaDan Wei de,1Qha0.25mmdearu.Wen Zi saizunoZhi Shi deha,Guan reteirumonogaShi iyasuitoiukotomoari,doreka1 tsuniZheng Li surunohaKun Nan deari,Tong ziChu Ban She Nei demoFu Shu noDan Wei gaShi Yong saretei ruLi gaaru. 2.2.5 Kihon-hanmen and Examples of Real Page Format Ji Ben Ban Mian toShi Ji no pezinoShe Ji Li Below are several examples of how the basic page format is created, and how then various elements are placed on a real text page. (This and other aspects of how the various elements of the kihon-hanmen are arranged on each page are explained in SS 2.5 Page wise Arrangement of Kihon-hanmen Elements Ji Ben Ban Mian noShe Ji Yao Su noGe peziniDui suruShi Yong .) Ji Ben tonaruZu Ti Cai woShe Ji shi,sorewoJi Zhun niWen Shu noShi Ji nopeziniokeruGe Yao Su noPei Zhi She Ji woXing uga,sonoLi woikutsukaShi shiteoku(nao,konoDian woHan me ,Ji Ben Ban Mian noShe Ji Yao Su gaGe pezidedonoyouniShi Yong sarerukanitsuitehaSS 2.5 Page wise Arrangement of Kihon-hanmen Elements Ji Ben Ban Mian noShe Ji Yao Su noGe peziniDui suruShi Yong deJie Shuo suru). 1. Realm and position of headings Jian Chu shiwoPei Zhi suruLing Yu toWei Zhi To set a heading, first establish a rectangular space based on a number of lines in the kihon-hanmen. For example, a '3 line space' means (3 * the size of the character frame used for the kihon-hanmen + 2 * the line gap in the kihon-hanmen). (Details of this processing are defined in JIS X 4051, sec. 8.3.3.d). The heading text is usually set in the centre of the rectangular space in the block direction, and indented from the line head. The size of the indent is usually specified as a number of characters in the kihon-hanmen. For example, a '4 character indent' means (4 * the size of the character frames used for establishing the kihon-hanmen). (See the example at Figure 14.) Jian Chu shiwoPei Zhi suruLing Yu noXing Song riFang Xiang nosaizuha,Ji Ben Ban Mian deShe Ding shitaXing noWei Zhi woYuan ni,sorenoHe Xing Fen woYong irukatoiuFang Fa deShe Ji suru(konoChu Li Fang Fa nitsuiteha,JIS X 4051no8.3.3nod)niGui Ding sareteiru).Jian Chu shinoZi Jie meFang Xiang noZi Xia geha,Ji Ben Ban Mian deShe Ding shitaWen Zi Wei Zhi woJi Zhun ni,so noHe Zi Fen woXia gerukatoiuFang Fa deYi Ban niShe Ji suru.Figure 14noLi ha,Jian Chu shiwoJi Ben Ban Mian deShe Ding shitaXing noWei Zhi no3Xing Fen noZhong Yang niPei Zhi shi,Ji Ben Ban Mian de She Ding shitaWen Zi saizuno4Zi Fen Xia gatsutaWei Zhi niPei Zhi shiteiru. Layout example of a heading based on the line positions established by the kihon-hanmen. Ji Ben Ban Mian deShe Ji shitaXing noWei Zhi woJi Zhun toshitaJian Chu shinoShe Ji Li Figure 14 Layout example of a heading based on the line positions established by the kihon-hanmen. Ji Ben Ban Mian de She Ji shitaXing noWei Zhi woJi Zhun toshitaJian Chu shinoShe Ji Li Note Details of the different types of heading, creation of headings, methods for placing headings, etc. is explained in SS 4.1 Handling of Headings (including Page Breaks) Jian Chu shiChu Li (Gai peziChu Li moHan mu) . Jian Chu shinoZhong Lei yaGou Cheng ,sonoPei Zhi Fang Fa Deng nitsuitenoXiang Xi ha,SS 4.1 Handling of Headings (including Page Breaks) Jian Chu shiChu Li (Gai pezi Chu Li moHan mu)deJie Shuo suru. 2. Size of illustrations Tu Ban nosaizu In horizontal writing mode with two columns, for example, the width of illustrations should, if at all possible, be either the width of one kihon-hanmen column or the width of the kihon-hanmen (see Figure 15). The illustrations are usually set at the head or the foot of the page (see Figure 15). Heng Zu noDuan Zu ,Li eba2Duan Zu niTu Ban woPei Zhi suruChang He ,Tu Ban noZuo You saizuha, dekirudakeJi Ben Ban Mian deShe Ji shita1Duan noZuo You saizuYou haJi Ben Ban Mian noZuo You sai zuwoJi Zhun niShe Ji shi,sonoizurekanosaizudePei Zhi dekirutokiha,sonoyo uniJue meru(Figure 15).mata,sonoWei Zhi ha,Duo kuhaBan Mian noTian You haDi ni soroetePei Zhi suru(Figure 15). Example of illustrations in two columns, horizontal writing mode. Heng Zu no2Duan Zu niokeruTu Ban noShe Ji Li Figure 15 Example of illustrations in two columns, horizontal writing mode. Heng Zu no2Duan Zu niokeruTu Ban noShe Ji Li Also, in vertical writing mode, for example with three columns, the height of illustrations should, if at all possible, be either the height of one kihon-hanmen column or the height of the kihon-hanmen (see Figure 16). The illustrations are usually set at the right side or left side of the kihon-hanmen (see Figure 16 ). Zong Zu demo,Duan Zu nisuruChang He ha,Li eba,3Duan Zu noTu Ban noTian Di saizuha,de kirudakeJi Ben Ban Mian deShe Ji shita1Duan Ruo shikuha2Duan noTian Di saizu,You haJi Ben Ban Mian noTian Di saizuwoJi Zhun niShe Ji shi,sonoizurekanosaizudePei Zhi dekiruto kiha,sonoyouniJue meru(Figure 16).mata,sonoWei Zhi ha,Duo kuhaBan Mian noTian You haDi nisoroetePei Zhi suru(Figure 16). Example of illustrations in three columns, vertical writing mode. Zong Zu no3Duan Zu niokeruTu Ban noShe Ji Li Figure 16 Example of illustrations in three columns, vertical writing mode. Zong Zu no3Duan Zu niokeruTu Ban noShe Ji Li Note Details of illustration positioning is explained in SS 4.3 Positioning of Illustrations Tu Ban noPei Zhi Chu Li . SS 4.3 Positioning of Illustrations Tu Ban noPei Zhi Chu Li deJie Shuo suru. 3. Hanmen size for the table of contents Mu Ci noBan Mian saizu The hanmen size for the table of contents of books is based on the size of the kihon-hanmen. There are many examples of tables of contents in vertical writing mode where the left-to-right size is identical to that of the kihon-hanmen, but the top-to-bottom size is a little bit smaller (see Figure 17). Shu Ji noMu Ci noBan Mian saizuha,Ji Ben Ban Mian nosaizuwoJi Zhun niShe Ji suru.Li e ba,Zong Zu noMu Ci deha,Zuo You noXing Song riFang Xiang nosaizuhaJi Ben Ban Mian nosaizuto Tong zinishi,Tian Di noZi Jie meFang Xiang nosaizuha,yayaXiao sakusuruLi gaDuo i( Figure 17). Example of the design of the table of contents (TOC) in vertical writing mode. Zong Zu noMu Ci Ban Mian noShe Ji Li Figure 17 Example of the design of the table of contents (TOC) in vertical writing mode. Zong Zu noMu Ci Ban Mian noShe Ji Li Note There are cases when a different hanmen than the kihon-hanmen is used for positioning of running heads and page numbers. This will be discussed in SS 2.6.2 Principles of Arrangement of Running Heads and Page Numbers Zhu Ji binonburunoPei Zhi noYuan Ze (see Figure 51 ). Ji Ben Ban Mian toYi naruBan Mian nishitaChang He noZhu Ji binonburunoWei Zhi nitsuiteha, SS 2.6.2 Principles of Arrangement of Running Heads and Page Numbers Zhu Ji binonburunoPei Zhi noYuan Ze deJie Shuo suru(Figure 51). 2.3 Vertical Writing Mode and Horizontal Writing Mode Zu Fang Xiang (Zong Zu to Heng Zu ) 2.3.1 Directional Factors in Japanese Composition Ri Ben Yu Zu Ban niokeru Zu Fang Xiang Japanese composition has two text directions. One is vertical direction (vertical writing mode), the other is horizontal direction (horizontal writing mode). Ri Ben Yu Zu Ban niokeruZu Fang Xiang ha,Zong Zu (Zong Shu ki)toHeng Zu (Heng Shu ki)gaaru. Note Ideographic (cl-19), hiragana (cl-15) and katakana (cl-16) characters for Japanese composition have basically been designed to have a square character frame from the letterpress printing era on. Thus the same collection of printing types can be used in either vertical writing mode or horizontal writing mode, simply by changing the direction of text, (see Figure 18). There were some attempts to develop printing types designed exclusively for horizontal writing mode, but they were not widely accepted. Ri Ben Yu Zu Ban niShi Yong suruHan Zi Deng (cl-19),Ping Jia Ming (cl-15)Ji biPian Jia Ming (cl-16 )ha,Yuan Ze toshiteZheng Fang Xing noWen Zi nanode,Huo Zi Zu Ban noShi Dai kara,Zong Zu Heng Zu Gong Yong noYin Shua Yong Wen Zi noPei Zhi Fang Xiang woBian erudakede,Zong Zu toHeng Zu noZu Ban gaKe Neng deatsu ta(Figure 18).nao,Heng Zu Zhuan Yong noHuo Zi noShe Ji moYi Bu deXing waretaLi gaaruga ,amariPu Ji shinakatsuta. Vertical writing mode and horizontal writing mode. (The arrows show the reading direction.) Zong Zu toHeng Zu (Shi Yin haWen Zi woDu ndeikuShun Xu woShi su ) Figure 18 Vertical writing mode and horizontal writing mode. (The arrows show the reading direction.) Zong Zu toHeng Zu (Shi Yin haWen Zi woDu ndei kuShun Xu woShi su) Note There is little market data comparing the number of pages with vertical writing mode and horizontal writing mode, but it is said that both are almost the same. Zong Zu toHeng Zu noZu Ban saretapeziShu woDiao Cha shitadetahahotondonaiga,Ri Ben niokeruZong Zu toHeng Zu noBen noKan Xing Dian Shu ha,hoboTong zikuraitoYu Xiang sareru. Note For official (e.g. governmental) documentation, horizontal writing mode is recommended. Educational material (with the exception of certain topics) is mostly in horizontal writing mode. Readers of "mobile novels" are increasing, and it is expected that in the future horizontal writing mode will increase in this area as well. However, most of the large newspapers are written completely in vertical writing mode, and most of the large journals for ordinary readers are almost completely set in vertical writing mode. In addition, novels, which are the most widely read kind of book publication, are almost completely in vertical writing mode (some readers say that they cannot read a novel if it is not in vertical writing mode). Hence it can be expected that the importance of vertical writing mode for Japanese will not change for the time being. Gong Yong Wen haHeng Zu gaTui Jiang sare,Jiao Ke Shu Deng dehaTe Bie naKe Mu woChu ki,Duo kugaHeng Zu dea ri,mata,Xi Dai Xiao Shuo noDu Zhe moZeng eteori,Jin Hou haHeng Zu gaZeng eteikutoYu Xiang sa reru.shikashi,Da Bu Shu noXin Wen nosubetehaZong Zu deari,Yi Ban noDu Zhe woDui Xiang tosu ruFa Xing Bu Shu noDuo iZa Zhi mohotondoZong Zu dearu.mata,Shu Ji demoDu Zhe noDuo iXiao Shuo nadodeha,hotondogaZong Zu dearu(Xiao Shuo haZong Zu denaitoDu menaitoiuDu Zhe moiru).shitagatsute,Ri Ben Yu Zu Ban nioite,Zong Zu gaZhong Yao dearutoiuko toha,Dang Fen haBian waranaitoYu Xiang sareru. Note There is usually only one direction for all text throughout a book, but there are cases where horizontal writing mode is used in certain parts of vertically composed books (see Figure 19). Tables, captions for illustrations, running heads, and page numbers are usually composed horizontally in a page with a vertical writing mode. 1tsunoYin Shua Wu noZhong deha,Yuan Ze toshiteZong Zu toHeng Zu nodochirakaYi Fang noZu Fang Xiang deZu Ban suruga,Zong Zu noShu Ji noChang He ha,Heng Zu nishiteZhu woPei Zhi surunadoshite,Bu Fen De ni Heng Zu gaHun Yong sareruChang He moDuo i(Figure 19).Li eba,peziNei niPei Zhi suruBiao Ji bikiyapushiyon,Tu Ban nokiyapushiyon,Zhu ,nonburunado. Example of horizontal writing mode in parts of vertically set books. Zong Zu noBen niokeruHeng Zu noHun Yong Li Figure 19 Example of horizontal writing mode in parts of vertically set books. Zong Zu noBen niokeruHeng Zu noHun Yong Li 2.3.2 Major Differences between Vertical Writing Mode and Horizontal Writing Mode Zong Zu toHeng Zu noZhu naXiang Wei Dian The following are major differences between vertical writing mode and horizontal writing mode. Zong Zu toHeng Zu noZhu naXiang Wei Dian toshiteha,Ci gaaru. 1. Arrangement of characters, lines, columns and pages; direction of page progression. Wen Zi ,Xing ,Duan Ji bipezinoPei Zhi ,Bing biniZhui zinoFang Xiang ha,Ci noyouninaru . Note The positioning of characters, lines and paragraphs in vertical and horizontal writing mode is defined in JIS X 4051, sec. 7.4.4. Zong Zu toHeng Zu niokeruWen Zi ,Xing ,Ji biDuan noPei Zhi Fang Xiang ha,JIS X 4051no7.4.4 niGui Ding sareteiru. 1. Vertical writing mode. See Figure 20 for an example of vertical writing mode with two columns per page. Zong Zu noChang He (2Duan Zu noLi dearuFigure 20) Direction of arrangement of characters in vertical writing mode. Zong Zu niokeruWen Zi nadonoPei Zhi Fang Xiang Figure 20 Direction of arrangement of characters in vertical writing mode. Zong Zu nio keruWen Zi nadonoPei Zhi Fang Xiang 1. Characters are arranged from top to bottom, lines are arranged from right to left. Wen Zi haShang karaXia ni,Xing haYou karaZuo niPei Zhi suru. 2. Columns are arranged from top to bottom. A book starts with the left (recto) side and progresses from right to left (see Figure 21). Duan haShang karaXia ni,pezihaBiao Mian karaKai Shi ,You karaZuo niPei Zhi suru (Zuo Fang Xiang karaYou Fang Xiang niBen haKai iteiku,Figure 21). Progression of pages for a vertically set books. Zong Zu nio keruBen noKai iteikuFang Xiang Figure 21 Progression of pages for a vertically set books. Zong Zu niokeruBen noKai iteikuFang Xiang 2. Horizontal composition. See Figure 22 for an example of horizontal text layout with two-columns per page. Heng Zu noChang He (2Duan Zu noLi dearuFigure 22) Direction of arrangement of characters in horizontal writing mode. Heng Zu niokeruWen Zi nadonoPei Zhi Fang Xiang Figure 22 Direction of arrangement of characters in horizontal writing mode. Heng Zu ni okeruWen Zi nadonoPei Zhi Fang Xiang 1. Characters are arranged from left to right, and lines are arranged from top to bottom. Wen Zi haZuo karaYou ni,Xing haShang karaXia niPei Zhi suru. 2. Columns are arranged from left to right. A book starts with the right (recto) side and progresses from left to right (see Figure 23). Duan haZuo karaYou ni,pezihaBiao Mian karaKai Shi ,Zuo karaYou niPei Zhi suru (You Fang Xiang karaZuo Fang Xiang niBen haKai iteiku,Figure 23). Progression of pages for a horizontally set book. Heng Zu ni okeruBen noKai iteikuFang Xiang Figure 23 Progression of pages for a horizontally set book. Heng Zu niokeruBen noKai iteikuFang Xiang 2. Orientation of Latin alphanumeric characters in a line. Wen Zhong niCha Ru sareruYing Shu Zi noXiang kiha,Ci noyouninaru. 1. There are three ways to arrange Latin alphanumerics in vertical writing mode: Zong Zu noChang He ha,Ci no3tsunoPei Zhi Fang Fa gaaru. 1. One by one with the same normal orientation as that of Japanese characters. This is usually applied to one-letter alphanumerics or capitalized abbreviations (see Figure 24). He Wen Wen Zi toTong ziyouniZheng Chang naXiang kide,1Zi 1Zi Pei Zhi suru.Zhu ni1Wen Zi noYing Shu Zi ,Da Wen Zi noTou Zi Yu (Figure 24)nado. Arrangement of alphanumerics in vertical writing mode - normal orientation. Zong Zu niokeruYing Shu Zi noPei Zhi Li 1 Figure 24 Arrangement of alphanumerics in vertical writing mode - normal orientation. Zong Zu niokeruYing Shu Zi noPei Zhi Li 1 Note The alphanumeric characters used for this arrangement have different typographic features than those with proportional width used for Western text. They are of fixed-width and full-width design, and have been used this way since the letterpress printing era. He Wen Wen Zi toTong ziyouniZheng Chang naXiang kide,1Zi 1Zi Pei Zhi suruChang He niShi Yong suruYing Shu Zi ha,Huo Zi Zu Ban Shi Dai karaGu You noZi Fu woChi tsuOu Wen Zu Ban Yong noWen Zi (puroposhiyonarunaWen Zi )dehanaku,Quan Jiao dedezai nsaretamonosupesunoOu Zi yaShu Zi woYong iteita. 2. Rotated 90 degrees clockwise. This is usually applied to English words or sentences (see Figure 25). Wen Zi woShi Ji Hui rini90Du Hui Zhuan shi,Pei Zhi suru.Zhu niYing Zi noDan Yu ,Wen nado(Figure 25). Arrangement of alphanumerics in vertical writing mode - rotated 90 degrees clockwise. Zong Zu niokeruYing Shu Zi noPei Zhi Li 2 Figure 25 Arrangement of alphanumerics in vertical writing mode - rotated 90 degrees clockwise. Zong Zu niokeru Ying Shu Zi noPei Zhi Li 2 Note In Figure 25, there is extra spacing before and after the character frame for the Western word "editor". This spacing is necessary for composition of mixed Japanese and Western text, and details will be provided in SS 3.2.6 Handling of Western Text in Japanese Text using Proportional Western Fonts puroposhiyonaruna Ou Zi woYong i ta He Ou Wen Hun Zhi Chu Li . Figure 25nioite"editor"noWen Zi noWai Waku noQian Hou niXi Jian gaaru. konoXi Jian ha,He Wen toOu Wen woHun zetePei Zhi suruChang He noBi Yao naChu Li de ari,Xiang Xi haSS 3.2.6 Handling of Western Text in Japanese Text using Proportional Western Fonts puroposhiyonaruna Ou Zi woYong ita He Ou Wen Hun Zhi Chu Li deJie Shuo suru. 3. Set horizontally without changing orientation (called tate-chu-yoko, which means horizontal-in-vertical composition) (see Figure 26). This is usually applied to two-digit numbers (see JIS X 4051, sec. 4.8 for the definition). Zheng Chang naXiang kinomama,Heng Zu nisuru(Zong Zhong Heng ,Figure 26).Zhu ni2 Hang noShu Zi noChang He nadodeLi Yong sareteiru(Zong Zhong Heng noChu Li ha,JIS X 4051no4.8niGui Ding sareteiru). Arrangement of alphanumerics in vertical writing mode - tate-chu-yoko. Zong Zu niokeruYing Shu Zi noPei Zhi Li 3 (Zong Zhong Heng ) Figure 26 Arrangement of alphanumerics in vertical writing mode - tate-chu-yoko. Zong Zu niokeruYing Shu Zi noPei Zhi Li 3 (Zong Zhong Heng ) 2. In horizontal writing mode there is only one way of arranging alphanumerics, i.e. normal orientation. Heng Zu noChang He ha,Zheng Chang naXiang kidePei Zhi suru. 3. Arrangement of tables and/or illustrations rotated 90 degrees clockwise or counter-clockwise for reasons of size. (This processing is defined in JIS X 4051, sec. 7.3.). Biao ,Tu Ban nadowo,saizunoGuan Xi karaShi Ji Hui riYou haFan Shi Ji Hui rini90Du Hui Zhuan shitePei Zhi suruChang He ,Ci noyounisuru(konoChu Li ha,JIS X 4051no7.3niGui Ding sareteiru). 1. In vertical writing mode, align the top of tables/ illustrations to the right of the page (see Figure 27). Zong Zu noChang He ha,Biao ,Tu Ban nadonoShang Ce woYou Ce nisuru(Figure 27). Example of arrangement of a table rotated 90 degrees clockwise in vertical writing mode. Zong Zu nioiteBiao woShi Ji Hui ri ni90Du Hui Zhuan shitePei Zhi shitaLi Figure 27 Example of arrangement of a table rotated 90 degrees clockwise in vertical writing mode. Zong Zu nioiteBiao woShi Ji Hui rini90Du Hui Zhuan shitePei Zhi shitaLi 2. In horizontal writing mode, align the top of tables/ illustrations to the left of the page (see Figure 28). Heng Zu noChang He ha,Biao ,Tu Ban nadonoShang Ce woZuo Ce nisuru(Figure 28). Example of arrangement of a table rotated 90 degrees counterclockwise in horizontal writing mode. Heng Zu nioiteBiao wo Fan Shi Ji Hui rini90Du Hui Zhuan shitePei Zhi shitaLi Figure 28 Example of arrangement of a table rotated 90 degrees counterclockwise in horizontal writing mode. Heng Zu nioiteBiao woFan Shi Ji Hui rini90Du Hui Zhuan shitePei Zhi shitaLi Note The orientation is chosen to minimize interference with the overall reading flow of the book. koreha,Ben woDu ndeikuLiu reniCong utamedearu. 4. Arrangement of an incomplete number of lines on a multi-column format page due to new recto, page break or other reasons. (The processing of new recto and page break is defined in JIS X 4051, sec. 8.1.1.). Gai Ding Gai pezinadonoZhi Qian pezinioite,Duan Zu noXing gapezinoTu Zhong de Zhong waruChang He ha,Ci noyounisuru(Gai Ding Gai pezinoChu Li ha,JIS X 4051 no8.1.1niGui Ding sareteiru). 1. In vertical writing mode, just finish the line where it ends ("nariyuki"). The number of lines in each column is not uniform (see Figure 29). Zong Zu noChang He ha,"nariyuki"toshi,Ge Duan noZuo You Xing Shu haBu zoroininaru (Figure 29). How to process incomplete number of lines on a multi-column format page (vertically set book). Zong Zu noDuan Zu niokeruGai Ding Gai pezinoZhi Qian pezinoChu Li Li Figure 29 How to process incomplete number of lines on a multi-column format page (vertically set book). Zong Zu noDuan Zu niokeruGai Ding Gai pezinoZhi Qian pezinoChu Li Li 2. In horizontal writing mode, re-arrange columns so that each column has the same number of lines. In case the number of lines is not divisible by the number of columns, add the smallest number to make it divisible and re-arrange columns using the quotient as the number of lines so that only the last column shall have the incomplete number of lines (see Figure 30). Heng Zu noChang He ha,Ge Duan noXing Shu woPing Jun nisuru.tadashi,Xing Shu gaDuan Shu deGe riQie renaiChang He ,sonoBu Zu suruXing Shu ha,Zui Zhong Duan noMo Wei woKong keruyou nisuru(Figure 30). How to process incomplete number of lines on a multi-column format page (horizontally set book). Heng Zu noDuan Zu niokeruGai Ding Gai pezinoZhi Qian pezinoChu Li Li Figure 30 How to process incomplete number of lines on a multi-column format page (horizontally set book). Heng Zu noDuan Zu niokeruGai Ding Gai pezinoZhi Qian pezinoChu Li Li Note Neither horizontal nor vertical balance of column arrangement would break the stability of vertical page layout very much, while horizontal balance of column arrangement is determinant for horizontal page layout. In vertical text it doesn't matter too much whether columns are balanced or not. For horizontally set text it is best to balance columns wherever possible. Zong Zu noChang He ,Zuo You You haShang Xia nobaransuha,sorehodoWen Ti tonaranai .koreniDui shi,Heng Zu deha,Zuo You nobaransuwodekirudakeKao Lu shitaFang gaPei Zhi Wei Zhi toshiteAn Ding surukaradearu. 2.4 Specifying the Kihon-hanmen Ji Ben Ban Mian noShe Ji 2.4.1 Procedure for Defining the Kihon-hanmen Ji Ben Ban Mian noShe Ji Shou Shun In Japanese composition, first the size of the kihon-hanmen is defined, using the square character frames of characters in solid setting. Taking this as a base, the position of the kihon-hanmen with regards to the trim size is then specified. The following are procedures for determining the size and position of the kihon-hanmen (see Figure 31). Ri Ben Yu Zu Ban deha,Zheng Fang Xing noWen Zi noWai Waku wobetaZu nisurukotokara,mazuJi Ben Ban Mian nosaizuwoShe Ji shi,sonouede,Shi Shang risaizuniDui suruJi Ben Ban Mian noWei Zhi wo Jue meteiru.sokode,Ji Ben Ban Mian ha,Ci noShou Shun deShe Ding suru(Figure 31). 1. Specifying the dimensions of the kihon-hanmen. Ji Ben Ban Mian nosaizuwoJue meru. 1. For a document with a single column per page, specify the character size, the line length (the number of characters per line), the number of lines per page, and the line gap. 1Duan Zu noChang He ha,Wen Zi saizu,1Xing noXing Chang (Zi Jie meShu ),1pezinoXing Shu Ji biXing Jian woJue meru. 2. For a document with multiple columns per page, specify the character size, the line length (the number of characters per line), the number of lines per column, the line-gap, and the number of columns and the column gap. Duo Duan Zu noChang He ha,Wen Zi saizu,1Xing noXing Chang (Zi Jie meShu ),1Duan noXing Shu ,Xing Jian ,Duan Shu Ji biDuan Jian woJue meru. Procedures to determine the size and position of the kihon-hanmen, step 1. Ji Ben Ban Mian noShe Ding Shou Shun no1 Figure 31 Procedures to determine the size and position of the kihon-hanmen, step 1. Ji Ben Ban Mian noShe Ding Shou Shun no1 2. Determining the position of the kihon-hanmen relative to the trim size. Shi Shang risaizuniDui suruJi Ben Ban Mian noPei Zhi Wei Zhi woJue meru. There are various alternative methods for specifying the position of the kihon-hanmen relative to the trim size: Ji Ben Ban Mian noPei Zhi Wei Zhi noZhi Ding Fang Fa niha,Ci gaaru. 1. Position vertically by centering the kihon-hanmen. Position horizontally by centering the kihon-hanmen. Tian Di Wei Zhi :Zhong Yang ,Zuo You Wei Zhi :Zhong Yang 2. Position vertically by specifying the spacing size at the head (for horizontal writing mode) or the spacing at the foot (for vertical writing mode). Position horizontally by centering the kihon-hanmen. Tian Di Wei Zhi :Tian noKong kiLiang (Heng Zu noChang He )You haDi noKong kiLiang (Zong Zu noChang He )woZhi Ding ,Zuo You Wei Zhi :Zhong Yang 3. Position vertically by centering the kihon-hanmen. Position horizontally by specifying the spacing size of the gutter. Tian Di Wei Zhi :Zhong Yang ,Zuo You Wei Zhi :nodonoKong kiLiang woZhi Ding 4. Position vertically by specifying the spacing at the head (for horizontal writing mode) or the spacing at the foot (for vertical writing mode). Position horizontally by specifying the spacing size of the gutter. Tian Di Wei Zhi :Tian noKong kiLiang (Heng Zu noChang He )You haDi noKong kiLiang (Zong Zu noChang He )woZhi Ding ,Zuo You Wei Zhi :nodonoKong kiLiang woZhi Ding Procedures to determine the size and position of the kihon-hanmen, step 2. Ji Ben Ban Mian noShe Ding Shou Shun no2 Figure 32 Procedures to determine the size and position of the kihon-hanmen, step 2. Ji Ben Ban Mian noShe Ding Shou Shun no2 Note In most cases the kihon-hanmen is set at the horizontal and vertical center of the trim size, which should be the default positioning, but depending on the dimensions of the kihon-hanmen there may be cases where the default needs to be changed; for example, by moving the kihon-hanmen up, down, to the left or to the right of the default position. Yi Ban niha,Ji Ben Ban Mian woShi Shang risaizunoTian Di Zuo You Zhong Yang niPei Zhi suruLi gaDuo i .tsumari,dehuorutohaShi Shang risaizunoTian Di Zuo You Zhong Yang deari,Ji Ben Ban Mian nosaizuniyotsuteha,Tian Di Zhong Yang yoriyayaShang geruXia geru,You haZuo You niYi Dong saserunadonoCao Zuo woXing u. Note It is technically possible to determine the dimensions of the kihon-hanmen by specifying the trim size and margins of all sides, but this method is not common in the tradition of Japanese composition. If this is the only way an implementation allows, the margins of each side need to be determined beforehand in relation to the dimensions of the kihon-hanmen and its position in the trim size. Shi Shang risaizutoSi Fang nomazinwoShe Ding surukotoniyoriJi Ben Ban Mian nosaizu woJue meruFang Fa ha,Ri Ben Yu Zu Ban dehaYi Ban niXing wanai.konoFang Fa deshikaShe Ding dekinaiChang He ha,arakazimeJi Ben Ban Mian nosaizuto,Shi Shang risaizuniDui su ruJi Ben Ban Mian noPei Zhi karaSi Fang nomazinwoJi Suan shiteoki,She Ding surukotoni naru. 2.4.2 Considerations in Designing the Kihon-hanmen Ji Ben Ban Mian noShe Ji noZhu Yi Dian The following are considerations to take into account when designing the kihon-hanmen. (This topic is not about processing, but rather an explanation of design preferences. The definition of kihon-hanmen is given in JIS X 4051, sec. 7.4.1.) Ji Ben Ban Mian ha,Ci noyounaShi Xiang woKao Lu shiShe Ji suru(Yi Xia noShuo Ming haChu Li Nei Rong toi uyoriha,donoyouniShe Ji surukatoiuWen Ti nitsuitenoJie Shuo dearu.nao, Ji Ben Ban Mian noZhi Ding nitsuiteha,JIS X 4051no7.4.1niGui Ding gaaru). 1. Trim size and margins. It would be best if the shape of the kihon-hanmen could be made similar to that of the trim size. Shi Shang risaizuJi biYu Bai woKao Lu shiteJue Ding suru.Yi Ban niha,Shi Shang risaizuto Ji Ben Ban Mian nosaizugahoboXiang Si Xing ninaruyouniJue meru. 2. Character size. Generally 9 point (about 3.2mm) type is common. Except for specialized publications such as dictionaries, the minimum size of type is 8 point (about 2.8mm). Da Ren woDu Zhe Dui Xiang toshitaBen noChang He noWen Zi saizuha,Yi Ban ni9pointo( [?]3.2mm)gaDuo i.Ci Shu nadoTe Bie naBen woChu ki,Zui Di demo8pointo([?]2.8mm )dearu. Note In Western text layout, 10 point (about 3.5mm) or 12 point (about 4.2mm) type is common. This is mainly because of a difference in design principles between Japanese and Latin characters. Ou Wen noChang He ,10pointo([?]3.5mm)You ha12pointo([?]4.2mm)gayokuShi Yong sareteiru.korehaHe Wen Wen Zi toOu Wen Wen Zi tonoWen Zi She Ji noWei iniyoru. 3. Line length should be multiples of the character size (see Figure 33). 1Xing noXing Chang ha,Wen Zi saizunoZheng Shu Bei niShe Ding suru(Figure 33). Line length should be multiples of the character size. 1Xing noXing Chang haWen Zi saizunoZheng Shu Bei Figure 33 Line length should be multiples of the character size. 1Xing noXing Chang haWen Zi saizunoZheng Shu Bei Note There are basically two reasons why line length should be multiples of the character size. koreha,2tsunoLi You niyoru.kono2tsuwoMan Zu saserutameni,Xing Chang ha,Wen Zi saizunoZheng Shu Bei niShe Ding suruBi Yao gaaru. 1. For Japanese composition, all line lengths except that of the last line of the paragraph should, in principle, be the same. Ri Ben Yu Zu Ban deha,1Xing noXing Chang niMan tanaiDuan Luo noZui Zhong Xing woChu ki,Xing Chang wo soroerunogaYuan Ze dearu. 2. In principle, for printing, Japanese characters like ideographic (cl-19), hiragana (cl-15) and katakana (cl-16) characters are uniformly designed in the same square character frame and they are set solid (no extra spacing between adjacent character frames). Han Zi Deng (cl-19),Ping Jia Ming (cl-15),Pian Jia Ming (cl-16)nadonoYin Shua Yong noWen Zi noWai Waku ha,Yuan Ze toshiteZheng Fang Xing dearu.mata,Ge Wen Zi Jian wobeta Zu tosurunogaYuan Ze dearu. Note The best line length (number of characters per line) is around 52 characters, maximum, in vertical writing mode, and 40 characters, maximum, in horizontal writing mode. If the trim size would take lines beyond the recommended length, consider using a multi-column format and making the line length shorter. 1Xing noXing Chang (Zi Jie meShu )ha,Zong Zu noChang He ,Zui Da de52Zi kurai,Heng Zu dehaZui Da de40Zi kurainisuru.Shi Shang risaizunoGuan Xi de,1Xing noXing Chang gakoreYi Shang ni naruChang He ha,Duan Zu nishite,1Xing noXing Chang woDuan kusurukotogaWang mashii. 4. Use the same amount of line gap throughout the book, except for special cases. The size of the kihon-hanmen in the block direction is specified using the number of lines and the size of the line-gap. Xing toXing noJian noKong kiLiang (Xing Jian )ha,Te Bie naChang He woChu ki,Yi Ding noZhi woQue Bao su ru.mata,Ge Xing noXing noWei Zhi ha,dekirudakesoroeruyounisuru.sokode ,Yi Ban niJi Ben Ban Mian noXing Song riFang Xiang nosaizuha,Xing Shu toXing Jian deShe Ding suru. Note In Japanese composition, there are cases where ruby or emphasis ( emphasis dots, bousen, underlines, etc.) are inserted between lines. In such cases the line gap is not changed but is kept constant (see Figure 34). It is also possible to insert reference marks to notes between lines within the main text. This case is handled in the same manner. If these elements are likely to occur in text, the line gap established during the kihon-hanmen design needs to be of an adequate size to accommodate them. Further explanations about the placement of ruby will be given in SS 3. Line Composition Xing noZu Ban Chu Li . Ri Ben Yu Zu Ban deha,Xing Jian nirubiQuan Dian Bang Xian Xia Xian nadowoPei Zhi suruLi gaa ru.konoyounamonowoPei Zhi shitaChang He demo,Xing Jian haYi Ding nishi,Bian Geng shinai (Figure 34).Ben Wen Zhong niZhu tosorewoCan Zhao surutamenoHe Yin woXing Jian niPei Zhi su ruFang Fa gaaruga,konoChang He moTong Yang niXi u.koreranoYao Su gaPei Zhi sareruWen Shu deha,Ji Ben Ban Mian noShe Ji Duan Jie de,koreranoYao Su tonoGuan Lian de,Xing Jian noDa ki sawodonoCheng Du nisurukaJian Tao surukotogaWang mashii.nao,rubinadonoPei Zhi Fa sonomononitsuiteha,SS 3. Line Composition Xing noZu Ban Chu Li deJie Shuo su ru. Inserting ruby or other items between lines. Xing Jian nirubinadowoPei Zhi shitaLi Figure 34 Inserting ruby or other items between lines. Xing Jian nirubinadowoPei Zhi shitaLi Note Warichu (inline cutting note) juts into the line gap on either side of a line. The basic line gap isn't changed where warichu occurs (the line gap between warichu itself and the adjacent lines looks narrower than for the rest of the line), so when warichu is likely to occur in text, the line gap for the kihon-hanmen may be set slightly larger than normal to accommodate it. The same is true for tate-chu-yoko or subscript and superscript (ornament characters). Further explanation of the placement of warichu and other items is provided in SS 3. Line Composition Xing noZu Ban Chu Li . Ge Zhu ha,Ji Ben Ban Mian deShe Ding shitaXing Song riFang Xiang noXing noFu (Ji Ben Ban Mian deShe Ding shita Wen Zi saizu)yorihamiChu shitePei Zhi suru.konoChang He demo,Ge Zhu noRu ranai Bu Fen noXing Jian woYi Ding nishi,Ge Zhu noaruGe Suo haXia kunaruyounisuru(Figure 35).shitagatsute,Ge Zhu gaRu ruChang He ha,Xing Jian woaruCheng Du Da kikushiteoku Bi Yao gaaru.konoTa ni,Zong Zhong Heng ,Shang Fu kiXia Fu kinoTian eZi nadonitsuite mo,Xing Song riFang Xiang noXing noFu yorihamiChu shitePei Zhi suruChang He ha,Tong Yang niXi u. nao,Ge Zhu nadonoPei Zhi Fa sonomononitsuiteha,SS 3. Line Composition Xing noZu Ban Chu Li deJie Shuo suru. Example of inter-line processing with warichu between lines. Ge Zhu gaRu tsutaChang He noXing Jian noChu Li Li Figure 35 Example of inter-line processing with warichu between lines. Ge Zhu gaRu tsutaChang He noXing Jian noChu Li Li Note It is common that the line gap for the kihon-hanmen is set to a value between half-em spacing and the one em spacing of the character frame used for the kihon-hanmen. Half-em spacing can be chosen in cases where the line length is short, but one em spacing or close to it is more appropriate when the line length is longer than 35 characters. Ji Ben Ban Mian noXing Jian ha,Ji Ben Ban Mian noWen Zi saizunoEr Fen akiYi Shang ,Quan Jiao akiYi Xia noFan Wei tosurukotogaDuo i.Xing Chang gaDuan iChang He ha,Er Fen akidemoyoi.35 Zi woChao eruyounaXing Chang deha,Quan Jiao akika,soreyoriyayaJie metaXing Jian nisu runogayoi. Note Unless ruby or other design elements are placed in the space between lines (e.g. for books such as classics, with many annotations), there is no need to make the line-gap larger than full-width, since this would decrease legibility. Gu Dian noZhu Shi Ben nadode,Xing Jian nirubiyasonoTa noYao Su woShu Duo kuPei Zhi suruChang He nadowoChu ki,Xing Jian woQuan Jiao akiYi Shang nisurukotohanai.Xing Jian woQuan Jiao akiYi Shang nishitakaratoitsute,Du miyasukunaruwakedehanai. Note It is said that the standard line-gap in Western text layout is one third em spacing, which is smaller than that in Japanese composition. This difference again comes from the different approach to the design of Latin and Japanese characters. Ou Wen noZu Ban noXing Jian ha,Wen Zi saizunoSan Fen akiYou hasoreYi Xia tosuruChang He mo Duo i.koretoBi Jiao surutoRi Ben Yu Zu Ban noXing Jian haDa kikunaru.koremo,He Wen Wen Zi toOu Wen Wen Zi tonoWen Zi She Ji noWei iniyoru. Note There is another method of specifying the kihon-hanmen that uses line feeds rather than line gaps. Line feed is the distance between two adjacent lines measured from their reference points (see Figure 36). The reference point differs from implementation to implementation, however, in vertical writing mode the horizontal center of the character frame is usually used, and with horizontal writing mode, the vertical center of the character frame is used. When the character size is the same for every character, the following calculation is used: Ji Ben Ban Mian woZhi Ding suruFang Fa niha,Xing Jian nikae,Xing Song rideShe Ding suruFang Fa moa ru.Xing Song riha,Lin Jie suruXing Tong Shi noJi Zhun Dian karaJi Zhun Dian madenoJu Li dearu( Figure 36).Ji Zhun Dian ha,Chu Li Xi niyoriYi naruga,Zong Zu noChang He haZuo You Zhong Yang ,Heng Zu noChang He haTian Di Zhong Yang tosuruLi gaDuo i.Pei Zhi suruWen Zi gaQuan Bu Tong zisai zunoChang He ha,Yi Xia noGuan Xi gaaru. + line feed = character size / 2 + line gap + character size / 2 = character size + line gap Xing Song ri=Wen Zi saizu/2+Xing Jian +Wen Zi saizu/2=Wen Zi saizu+Xing Jian + line gap = line feed - character size Xing Jian =Xing Song ri-Wen Zi saizu Specifying kihon-hanmen with line feed. Ji Ben Ban Mian woXing Song rideZhi Ding su ruFang Fa Figure 36 Specifying kihon-hanmen with line feed. Ji Ben Ban Mian woXing Song rideZhi Ding suruFang Fa The size of the kihon-hanmen in this case can be calculated by following method: Yi Shang noyouniShe Ding shitaJi Ben Ban Mian nosaizuha,Ci noyouniJi Suan dekiru. * Vertical writing mode with one column Zong Zu no1Duan noChang He Width of kihon-hanmen = character size x number of lines per page + line gap x (number of lines per page - 1) Zuo You saizu=Shi Yong suruWen Zi saizux1pezinoXing Shu +Xing Jian x(1pezinoXing Shu -1) 298 point = 9 point x 18 lines + 8 point x (18 lines - 1) 298pointo=9pointox18Xing +8pointox(18Xing -1) Height of kihon-hanmen = character size x number of characters per line Tian Di saizu=Shi Yong suruWen Zi saizux1Xing noXing Chang 468 point = 9 point x 52 characters 468pointo=9pointox52Zi * Vertical writing mode with multi columns Zong Zu noDuo Duan noChang He Width of kihon-hanmen = character size x number of lines per column + line gap x (number of lines per column - 1) Zuo You saizu=Shi Yong suruWen Zi saizux1Duan noXing Shu +Xing Jian x(1Duan noXing Shu -1) 309 point = 9 point x 21 lines + 6 point x (21 lines - 1) 309pointo=9pointox21Xing +6pointox(21Xing -1) Height of kihon-hanmen = character size x number of characters per line x number of columns + column gap x (number of columns - 1) Tian Di saizu=Shi Yong suruWen Zi saizux1Xing noXing Chang xDuan Shu +Duan Jian x(Duan Shu -1) 468 point = 9 point x 25 characters x 2 columns + 18 point x (2 columns - 1) 468pointo=9pointox25Zi x2Duan +18pointox(2Duan -1) * Horizontal writing mode with one column Heng Zu no1Duan noChang He Width of kihon-hanmen = character size x number of characters per line Zuo You saizu=Shi Yong suruWen Zi saizux1Xing noXing Chang 315 point = 9 point x 35 characters 315pointo=9pointox35Zi Height of kihon-hanmen = character size x number of lines per page + line gap x (number of lines per page - 1) Tian Di saizu=Shi Yong suruWen Zi saizux1pezinoXing Shu +Xing Jian x(1pezinoXing Shu -1) 468 point = 9 point x 28 lines + 8 point x (28 lines - 1) 468pointo=9pointox28Xing +8pointox(28Xing -1) * Horizontal writing mode with multi columns Heng Zu noDuo Duan noChang He Width of kihon-hanmen = character size x number of characters per line x number of columns + column gap x (number of columns - 1) Zuo You saizu=Shi Yong suruWen Zi saizux1Xing noXing Chang xDuan Shu +Duan Jian x(Duan Shu -1) 320 point = 8 point x 19 characters x 2 columns + 16 point x (2 columns - 1) 320pointo=8pointox19Zi x2Duan +16pointox(2Duan -1) Height of kihon-hanmen = character size x number of lines per column + line gap x (number of lines per column - 1) Tian Di saizu=Shi Yong suruWen Zi saizux1Duan noXing Shu +Xing Jian x(1Duan noXing Shu -1) 476 point = 8 point x 40 lines + 4 point x (40 lines - 1) 476pointo=8pointox40Xing +4pointox(40Xing -1) 2.5 Page wise Arrangement of Kihon-hanmen Elements Ji Ben Ban Mian noShe Ji Yao Su noGe peziniDui suruShi Yong 2.5.1 Examples of Items Jutting Out of the Kihon-hanmen Ji Ben Ban Mian kara hamiChu suLi The various elements of a page should remain inside the boundaries of the kihon-hanmen. However, there are exceptions such as the following: sorezorenopeziniPei Zhi suruGe Yao Su ha,Ji Ben Ban Mian deShe Ding shitaBan Mian noNei Ce niPei Zhi suru.shikashi,Ci noyounaLi Wai gaaru. 1. Ruby or emphasis marks (bousen, emphasis dots, etc.) at the before edge of the hanmen, are placed outside the hanmen (see Figure 37). The same applies in cases where ruby, underline, etc. appear beyond the after edge of the hanmen. Like the handling of exceptions mentioned below, the purpose here is to preserve the line positions established for the kihon-hanmen. This technique can also be used for reference marks associated with lines of text. Ban Mian You haDuan noXian Tou niPei Zhi suruXing noYou Ce (Zong Zu )You haShang Ce (Heng Zu )nirubi ,Bang Xian ,Quan Dian nadowoFu keruChang He ha,Ban Mian noLing Yu noWai Ce niJie shitePei Zhi suru (Figure 37).Ban Mian noMo Wei niPei Zhi suruXing noZuo Ce (Zong Zu )You haXia Ce (Heng Zu )nirubi,Xia Xian nadowoFu keruChang He ha,Ban Mian noLing Yu noWai Ce niJie shitePei Zhi su ru.Ci Xiang woHan me,konokotohaJi Ben Ban Mian deShe Ding shitaXing noWei Zhi woQue Bao suruta medearu.Ben Wen Zhong niZhu toCan Zhao surutamenoHe Yin woXing Jian niPei Zhi suruFang Fa gaa ruga,konoChang He moTong Yang niXi u. Example of ruby annotation placed outside of the kihon-hanmen. Ban Mian noWai Ce niPei Zhi shitarubinoLi Figure 37 Example of ruby annotation placed outside of the kihon-hanmen. Ban Mian noWai Ce niPei Zhi shitarubinoLi 2. When there are inline elements whose dimensions extend beyond the before edge and the after edge of a line of characters as determined by the kihon-hanmen, and when those elements appear in the first or last line of the hanmen, the parts that jut out beyond the regular line of characters also jut out of the hanmen area. For example, this is the case when the width of a sequence of characters which are set to tate-chu-yoko is wider than the characters set for the kihon-hanmen. In addition, warichu (inline cutting note) or subscript and superscript (ornament characters) are handled in the same way. (The processing rules for this item and the previous item are defined in JIS X 4051, sec. 12.1.1.) Ban Mian noXian Tou You haMo Wei niPei Zhi suruXing niJi Ben Ban Mian deShe Ding shitaXing Song riFang Xiang noXing noFu (Ji Ben Ban Mian deShe Ding shitaWen Zi saizu)yorihamiChu shitePei Zhi suruYao Su ga aruChang He ha,Ji Ben Ban Mian deShe Ding shitaXing Song riFang Xiang noXing noFu yorihamiChu shitePei Zhi suruBu Fen wo,Ban Mian noLing Yu noWai Ce nihamiChu shitePei Zhi suru(Qian Xiang tokonoXiang noChu Li ha,JIS X 4051no12.1.1niGui Ding sareteiru).Li eba,Zong Zhong Heng no She Ding woXing tsutaWen Zi Lie noHeng Fu gaJi Ben Ban Mian deShe Ding shitaWen Zi saizuyoriDa kiku naruChang He nadodearu.konoTa ni,Ge Zhu ,Shang Fu kiXia Fu kinoTian eZi nadomo Tong Yang naXi itosuru. 3. Line adjustment by hanging punctuation is only necessary for full stops (cl-06) and commas (cl-07) when they would otherwise need to be wrapped to the line head. The character is placed so that it touches the hanmen at the line end (see Figure 38). (Hanging punctuation is not defined in JIS X 4051, but there is an explanation in sec. 8.1, c.) buraXia geZu toyobareruChu Li woshitaChang He ha,Xing Tou Jin Ze noChu Li woBi Yao tosuru Ju Dian Lei (cl-06)Ji biDu Dian Lei (cl-07)niXian ri,Xing Mo noBan Mian noLing Yu noWai Ce niJie shitePei Zhi suru(Figure 38).nao,buraXia geZu nitsuitehaJIS X 4051niGui Ding sareteinaiga,Tong Gui Ge noJie Shuo 8.1)c)niShuo Ming gaaru. Example of IDEOGRAPHIC COMMA and IDEOGRAPHIC FULL STOP placed below the kihon-hanmen. buraXia geZu niyoriBan Mian noWai Ce niPei Zhi shitaJu Dian toDu Dian noLi Figure 38 Example of IDEOGRAPHIC COMMA and IDEOGRAPHIC FULL STOP placed below the kihon-hanmen. buraXia geZu niyoriBan Mian noWai Ce niPei Zhi shitaJu Dian toDu Dian noLi Note Line adjustment by hanging punctuation is a way of reducing the processing cost of line adjustment by reducing the need to change inter-character spacing. buraXia geZu ha,Zi Jian niyoruXing noDiao Zheng Chu Li woShao nakusuruFang Fa dearu. Note A lot of books apply hanging punctuation. buraXia geZu woCai Yong shiteiruShu Ji haDuo i. 4. Illustrations and tables are normally placed inside the area defined by the kihon-hanmen. However, there may also be cases in which a particular illustration or table juts outside the kihon-hanmen. Tu Ban yaBiao woGe peziniPei Zhi suruChang He ,Yi Ban niJi Ben Ban Mian deShe Ding shitaFan Wei Nei niPei Zhi suru.shikashi,Pei Zhi suruTu Ban yaBiao niyotsuteha,Ji Ben Ban Mian deShe Ding shi taFan Wei wohamiChu shitePei Zhi suruChang He moaru. 1. Cases in which it is necessary to make the illustration or table larger than the kihon-hanmen, because reducing its size would make it unreadable. Pei Zhi suruTu Ban yaBiao woJi Ben Ban Mian niShou merutoWen Zi gaDu minikukunarutame ,saizuwoJi Ben Ban Mian yoriDa kikusezaruwoDe naiChang He . 2. For the sake of visual effect, the illustration may bleed into the complete paper area. This is not often used in books, but is often used in magazines (see Figure 39). Shi Jue De Xiao Guo woChu sutameniJi Ben Ban Mian deShe Ding shitaFan Wei wohamiChu shitePei Zhi suru.Te niZhi Mian itsupainiPei Zhi suru"Cai Qie ri"toyobareruFang Fa ha,Shu Ji dehaDuo kunaiga,Za Zhi nadodehayokuXing wareteiru(Figure 39). Example of bleeds. Cai Qie rinoLi Figure 39 Example of bleeds. Cai Qie rinoLi 5. Magazines may place the captions of illustrations outside the column area or in the column gap. (Some people regard this as bad style.) sonoTa ,Tu Ban nokiyapushiyonwoDuan noLing Yu noWai Ce ,Duan Jian niPei Zhi suruFang Fa mo Za Zhi nadodehaXing wareteiru(konoPei Zhi Fang Fa haTi Cai gayokunaitoiuYi Jian moaru). 2.5.2 Line Positioning based on the Kihon-hanmen Design Ji Ben Ban Mian deShe Ding shitaXing Wei Zhi noShi Yong In principle, pagewise positioning of lines relies on the line positions established for the kihon-hanmen. This holds for lines with ruby or emphasis dots as shown in Figure 34. Even when lines contain characters that are smaller than the character size used for the kihon-hanmen (as shown in Figure 40), the line positions used for the kihon-hanmen continue to be used as the basic guide lines. This is so that following lines with normal-sized characters still naturally fall into the line positions established for the kihon-hanmen. Ge peziniokeruXing noPei Zhi Wei Zhi ha,Ji Ben Ban Mian deShe Ding shitaXing noWei Zhi niCong unoga Yuan Ze dearu.Qian Jie shitaTu (Figure 34)noyounirubiyaQuan Dian gaFu itaChang He dake denaku,Li eba,Ci noFigure 40niShi shitayouni,Xing Zhong noYi Bu toshiteJi Ben Ban Mian deShe Ding shitaWen Zi saizuyoriXiao sanaWen Zi gaRu ruChang He demo,Ji Ben Ban Mian deShe Ding shita Xing noWei Zhi woJi Zhun niPei Zhi shi,soreniHou Sok suruXing moJi Ben Ban Mian deShe Ding shitaXing noWei Zhi nikuruyounisuru. Positioning of lines with a smaller size of text. Xing Zhong niXiao saiWen Zi ga Ru tsutaChang He noXing noWei Zhi Figure 40 Positioning of lines with a smaller size of text. Xing Zhong niXiao saiWen Zi gaRu tsutaChang He noXing noWei Zhi Note Characters within brackets are made smaller, since the text is an additional explanation. Such cases are handled in the following three ways. The first method, making only characters in restricted places smaller, is the most commonly used. Gua Hu Shu kinoWen Zi woXiao sakusurunoha,sonoBu Fen gaBu Zu De naShuo Ming toiukotokara dearu.tadashi,sonoXi iFang toshiteha,Ci no3tsunoFang Shi gaaru.Xian Ding shitaGe Suo nomiWen Zi woXiao sakusuruFang Fa gaZui moyokuLi Yong sareteiru. 1. Make the characters smaller only in restricted places, for example for references. Can Zhao pezinado,Xian Ding shitaGe Suo nomiwoXiao sakusuru. 2. Make all characters within brackets smaller (as shown in Figure 40). Gua Hu Nei noWen Zi wosubeteXiao sakusuru(Figure 40niShi shitaFang Fa dearu). 3. Make all characters within brackets the same size as the character size established for the kihon-hanmen. Gua Hu Nei noWen Zi hasubete,Ji Ben Ban Mian deShe Ding shitaWen Zi saizutoTong zinisuru. The following are exceptions when handling line position: tadashi,Xing noPei Zhi Wei Zhi nitsuiteha,Ci noyounaLi Wai gaaru. 1. When inserting more than one illustration or table item in horizontal writing mode, assuming that there is no text to the left or right of the items, the items may either slip off the grid established for the kihon-hanmen (see Figure 41), or stick to the grid (see Figure 42). The former approach is used, whenever possible, to achieve an equal amount of space before and after illustrations or tables. (This method is often used in books.) (This processing method is defined in JIS X 4051, sec. 10.3.2., d.) Heng Zu de,Tu Ban yaBiao noZuo You nitekisutowoPei Zhi shinaiFang Fa toshitaChang He ,1pe zini2tsuYi Shang noyaBiao gaCha Ru saretatokiha,Ji Ben Ban Mian deShe Ding shitaXing noWei Zhi ka razurerukotogaaru(Figure 41).tadashi,Ji Ben Ban Mian deShe Ding shitaXing noWei Zhi niPei Zhi suruFang Fa moaru(Figure 42).Qian Zhe noFang Fa ha,Tu Ban yaBiao noQian Hou noKong kiLiang wodekirudakeJun Yi nisurutoiuKao eFang niyoru(konoFang Fa woCai Yong shiteiruShu Ji gaDuo i).konoChu Li Fang Fa nitsuiteha,JIS X 4051no10.3.2 nod)niGui Ding gaaru. Positioning of lines with multiple illustrations - 1. Tu Ban Deng woFu Shu Pei Zhi shitaChang He noXing noPei Zhi Li 1 Figure 41 Positioning of lines with multiple illustrations - 1. Positioning of lines with multiple illustrations - 2. Tu Ban Deng woFu Shu Pei Zhi shitaChang He noXing noPei Zhi Li 2 Figure 42 Positioning of lines with multiple illustrations - 2. 2. The size of characters in endnotes inserted between paragraphs or those in footnotes at the bottom of the page (in horizontal writing mode) is smaller than the character size established for the kihon-hanmen. As a result, the character size and line gap are also smaller, and so the line positions are no longer identical to those established for the kihon-hanmen. As an example, Figure 43 shows the position of an endnote between paragraphs in vertical writing mode. (The processing of endnotes is defined in JIS X 4051, sec. 9.3, and the processing of footnotes in sec. 9.4.) Duan Luo Jian niCha Ru sareruHou Zhu Ji biHeng Zu depezinoXia Duan niCha Ru sareruJiao Zhu ha, Ji Ben Ban Mian deShe Ding shitaWen Zi saizuyorihaXiao sakusuru.koreniBan iXing Jian moXia kusurunode,Ji Ben Ban Mian deShe Ding shitaXing noWei Zhi tohasorowanai.Li eba,Zong Zu nioite,Duan Luo noJian niRu ruHou Zhu noPei Zhi Wei Zhi noLi woFigure 43niShi su.na o,Hou Zhu noZu Ban Chu Li nitsuiteha,JIS X 4051no9.3,Jiao Zhu ha9.4niGui Ding sa reteiru. Positioning of an endnote in vertical writing mode. Zong Zu noHou Zhu no Pei Zhi Li Figure 43 Positioning of an endnote in vertical writing mode. Zong Zu noHou Zhu noPei Zhi Li 3. As mentioned above, the position of a heading may not be identical to the lines established for the kihon-hanmen. Nevertheless, in the block direction, headings base their alignment on the line positions established for the kihon-hanmen (see Figure 14). Jian Chu shiha,Qian Shu shitayouniBi zushimoJi Ben Ban Mian deShe Ding shitaXing noWei Zhi tohaso rowanaikotogaaru.shikashi,sonoXing Song riFang Xiang niZhan meruLing Yu ha,Ji Ben Ban Mian deShe Ding shitaXing woJi Zhun niShe Ji suru(Figure 14). 2.5.3 Character Positioning based on Kihon-hanmen Design Ji Ben Ban Mian deShe Ding shitaWen Zi Wei Zhi noShi Yong In principle, the characters in each line follow the solid setting positions of characters established for the kihon-hanmen. However, as already shown in some of the previous figures, there are examples where this is not the case. Such cases are rather common, and here we will show some prototypical examples (details will be given in SS 3. Line Composition Xing noZu Ban Chu Li ). Ge Xing niPei Zhi suruWen Zi noWei Zhi ha,Ji Ben Ban Mian deShe Ding shitabetaZu toshitaWen Zi noPei Zhi Wei Zhi niCong unogaYuan Ze dearu.shikashi,Qian Jie shitaikutsukanoTu demoJi Ben Ban Mian de She Ding shitaWen Zi noWei Zhi niCong tsuteinaiLi gaaru.koushitaShi Li haDuo iga,Yi Xia deha,Dian Xing De naLi woikutsukaShi su(Xiang Xi haSS 3. Line Composition Xing noZu Ban Chu Li deJie Shuo suru). Note Where character sizes differ from the solid set sizes established for the kihon-hanmen, line lengths may not be identical with the line length of the kihon-hanmen; it is necessary to align the ends of the lines, with the exception of the last line in a paragraph. The processing method for this is explained in SS 3.8 Line Adjustment Xing no Diao Zheng Chu Li . Ji Ben Ban Mian deShe Ding shitaWen Zi saizunobetaZu nishinaiGe Suo gaaruChang He ,sonoXing no Xing Tou karaXing Mo madenoChang saga,Ji Ben Ban Mian toshiteShe Ding shitaXing Chang ninaranaikesu moFa Sheng suru.shikashi,1Xing noXing Chang niMan tanaiDuan Luo noZui Zhong Xing woChu ki,soreYi Wai no Xing noXing Tou karaXing Mo madenoChang saha,Ji Ben Ban Mian toshiteShe Ding shitaXing Chang nisoroeruno gaYuan Ze dearu.sokode,Xing Chang wosoroeruChu Li gaBi Yao ninaru.konoChu Li Fang Fa ni tsuiteha,SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li deJie Shuo suru. 1. When 9pt is the character size used to establish the kihon-hanmen, characters smaller than 9pt may be inserted in part of a line (see Figure 40). In such cases, the parts set at 9pt and any parts set at a smaller, say, 8pt size both use solid setting, with character frames at the respective sizes for each part. Xing Zhong noYi Bu toshiteJi Ben Ban Mian deShe Ding shita9poyoriXiao sanaWen Zi gaCha Ru sareru Figure 40noChang He dearu.konoChang He ha,Yuan Ze toshite,Ji Ben Ban Mian deShe Ding shita 9ponoBu Fen ha9ponoWen Zi noWai Waku niCong ibetaZu nisurutotomoni,Xiao sakushita8 ponoBu Fen ha,Xiao sakushita8ponoWen Zi noWai Waku niCong ibetaZu nisuru. 2. In cases where proportional Latin letters are rotated 90 degrees clockwise (see Figure 25), the proportional letters are placed according to their proportional widths. Hence, they do not fit to the character positions established for the kihon-hanmen (see Figure 44). Japanese letters following the Latin letters consequently slip away from the default positions as well. Xing Zhong nipuroposhiyonarunoOu Zi woFigure 25noyouni,Wen Zi woShi Ji Hui rini 90Du Hui Zhuan shitePei Zhi suruChang He ha,puroposhiyonarunoOu Zi ha,sonoZi Fu ni Ying zitePei Zhi surunode,Ji Ben Ban Mian deShe Ding shitaWen Zi Wei Zhi tohasorowanakunaru (Figure 44).Ou Zi noHou roniLian Sok suruHe Wen noPei Zhi Wei Zhi mozuretekuru. Positioning of a mixture of Western and Japanese letters in a line. Xing Zhong niOu Zi woPei Zhi shitaLi Figure 44 Positioning of a mixture of Western and Japanese letters in a line. Xing Zhong niOu Zi woPei Zhi shitaLi 3. There are several methods for positioning opening brackets (cl-01) at the beginning of a line (details are explained in SS 3.1.5 Positioning of Opening Brackets at Line Head Xing Tou no Shi me Gua Hu Lei no Pei Zhi Fang Fa ). In cases where the indentation of the first line of a paragraph is a one em space, or if the tentsuki position is used for the bracket (that is, there is no space at the line head), the character following the bracket will be in a position which does not fit to the character positions established for the kihon-hanmen, due to the bracket being first reduced in width by half an em by default (see Figure 45). However, the adaptations made during the alignment of line ends will ensure that the character at the end of a line is at a position that fits with the kihon-hanmen. Gai Xing shitaXing noXian Tou (Gai Xing Xing Tou )yaDuan Luo no2Xing Mu Yi Xia noXing Tou (Zhe Fan shiXing Tou ) niPei Zhi suruShi meGua Hu Lei (cl-01)noPei Zhi Fang Fa ha,ikutsukaaru(Xiang Xi ha SS 3.1.5 Positioning of Opening Brackets at Line Head Xing Tou no Shi me Gua Hu Lei no Pei Zhi Fang Fa deJie Shuo suru).Gai Xing Xing Tou noZi Xia gewoQuan Jiao akitosuruChang He ,You haZhe Fan shiXing Tou niKong kiLiang wotoranaiPei Zhi Fa dearuTian Fu kitosuruChang He ha,Figure 45noyouni2Zi Mu Yi Xia noWen Zi ha,Ji Ben Ban Mian deShe Ding shitaWen Zi Wei Zhi tohasorowanakunaru.shikashi,Xing Chang wosoroeruDiao Zheng Chu Li woXing tsuteiru node,Xing Mo noWen Zi ha,Ji Ben Ban Mian deShe Ding shitaWen Zi Wei Zhi nisorotsuteiru. Example of positioning of characters off the kihon-hanmen position due to opening brackets at the line head. Xing Tou noShi meGua Hu Lei noPei Zhi Fang Fa niyoriWen Zi Wei Zhi gazuretaLi Figure 45 Example of positioning of characters off the kihon-hanmen position due to opening brackets at the line head. Xing Tou noShi meGua Hu Lei noPei Zhi Fang Fa niyo riWen Zi Wei Zhi gazuretaLi 4. SS 3. Line Composition Xing noZu Ban Chu Li explains that full stops (cl-06), commas (cl-07), opening brackets (cl-01) and closing brackets (cl-02) are half-width. If these punctuation marks and brackets are adjacent to ideographic (cl-19), katakana (cl-16) or hiragana (cl-15) characters, in principle there should be half em spacing before or after the punctuation mark or brackets, so that these occupy in effect a full-width size. However, if they are adjacent to other punctuation marks or brackets, the half em spacing is not added. This is done to improve the visual appearance. In such cases, the character positions are different than the positions established when defining the kihon-hanmen (see Figure 46). SS 3. Line Composition Xing noZu Ban Chu Li deJie Shuo suruyouniJu Dian Lei (cl-06) ,Du Dian Lei (cl-07),Shi meGua Hu Lei (cl-01)Ji biZhong wariGua Hu Lei (cl-02)no Zi Fu haBan Jiao dearuga,koreranoYue Wu gaHan Zi Deng (cl-19),Pian Jia Ming (cl-16 )You haPing Jia Ming (cl-15)toLian Sok suruChang He ha,Yuan Ze toshite,sorezorenoYue Wu noQian You haHou roniEr Fen akiwotorukotode,Jie Guo toshiteQuan Jiao toiusaizuni suru.shikashi,Ju Dian Lei (cl-06),Du Dian Lei (cl-07),Shi meGua Hu Lei (cl-01 )Ji bi/You haZhong wariGua Hu Lei (cl-02)gaLian Sok suruChang He ha,Er Fen akiwotora naiGe Suo gaari,konokesudehaJi Ben Ban Mian deShe Ding shitaWen Zi Wei Zhi nisorowa naikotoninaru(Figure 46).koreha,Jian taMu noTi Cai woyokusurutamede aru. Example of lines with consecutive punctuation marks. Ju Dian Lei toShi me Gua Hu Lei gaLian Sok ,Ji biZhong wariGua Hu Lei gaLian Sok suruLi Figure 46 Example of lines with consecutive punctuation marks. Ju Dian Lei toShi meGua Hu Lei gaLian Sok ,Ji biZhong wariGua Hu Lei gaLian Sok suruLi 5. SS 3. Line Composition Xing noZu Ban Chu Li explains the principle that closing brackets (cl-02), full stops (cl-06) and commas (cl-07) should not be placed at the line head. If by simple sequential placement these characters would appear at the line head or at the line end, some kind of adjustment becomes necessary. A similar adjustment is required for characters that should not be placed at the end of a line, such as opening brackets (cl-01). As a result of such adjustment, it may happen that other characters are placed at positions which are different from those established for the kihon-hanmen. SS 3. Line Composition Xing noZu Ban Chu Li deJie Shuo suruyouniZhong wariGua Hu Lei ( cl-02),Ju Dian Lei (cl-06)Ji biDu Dian Lei (cl-07)woXing Tou niPei Zhi shitehanara naitoiuGui Ze (Xing Tou Jin Ze toiu),Bing biniShi meGua Hu Lei (cl-01)woXing Mo niPei Zhi shitehanaranaitoiuGui Ze (Xing Mo Jin Ze )gaaru.koreragaXing Tou You haXing Mo nikuruChang He ha,nanrakanoDiao Zheng gaBi Yao ninaru.sonoDiao Zheng Chu Li nota meniJi Ben Ban Mian deShe Ding shitaWen Zi Wei Zhi nisorowanaiChang He gaChu tekuru. Example of line adjustment to avoid those characters which shall not start and end a line. Xing Tou Jin Ze You haXing Mo Jin Ze woBi keruDiao Zheng woshita Li Figure 47 Example of line adjustment to avoid those characters which shall not start and end a line. Xing Tou Jin Ze You haXing Mo Jin Ze woBi ke ruDiao Zheng woshitaLi 2.6 Running Heads and Page Numbers Zhu tononburu 2.6.1 Positioning of Running Heads and Page Numbers Zhu Ji binonburuno Wei Zhi Typical positions of running heads and page numbers for vertically set books with double running heads (see SS 2.6.3 Ways of Arranging Running Heads and Page Numbers Zhu Ji binonburunoPei Zhi Fang Shi ) are as shown in Figure 48. Zong Zu noShu Ji niokeruLiang Zhu Fang Shi (SS 2.6.3 Ways of Arranging Running Heads and Page Numbers Zhu Ji binonburunoPei Zhi Fang Shi )niyoruZhu Ji binonburunoDai Biao De Pei Zhi Wei Zhi Li woFigure 48niShi su. Typical positioning of running heads and page numbers for vertically set books with double running heads. Zong Zu noShu Ji niokeruLiang Zhu Fang Shi niyoru Zhu Ji binonburunoDai Biao De naPei Zhi Wei Zhi Li Figure 48 Typical positioning of running heads and page numbers for vertically set books with double running heads. Zong Zu noShu Ji niokeruLiang Zhu Fang Shi niyoruZhu Ji binonburunoDai Biao De naPei Zhi Wei Zhi Li Typical positions of running heads and page numbers for horizontally set books with double running heads (see SS 2.6.3 Ways of Arranging Running Heads and Page Numbers Zhu Ji binonburunoPei Zhi Fang Shi ) are as shown in Figure 49. Heng Zu noShu Ji niokeruLiang Zhu Fang Shi (SS 2.6.3 Ways of Arranging Running Heads and Page Numbers Zhu Ji binonburunoPei Zhi Fang Shi )niyoruZhu Ji binonburunoDai Biao De naPei Zhi Wei Zhi Li woFigure 49niShi su. Typical positioning of running heads and page numbers for horizontally set books with double running heads. Heng Zu noShu Ji niokeru Liang Zhu Fang Shi niyoruZhu Ji binonburunoDai Biao De naPei Zhi Wei Zhi Li Figure 49 Typical positioning of running heads and page numbers for horizontally set books with double running heads. Heng Zu noShu Ji niokeruLiang Zhu Fang Shi niyoruZhu Ji binonburunoDai Biao De naPei Zhi Wei Zhi Li In principle, positions of running heads and page numbers should be specified relative to the kihon-hanmen, not with absolute coordinates in the trim size. (Positioning of running heads is defined in JIS X 4051, sec. 7.6.4. Positioning of page numbers is defined in JIS X 4051, sec. 7.5.4.) Zhu Ji binonburunoWei Zhi ha,Yi Ban niShi Shang risaizuniDui suruJue Dui De naWei Zhi Guan Xi de hanaku,Ji Ben Ban Mian tonoXiang Dui De naWei Zhi Guan Xi deShe Ding suru(Zhu noPei Zhi nitsuiteha, JIS X 4051no7.6.4ni,nonburunoPei Zhi nitsuiteha,JIS X 4051no7.5.4niGui Ding gaaru). Positioning a horizontal running head above the top left corner (to head and fore-edge) of the kihon-hanmen in a typical vertically set book (see Figure 50). Zong Zu noShu Ji deTian Xiao Kou Ji riniZhu woHeng Zu nishitePei Zhi shitaChang He noLi (Figure 50) * 9 points above the kihon-hanmen (vertical space) Ji Ben Ban Mian tonoShang Xia Fang Xiang noKong kiLiang ha9pointo(9poaki) * 9 points from the left edge of the kihon-hanmen (horizontal space) Ji Ben Ban Mian tonoZuo You Fang Xiang noKong kiLiang (Ru ritomoiu)ha9pointo(9poaki ) Positioning of a running head (vertical writing mode). Zhu noPei Zhi Zhi Ding Li (Zong Zu ) Figure 50 Positioning of a running head (vertical writing mode). Zhu noPei Zhi Zhi Ding Li (Zong Zu ) The following recommendations should be taken into account when positioning running heads and page numbers with reference to the kihon-hanmen. Zhu Ji binonburunoJi Ben Ban Mian tonoWei Zhi Guan Xi deha,Ci noyounaDian niZhu Yi suru. 1. When positioning horizontal running heads and page numbers with reference to the kihon-hanmen in vertically set books, the amount of vertical space between the edge of the kihon-hanmen and the running head is a one em space as established for the kihon-hanmen. If the kihon-hanmen of the book is horizontally set, take more vertical space than the character size in the kihon-hanmen. Zong Zu noShu Ji nioitenonburuYou haZhu woHeng Zu nishitePei Zhi suruChang He ha,Ji Ben Ban Mian tonoShang Xia Fang Xiang noZui Di noKong kiLiang wo,Ji Ben Ban Mian noWen Zi saizunoQuan Jiao aki tosuru.Heng Zu noShu Ji noChang He ha,Tong ziZu Fang Xiang tonarunode,Ji Ben Ban Mian noWen Zi saizuyoriyayaDa kikusuru. 2. Regardless of the direction of text in the kihon-hanmen of a book, horizontal running heads and page numbers on the left page should be aligned either at the left edge of the kihon-hanmen or one em space to the right of the left edge. On the right page, the tail of the running heads or page numbers should be aligned either at the right edge of the kihon-hanmen or one full-width space to left of the right edge. Zong Zu noShu Ji You haHeng Zu noShu Ji nioite,nonburuYou haZhu woHeng Zu nishitePei Zhi suruChang He ha,Zuo pezideha,Ji Ben Ban Mian noZuo Duan noYan Chang Xian ninonburuYou haZhu noXian Tou wosoroetePei Zhi suruka,Ji Ben Ban Mian noZuo Duan noYan Chang Xian karaJi Ben Ban Mian no Wen Zi saizunoQuan Jiao akidakeYou niJi setaWei Zhi niPei Zhi suru.You pezideha, Ji Ben Ban Mian noYou Duan noYan Chang Xian ninonburuYou haZhu noMo Wei wosoroetePei Zhi suruka ,Ji Ben Ban Mian noYou Duan noYan Chang Xian karaJi Ben Ban Mian noWen Zi saizunoQuan Jiao akidakeZuo niJi setaWei Zhi ninonburuYou haZhu noMo Wei wosoroetePei Zhi suru. 3. Regardless of the writing direction of the text in a book, when arranging running heads and page numbers together on the same horizontal line (such as positioning the running head immediately adjacent to the page number at the left side on left pages), the space between the running head and the page number should either be double or one and a half times the character size (embox size) of the running head. On left-hand pages, the page number should be set on the left side, and the running head should be set on the right side. On right-hand pages, the page number should be set on the right side and the running head should be set on the left side. The exact positions of the page numbers are given in the instructions above (see b). Zong Zu noShu Ji You haHeng Zu noShu Ji nioite,Tong Yi Wei Zhi ninonburuJi biZhu woHeng Zu nishiteBing betePei Zhi suru(Li eba,Zuo pezideZuo Ji seshite,nonburuniSok keteZhu woPei Zhi suru)Chang He ha,nonburutoZhu tonoKong kiLiang woZhu niShi Yong suruWen Zi saizuno2Bei akiYou ha1.5Bei akitosuru.mata,Zhu tononburunoWei Zhi ha ,Zuo pezidehanonburuwoZuo Ce ni,Zhu woYou Ce niPei Zhi shi,You pezidehano nburuwoYou Ce ni,Zhu woZuo Ce niPei Zhi suru.konoChang He nononburunoZuo You Wei Zhi ha,Shang Ji bniCong u. 4. When positioning running heads and page numbers vertically to the fore-edge of the kihon-hanmen in a vertically set book (see spread (e) in Figure 48, for example), the minimum horizontal distance from the kihon-hanmen should be the same as that of the line gap of the kihon-hanmen. The top of the running head should be positioned approximately four kihon-hanmen characters below the head, and the bottom of the page numbers should be positioned approximately five kihon-hanmen characters above the foot. Zong Zu noShu Ji nioite,nonburuJi biZhu woXiao Kou Ce niZong Zu nishitePei Zhi suruChang He (Figure 48no(e))ha,Ji Ben Ban Mian tonoZuo You Fang Xiang noZui Di noKong kiLiang wo, Ji Ben Ban Mian noXing Jian tosuru.Tian karaJi Ben Ban Mian noWen Zi saizude4Bei kuraiXia geta Wei Zhi niZhu noXian Tou wosoroetePei Zhi shi,Di karaJi Ben Ban Mian noWen Zi saizude5Bei ku raiShang getaWei Zhi ninonburunoMo Wei wosoroetePei Zhi suru. Note In general, ideographic numerals (Yi Er San Si Wu Liu Qi Ba Jiu 0) are used for vertically set page numbers, and European numerals for horizontal pagination. When using independent pagination for the front matter, small Roman numerals are used for horizontal pagination. nonburuwoZong Zu deJie geruChang He ha,Yi Ban niHan Shu Zi (Yi Er San Si Wu Liu Qi Ba Jiu 0 )woYong i,Heng Zu deJie geruChang He ha,Yi Ban niarabiaShu Zi woYong iru.mata, Qian Fu noBu Fen woBie nonburunishitaChang He ha,Heng Zu deJie gerunonburuha,Yi Ban niromaShu Zi noXiao Wen Zi woYong iru. 2.6.2 Principles of Arrangement of Running Heads and Page Numbers Zhu Ji binonburunoPei Zhi noYuan Ze Positioning of all running heads and page numbers in the same book should be consistent. Zhu Ji binonburuha,1Ce noBen noZhong deha,Tong ziWei Zhi niPei Zhi suru. Note Even on a page with a text area smaller in size than that of the kihon-hanmen, such as for a table of contents or index, positioning of the running head and page number relative to the trim size will remain the same. Therefore, the positioning of running heads and page numbers relative to those areas smaller than the kihon-hanmen is different. Figure 51 below demonstrates the respective positions of the hanmen for a table of contents and running heads or page numbers. As shown in Figure 17, this hanmen is smaller than the kihon-hanmen. Figure 52 demonstrates the related positions of running heads and page numbers and the hanmen of indexes. These hanmen are not only 4 points smaller at the left and right, but also 5 points smaller at the top and bottom. Mu Ci ,Suo Yin nadonoWen Zi woPei Zhi suruLing Yu ga,Ji Ben Ban Mian nosaizuyoriXiao sakunaru Chang He demo,Shi Shang risaizuniDui suruZhu Ji binonburunoWei Zhi haTong zidearu.shita gatsute,Mu Ci ,Suo Yin nadonoWen Zi woPei Zhi suruLing Yu gaJi Ben Ban Mian nosaizuyoriXiao sa kunatsutaFen dake,Mu Ci ,Suo Yin nadonoWen Zi woPei Zhi suruLing Yu to,Zhu Ji binonburu tonoKong kiLiang haBian Hua suru.Ci niShi suFigure 51ha,Figure 17deShi shitaJi Ben Ban Mian yoriXiao sakushitaMu Ci noBan Mian toZhu Ji binonburutonoWei Zhi Guan Xi woShi shitamonodea ri,Figure 52ha,Ji Ben Ban Mian yoriZuo You Fang Xiang deGe 4pointoXiao sakushitadakedena ku,Shang Xia Fang Xiang demoGe 5pointoXiao sakushitaSuo Yin noBan Mian toZhu noWei Zhi Guan Xi woShi shita monodearu. Positioning of running heads and page numbers on TOC pages for which the hanmen is smaller in size than the kihon-hanmen. Ji Ben Ban Mian yoriXiao sa kunatsutaMu Ci noBan Mian toZhu Ji binonburutonoWei Zhi Guan Xi Figure 51 Positioning of running heads and page numbers on TOC pages for which the hanmen is smaller in size than the kihon-hanmen. Ji Ben Ban Mian yoriXiao sakunatsutaMu Ci noBan Mian toZhu Ji binonburutonoWei Zhi Guan Xi Positioning of running heads and page numbers on index pages for which hanmen is smaller in size than the kihon-hanmen. Ji Ben Ban Mian yoriXiao sakunatsutaSuo Yin noBan Mian toZhu tonoWei Zhi Guan Xi Figure 52 Positioning of running heads and page numbers on index pages for which hanmen is smaller in size than the kihon-hanmen. Ji Ben Ban Mian yoriXiao sakunatsutaSuo Yin noBan Mian toZhu tonoWei Zhi Guan Xi Because the start of a page will be on the recto side, the right-hand page of a spread in a vertically set book is always an even page and the left-hand page is always an odd page (see Figure 53). Likewise, the left-hand page of a spread in a horizontally set book is always an even page and the right-hand page is always an odd page (see Figure 54). nonburuha,Zhi Xie noBiao Mian wo"1"toshiteKai Shi surunode,Zong Zu noShu Ji noJian Kai kinio iteha,You pezihaOu Shu pezi,Zuo pezihaQi Shu pezitonari(Figure 53) ,Heng Zu noShu Ji noJian Kai kinioiteha,Zuo pezihaOu Shu pezi,You pezihaQi Shu pezitonaru(Figure 54). Page numbers on a spread in a vertically set book. Zong Zu noShu Ji niokeru Jian Kai kinononburu Figure 53 Page numbers on a spread in a vertically set book. Zong Zu noShu Ji niokeruJian Kai kinononburu Page numbers on a spread in a horizontally set book. Heng Zu noShu Ji niokeruJian Kai kinononburu Figure 54 Page numbers on a spread in a horizontally set book. Heng Zu noShu Ji ni okeruJian Kai kinononburu 2.6.3 Ways of Arranging Running Heads and Page Numbers Zhu Ji binonburu noPei Zhi Fang Shi There are two ways to arrange running heads. One is the single running head method and the other is the double running head method. (Arrangement of running heads is defined in JIS X 4051, sec. 7.6.2. Page Numbers are defined in sec. 7.5.2.). Zhu niha,Liang Zhu Fang Shi (Figure 55)toPian Zhu Fang Shi (Figure 56)togaaru(Zhu noJie geFang nitsuitehaJIS X 4051no7.6.2ni,nonburunoJie geFang nitsuiteha7.5.2ni Gui Ding gaaru). * Double running head method: Place running heads on both even pages and odd pages (see Figure 55). Liang Zhu Fang Shi :Zhu woOu Shu peziJi biQi Shu pezinoLiang Fang niPei Zhi suruFang Shi ( Figure 55). * Single running head method: Place running heads only on odd pages (see Figure 56). Pian Zhu Fang Shi :Zhu woQi Shu pezinominiPei Zhi suruFang Shi (Figure 56). Double running head method. Liang Zhu Fang Shi noLi Figure 55 Double running head method. Liang Zhu Fang Shi noLi Single running head method. Pian Zhu Fang Shi noLi Figure 56 Single running head method. Pian Zhu Fang Shi noLi Note In general, there will be only one running head per page. However, in some cases, such as in dictionaries, multiple running heads are printed on each page to indicate contents. Zhu ha,Yuan Ze toshiteGe pezini1tsudakePei Zhi suruga,Ci Dian nadodeha,Ge pezini Nei Rong woShi suZhu woFu Shu Pei Zhi suruChang He moaru. Note In general, there will be only one page number per page. However in some cases multiple page numbers are printed on each page as in the following examples: nonburumoYuan Ze toshiteGe pezini1tsudakePei Zhi suruga,Ci noyounakesudeha Ge peziniFu Shu woPei Zhi suruChang He moaru. 1. When a horizontally set index and/or bibliography appears at the end of a volume in a vertically set book, both reverse pagination and continuous pagination are printed. Zong Zu noShu Ji noJuan Mo niHeng Zu nishitaSuo Yin ,Can Kao Wen Xian nadowoPei Zhi suruChang He ,Ni nonburutoTong shinonburuno2tsuwoBiao Shi suru. 2. For multivolume works, both serial page numbers throughout the work and page numbers per volume are printed. Duo Juan Wu de,1Ce nopeziShu noTa ni,Quan Juan woTong shitaTong shinonburuwoBiao Shi suru . 1. In the double running head method, a higher-level title, such as that of the chapter or book, is used for the running heads on the even pages, and a lower-level title, such as that for a section, on the odd pages. Where there are no differing levels of titles, such as on the page containing the table of contents, the same running head is used on both even and odd pages. Liang Zhu Fang Shi deha,Ou Shu peziniZhang nadonoautorainreberunoGao iJian Chu shi You haShu Ming woJie ge,Qi Shu peziniha,Ou Shu peziniJie getaShu Ming You haJian Chu shi yoriautorainreberunoDi iJie nadonoJian Chu shiwoJie geru.tadashi,Mu Ci nadoautorainreberunoYi naruJian Chu shinonaiBu Fen deha,Ou Shu pezito Qi Shu peziniTong ziZhu woJie geru. Note Which information is used for the running heads depends on the content of the book. Given that the main purpose of running heads is to signpost to readers what is written on each page, or the content of the current page, it does not make much sense to use the book title for the running head. The most common approach for a book with three levels of headings, such as chapter, section and subsection, is to use the top level heading (i.e. chapter) and the medium level heading (i.e. section). Zhu niHe woJie gerukaha,sonoShu Ji noNei Rong niyoru.Du Zhe gaGe peziniHe gaShu kareteirukawoJian Suo suru,You haXian Zai Shuo Ming sareteiruNei Rong woQue Ren surukoto gaZhu naMu De dearu.sonoDian dehaShu Ming woJie gerunohaamariYi Wei gaarukoto dehanai.3tsunorankunoJian Chu shigaatsutaChang He ha,Zui moDa kinaJian Chu shito, sonoCi nirankusuruJian Chu shiwoJie gerutoiunoga,Zui moPu Tong naFang Fa dearo u. 2. In the single running head method, one of heading levels is used. Pian Zhu Fang Shi deha,izurekanoreberunoJian Chu shiwoJie geru. 3. In principle, the contents of running heads will be the same as those of headings with the following differences: Zhu ha,Yuan Ze toshiteJian Chu shitoTong ziNei Rong woJie geruga,Ci noyounaLi Wai gaaru . 1. Numbers and words in Latin alphanumeric characters in vertically set headings in vertically set books should be changed to horizontal notation for horizontally set running heads (see SS 2.3.2 Major Differences between Vertical Writing Mode and Horizontal Writing Mode Zong Zu toHeng Zu noZhu naXiang Wei Dian ). Zong Zu noShu Ji nioiteJian Chu shiwoHeng Zu noZhu nishiteJie geruChang He ,Shu Zi Biao Ji nadowoHeng Zu noBiao Ji Fa niBian Geng suru(SS 2.3.2 Major Differences between Vertical Writing Mode and Horizontal Writing Mode Zong Zu toHeng Zu noZhu naXiang Wei Dian ). 2. If headings are too long, they should be made shorter by paraphrasing them in fewer characters. Running heads with too many characters will not look good. Jian Chu shinoZi Shu gaDuo iChang He ,Wen Zhang woXiu Zheng shi,Zi Shu woShao nakusuru.ama riZi Shu noDuo iZhu woJie gerunohaTi Cai gayokunaikaradearu. 3. For certain publications, such as a collection of monographs, the names of authors may be added in parentheses at the end of the running head. Lun Wen Ji nadodeha,Zhu Zhe Ming woJian Chu shinoHou roniGua Hu Lei nadodekukutsuteShi su. 4. In principle, the text direction of running heads and page numbers should be the same as that of the kihon-hanmen. For vertically set books, however, it is more common to set running heads and page numbers horizontally. Zhu Ji binonburunoZu Fang Xiang ha,Yuan Ze toshiteJi Ben Ban Mian noZu Fang Xiang toTong zinisuru ga,Zong Zu noShu Ji niokeruZhu nonburunoZu Fang Xiang ha,Heng Zu tosuruChang He gaDuo i. 5. In principle, for the single running head method running heads are printed on all odd pages, and for the double running head method on all even and odd pages. However, for the sake of appearance, running heads may be omitted as follows: Zhu ha,Yuan Ze toshitePian Zhu Fang Shi noChang He hasubetenoQi Shu pezi,Liang Zhu Fang Shi noChang He haQuan peziniJie geruga,Ci noyounapezidehaBiao Shi shinai.korehaTi Cai noWen Ti karadearu. 1. Pages on which running heads should be hidden: Zhu woBiao Shi shinaipezi 1. Naka-tobira and han-tobira. Zhong Fei Ji biBan Fei 2. Pages where a running head overlaps with other elements such as illustrations. Zhu noPei Zhi Ling Yu ga,Tu Ban nadotoZhong natsutapezi 3. Blank pages. Bai pezi 2. Pages on which running heads may be hidden: Zhu woBiao Shi shinakutemoyoipezi 1. Pages where a figure or a table is positioned adjacent to the running head. Zhu noPei Zhi Ling Yu niLin Jie shiteTu Ban ,Biao nadogaPei Zhi sareteirupezi 2. Pages with a heading right after a new recto or new page. Gai Ding Gai peziDeng deShi maruJian Chu shigaJie gerareteirupezi 6. In principle, page numbers are printed on all pages. However, for the sake of appearance, they may be omitted as follows: nonburuha,Yuan Ze toshiteQuan peziniJie geruga,Ci noyounapezidehaBiao Shi shinai.korehaTi Cai noWen Ti karadearu. 1. Pages on which page numbers should be hidden: nonburuwoBiao Shi shinaipezi 1. Pages on which a illustration or a table is positioned adjacent to the page number. nonburunoPei Zhi Ling Yu ga,Tu Ban nadotoZhong natsutapezi 2. Blank pages. Bai pezi 2. Pages on which page numbers may be hidden: nonburuwoBiao Shi shinakutemoyoipezi 1. Divisional title and simplified divisional title pages. Zhong Fei Ji biBan Fei 2. Pages in horizontally set books with a page number placed in the margin at the top of the page, and with a heading at the beginning of a new recto or new page. (In this case, it is also possible to move the page numbers to the center of the margin at the foot of the page.) Heng Shu kinoShu Ji nioitenonburuwoHeng Zu nishiteTian Ce noYu Bai niPei Zhi shitaChang He de,Gai Ding Gai pezinadodeJian Chu shigaShi marupezi(ko noChang He ,nonburuwoDi noZhong Yang niYi Dong shiteBiao Shi suruFang Fa moaru) Note Pages are not counted in cases such as the following: pezihaaruga,sonopeziwoShu enaiChang He niha,Ci noyounaLi gaaru . + If a different type or color of paper is used for the main title page, Ben Fei woBie Zhi toshitaChang He + if a frontispiece is inserted in the opening page of a book; or Juan Tou niBie Zhi deKou Hui woCha Ru shitaChang He + if an illustration of the enclosure or a divisional title is present in the main text. Bie Zhi noCha Hui yaZhong Fei woBen Wen Zhong niCha Ru shitaChang He 7. There are two types of page numbering. "Continuous pagination" means that page numbers continue throughout the whole book. " Independent pagination" means that page numbers start from "1" separately at beginning of the front matter and back matter. There is also, for example in manuals, the method of starting each chapter from page number "1". (In such cases, it is common that the name of the chapter is added as a prefix before the page number.) nonburuha,1Ce noBen woTong shiteShu Zi woLian Sok saseruFang Fa (Tong shinonburutoi u)to,Qian Fu yaHou Fu Bu Fen woBie ni1karaShu Zi woKai Shi shitenonburuwoFu keruFang Fa (Bie nonburutoiu)togaaru.mata,maniyuaruDeng deha,Zhang Bie ni1ka raShu Zi woKai Shi suruFang Fa moaru(konoChang He ha,1karaKai Shi shitaShu Zi noQian niZhang Ming woShi suJie Tou Ci woFu kerukotogaDuo i). Note If the front matter and the main text have different page numbers, each starts with page number "1". In this case, it is common to use Roman numerals for the pages of the front matter, in order to distinguish them from the main text. Qian Fu toBen Wen woBie nonburutosuruChang He ha,sorezorewo1karaShu Zi woKai Shi shite nonburuwoFu keru.konoChang He ,Qian Fu Bu Fen ha,Ben Wen toQu Bie surutameniro maShu Zi noXiao Wen Zi woShi Yong suruLi gaDuo i. Note For vertically set books with indexes in horizontal writing mode, the following methods are available. Zong Zu noShu Ji deHeng Zu noSuo Yin woFu ketaChang He ha,Ci noyounaFang Fa gaaru. 1. Reverse pagination. The index reads from the end of the book, and page numbers are added starting with "1" from the end of the book and flow in the same order as the index. Ben noZhong warikaraKai Shi suruHeng Zu noSuo Yin ni,Ben noLiu rekaraiebaNi Fang Xiang ni1karaShu Zi woKai Shi shitenonburuwoFu keru(Ni nonburutoiu). 2. Continuous pagination. The index reads from the end of the book, but page numbers start with "1" and flow in the same order as the book. (The index pages flow in the reverse order to the page numbers.) Ben noZhong warikaraKai Shi suruHeng Zu noSuo Yin ni,Ben noLiu reFang Xiang niCong i1karaShu Zi woKai Shi shitenonburuwoFu keru(Suo Yin noLiu rekarahaNi ninaru,Tong shi nonburutoiu). 3. Both reverse pagination and continuous pagination. In this case, the page numbers for continuous pagination are in the same position as the page numbers of the main text, and page numbers in reverse pagination are in a different position (for example, if serial pagination is in the foot of the page, reverse pagination is in the head). Often other methods are applied to distinguish the different paginations. For example, Arabic numbers are used for both continuous pagination and reverse pagination, but for reverse pagination, brackets are added around the numbers. Ni nonburutoTong shinonburunoLiang Fang woFu keru.konoChang He ha,Tong shinon burunoPei Zhi Wei Zhi haBen Wen toTong zinishi,Ni nonburunoWei Zhi haBie noGe Suo ni shi(Li eba,Tong shinonburugaDi notokihaNi nonburuhaTian ),Ben Wen to Tong ziarabiaShu Zi woYong iruga,sonoQian Hou niGua Hu woFu kerunadoshiteQu Bie woFu keruFang Fa gayokuLi Yong sareteiru. 3. Line Composition Xing noZu Ban Chu Li 3.1 Line Composition Rules for Punctuation Marks Yue Wu nadonoZu Ban Chu Li 3.1.1 Differences in Vertical and Horizontal Composition in Use of Punctuation Marks Zong Zu toHeng Zu deYi naruYue Wu nado There are some punctuation marks that are used uniquely in either vertical writing mode or horizontal writing mode. In this document, characters and symbols are treated as members of a character class, classified by their behavior for composition. Each class name is followed by class id, such as opening brackets (cl-01). Details are explained in SS 3.9 About Character Classes Wen Zi kurasunitsuite . The following are some typical examples: Zong Zu toHeng Zu deYi naruYue Wu nadowoShi Yong suruLi gaaru.Zhu naLi woCi niShi su.(na o,Yi Xia noWen Shu deha,Yue Wu woHan muWen Zi Ji Hao nitsuite,sonoZu Ban Shang noZhen ruWu ideFen Lei shi,Wen Zi kurasutoshitegurupuniFen keteXi u.Yong Yu noHou ronoGua Hu Nei ni"(cl-01)"nadotoShi sumonoha,sonoWen Zi kurasunoFan Hao dearu.Wen Zi kurasu noXiang Xi haSS 3.9 About Character Classes Wen Zi kurasunitsuitedeJie Shuo suru. ) 1. Full stops (cl-06) and commas (cl-07) Ju Dian Lei (cl-06)toDu Dian Lei (cl-07) 1. In vertical writing mode, IDEOGRAPHIC FULL STOP ". " and IDEOGRAPHIC COMMA ", " are used for full stops (cl-06) and commas (cl-07). Zong Zu deha,Ju Dian Lei (cl-06)niha,Ju Dian [. ] (IDEOGRAPHIC FULL STOP)wo,Du Dian Lei (cl-07)nihaDu Dian [, ] (IDEOGRAPHIC COMMA)woShi Yong suru. 2. In horizontal writing mode, there are three conventions in choice of symbols for full stops (cl-06) and commas (cl-07): Heng Zu deShi Yong suruJu Dian Lei (cl-06)toDu Dian Lei (cl-07)noZu He seniha, Ci no3tsunoFang Shi gaaru. 1. Using COMMA "," and FULL STOP "." (see Figure 57). konma[,] (COMMA)topiriodo[.] (FULL STOP)woShi Yong suru( Figure 57). Example text using COMMA and FULL STOP. konmatopiriodo woShi Yong shitaLi Figure 57 Example text using COMMA and FULL STOP. konmatopiriodowoShi Yong shitaLi 2. Using COMMA "," and IDEOGRAPHIC FULL STOP ". " (see Figure 58). konma[,] (COMMA)toJu Dian [. ] (IDEOGRAPHIC FULL STOP)woShi Yong suru(Figure 58). Example text using COMMA and IDEOGRAPHIC FULL STOP. kon matoJu Dian woShi Yong shitaLi Figure 58 Example text using COMMA and IDEOGRAPHIC FULL STOP. konmatoJu Dian woShi Yong shitaLi 3. Using IDEOGRAPHIC COMMA ", " and IDEOGRAPHIC FULL STOP " . " (see Figure 59). Du Dian [, ] (IDEOGRAPHIC COMMA)toJu Dian [. ] (IDEOGRAPHIC FULL STOP)woShi Yong suru(Figure 59). Example text using IDEOGRAPHIC COMMA and IDEOGRAPHIC FULL STOP. Du Dian toJu Dian woShi Yong shitaLi Figure 59 Example text using IDEOGRAPHIC COMMA and IDEOGRAPHIC FULL STOP. Du Dian toJu Dian wo Shi Yong shitaLi Note In horizontal writing mode, there are many cases of composition that mixes Japanese and Western text. The convention shown in (i) is a way to apply the same comma and full stop to both Western and Japanese texts for consistency, and is common in books on science and technology. The convention shown in (ii) was invented because in (i) FULL STOP "." appears too small for Japanese texts and using IDEOGRAPHIC FULL STOP ". " for period looks better. This convention has been adopted for Japanese official publications. (In the past, COMMA "," and FULL STOP "." were used for some official publications.) Heng Zu deha,Ou Wen gaHun Yong sareruChang He moDuo i.sokode,Ou Wen noJu Du Dian de arukonmatopiriodotosoroerutoshitanogainoFang Shi dearu.Li Gong Xue Shu deyokuLi Yong sareteiruFang Shi dearu.iiha,inopiriodo[.] (FULL STOP)gaHe Wen tonobaransugaE ku,Xiao saitoiukotokaraJu Dian [. ] (IDEOGRAPHIC FULL STOP)niBian etaFang Fa deari,Ri Ben noGong Yong Wen deCai Yong sareteiruFang Shi dearu(katsutehaGong Yong Wen demo,konma[,] (COMMA)to piriodo[.] (FULL STOP)woShi Yong shitakotogaaru). 2. LEFT CORNER BRACKET "[", RIGHT CORNER BRACKET "] ", LEFT DOUBLE QUOTATION MARK """ and RIGHT DOUBLE QUOTATION MARK """ kagiGua Hu (Shi mekagiGua Hu [[] (LEFT CORNER BRACKET)Ji biZhong warikagiGua Hu [] ] (RIGHT CORNER BRACKET))tokuoteshiyonmaku(Zuo daburu kuoteshiyonmaku["] (LEFT DOUBLE QUOTATION MARK)Ji biYou dabu rukuoteshiyonmaku["] (RIGHT DOUBLE QUOTATION MARK)Bing biniZuo shingurukuoteshiyonmaku['] (LEFT SINGLE QUOTATION MARK)Ji biYou shingurukuoteshiyonmaku['] (RIGHT SINGLE QUOTATION MARK)) 1. In vertical writing mode, LEFT CORNER BRACKET "[" and RIGHT CORNER BRACKET "] " are used for quotations (see Figure 60). Zong Zu deha,Shi mekagiGua Hu [[] (LEFT CORNER BRACKET)Ji biZhong warika giGua Hu [] ] (RIGHT CORNER BRACKET)woYong iru(Figure 60). Examples of quoted text using LEFT CORNER BRACKET and RIGHT CORNER BRACKET. Shi mekagiGua Hu Ji biZhong warikagiGua Hu woShi Yong shitaLi Figure 60 Examples of quoted text using LEFT CORNER BRACKET and RIGHT CORNER BRACKET. Shi mekagiGua Hu Ji biZhong warikagiGua Hu woShi Yong shitaLi 2. In horizontal writing mode, pairs of LEFT DOUBLE QUOTATION MARK """ and RIGHT DOUBLE QUOTATION MARK """ or pairs of LEFT SINGLE QUOTATION MARK "'" and RIGHT SINGLE QUOTATION MARK "'" may be used in place of LEFT CORNER BRACKET "[" and RIGHT CORNER BRACKET "] " (see Figure 61). Heng Zu deha,Shi mekagiGua Hu [[] (LEFT CORNER BRACKET)Ji biZhong warika giGua Hu [] ] (RIGHT CORNER BRACKET)niTi eteZuo daburukuoteshi yonmaku["] (LEFT DOUBLE QUOTATION MARK)Ji biYou daburukuo teshiyonmaku["] (RIGHT DOUBLE QUOTATION MARK),You haZuo shin gurukuoteshiyonmaku['] (LEFT SINGLE QUOTATION MARK)Ji biYou shingurukuoteshiyonmaku['] (RIGHT SINGLE QUOTATION MARK)woYong iruFang Fa gaaru(Figure 61). Examples of quoted text using LEFT DOUBLE QUOTATION MARK and RIGHT DOUBLE QUOTATION MARK. Zuo daburukuoteshiyonmakuJi biYou daburukuoteshiyonmakuwoShi Yong shitaLi Figure 61 Examples of quoted text using LEFT DOUBLE QUOTATION MARK and RIGHT DOUBLE QUOTATION MARK. Zuo daburukuoteshiyonmakuJi biYou daburukuoteshiyonmakuwoShi Yong shitaLi Note This is because LEFT CORNER BRACKET "[" and (especially) RIGHT CORNER BRACKET "] " may not look good in horizontal writing mode, but adoption of corner brackets for horizontal writing mode seems to be increasing. kagiGua Hu (Shi mekagiGua Hu [[] (LEFT CORNER BRACKET)Ji biZhong warika giGua Hu [] ] (RIGHT CORNER BRACKET))woHeng Zu deYong iruto,Te niZhong wa rikagiGua Hu [] ] (RIGHT CORNER BRACKET)noTi Cai gayokunainogaLi You dearu.shikashi,Zui Jin ha,kagiGua Hu noShi Yong gaZeng eteiru. Note Though REVERSED DOUBLE PRIME QUOTATION MARK "``" and LOW DOUBLE PRIME QUOTATION MARK ",," are similar to double quotation marks in appearance (see Figure 62) they are exclusively used for vertical writing mode and are not to be used in horizontal writing mode. daburukuoteshiyonmakuniSi taGua Hu Lei nidaburuminiyuto( Shi medaburuminiyuto[``] (REVERSED DOUBLE PRIME QUOTATION MARK)Ji biZhong waridaburuminiyuto[,,] (LOW DOUBLE PRIME QUOTATION MARK))gaaru(Figure 62).koreha,Zong Zu Zhuan Yong noGua Hu Lei deari,Heng Zu dehaShi Yong shinai. Examples of quoted text using REVERSED DOUBLE PRIME QUOTATION MARK and LOW DOUBLE PRIME QUOTATION MARK. Shi medaburuminiyu toJi biZhong waridaburuminiyutowoShi Yong shitaLi Figure 62 Examples of quoted text using REVERSED DOUBLE PRIME QUOTATION MARK and LOW DOUBLE PRIME QUOTATION MARK. Shi medaburuminiyutoJi biZhong wa ridaburuminiyutowoShi Yong shitaLi Note LEFT DOUBLE QUOTATION MARK """ and RIGHT DOUBLE QUOTATION MARK """ are exclusively for horizontal writing mode and not to be used in vertical writing mode. Also, LEFT SINGLE QUOTATION MARK "'" and RIGHT SINGLE QUOTATION MARK "'" are exclusively for horizontal writing mode and not to be used in vertical writing mode. However, in vertical writing mode, when Western characters (cl-27) are composed rotated 90 degrees clockwise, these quotation marks are sometimes used. Zuo daburukuoteshiyonmaku["] (LEFT DOUBLE QUOTATION MARK)Ji biYou daburukuoteshiyonmaku["] (RIGHT DOUBLE QUOTATION MARK)ha,Heng Zu Zhuan Yong noGua Hu Lei deari,Zong Zu dehaShi Yong shinai .mata,Zuo shingurukuoteshiyonmaku['] (LEFT SINGLE QUOTATION MARK)Ji biYou shingurukuoteshiyonmaku['] (RIGHT SINGLE QUOTATION MARK)moHeng Zu Zhuan Yong noGua Hu Lei deari,Zong Zu dehaShi Yong shinai.tadashi,Zong Zu nioiteOu Wen Yong Wen Zi (cl-27)nadowoShi Ji Hui ri ni90Du Hui Zhuan sasetePei Zhi suruChang He niShi Yong suruLi gaaru. 3. LEFT SQUARE BRACKET "[", RIGHT SQUARE BRACKET "]", LEFT TORTOISE SHELL BRACKET "[" and RIGHT TORTOISE SHELL BRACKET "] " buraketsuto(Shi meDa Gua Hu [[] (LEFT SQUARE BRACKET)Ji biZhong wariDa Gua Hu []] (RIGHT SQUARE BRACKET))to,kitsukou(Shi mekitsukouGua Hu [[] (LEFT TORTOISE SHELL BRACKET)Ji biZhong warikitsukouGua Hu [] ] (RIGHT TORTOISE SHELL BRACKET)) LEFT TORTOISE SHELL BRACKET "[" and RIGHT TORTOISE SHELL BRACKET "] " are vertical variants of LEFT SQUARE BRACKET "[" and RIGHT SQUARE BRACKET "]", which are used in horizontal writing mode. Square brackets should be used in horizontal writing mode except for special cases. buraketsuto([ ])woZong Zu Yong niBian Xing shitamonoga,kitsukou([ ] ) dearu.shitagatsute,Te Bie naChang He woChu ki,Heng Zu dehaburaketsutowoShi Yong su ru. Note The position of the letter face of commas (cl-07) and full stops (cl-06) within the character frame differs in vertical and horizontal writing modes. The same letter face can be used for opening brackets (cl-01), closing brackets (cl-02) and hyphens (cl-03) in both vertical and horizontal writing mode by rotating clockwise 90 degrees to the inline direction. The position of the letter face of small kana (cl-11) symbols within the character frame is different in vertical and horizontal writing modes. For KATAKANA-HIRAGANA PROLONGED SOUND MARK "", the difference between vertical and horizontal writing modes is not only in the orientation of the letter form to the inline direction, but also the shape of the symbol (see Figure 63). Ju Dian Lei (cl-06)Ji biDu Dian Lei (cl-07)ha,Zong Zu Yong toHeng Zu Yong deha,Wen Zi noWai Waku niDui suruZi Mian noPei Zhi Wei Zhi gaYi naru.Shi meGua Hu Lei (cl-01),Zhong wariGua Hu Lei ( cl-02)Ji bihaihunLei (cl-03)ha,Zong Zu Yong toHeng Zu Yong deZi Mian noXiang kiwoBian Geng su ru.sonoTa ,Xiao Shu kinoJia Ming (cl-11)ha,Qian Shu shitayouniWen Zi noWai Waku niDui suru Zi Mian noWei Zhi gaZong Zu Yong toHeng Zu Yong dehaYi naru.mata,Chang Yin Ji Hao [] (KATAKANA-HIRAGANA PROLONGED SOUND MARK)ha,Zi Xing noXiang kiwoBian Geng surudake dehanaku,Zi Xing sonomonomoBian Geng shiteiru.Heng Zu Yong noChang Yin Ji Hao ha,Zong Zu Yong noChang Yin Ji Hao woDan Chun niFan Shi Ji Hui rini90Du Hui Zhuan shitamonodehanai(Figure 63). KATAKANA-HIRAGANA PROLONGED SOUND MARK for vertical and horizontal writing modes. Heng Zu Yong noChang Yin Ji Hao toZong Zu Yong noChang Yin Ji Hao Figure 63 KATAKANA-HIRAGANA PROLONGED SOUND MARK for vertical and horizontal writing modes. Heng Zu Yong noChang Yin Ji Hao toZong Zu Yong noChang Yin Ji Hao 3.1.2 Positioning of Punctuation Marks (Commas, Periods and Brackets) Ju Du Dian ya,Gua Hu Lei nadonoJi Ben De naPei Zhi Fang Fa The positioning of punctuation marks (commas, periods and brackets) in a line proceeds as follows. Yue Wu nadowoXing niPei Zhi suruChang He noJi Ben De naPei Zhi ha,Ci noyounisuru. Note Basic processing of characters and symbols, including punctuation marks, which are subject to considerations of line head wrapping, line end wrapping and inter-character spacing adjustment, will be described in detail in SS 3.9 About Character Classes Wen Zi kurasunitsui te . All combinations of character class are provided as a complete table in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang . Yue Wu woHan me,sonoTa noWen Zi Ji Hao woXing Tou Ji biXing Mo niPei Zhi suruFang Fa ,Bing biniLin Jie suruWen Zi noJian Ge noYuan Ze De naChu Li Fang Fa nitsuitenoXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeShuo Ming suruWen Zi kurasuniCong i,Biao no Xing Shi nishiteSS B. Spacing between Characters Wen Zi Jian noKong kiLiang niShi su. The character advance of commas (cl-07), full stops (cl-06), opening brackets (cl-01), closing brackets (cl-02) and middle dots (cl-05) is half-width (half em). But when those punctuation marks are placed side-by-side with ideographic (cl-19), hiragana (cl-15), or katakana (cl-16) characters, in principle, a given amount of spacing will be inserted before or after the symbols, which makes them appear as if they were intrinsically full-width (one em) (see Figure 64). Spacing is inserted before and after middle dots (cl-05). This principle makes the symbols consistent with ideographic (cl-19), hiragana (cl-15) and katakana (cl-16) characters in character width, and at the same time the spacing for punctuation helps to make the organization of text clearer. The spacing added before or after punctuation marks is subject, in principle, to line adjustment and may eventually be removed, except for that added after full stops (cl-06). (Details of line adjustment are discussed in SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li ). Du Dian Lei (cl-07),Ju Dian Lei (cl-06),Shi meGua Hu Lei (cl-01),Zhong wariGua Hu Lei ( cl-02)Ji biZhong Dian Lei (cl-05)noZi Fu ha,Ban Jiao dearuga,koreranoYue Wu gaHan Zi Deng (cl-19),Ping Jia Ming (cl-15)You haPian Jia Ming (cl-16)toLian Sok suruChang He ha,Yuan Ze toshite,sorezorenoYue Wu noQian You haHou ro(Zhong Dian Lei (cl-05)ha,sonoQian Ji biHou ro )niYi Ding noKong kiLiang wotorukotode,Jie Guo toshiteQuan Jiao toiusaizuninaru( Figure 64).Han Zi Deng (cl-19),Ping Jia Ming (cl-15),Ji biPian Jia Ming (cl-16)no Quan Jiao toiusaizutosoroerutotomoni,koreranoYue Wu noQian Ji bi/You haHou roni Kong kiLiang wotorukotoniyori,Wen Zhang noQu Qie riwoShi sutamedearu.Xing Zhong denoJu Dian Lei (cl-06)noHou ronoKong kiLiang woChu ite,Yuan Ze toshitaKong kiLiang ha,Xing noDiao Zheng Chu Li nio keruJie meruChang He noDui Xiang toshi,Jie Guo De ni0tonarukotomoaru(Xing noDiao Zheng Chu Li nitsu itehaSS 3.8 Line Adjustment Xing noDiao Zheng Chu Li woCan Zhao ). Character widths of commas, periods, and the spacing appended before and/or after the symbols. Character widths of commas, periods, and the spacing appended before and/or after the symbols. Ju Du Dian nadonoZi Fu toQian Hou noKong kiLiang Ju Du Dian nadonoZi Fu toQian Hou noKong kiLiang Figure 64 Character widths of commas, periods, and the spacing appended before and/or after the symbols. Ju Du Dian nadonoZi Fu toQian Hou noKong kiLiang 1. After commas (cl-07), half em spacing is added, in principle. Du Dian Lei (cl-07)deha,Yuan Ze toshiteHou rowoEr Fen akinisuru. 2. After full stops (cl-06), in the middle of a line, half em spacing is added. At the end of a line, half em spacing is added, in principle. Ju Dian Lei (cl-06)deha,Xing Zhong dehaHou rowoEr Fen akinishi,Xing Mo dehaHou rowoYuan Ze toshiteEr Fen akinisuru. 3. Before opening brackets (cl-01), half em spacing is added, in principle. Shi meGua Hu Lei (cl-01)deha,Yuan Ze toshiteQian woEr Fen akinisuru. 4. After closing brackets (cl-02), half em spacing is added, in principle. Zhong wariGua Hu Lei (cl-02)deha,Yuan Ze toshiteHou rowoEr Fen akinisuru. 5. Before and after middle dots (cl-05), quarter em spacing is added, in principle. Zhong Dian Lei (cl-05)deha,Yuan Ze toshiteQian Ji biHou rowoSi Fen akinisuru. Note In font implementations, punctuation marks can be given a different character width, but it is expected that the font is capable of following the line composition rules explained here to produce the final result. For example, when opening brackets (cl-01) and closing brackets (cl-02) are implemented with full-width size, it is possible that a minus half em spacing is used between adjacent closing brackets (cl-02) and opening brackets (cl-01) (Some implementations prepare minus half em spaces and quarter em spaces). In letterpress printing, it was also common practice to combine punctuation marks with a half-width body and half em spaces in order to make it easier to remove the space later for adjustment. Because of that, the types were picked up except for the punctuation marks at the type-picking phase, following the manuscript, and the punctuation marks were picked only when they were necessary in composing a page. Later, with the increasing adoption of Monotype machines, punctuation marks with a full-width body became popular and both full-width and half-width punctuation marks have been used, mixed together, since then. Ge huontogaChi tsuteiruYue Wu gadonoyounaZi Fu woChi tsuteirukahaWen Ti toshina i.Jie Guo toshite,kokodeShuo Ming shitaPei Zhi Fang Fa ninarebayoi.Li eba,Shi meGua Hu Lei (cl-01)Ji biZhong wariGua Hu Lei (cl-02)noZi Fu woQuan Jiao toshiteXi uChang He ,Zhong wa riGua Hu Lei (cl-02)noHou roniShi meGua Hu Lei (cl-01)gaLian Sok surutokiha,sonoZi Jian nimainasuEr Fen akiwoCha Ru surutoKao etemoyoi(mainasunoEr Fen akiYou ha Si Fen akiwoYong Yi shiteiruChu Li Xi moaru).nao,Huo Zi Zu Ban nioitemo,Er Fen akiwoDiao Zheng surutameni,Ban Jiao nobodei+Er Fen akitoiuFang Fa gaYi Ban De deatsu ta.sonotameniYuan Gao niCong tsuteHuo Zi woJi meruZuo Ye dearuWen Xuan dehaJu Du Dian yaGua Hu Lei haShi wazu,pezinoTi Cai nisuruZhi Zi noJi niYue Wu woShi tsuteita.sonoHou ,mo notaipunoLi Yong gaJin mi,Quan Jiao saizunobodeinoYue Wu moLi Yong sareruyouninari ,Quan Jiao toBan Jiao noYue Wu gaHun Yong saretekita. Positioning of parentheses and brackets. (The left-hand side shows an example of setting them solid.) Shi meXiao Gua Hu Ji biZhong wariXiao Gua Hu Bing biniShi me Shan Gua Hu Ji biZhong wariShan Gua Hu noPei Zhi Li (Zuo gabetaZu toshitaLi ) Figure 65 Positioning of parentheses and brackets. (The left-hand side shows an example of setting them solid.) Shi meXiao Gua Hu Ji biZhong wariXiao Gua Hu Bing biniShi me Shan Gua Hu Ji biZhong wariShan Gua Hu noPei Zhi Li (Zuo gabetaZu toshitaLi ) Note Among opening brackets (cl-01) and closing brackets (cl-02), LEFT PARENTHESIS "(", RIGHT PARENTHESIS ")", LEFT ANGLE BRACKET "<" and RIGHT ANGLE BRACKET "> " are used to indicate supplementary explanations, and in that case their usage differs slightly from other opening brackets (cl-01) and closing brackets (cl-02). To reflect the difference, there is an alternative convention to not append half em spacing before or after the parentheses and angle brackets, and instead just set them solid (see Figure 65). Shi meGua Hu Lei (cl-01),Zhong wariGua Hu Lei (cl-02)nouchi,Shi meXiao Gua Hu [(] (LEFT PARENTHESIS)Ji biZhong wariXiao Gua Hu [)] (RIGHT PARENTHESIS)Bing biniShi me Shan Gua Hu [<] (LEFT ANGLE BRACKET)Ji biZhong wariShan Gua Hu [> ] (LEFT ANGLE BRACKET)ha,Bu Zu Shuo Ming Deng niLi Yong sare,Ta noShi meGua Hu Lei (cl-01),Zhong wariGua Hu Lei (cl-02)toXi igayayaYi naru.konoyounakotokara,Shi meXiao Gua Hu [(] (LEFT PARENTHESIS)Ji biZhong wariXiao Gua Hu [)] (RIGHT PARENTHESIS)Bing biniShi me Shan Gua Hu [<] (LEFT ANGLE BRACKET)Ji biZhong wariShan Gua Hu [> ] (LEFT ANGLE BRACKET)nitsuiteha,sonoQian You haHou ronoEr Fen akiwoQue Bao shinaide,betaZu to suruFang Zhen deChu Li suruFang Fa moaru(Figure 65). 3.1.3 Exceptional Positioning of Ideographic Comma and Katakana Middle Dot Du Dian Ji biZhong Dian noLi Wai De naPei Zhi Fang Fa The spacing usually added after IDEOGRAPHIC COMMA ", " and the spacing before and after KATAKANA MIDDLE DOT "" are omitted, in principle, for cosmetic reasons in the following cases. Ci noyounaChang He nioiteha,Du Dian [, ] (IDEOGRAPHIC COMMA)noHou roJi biZhong Dian [] (KATAKANA MIDDLE DOT)noQian Hou noKong kiLiang wotoranaikotowoYuan Ze tosuru. korehaTi Cai Shang karanoChu Li dearu. 1. In vertical writing mode, ideographic numerals and IDEOGRAPHIC COMMA ", " used as a decimal separator are set solid (as in the right line in Figure 66). Zong Zu nioiteHan Shu Zi noWei Qu riwoShi suDu Dian [, ] (IDEOGRAPHIC COMMA)noHou rohabetaZu nisuru(Figure 66noYou Ce ). Example of exceptional positioning of the IDEOGRAPHIC COMMA. Du Dian noLi Wai De naPei Zhi Li Figure 66 Example of exceptional positioning of the IDEOGRAPHIC COMMA. Du Dian noLi Wai De naPei Zhi Li Note In vertical writing mode, ideographic digits used with IDEOGRAPHIC COMMA ", " to represent an approximate number are expected to be set solid too (as in the right line in Figure 67). Zong Zu nioiteHan Shu Zi deGai Lue noShu woShi suChang He mo,Ti Cai noMian karaDu Dian [, ] (IDEOGRAPHIC COMMA)noHou rohabetaZu nisurukotogaWang mashii(Figure 67 noYou Ce ). Example of the positioning of IDEOGRAPHIC COMMA with ideographic digits to represent an approximate number. Han Shu Zi deGai Lue noShu woShi su Du Dian noPei Zhi Li Figure 67 Example of the positioning of IDEOGRAPHIC COMMA with ideographic digits to represent an approximate number. Han Shu Zi deGai Lue noShu woShi suDu Dian noPei Zhi Li 2. In vertical writing mode, ideographic digits and KATAKANA MIDDLE DOT "" representing a decimal point are set solid (as in the right line in Figure 68). Zong Zu nioiteHan Shu Zi noXiao Shu Dian woShi suZhong Dian [] (KATAKANA MIDDLE DOT)no Qian Hou habetaZu nisuru(Figure 68noYou Ce ). Example of the exceptional positioning of KATAKANA MIDDLE DOT. Zhong Dian noLi Wai noPei Zhi Li Figure 68 Example of the exceptional positioning of KATAKANA MIDDLE DOT. Zhong Dian noLi Wai noPei Zhi Li Note In vertical writing mode, when KATAKANA MIDDLE DOT "" is used as a member of unit symbols (cl-25) in unit symbols, grouped numerals (cl-24), and Western characters (cl-27) in mathematical and chemical formulae, before and after KATAKANA MIDDLE DOT "" is set solid. nao,Heng Zu nioite,Zhong Dian [] (KATAKANA MIDDLE DOT)woDan Wei Ji Hao Zhong no Wen Zi (cl-25)toshiteDan Wei Ji Hao noZhong deShi Yong suruChang He ,Zhong Dian [] (KATAKANA MIDDLE DOT)woLian Shu Zi Zhong noWen Zi (cl-24)noZhong deShi Yong suruChang He Ji biOu Wen Yong Wen Zi (cl-27)woYong itaShu Shi Hua Xue Shi noZhong deShi Yong suruChang He ha,[] (KATAKANA MIDDLE DOT)noQian Hou habetaZu nisuru. 3.1.4 Positioning of Consecutive Opening Brackets, Closing Brackets, Commas, Full Stops and Middle Dots Shi meGua Hu Lei ,Zhong wariGua Hu Lei ,Du Dian Lei , Ju Dian Lei Ji bi Zhong Dian Lei ga Lian Sok suru Chang He no Pei Zhi Fang Fa In cases where multiple punctuation marks, such as opening brackets (cl-01), closing brackets (cl-02), commas (cl-07), full stops (cl-06) and middle dots (cl-05), come one after the other, the following spacing adjustments are made for aesthetic reasons (see Figure 69). Note also that the half em and quarter em spacing added before or after punctuation marks, including the half em spacing after full stops (cl-06) appearing in the middle of a line, are subject, in principle, to line adjustment and may eventually be removed, except for those added after full stops (cl-06). (See SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li for more about line adjustment.) For more information about the positioning of closing brackets (cl-02), full stops (cl-06) , commas (cl-07) and middle dots (cl-05) at line end, see SS 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji bi Zhong Dian Lei no Pei Zhi Fang Fa . Shi meGua Hu Lei (cl-01),Zhong wariGua Hu Lei (cl-02),Du Dian Lei (cl-07),Ju Dian Lei ( cl-06)Ji biZhong Dian Lei (cl-05)gaLian Sok suruChang He ha,Ci noyounisuru(Figure 69 ).korehaTi Cai Shang karanoChu Li dearu.nao,Xing Zhong niokeruJu Dian Lei (cl-06)no Hou ronoEr Fen akiwoChu ite,Xing Mo niokeruJu Dian Lei (cl-06)noHou ronoEr Fen akiwo Han meteYuan Ze toshiteEr Fen akiYou haSi Fen akitosuruGe Suo ha,Xing noDiao Zheng Chu Li noJie me ruChang He noDui Xiang nishiteyoi(Xing noDiao Zheng Chu Li nitsuiteha,SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li woCan Zhao ).nao,Xing Mo niPei Zhi suruZhong wariGua Hu Lei (cl-02),Ju Dian Lei (cl-06),Du Dian Lei (cl-07)Ji biZhong Dian Lei (cl-05)noPei Zhi Fang Fa nitsuiteha SS 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji bi Zhong Dian Lei no Pei Zhi Fang Fa woCan Zhao . 1. When closing brackets (cl-02) come immediately after commas (cl-07) or full stops (cl-06), remove the default half em spacing between them and, in principle, add half em spacing after the closing brackets (see Figure 69 1). Du Dian Lei (cl-07)You haJu Dian Lei (cl-06)noHou roniZhong wariGua Hu Lei (cl-02)ga Lian Sok suruChang He ha,Du Dian Lei (cl-07)You haJu Dian Lei (cl-06)toZhong wariGua Hu Lei noZi Jian habetaZu toshi,Zhong wariGua Hu Lei noHou rowoYuan Ze toshiteEr Fen akitosuru (Figure 69no1). 2. When commas (cl-07) come immediately after closing brackets (cl-02), remove the default half em spacing between them and, in principle, add half em spacing after the comma. When full stops (cl-06) come immediately after closing brackets (cl-02), remove the default half em spacing between them and, in middle of a line, add half em spacing after the full stop; at the end of a line, in principle, add half em spacing after the full stop (see Figure 69 2). Zhong wariGua Hu Lei (cl-02)noHou roniDu Dian Lei (cl-07)gaLian Sok suruChang He ha,Zhong wariGua Hu Lei (cl-02)toDu Dian Lei (cl-07)noZi Jian habetaZu toshi,Du Dian Lei ( cl-07)noHou rowoYuan Ze toshiteEr Fen akitosuru.mata,Zhong wariGua Hu Lei ( cl-02)noHou roniJu Dian Lei (cl-06)gaLian Sok suruChang He ha,Zhong wariGua Hu Lei ( cl-02)toJu Dian Lei (cl-06)noZi Jian habetaZu toshi,Xing Zhong dehaJu Dian Lei (cl-06 )noHou rowoEr Fen akitoshi,Xing Mo dehaJu Dian Lei (cl-06)noHou rowoYuan Ze toshite Er Fen akitosuru(Figure 69no2). 3. When opening brackets (cl-01) come immediately after commas (cl-07), in principle, add half em spacing between them (see Figure 69 3). When opening brackets (cl-01) come immediately after full stops (cl-06) in the middle of a line, add half em spacing between them. Note that when full stops (cl-06) come in the bottom of lines, in principle, add half em spacing after full stops (cl-06). Du Dian Lei (cl-07)noHou roniShi meGua Hu Lei (cl-01)gaLian Sok suruChang He ha,Du Dian Lei toShi meGua Hu Lei noZi Jian ha,Yuan Ze toshiteEr Fen akitosuru(Figure 69no3) .mata,Xing Zhong deJu Dian Lei (cl-06)noHou roniShi meGua Hu Lei (cl-01)gaLian Sok su ruChang He ha,Ju Dian Lei toShi meGua Hu Lei noZi Jian ha,Er Fen akitosuru.tadashi,Ju Dian Lei (cl-06)gaXing Mo niWei Zhi shitaChang He ha,Ju Dian Lei (cl-06)noHou rowoYuan Ze toshiteEr Fen akinisuru. 4. When opening brackets (cl-01) come immediately after closing brackets (cl-02), in principle, add a half em space between them (see Figure 69 4). Zhong wariGua Hu Lei (cl-02)noHou roniShi meGua Hu Lei (cl-01)gaLian Sok suruChang He ha ,Zhong wariGua Hu Lei toShi meGua Hu Lei noZi Jian ha,Yuan Ze toshiteEr Fen akitosuru( Figure 69no4). 5. When opening brackets (cl-01) come immediately after other opening brackets (cl-01), set them solid and, in principle, add half em spacing before the first one (see Figure 69 5). Shi meGua Hu Lei (cl-01)noHou roniShi meGua Hu Lei (cl-01)gaLian Sok suruChang He ha, sonoZi Jian habetaZu toshi,Qian nikuruShi meGua Hu Lei noQian woYuan Ze toshiteEr Fen aki tosuru(Figure 69no5). 6. When closing brackets (cl-02) come immediately after other closing brackets (cl-02), set them solid and, in principle, add half em spacing after the last closing bracket (see Figure 69 6). Zhong wariGua Hu Lei (cl-02)noHou roniZhong wariGua Hu Lei (cl-02)gaLian Sok suruChang He ha,sonoZi Jian habetaZu toshi,Hou ronikuruZhong wariGua Hu Lei noHou rowoYuan Ze toshi teEr Fen akitosuru(Figure 69no6). 7. When middle dots (cl-05) come immediately after closing brackets (cl-02), in principle, add quarter em spacing before the following middle dot (see Figure 69 7). Zhong wariGua Hu Lei (cl-02)noHou roniZhong Dian Lei (cl-05)gaLian Sok suruChang He ha,Hou ronoZhong Dian Lei noQian Ji biHou rowoYuan Ze toshiteSi Fen akitosuru(Figure 69no7) . 8. When opening brackets (cl-01) come immediately after middle dots (cl-05), in principle, add quarter em spacing after the preceding middle dot (see Figure 69 7). Zhong Dian Lei (cl-05)noHou roniShi meGua Hu Lei (cl-01)gaLian Sok suruChang He ha,Qian no Zhong Dian Lei noHou rowoYuan Ze toshiteSi Fen akitosuru(Figure 69no7). Examples of line adjustment with multiple opening brackets, closing brackets, commas, full stops or middle dots. Shi meGua Hu Lei ,Zhong wariGua Hu Lei ,Du Dian Lei ,Ju Dian Lei Ji biZhong Dian Lei gaLian Sok suruChang He noPei Zhi Li Figure 69 Examples of line adjustment with multiple opening brackets, closing brackets, commas, full stops or middle dots. Shi meGua Hu Lei ,Zhong wariGua Hu Lei ,Du Dian Lei , Ju Dian Lei Ji biZhong Dian Lei gaLian Sok suruChang He noPei Zhi Li The line adjustment rules shown above have been established because the default half em spacing before or after consecutive punctuation marks, or quarter em spacing before and after them, makes the line look sparse and doesn't make the line appear well-proportioned (see Figure 70). sorezorenoHou roYou haQian woEr Fen aki,You haQian Hou woSi Fen akinishi,Quan Jiao noFu nisu rutoKong kiLiang gaMu Li chi,Ti Cai gayokunaikaradearu(Figure 70). Examples of bad line composition with unadjusted spacing between multiple opening brackets, closing brackets, commas, full stops or middle dots. Shi meGua Hu Lei ,Zhong wariGua Hu Lei ,Du Dian Lei ,Ju Dian Lei Ji biZhong Dian Lei gaLian Sok suruChang He noBu Shi Qie naPei Zhi Li Figure 70 Examples of bad line composition with unadjusted spacing between multiple opening brackets, closing brackets, commas, full stops or middle dots. Shi meGua Hu Lei ,Zhong wariGua Hu Lei ,Du Dian Lei ,Ju Dian Lei Ji biZhong Dian Lei gaLian Sok suruChang He noBu Shi Qie naPei Zhi Li Note Japanese composition is based on the design of full-width characters, but strictly following full-width based composition sometimes produces an unbalanced appearance. In such exceptional cases, the appearance of the resulting composition must be given higher priority than the full-width design principle. When and how to invoke such exceptional procedures has a direct bearing on the quality of the text layout. In other words, it is a matter of how to resolve the conflicts between the principle and the products of it. Ri Ben Yu Zu Ban deha,Quan Jiao woJi Ben tosuruga,sonoYuan Ze Tong rinisurutoTi Cai gayokuna iChang He gaChu tekuru.konoyounaLi Wai De naChang He ha,Yuan Ze dearuQuan Jiao nisurunode hanaku,Ti Cai woYou Xian shi,Quan Jiao toshinaiLi Wai Chu Li woXing u.konoLi Wai Chu Li wodono younaGe Suo de,donoyouniXing ukagaZu Ban noPin Zhi nikarandekuru.ikaniMao Dun woJie Jue suruka,toiuWen Ti demoaru. 3.1.5 Positioning of Opening Brackets at Line Head Xing Tou no Shi meGua Hu Lei no Pei Zhi Fang Fa When starting a new line with opening brackets (cl-01) there are some patterns as shown in Figure 71. Note that the amount of line indent after the line feed (the first line indent of a new paragraph) is assumed to be a one em space across all the patterns. Xing Tou niPei Zhi suruShi meGua Hu Lei (cl-01)noPei Zhi Fang Fa niha,Figure 71noyounaFang Shi gaaru.nao,Gai Xing noXing Tou (Duan Luo niokeruDi 1Xing Mu noXing Tou )noZi Xia gewoQuan Jiao akitosuruChang He dearu. 1. The first line indent after the line feed is set full-width (one em) and the next line after the first line break starts with no space (so-called tentsuki) (see Figure 71 1). Gai Xing Xing Tou noZi Xia gehaQuan Jiao aki,Zhe Fan shiXing Tou haXing Tou niKong kiLiang wotoranaiPei Zhi Fa dearuTian Fu kitosuru(Figure 71no1). 2. The first line indent after the line feed is set one and a half em and the next line indent after the first line break is set to a half em (see Figure 71 2). Gai Xing Xing Tou noZi Xia gehaQuan Jiao Ban (Quan Jiao no1.5Bei )aki,Zhe Fan shiXing Tou noZi Xia geha Er Fen akitosuru(Figure 71no2). 3. The first line indent after the line feed is set at a half em and the next line after the first line break is set tentsuki (see Figure 71 3). Gai Xing Xing Tou noZi Xia gehaEr Fen aki,Zhe Fan shiXing Tou haTian Fu kitosuru(Figure 71no 3). Examples of positioning of opening brackets at line head. Xing Tou niPei Zhi suruShi meGua Hu Lei noPei Zhi Li Figure 71 Examples of positioning of opening brackets at line head. Xing Tou niPei Zhi suruShi meGua Hu Lei noPei Zhi Li Note Because the inherent character width of a bracket is considered to be half-width, Figure 71 1 can be explained as the result of applying the principle that any line should start with no spacing. On the other hand, the principle represented by Figure 71 2 is to assume that opening brackets should be always accompanied by the preceding half em spacing as if they were full-width and then apply the same principle as in Figure 71 1. JIS X 4051 adopts the principle shown in 1 (the patterns shown in 2 is offered as options) . The pattern shown in 3 was first invented in books such as novels, which use frequent line feeds and corner brackets in dialogues, for which the first line indent with one em spacing or one and a half em spacing (then this pattern was accepted and adopted by general books). Major Japanese publishers who deal with literature, such as Kodansha, Shinchosha, Bungei Shunju, Chuoh Kouronsha, and Chikuma Shobo, have adopted the pattern shown in 3. By contrast, Iwanami Shoten and other publishers adopted the pattern shown in 1. Because Iwanami Shoten once adopted pattern 2 in vertical composition, there used to be many examples of it, but few examples of 2 can be found today. Yuan "Gua Hu Lei noZi Fu haBan Jiao deatsutanodearukara,He moKong kiLiang woRu renakereba Figure 71no1noFang Fa tonaru.koreniDui shi,2noFang Fa ha,Xing Tou noGua Hu Lei noZi Fu ni tsuiteKong kiLiang woHan meteQuan Jiao tosuruChu Li Fang Fa dearu.JIS X 4051deha,1noFang Fa woCai Yong shiteiru(tadashi,opushiyonde2noFang Fa moXuan Ze dekiru).3noFang Fa ha ,Xiao Shuo nadodeHui Hua gaDuo iChang He ,Gai Xing Xing Tou noGua Hu noZi Xia gewoQuan Jiao akiYou haQuan Jiao Ban (Quan Jiao no1.5Bei )akitosurutoXia gariGuo gininarukotokaraKao eraretaFang Fa de aru(koregaYi Ban Shu nimoCai Yong sareruyouninatsuteiru).Jiang Tan She ,Xin Chao She , Wen Yi Chun Qiu ,Zhong Yang Gong Lun Xin She ,Zhu Mo Shu Fang nadoWen Yun Guan Xi noChu Ban She deha,3noFang Fa gaCai Yong sareteiru.Yan Bo Shu Dian yasonoTa noChu Ban She deha1noFang Fa woCai Yong shiteiru.Yi Qian noYan Bo Shu Dian noZong Zu deha2noFang Fa deari,konoFang Fa woCai Yong shiteiruLi hakanaria tsuta.shikashi,Jin Ri deha2noFang Fa woCai Yong shiteiruLi haShao nakunatsuta. Note The first line indent of a new paragraph is full-width in principle. However, the following exceptions can be found. Duan Luo noZui Chu noXing Tou noZi Xia geha,Quan Jiao akitosurunogaYuan Ze dearu.tadashi,Ci noyounaWen Ti Dian gaaru. 1. The most popular scheme is to set the first line indent of all new paragraphs to full-width. However, even if there is a paragraph break and the new line looks like the beginning of new paragraph, in contexts where the new line is a continuation of the preceding line, the new line is set tentsuki as shown in Figure 72. (There are books such as novels which adopt full-width line indent without exception.) Similarly, in horizontal writing mode, the line indent is set tentsuki where the new line continues the preceding line of a mathematical expression connected by conjunctions such as "therefore". subetenoDuan Luo noZui Chu noXing Tou noZi Xia gewoQuan Jiao akitosuru.koregaYi Ban De na Fang Shi dearu.nao,Duan Luo noZui Chu noXing Tou noZi Xia gewoQuan Jiao akitosuruChang He de mo,Figure 72niShi suyouni,Wen Jie gaLian Sok shiteirutokiha,Tian Fu kitosuru (Xiao Shuo nadodehaZi Xia gewoQuan Jiao akitosuruFang Shi moCai Yong sareteiru).Heng Zu deBie Xing tosuruShu Shi wo"dearukara"nadodeShou keruDuan Luo moTian Fu kitosuru. Examples of line indent followed by the preceding line with quoted text (as in dialogues). Bie Xing noGua Hu Shu ki(Hui Hua nado)noCi niku ruXing Tou noPei Zhi Li Figure 72 Examples of line indent followed by the preceding line with quoted text (as in dialogues). Bie Xing noGua Hu Shu ki (Hui Hua nado)noCi nikuruXing Tou noPei Zhi Li 2. When headings have no line indent, the first line indent of the first paragraph after the heading can be also set tentsuki, for cosmetic reasons. However, it is not recommended to set the first line indent to tentsuki for all paragraphs, because it would make paragraph breaks unclear. Jian Chu shinoZi Xia gewo"0"toshitaChang He ,Ti Cai woKao Lu shite,sonoZhi Hou noDuan Luo nio keruZui Chu noXing Tou niXian riTian Fu kitosuruFang Fa moaru.nao,subetenoDuan Luo ni okeruZui Chu noXing Tou woTian Fu kitosuruto,Duan Luo noQu Qie rigaaimaininariWang mashikunai. 3.1.6 Positioning of Dividing Punctuation Marks (Question Mark and Exclamation Mark) and Hyphens Qu Qie riYue Wu Ji bihaihunLei noPei Zhi Fang Fa The dividing punctuation marks (cl-04) (QUESTION MARK "?" and EXCLAMATION MARK "!") should be full-width, and they are typeset as follows. Qu Qie riYue Wu (cl-04)(Yi Wen Fu [?] (QUESTION MARK)toGan Tan Fu [!] (EXCLAMATION MARK))noZi Fu ha,Quan Jiao toshi,Ci noyouniPei Zhi suru. 1. Basically, add no spacing before dividing punctuation marks (cl-04) at the end of a sentence and add one em spacing after them (see Figure 73). However when a closing bracket (cl-02) follows right after the dividing punctuation mark, add no spacing after the dividing punctuation mark and add half em spacing after the closing bracket (see Figure 73). Wen Mo nikuruQu Qie riYue Wu (cl-04)noQian habetaZu toshi,Qu Qie riYue Wu (cl-04 )noHou rohaQuan Jiao akitosuru(Figure 73).tadashi,Qu Qie riYue Wu noHou roni Zhong wariGua Hu Lei (cl-02)gakuruChang He ha,konoZi Jian habetaZu toshi,Zhong wariGua Hu Lei noHou rowoEr Fen akinisuru(Figure 73). Positioning of dividing punctuation marks (Examples in vertical writing mode). Qu Qie riYue Wu noPei Zhi Li (Zong Zu noChang He ) Figure 73 Positioning of dividing punctuation marks (Examples in vertical writing mode). Qu Qie riYue Wu noPei Zhi Li (Zong Zu noChang He ) Note Many implementations use full-width ideographic space (cl-14) for the one em spacing to be appended after dividing punctuation marks (cl-04). Qu Qie riYue Wu (cl-04)noHou ronoQuan Jiao akiha,Tong Chang ,Quan Jiao noHe Zi Jian Ge ( cl-14)woYong iteKong keteiru. Note No full stops (cl-06) should be appended after dividing punctuation marks (cl-04) at the end of a sentence. Wen Mo niQu Qie riYue Wu (cl-04)gaFu itaChang He ha,Ju Dian Lei (cl-06)haFu kena i. Note There are some cases where dividing punctuation marks (cl-04) are used in the middle of a sentence, not at the end. In those cases, either add no spacing or a quarter em spacing before and after the dividing punctuation mark see Figure 74). Wen Mo dehanaku,Wen Zhong deQu Qie riYue Wu (cl-04)gaFu kuChang He gaaru.konoChang He ha,Qu Qie riYue Wu noQian Hou wobetaZu nisuruka,sonoQian Hou woSi Fen akinisuru( Figure 74). Examples of positioning of dividing punctuation marks in the middle of a sentence (in vertical writing mode). Wen Zhong noQu Qie riYue Wu noPei Zhi Li (Zong Zu noChang He ) Figure 74 Examples of positioning of dividing punctuation marks in the middle of a sentence (in vertical writing mode). Wen Zhong noQu Qie riYue Wu noPei Zhi Li (Zong Zu noChang He ) Note The details of composition rules for dividing punctuation marks (cl-04) and hyphens (cl-03) are described in [[[# spacing_between_characters"]]] as a complete table, in accordance with the descriptions of character classes in SS 3.9 About Character Classes Wen Zi kurasunitsuite . Qu Qie riYue Wu (cl-04)Ji bihaihunLei (cl-03)noPei Zhi Fang Fa nitsuitenoXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeShuo Ming suru Wen Zi kurasuniCong i,Biao noXing Shi nishiteSS B. Spacing between Characters Wen Zi Jian noKong kiLiang deShi su. 2. When dividing punctuation marks (cl-04) at the end of a sentence reach the end of a line, apply the following rules (see Figure 75 ). Wen Mo niFu kuQu Qie riYue Wu (cl-04)gaXing Mo nikuruChang He ha,Ci noyounisuru( Figure 75). Examples of positioning of dividing punctuation marks at the end of a line (in vertical writing mode). Xing Mo noQu Qie riYue Wu noPei Zhi Li ( Zong Zu noChang He ) Figure 75 Examples of positioning of dividing punctuation marks at the end of a line (in vertical writing mode). Xing Mo noQu Qie riYue Wu noPei Zhi Li (Zong Zu noChang He ) 1. If the line length is 13 character widths and a dividing punctuation mark (cl-04) occurs in the 12th character position, one em spacing should be appended after it. Xing Chang gasokoniShi Yong sareteiruWen Zi saizuno13Bei tosuru.konoChang He , 12Bei noWei Zhi nikitatokihaQu Qie riYue Wu (cl-04)noHou rowoQuan Jiao akitosu ru. 2. If the line length is 13 character widths and a dividing punctuation mark (cl-04) occurs in the 13th character position, no spacing should be appended after it. In addition, do not carry over the one em space usually appended after the dividing punctuation marks to the line head of the next line; the line in this case should be set tentsuki. Xing Chang gasokoniShi Yong sareteiruWen Zi saizuno13Bei tosuru.konoChang He , 13Bei noWei Zhi nikurutokihaQu Qie riYue Wu (cl-04)noHou rowobetaZu tosuru .sarani,Ci noXing Tou noXia garihaQuan Jiao akitoshinaide,Tian Fu kitosuru . The character width of hyphens (cl-03) varies according to the type of hyphen. HYPHEN "-" should be quarter em width (i.e. one quarter of an em width), EN DASH "-" and KATAKANA-HIRAGANA DOUBLE HYPHEN "[?]" should be half-width (a half em width), WAVE DASH "~ " should be full-width. Basically there should be no spacing before and after hyphens (cl-03). However, half em spacing should be appended, in principle, when opening brackets (cl-01) follow right after a hyphen (cl-03) and quarter em spacing when middle dots (cl-05) follow a hyphen (cl-03). haihunLei (cl-03)nohaihun[-] (HYPHEN)noZi Fu haSi Fen Jiao ,Er Fen datsushiyu [-] (EN DASH)Ji biEr Zhong haihun[[?]] (KATAKANA-HIRAGANA DOUBLE HYPHEN)no Zi Fu haBan Jiao ,Bo datsushiyu[~ ] (WAVE DASH)noZi Fu haQuan Jiao toshi,haihunLei ( cl-03)noQian Hou habetaZu tosuru.tadashi,haihunLei (cl-03)noHou roniShi me Gua Hu Lei (cl-01)gakuruChang He hasoreranoZi Jian woYuan Ze toshiteEr Fen aki,haihun Lei (cl-03)noHou roniZhong Dian Lei (cl-05)gakuruChang He hasoreranoZi Jian woYuan Ze toshi teSi Fen akitosuru. 3.1.7 Characters Not Starting a Line Xing Tou Jin Ze In principle, no line should begin with closing brackets (cl-02), hyphens (cl-03), dividing punctuation marks (cl-04), middle dots (cl-05), full stops (cl-06), commas (cl-07), iteration marks (cl-09), a prolonged sound mark (cl-10), small kana (cl-11) or warichu closing brackets (cl-29) (line-start prohibition rule). Otherwise the line would have an odd appearance. Zhong wariGua Hu Lei (cl-02),haihunLei (cl-03),Qu Qie riYue Wu (cl-04),Zhong Dian Lei (cl-05),Ju Dian Lei (cl-06),Du Dian Lei (cl-07),Zao Fan shiJi Hao (cl-09), Chang Yin Ji Hao (cl-10),Xiao Shu kinoJia Ming (cl-11)Ji biGe Zhu Zhong wariGua Hu Lei (cl-29) woXing Tou niPei Zhi shitehanaranai(Xing Tou Jin Ze ).korehaTi Cai gayokunaikaradea ru. Note Not a small number of books adopt a less strict set of rules which allow IDEOGRAPHIC ITERATION MARK """ (one of the iteration marks (cl-09)), prolonged sound mark (cl-10) and small kana (cl-11) to start a line. There is another method whereby IDEOGRAPHIC ITERATION MARK """ is replaced by a kanji character when it would otherwise be set at the head of a line. For example, Jia (at the end of a line) + " (at the head of the next line) will be changed to Jia (at the end of a line) + Jia (at the head of the next line). Wen Zi kurasutoshitenoZao Fan shiJi Hao (cl-09)noZhong noZao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK),Chang Yin Ji Hao (cl-10)Ji biXiao Shu kinoJia Ming ( cl-11)woXing Tou Jin Ze toshinaiFang Fa moari,konoFang Fa woCai Yong shiteiruShu Ji moDuo i .mata,Zao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK)gaXing Tou niPei Zhi sareta Chang He ,Yuan noHan Zi niZhi kiHuan eruFang Fa moaru.Li eba,"Jia (Xing Mo )+"(Xing Tou ) "tonatsutaChang He ,"Jia (Xing Mo )+Jia (Xing Tou )"tosuruFang Fa dearu. Note There is yet another less strict rule that allows KATAKANA MIDDLE DOT "" to start a line. Zhong Dian [] (KATAKANA MIDDLE DOT)woXing Tou niPei Zhi surukotowoXu Rong tosuruKao eFang moaru. Note In the layout of newspaper text, in addition to the symbols above, dividing punctuation marks (cl-04) (QUESTION MARK "?" and EXCLAMATION MARK "!") are allowed to start a line. This is due to the fact that the line lengths are shorter in newspapers. When the line is very short, there are fewer opportunities for inter-character spacing adjustment, which makes it difficult to preserve the number of characters per line. It is thought that this is why the less strict set of line head wrapping rules was adopted in newspaper text layout. Xin Wen deha,Shang Ji niJia e,Qu Qie riYue Wu (cl-04)(Yi Wen Fu [?] (QUESTION MARK) toGan Tan Fu [!] (EXCLAMATION MARK))woXing Tou niPei Zhi surukotowoXu Rong shiteiru. koreha1Xing noXing Chang gaDuan ikotoniyoru.Xing Chang gaDuan ito,Jie meteDiao Zheng suruChang He mo, Kong keteDiao Zheng suruChang He mo,Shao naiGe Suo deDiao Zheng woXing i,Zi Jian noDiao Zheng gaJi Duan ninaru .korewoBi kerutameniXing Tou Jin Ze noTiao Jian woyuruyakanishitamonotoSi wareru. Note The details of the line-start prohibition rules and line-end prohibition rules, including the relaxations specified above, are described in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang as a complete table, in accordance with the description of character classes in SS 3.9 About Character Classes Wen Zi kurasunitsuite . The line-start prohibition rules and line-end prohibition rules can be considered as SS B. Spacing between Characters Wen Zi Jian noKong kiLiang . The details of these rules are also described in SS C. Possibilities for Line-breaking between Characters Wen Zi Jian denoFen Ge noKe Fou . Furthermore, line-start prohibition rules and line-end prohibition rules have several variations, so four different levels of character classes are allowed at the line-start and line-end in SS C. Possibilities for Line-breaking between Characters Wen Zi Jian denoFen Ge noKe Fou SS C.3 Addendum Bu Ji . Shang Ji noZhu niShi shitaXu Rong Shi Xiang woHan me,Xing Tou Jin Ze Ji biCi Xiang deJie Shuo suruXing Mo Jin Ze no Xiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeShuo Ming suruWen Zi kurasuniCong i,Biao noXing Shi nishiteSS B. Spacing between Characters Wen Zi Jian noKong kiLiang deShi su.mata,Xing Tou Jin Ze Ji biXing Mo Jin Ze ha,Fen Ge Jin Zhi toKao erukotomo deki,korerawoHan metenoXiang Xi ha,SS C. Possibilities for Line-breaking between Characters Wen Zi Jian denoFen Ge noKe Fou deShi su.sarani,Xing Tou Jin Ze ,Xing Mo Jin Ze Ji biFen Ge Jin Zhi nitsuiteha,Fu Shu noKao eFang gaarukotokara,SS C. Possibilities for Line-breaking between Characters Wen Zi Jian denoFen Ge noKe Fou noSS C.3 Addendum Bu Ji de,4tsunoreberuniFen kete,Xu Rong suru(Jin Zhi toshina i)Wen Zi kurasuwoShi su. 3.1.8 Characters Not Ending a Line Xing Mo Jin Ze No line should end with opening brackets (cl-01) or warichu opening brackets (cl-28) (line-end prohibition rules). Otherwise the line would have an odd appearance. Shi meGua Hu Lei (cl-01)Ji biGe Zhu Shi meGua Hu Lei (cl-28)woXing Mo niPei Zhi shitehanara nai(Xing Mo Jin Ze ).korehaTi Cai gayokunaikaradearu. Note The process of formatting lines to avoid non-starter characters at the line head, non-ending characters at the line end, spacing before and/or after inseparable characters, line breaking before and/or after unbreakable characters, etc., is generally called kinsokushori. Xing Tou Jin Ze ,Xing Mo Jin Ze ,Fen Li (Fen Ge )Jin Zhi nadonoJin Ze woBi kerutameniXing wareru Chu Li nokotowoJin Ze Chu Li toiu. 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji bi Zhong Dian Lei no Pei Zhi Fang Fa In principle, closing brackets (cl-02), commas (cl-07) or full stops (cl-06) at the line end have half em spacing after them (see Figure 76). This half em spacing can be removed for line adjustment (for more about line adjustment, see SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li ). However, the possibilities are only half em spacing or solid. Other spacing, such as quarter em spacing should not be used. In principle, the middle dot (cl-05) character at the line end also has quarter em spacing before and after, and is handled like a full-width character (see Figure 76). This quarter em spacing can also be removed for line adjustment, namely middle dots (cl-05) can be set solid before and after (about line adjustment, see SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li ). However, in this case also, the only possibilities are quarter em spacing or solid setting. Other intermediate-sized spacing should not be used. Xing Mo niPei Zhi suruZhong wariGua Hu Lei (cl-02),Du Dian Lei (cl-07)Ji biJu Dian Lei (cl-06 )ha,sonoHou rowoYuan Ze toshiteEr Fen akitosuru(Figure 76).kono,Yuan Ze toshi teEr Fen akitosuruGe Suo ha,Xing noDiao Zheng Chu Li noJie meruChang He noDui Xiang nishite,betaZu toshitemoyoi(Xing noDiao Zheng Chu Li nitsuiteha,SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li woCan Zhao ).tadashi,Kong kiLiang woEr Fen akinisurukaYou habetaZu nisurukanodo chirakade,sonoZhong Jian noZhi (Li ebaSi Fen akinado)toshitehanaranai.mata, Xing Mo niPei Zhi suruZhong Dian Lei (cl-05)ha,sonoQian Ji biHou rowoYuan Ze toshiteSi Fen akito shi,Quan Jiao noXi itosuru(Figure 76).konoYuan Ze toshiteSi Fen akitosuruGe Suo mo ,Xing noDiao Zheng Chu Li noJie meruChang He noDui Xiang nishite,Zhong Dian Lei (cl-05)noQian Ji biHou rowo Yi Xu nibetaZu toshitemoyoi(Xing noDiao Zheng Chu Li nitsuitehaSS 3.8 Line Adjustment Xing noDiao Zheng Chu Li woCan Zhao ).tadashi,Kong kiLiang woSi Fen akitosurukabetaZu nisuruka nodochirakade,sonoZhong Jian noZhi toshitehanaranai. Example of handling closing brackets, full stops, commas and middle dots at the line end like full-width characters. Xing Mo niPei Zhi suruZhong wari Gua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji biZhong Dian Lei woQuan Jiao Xi itosuruPei Zhi Li Figure 76 Example of handling closing brackets, full stops, commas and middle dots at the line end like full-width characters. Xing Mo niPei Zhi suruZhong wari Gua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji biZhong Dian Lei woQuan Jiao Xi itosuruPei Zhi Li Note With regard to closing brackets (cl-02), full stops (cl-06), commas (cl-07) and middle dots (cl-05) at line end, the following processing is defined in JIS X 4051 (see Figure 77). JIS X 4051deha,Zhong wariGua Hu Lei (cl-02),Ju Dian Lei (cl-06),Du Dian Lei (cl-07 )Ji biZhong Dian Lei (cl-05)noXing Mo niokeruPei Zhi woCi noyouniXi tsuteiru(Figure 77). After full stops (cl-06), there must be half em spacing, full stops including at the line end. This half em spacing must not (cl-06) be a target for reduction during line adjustment. Ju Dian Lei ( Ju Dian Lei (cl-06)noHou roha,Xing Mo niPei Zhi suruChang He woHan meteBi zuEr cl-06) Fen akiwoQue Bao suru.konoEr Fen akiha,Xing noDiao Zheng Chu Li noJie meruChang He noDui Xiang nishitehanaranai. commas (cl-07) After commas (cl-07),solid setting is applied. Du Dian Lei ( Du Dian Lei (cl-07)noHou roha,betaZu nisuru. cl-07) closing brackets After closing brackets (cl-02), solid setting is applied. (cl-02) Zhong wariGua Hu Lei (cl-02)noHou roha,betaZu nisuru. Zhong wariGua Hu Lei (cl-02) middle dots In principal, before middle dots (cl-05) there is quarter (cl-05) em spacing, and after middle dots (cl-05) solid setting is applied. Zhong Dian Lei ( cl-05) Zhong Dian Lei (cl-05)noQian haYuan Ze toshiteSi Fen akitoshi,Hou rohabetaZu tosuru. Example of handling closing brackets, full stops, commas and middle dots at the line end in JIS X 4051. Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji biZhong Dian Lei noPei Zhi Li (JIS X 4051) Figure 77 Example of handling closing brackets, full stops, commas and middle dots at the line end in JIS X 4051. Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji biZhong Dian Lei noPei Zhi Li (JIS X 4051) Note In the letterpress printing era, the following methods were common (see Figure 78). Huo Zi Zu Ban Shi Dai ha,Ci noKao eFang gaZhu Liu deatsuta(Figure 78). 1. For full stops (cl-06), commas (cl-07) and closing brackets (cl-02), if possible, half em spacing was preserved. Using half em spacing was the general approach. For middle dots (cl-05), if possible, quarter em spacing was preserved. Using quarter em spacing was the general approach. Ju Dian Lei (cl-06),Du Dian Lei (cl-07)Ji biZhong wariGua Hu Lei (cl-02)deha,Er Fen akigaQue Bao dekireba,Que Bao suru.tsumari,Er Fen akigaYuan Ze dearu.ma ta,Zhong Dian Lei (cl-05)ha,sonoQian Ji biHou rodeSi Fen akigaQue Bao dekireba,Que Bao suru.tsumari,Si Fen akigaYuan Ze dearu. 2. If the line length was not sufficient or too great and line adjustment processing became necessary (see SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li ), the first priority was to replace the half em spacing after full stops (cl-06), commas (cl-07) and closing brackets (cl-02) with solid setting. The reason was that this was at the line end, and no problems would arise, even though the half em spacing became solid set. The option of replacing the half em spacing after punctuation marks with quarter em spacing, instead of removing the whole half em spacing was not used. That meant that there was the choice between either half em spacing after punctuation marks or solid setting. The second priority was to replace the quarter em spacing before and after middle dots (cl-05) with solid setting. Xing Chang niGuo Bu Zu gaFa Sheng shi,Xing noDiao Zheng Chu Li deJie meruChu Li noBi Yao gaaruChang He ( SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li woCan Zhao ),You Xian De niJu Dian Lei (cl-06 ),Du Dian Lei (cl-07)Ji biZhong wariGua Hu Lei (cl-02)noHou ronoEr Fen akiwobe taZu nisuru.koreha,Xing Mo demoari,koreranoHou ronoEr Fen akigabetaZu ninatsutemohotondoWen Ti ninaranaikaradearu.nao,konoEr Fen akiwo Zhong Jian De naSi Fen akinisurutoiuFang Fa haCai Yong sareteinakatsuta.Er Fen aki You habetaZu noizurekawoXuan Ze suru,toiukotodearu.mata,Xing noDiao Zheng Chu Li deJie meruChu Li gaBi Yao naChang He ,Ju Dian Lei (cl-06),Du Dian Lei (cl-07)Ji biZhong wariGua Hu Lei (cl-02)noHou ronoEr Fen akiyoriYou Xian Shun Wei haDi kunaruga, Zhong Dian Lei (cl-05)noQian Hou noSi Fen akiwobetaZu nisuru. Examples of closing brackets, commas and full stops at the end of a line with either half em spacing after or set solid. Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Du Dian Lei Ji biJu Dian Lei noHou rowoEr Fen akiYou habetaZu toshitaPei Zhi Li Figure 78 Examples of closing brackets, commas and full stops at the end of a line with either half em spacing after or set solid. Xing Mo ni Pei Zhi suruZhong wariGua Hu Lei ,Du Dian Lei Ji biJu Dian Lei noHou rowoEr Fen akiYou habetaZu toshi taPei Zhi Li Note In some DTP systems etc., after full stops (cl-06), commas (cl-07) or closing brackets (cl-02) at the line end, the line end is always set solid (see Figure 79). DTPnadodeha,Xing Mo niPei Zhi suruJu Dian Lei (cl-06),Du Dian Lei (cl-07)Ji biZhong wari Gua Hu Lei (cl-02)nosubetenoHou rowobetaZu tosuruChu Li Fa moXing wareteiru( Figure 79). Example of always applying solid setting after closing brackets, full stops, and commas at the line end. Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei Ji biDu Dian Lei noHou rowosubetebetaZu toshitaPei Zhi Li Figure 79 Example of always applying solid setting after closing brackets, full stops, and commas at the line end. Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei Ji biDu Dian Lei noHou rowosubetebetaZu toshitaPei Zhi Li 3.1.10 Unbreakable Character Sequences Fen Ge Jin Zhi If the following characters and symbols appear in sequence there will be no line break between them. The reason is that these characters and symbols are to be handled as one unit. Ci noyounaWen Zi Ji Hao gaLian Sok suruChang He ha,sonoZi Jian de2Xing niFen Ge shinai(Fen Ge Jin Zhi ).koreha,soreranoWen Zi Ji Hao woYi Ti toshiteXi itaitamedearu. Note Both line head wrap and line end wrap mean that there will be no line break between characters or symbols. For line head wrap there is no break between the line head wrap character and the character or symbol before. For line end wrap, there is no break between the line end wrap character and the following character or symbol. Xing Tou Jin Ze You haXing Mo Jin Ze mo,Qian noWen Zi Ji Hao toXing Tou Jin Ze Wen Zi tonoZi Jian de2Xing niFen Ge shinai(Fen Ge Jin Zhi ),Xing Mo Jin Ze Wen Zi toCi nikuruWen Zi Ji Hao tonoZi Jian de2Xing ni Fen Ge shinai(Fen Ge Jin Zhi ),toKao erukotogadekiru. Note The details of unbreakable character sequences are described in SS C. Possibilities for Line-breaking between Characters Wen Zi Jian denoFen Ge noKe Fou as a complete table, in accordance with the description of character classes in SS 3.9 About Character Classes Wen Zi kurasunitsuite . 2Xing niFen Ge shitehaikenaiGe Suo Ji bi2Xing niFen Ge shiteyoiGe Suo noXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeShuo Ming suruWen Zi kurasuniCong i ,Biao noXing Shi nishiteSS C. Possibilities for Line-breaking between Characters Wen Zi Jian denoFen Ge noKe Fou deShi su. 1. Between a sequence of EM DASH "--" characters (to be more specific, for a double dash, see Figure 80). Note that some systems implement HORIZONTAL BAR "--" with very similar behavior to EM DASH "--". Lian Sok suruQuan Jiao datsushiyu[--] (EM DASH)toQuan Jiao datsushiyu[--] (EM DASH)tono Jian (Ju Ti De niha2Bei datsushiyu[----])(Figure 80).nao,Chu Li Xi niyotsu teha,[--] (HORIZONTAL BAR)nimo,Tong Yang noZhen ruWu iwoShi Zhuang shiteirumono moaru. Sequence of EM DASH characters is unbreakable. Quan Jiao datsushiyutoQuan Jiao datsushiyutonoJian haFen Ge Jin Zhi Figure 80 Sequence of EM DASH characters is unbreakable. Quan Jiao datsushiyutoQuan Jiao datsushiyutonoJian haFen Ge Jin Zhi Note Other characters and punctuation marks before and after EM DASH "--" are set solid. However, in the following cases some spacing should be added between EM DASH "--" and other characters. As mentioned in the next note, HORIZONTAL ELLIPSIS "...", TWO DOT LEADER "..", prefixed abbreviations (cl-12) and postfixed abbreviations (cl-13) behave similarly to EM DASH "--". Quan Jiao datsushiyu[--] (EM DASH)noQian Hou nikuruTa noWen Zi tonoZi Jian habetaZu nisu ru.tadashi,Quan Jiao datsushiyu[--] (EM DASH)noQian Hou niCi noWen Zi gaPei Zhi sareru Chang He ha,Kong kiLiang woQue Bao suru.Hou Shu suruSan Dian rida[...] (HORIZONTAL ELLIPSIS),Er Dian rida[..] (TWO DOT LEADER),Qian Zhi Sheng Lue Ji Hao (cl-12) You haHou Zhi Sheng Lue Ji Hao (cl-13)to,sonoQian Hou niWei Zhi shitaWen Zi tonoZi Jian mo,Quan Jiao datsushiyu[--] (EM DASH)noChang He toTong Yang dearu. 1. Where closing brackets (cl-02) or commas (cl-07) are followed by EM DASH "--", half em spacing is inserted between them, in principle. Also, in the middle of lines, where full stops (cl-06) are followed by EM DASH "--", half em spacing is inserted between them. However, when full stops (cl-06) are placed at the end of a line half em spacing is added after the full stops (cl-06). Quan Jiao datsushiyu[--] (EM DASH)noQian niZhong wariGua Hu Lei (cl-02)You haDu Dian Lei (cl-07)gakuruChang He ha,soreranoZi Jian haYuan Ze toshiteEr Fen akitosu ru.mata,Xing Zhong deQuan Jiao datsushiyu[--] (EM DASH)noQian niJu Dian Lei (cl-06 )gakuruChang He ha,sonoZi Jian haEr Fen akitosuru.tadashi,Ju Dian Lei ( cl-06)gaXing Mo niWei Zhi shitaChang He ha,Ju Dian Lei (cl-06)noHou rowoYuan Ze to shiteEr Fen akinisuru. 2. Where EM DASH "--" is followed by opening brackets (cl-01), half em spacing is inserted between them, in principle. Quan Jiao datsushiyu[--] (EM DASH)noHou roniShi meGua Hu Lei (cl-01)gakuruChang He ha,sonoZi Jian haYuan Ze toshiteEr Fen akitosuru. 3. Where EM DASH "--" and middle dots (cl-05) are set side by side, quarter em spacing is inserted between them, in principle. Quan Jiao datsushiyu[--] (EM DASH)noQian You haHou roniZhong Dian Lei (cl-05)gakuru Chang He ha,sonoZi Jian haYuan Ze toshiteSi Fen akitosuru. Note A double dash is handled as one unit, hence a line break between them is forbidden. In letterpress printing, breaking of the double dash was forbidden very strongly by the fact that the double dash was created as a double full body (so it was actually not possible to break it). Nevertheless, if it was not possible to avoid a break, two EM DASH characters were used instead the double dash. That made it possible to have a line break between them. 2Bei datsushiyuha,sorewoYi Ti nishiteXi utoiukotokaraFen Ge Jin Zhi toshitei ta.mata,Huo Zi Zu Ban nioite2Bei datsushiyuha,2Bei Jiao nobodeideZuo Cheng sare teori,Fen Ge dekinaitoiukotokara,sonoJin Zhi noDu He igaGao katsuta. shikashi,doushitemoZhi muwoDe naitoiuChang He ha,Quan Jiao datsushiyunishite,2 Xing niFen Ge surukotomoXu Rong sareteita. 2. Between sequences of HORIZONTAL ELLIPSIS "..." or TWO DOT LEADER ".." (to be more specific, double HORIZONTAL ELLIPSIS "......" or double TWO DOT LEADER "...."). Lian Sok suruSan Dian rida[...] (HORIZONTAL ELLIPSIS)You haEr Dian rida[..] (TWO DOT LEADER)noZi Jian (Ju Ti De niha2Bei San Dian rida[......]You ha2Bei Er Dian rida [....]). Unbreakable sequence of HORIZONTAL ELLIPSIS. San Dian ridatoSan Dian ri datonoJian haFen Ge Jin Zhi Figure 81 Unbreakable sequence of HORIZONTAL ELLIPSIS. San Dian ridatoSan Dian ridatonoJian haFen Ge Jin Zhi Note In the letterpress printing era, double HORIZONTAL ELLIPSIS etc. was created as a sequence of HORIZONTAL ELLIPSIS. Hence, compared to double dash, the line break between them was not so strongly forbidden. Huo Zi Zu Ban nioite2Bei San Dian ridanadoha,Quan Jiao noSan Dian ridawoBing beteita node,sonoJin Zhi noDu He iha,2Bei datsushiyuyoriJi Fen kahaDi katsuta. 3. Between European numerals (see Figure 82, Figure 83, and Figure 84.). European numerals indicate decimal place via the position of a numeral. Lian Sok suruarabiaShu Zi noZi Jian (Figure 82,Figure 83,Figure 84).a rabiaShu Zi ha,Wei Zhi deHang woShi sukotoniyoru. Note It is possible to have a line break between ideographic numerals. Also it is possible to have a line break after IDEOGRAPHIC COMMA ", " used as a decimal separator or an indicator for approximate number, and KATAKANA MIDDLE DOT "" as a decimal point. However, the position between ideographic numerals and IDEOGRAPHIC COMMA " , " used as a decimal separator or an indicator for approximate number, and KATAKANA MIDDLE DOT "" used as a decimal point is unbreakable. The reason is that the natural usage of ideographic numerals is to write them like "Er Bai San Shi Wu ", that is with inserted place indicators (Explanation: "Er " means "two", "Bai " means "hundred". "Er Bai " means "two hundred". "San " means "three", "Shi " means "ten". "San Shi " means "thirty"."Wu " means "five". The complete sequence "Er Bai San Shi Wu " means "Two hundred and thirty five".). Hence, it is not necessary to express decimal place via position. In contrast, line breaks are forbidden for European numerals, since it is necessary to express the decimal place via the position. Furthermore, if in vertical writing mode European numerals are set in the upright position like ordinary Japanese characters, they are used like the ideographic numerals, and it is possible to have a line break between them. Lian Sok suruHan Shu Zi noZi Jian dehaFen Ge Ke dearu(Wei Qu riwoShi suDu Dian ,Gai Shu woShi suDu Dian ,Xiao Shu Dian woShi suZhong Dian [] (KATAKANA MIDDLE DOT)noQian dehaFen Ge Bu Ke dearuga,soreranoHou rodehaFen Ge haKe dearu).Han Shu Zi ha,"Er Bai San Shi Wu "noyouniDan Wei Yu woRu reteBiao Ji surunogaBen Lai De naShi iFang deari,sonoWei Zhi deWei woShi suBi Yao ganaikaradearu.koreniDui shi,arabiaShu Zi ha,so noShu Zi noWei Zhi deWei woShi suBi Yao gaarunode,Yuan Ze toshiteFen Ge haBu Ke dearu .nao,Zong Zu dearabiaShu Zi woZheng Chang naXiang kide1Zi 1Zi Bing betaChang He ha,ara biaShu Zi noHan Shu Zi De naShi iFang toiukotode,konoarabiaShu Zi noZi Jian de moFen Ge Ke dearu. Note When writing European numerals, FULL STOP "." is used as a decimal point, COMMA "," or space is used as a place indicator. Line breaks cannot occur before and after these characters (see Figure 84: the space before "4" expresses a decimal place). arabiaShu Zi noBiao Ji deha,Xiao Shu Dian nipiriodo[.] (FULL STOP),Wei Qu rini konma[,] (COMMA)You haKong Bai woShi Yong suru.koreranoQian Ji biHou romoHan meteFen Ge Jin Zhi dearu(Figure 84,Figure 84no"4"noQian noKong Bai ha,Wei Qu riwoShi su Kong Bai dearu). 4. Between prefixed abbreviations (cl-12) (YEN SIGN "Y=",DOLLAR SIGN "$",CENT SIGN "C/" etc.) and the following arabic or ideographic numeral (see Figure 82). The reason is that such character sequences are to be handled as one unit. Qian Zhi Sheng Lue Ji Hao (cl-12)(Yuan Ji Hao [Y=] (YEN SIGN),doruJi Hao [$] (DOLLAR SIGN)nado)tosonoHou ronikuruarabiaShu Zi Han Shu Zi tonoJian (Figure 82 ).soreranoWen Zi Lie woYi Ti toshiteXi itaitamedearu. Unbreakable sequences between prefixed abbreviations and the following European numeral. Qian Zhi Sheng Lue Ji Hao toarabiaShu Zi noJian haFen Ge Jin Zhi Figure 82 Unbreakable sequences between prefixed abbreviations and the following European numeral. Qian Zhi Sheng Lue Ji Hao to arabiaShu Zi noJian haFen Ge Jin Zhi 5. Between postfixed abbreviations (cl-13) (PERCENT SIGN "%", PER MILLE SIGN "%0" etc.) and the preceding European numeral or ideographic numeral (see Figure 83). The reason is that such character sequences are to be handled as one unit. Hou Zhi Sheng Lue Ji Hao (cl-13)(pasento[%] (PERCENT SIGN),pamiru[%0] (PER MILLE SIGN)nado)tosonoQian nikuruarabiaShu Zi Han Shu Zi tonoJian ( Figure 83).soreranoWen Zi Lie woYi Ti toshiteXi itaitamedearu. Unbreakable sequences between postfixed abbreviations and the preceding European numeral. arabiaShu Zi toHou Zhi Sheng Lue Ji Hao noJian haFen Ge Jin Zhi Figure 83 Unbreakable sequences between postfixed abbreviations and the preceding European numeral. arabiaShu Zi to Hou Zhi Sheng Lue Ji Hao noJian haFen Ge Jin Zhi Note Some people think that it is appropriate to have a line break between the PERCENT SIGN "%" and the preceding arabic or ideographic numeral. The reason seems to be that PERCENT SIGN "%" has a high level of independence. Furthermore it is possible to have a line break between "0" and "pa" in cases like "50pasen to" (meaning "50 percent", where "percent" is written in katakana). pasento[%] (PERCENT SIGN)nitsuiteha,sonoQian nikuruarabiaShu Zi Han Shu Zi tonoJian deFen Ge woRen meruKao eFang moaru.pasento[%] (PERCENT SIGN)gaJi Hao toshiteDu Li Xing gaGao itoiukotokaradearou.nao,"50pa sento"toshitaChang He ha,"0"to"pa"noJian deha,Fen Ge Ke dearu. 6. Inter-letter spacing among Western characters (cl-27) in a word (or, sequence of letters, which it is not possible to hyphenate), or unit indicators (km, kg, mm etc.) in Latin letters (see Figure 84). Ou Wen Yong Wen Zi (cl-27)noDan Yu nohaihuneshiyonKe Neng naGe Suo Yi Wai noZi Jian Ji biDan Wei Ji Hao (km, kg, mmnado)noZi Jian (Figure 84). It is not possible to break a line between letters in unit symbols using Latin letters. Ou Zi noDan Wei Ji Hao (Dan Wei Ji Hao Zhong noWen Zi )no Zi Jian haFen Ge Jin Zhi Figure 84 It is not possible to break a line between letters in unit symbols using Latin letters. Ou Zi noDan Wei Ji Hao (Dan Wei Ji Hao Zhong noWen Zi )noZi Jian haFen Ge Jin Zhi Note When using HYPHEN "-" at the end of a line, it becomes possible to have a line break within Western characters (cl-27). Ou Wen Yong Wen Zi (cl-27)noDan Yu ha,Yin Jie (shiraburu)niCong i,Xing Mo nihaihu n[-] (HYPHEN)woFu kerukotode,Fen Ge gaKe Neng ninaru. Note In this document, description of units with proportional Western characters, such as km and kg, are treated as unit symbols (cl-25). konoWen Shu deha,puroposhiyonarunaOu Zi woYong itakm,kgnadonoDan Wei Ji Hao noWen Zi kurasuha,Dan Wei Ji Hao Zhong noWen Zi (cl-25)toshiteXi u. Note In Figure 84, there is a quarter em space between "4" and "k", because of the convention to insert a quarter em between unit symbols (cl-25) and following European numerals or Western characters (cl-27). It is permitted to break a line between "4" and "k". In this case, there is no quarter em space in either the head or the end of the line. Note that the spacing between "3" and "4" in Figure 84 is explained in c of (note 2). Figure 84no"4"to"k"noZi Jian gaSi Fen akitonatsuteirunoha,Dan Wei Ji Hao Zhong no Wen Zi (cl-25)tosonoQian niPei Zhi suruarabiaShu Zi You haLiang woShi suOu Wen Yong Wen Zi (cl-27)tonoZi Jian woSi Fen akitosurukotogaGuan Xi ninatsuteirukotoniyoru ."4"to"k"tonoZi Jian de2Xing niFen Ge suruChang He ha,"4"to"k"noZi Jian noSi Fen aki haXing Tou Ji biXing Mo nihatoranai.nao,Figure 84no"3"to"4"noJian noKong kiLiang nitsuiteha,cnoZhu 2)woCan Zhao . 7. Inter-letter spacing among ruby characters, when composed as mono-ruby. Note that it is possible to break a line between base characters with mono-ruby (see Figure 85). monorubidePei Zhi shitarubiWen Zi Lie noZi Jian (Figure 85).Yi Ti toshiteXi uta medearu.nao,monorubigaFu itaQin Wen Zi tomonorubigaFu itaQin Wen Zi to noZi Jian ha,Fen Ge Ke Neng dearu. 8. Inter-letter spacing among ruby characters or base characters, composed as group-ruby (see Figure 85). gurupurubidePei Zhi shitaQin Wen Zi Lie Ji birubiWen Zi Lie noZi Jian (Figure 85). Yi Ti toshiteXi utamedearu. Example of unbreakable sequences of ruby. rubiWen Zi Lie noFen Ge Jin Zhi no Li Figure 85 Example of unbreakable sequences of ruby. rubiWen Zi Lie noFen Ge Jin Zhi noLi Note With ruby used for compound words (jukugo-ruby), a group of ruby characters is attached to each base character. It is possible to have a line break between such groups of ruby characters and base characters (see Figure 86), however, a line break should not occur between ruby characters related to a given base character. Fu Shu noQin Wen Zi deGou Cheng sareruShou Yu rubiha,Qin Wen Zi no1Zi gotoniDui Ying shitarubi Wen Zi tonogurupunoJian deha,Fen Ge shiteyoi(Figure 86).tadashi,Qin Wen Zi no1Zi gotoniDui Ying shitarubiWen Zi (Figure 86woLi nisuruto"Bu "torubiWen Zi no"ho","Ru "torubiWen Zi no"niyuu","Lei "torubiWen Zi no"rui")ha, sorezorenoQin Wen Zi toDui Ying shitarubiWen Zi towoYi Ti toshiteXi i,sorezoreno rubiWen Zi Lie noZi Jian haFen Ge shitehanaranai. Example of a line break for jukugo-ruby. Shou Yu rubiwoFen Ge shitaLi Figure 86 Example of a line break for jukugo-ruby. Shou Yu rubiwoFen Ge shitaLi 9. Between a subscript or superscript and an adjacent base character (preceding or following) (see Figure 87), or between base characters with ornament characters, or between ornament characters themselves. The reason is that these character sequences are to be handled as one object. Qin Wen Zi tosonoQian You haHou roniFu kuTian eZi tonoZi Jian .Tian eZi gaFu kuQin Wen Zi no Wen Zi Lie ,Ji biTian eZi noWen Zi Lie noZi Jian (Figure 87).soreranoWen Zi Lie woYi Ti toshiteXi itaitamedearu. Unbreakable sequences between a character and its related subscripts. Tian eZi Ji biQin Wen Zi noZi Jian haFen Ge Jin Zhi Figure 87 Unbreakable sequences between a character and its related subscripts. Tian eZi Ji biQin Wen Zi noZi Jian haFen Ge Jin Zhi 10. In order to create a correspondence between notes and the related main text, reference marks (aijirushi) are often added. Line breaks are not allowed before the reference mark or between letters of the reference mark itself (see Figure 88). The application of the no-line-break rule here is a matter of style. Zhu toBen Wen tonoDui Ying woFu kerutameniHe Yin gaFu kukotogaDuo i.konoHe Yin noQian Ji biHe Yin noWen Zi Lie noZi Jian (Figure 88).korehaTi Cai Shang noWen Ti niyoru. Unbreakable sequences before an aijirushi (reference marks, European numerals or ideographic numerals). Zhu noHe Yin noQian dehaFen Ge Jin Zhi Figure 88 Unbreakable sequences before an aijirushi (reference marks, European numerals or ideographic numerals). Zhu noHe Yin noQian dehaFen Ge Jin Zhi Note In this document, characters in reference marks are treated as characters as reference marks (cl-20). konoWen Shu deha,He Yin noWen Zi Lie noWen Zi kurasuha,He Yin Zhong noWen Zi (cl-20)to shiteXi u. Note Often there are full stops (cl-06) after reference marks. In these cases, line breaks are not allowed between the reference marks and the full stops. The reason is that full stops should not be set at the head of lines (see Figure 88). He Yin noHou ronihaJu Dian Lei (cl-06)gakuruChang He haDuo i.konoChang He ha,He Yin to Ju Dian Lei noJian demo,Ju Dian Lei haXing Tou Jin Zhi dearukaraFen Ge Jin Zhi tonaru(Figure 88). 11. After warichu opening brackets (cl-28), which open warichu, or before warichu closing brackets (cl-29), which close warichu. Ge Zhu Xing woWei muGe Zhu Shi meGua Hu Lei (cl-28)noHou ro,Ge Zhu Xing woWei muGe Zhu Zhong wari Gua Hu Lei (cl-29)noQian . 12. A unit of furiwake. A unit of furiwake is handled as one object. Tong Yi noZhen Fen ke.Tong Yi noZhen Fen keha,Yi Ti toshiteXi u. 3.1.11 Character Sequences which Do Not Allow Increase of Spacing as Part of Line Adjustment Processing Xing noDiao Zheng Chu Li de Zi Jian wo Kong keruChu Li ni Shi Yong shinaiGe Suo For line adjustment processing, spacing must not be increased between the following characters. (This is called the inseparable characters rule.) The reason is that these characters or symbols should appear as one unit (for more about line adjustment, see SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li ). Xing noDiao Zheng Chu Li noJi ni,Zi Jian woKong keteChu Li suruChang He ,Ci noZi Jian nihaKong kiLiang woRu rerukotohaBi keru(Fen Li Jin Zhi tomoiu).koreha,soreranoWen Zi Ji Hao woYi Ti toshiteXi itaitamedearu(Xing noDiao Zheng Chu Li nitsuiteha,SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li woCan Zhao ). Note The main places where solid setting may be dropped for line adjustment processing is the spacing among hiragana (cl-15), katakana (cl-16), and ideographic characters (cl-19). Furthermore, things such as the amount of spacing between words in Western text are also a target for spacing adjustment. Xing noDiao Zheng Chu Li noJi ni,betaZu noZi Jian woKong keteChu Li dekiruZhu naGe Suo ha,Ping Jia Ming (cl-15),Pian Jia Ming (cl-16),Han Zi Deng (cl-19)Xiang Hu noZi Jian toiukotogadeki ru.nao,Kong keteDiao Zheng suruChang He ha,Ou Wen Dan Yu Jian noKong kiLiang nadomoDui Xiang ninaru. Note Combinations of character classes which allow spacing to be inserted for line alignment, are described as a complete table in SS E. Opportunities for Inter-character Space Expansion during Line Adjustment Xing noDiao Zheng Chu Li de Kong keruChu Li ga Ke Neng naGe Suo , following SS 3.9 About Character Classes Wen Zi kurasunitsuite . Xing noDiao Zheng Chu Li noJi niZi Jian woKong keruChu Li gaKe Neng naGe Suo noXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeShuo Ming suruWen Zi kurasuniCong i,Biao no Xing Shi nishiteSS E. Opportunities for Inter-character Space Expansion during Line Adjustment Xing noDiao Zheng Chu Li de Kong keruChu Li ga Ke Neng naGe Suo deShi su. 1. There must be no added spacing between any characters described in SS 3.1.10 Unbreakable Character Sequences Fen Ge Jin Zhi . SS 3.1.10 Unbreakable Character Sequences Fen Ge Jin Zhi deJie getaZi Jian ha, subeteXing noDiao Zheng Chu Li deZi Jian woKong keruGe Suo toshitehaBi keru. Note Some people think that it is only permissible to increase spacing between letters in Western words for cases where there is no possibility of regular line adjustment processing. Gui Ding saretaDiao Zheng Chu Li dehaChu Li dekinaiChang He niXian ri,Ou Zi noDan Yu noZi Jian wo Kong kerukotowoXu Rong suruKao eFang moaru. 2. In addition to the cases mentioned above, the inseparable character rule has to be applied to the following cases. Shang Ji Yi Wai deha,Ci moXing noDiao Zheng Chu Li deZi Jian woKong keruGe Suo toshitehaBi keru. 1. Before or after opening brackets (cl-01) or closing brackets (cl-02). Shi meGua Hu Lei (cl-01)Ji biZhong wariGua Hu Lei (cl-02)noQian Ji biHou ro. Note After opening brackets (cl-01) or before closing brackets (cl-02) the inseparable characters rule is always applied. In contrast, before opening brackets or after closing brackets the rule is not applied. Full stops (cl-06) and commas (cl-07) are handled the same as closing brackets. Shi meGua Hu Lei (cl-01)noHou roJi biZhong wariGua Hu Lei (cl-02)noQian ha,Fen Ge Jin Zhi deari,katsuXing noDiao Zheng Chu Li deZi Jian woKong keruChu Li woBi keruGe Suo dearu.koreniDui shi,Shi meGua Hu Lei noQian Ji biZhong wariGua Hu Lei noHou roha, Fen Ge Jin Zhi dehanaiga,Xing noDiao Zheng Chu Li deZi Jian woKong keruChu Li woBi keruGe Suo dearu.Ju Dian Lei (cl-06),Du Dian Lei (cl-07)nitsuitemo,Zhong wari Gua Hu Lei toTong ziyouniKao erukotogadekiru. 2. Before or after full stops (cl-06) or commas (cl-07). Ju Dian Lei (cl-06)Ji biDu Dian Lei (cl-07)noQian Ji biHou ro. 3. Before or after middle dots (cl-05). Zhong Dian Lei (cl-05)noQian Ji biHou ro. 4. Before or after dividing punctuation marks (cl-04). Qu Qie riYue Wu (cl-04)noQian Ji biHou ro. 5. Before or after hyphens (cl-03). haihunLei (cl-03)noQian Ji biHou ro. 6. Before or after one em, etc. space between Japanese characters. Quan Jiao akinadonoHe Zi Jian Ge noQian Ji biHou ro. 7. Among base characters with jukugo-ruby. Shou Yu rubigaFu itaQin Wen Zi Lie noZi Jian 3.1.12 Examples of Line Adjustment Xing noDiao Zheng Chu Li Li Methods of line adjustment processing are discussed in SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li . However, since layout processing of punctuation marks is one reason for the need for line adjustment processing, we will here introduce two main examples of cases where line adjustment processing is necessary, and show adjustment examples (see Figure 89). Xing noDiao Zheng Chu Li noChu Li Fang Fa nitsuiteha,SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li deJie Shuo suruga,Xing noDiao Zheng Chu Li gaBi Yao ninaruYao Yin no1tsuniYue Wu noZu Ban Chu Li gaGuan Xi surukotokara,kokodehaXing noDiao Zheng Chu Li gaBi Yao tonaruZhu na2tsunoLi tosonoDiao Zheng Li nitsuiteJie Shuo suru(Figure 89). 1. The principal approach in Japanese composition is that with the exception of the last line of a paragraph, the length of all lines is the same, so all lines are aligned. As explained before, the line length is set to be n-times the character size established for the kihon-hanmen. Hence, as long as only full-width characters are used, all lines have the same length (see 1 at Figure 89). Ri Ben Yu Zu Ban deha,1Xing noXing Chang niMan tanaiDuan Luo noZui Zhong Xing woChu ki,Xing Chang wosoro erunogaYuan Ze dearu.Xing Chang ha,Qian Shu shitayouniWen Zi saizunoZheng Shu Bei niShe Ding surunode,Quan Jiao noWen Zi woBing beteikuXian rideha,Xing Chang hasoroukotonina ru(Figure 89no1). 2. In Figure 89 at 2, there is an IDEOGRAPHIC COMMA ", " followed by a LEFT CORNER BRACKET "[", and the total space taken by the two characters is one and a half em. That means that the line overshoots or runs short of the edge of the kihon-hanmen by a half em. To restore a uniform line length, line adjustment is applied as shown at 3 in Figure 89. The half em space overshoot or shortage is recovered by reducing inter-character spacing to a quarter em before the LEFT CORNER BRACKET "[" and after the RIGHT CORNER BRACKET "] ". Figure 89no2deha,Du Dian [, ] (IDEOGRAPHIC COMMA)toShi mekagiGua Hu [[] (LEFT CORNER BRACKET)gaLian Sok shi,kono2tsunoYue Wu Quan Ti noZi Fu Ji biKong kiLiang noHe Ji ha1.5Bei tonari,Xing Chang deEr Fen noGuo Bu Zu gaFa Sheng suru.sokode,Figure 89no3noyouniShi mekagiGua Hu [[] (LEFT CORNER BRACKET)noQian noEr Fen aki Ji biZhong warikagiGua Hu [] ] (RIGHT CORNER BRACKET)noHou ronoEr Fen akiwoSi Fen akiniJie meruChu Li (Zhui Ip miChu Li toiu)gaKe Neng nanode,kokodeEr Fen no Guo Bu Zu noDiao Zheng woXing i,Xing Chang wosoroeru. 3. At 4 in Figure 89, the 15th character is an opening bracket (cl-01). This should not appear at the line end. Ideally, a full width spacing reduction would be applied, and the character "Qian " on the second line would be moved onto the first line in the 15th position. In that way, the problem could be avoided. However, in this example a full-width spacing reduction is not possible, so line adjustment processing is applied as shown at 5 in Figure 89. The opening bracket (cl-01) is moved to the second line, and line adjustment by inter-character spacing expansion is applied. That means that spacing is added in the first line at places where it is allowed. Figure 89no4deha,15Zi Mu niShi meGua Hu Lei (cl-01)gakurunode,konoPei Zhi woHui Bi suruDiao Zheng gaBi Yao ninaru.sonoXing deQuan Jiao noFen woJie meruChu Li gaKe Neng de areba,sonoChu Li woXing i,2Xing Mu no"Qian "noWen Zi wo1Xing Mu no15Zi Mu niPei Zhi shi ,Wen Ti woHui Bi dekiru.shikashi,konoLi dehaQuan Jiao noFen woJie meruChu Li gaBu Ke Neng nanode,Figure 89no5noyouniShi meGua Hu Lei wo2Xing Mu niYi Dong shi,1Xing Mu no Zi Jian woKong keruDiao Zheng gaKe Neng naGe Suo deKong keruChu Li (Zhui Chu shiChu Li toiu)woXing i,1Xing Mu noXing Chang wosoroeruChu Li woXing u. Examples of line adjustment. Xing noDiao Zheng woXing tsutaLi Figure 89 Examples of line adjustment. Xing noDiao Zheng woXing tsutaLi 3.2 Japanese and Western Mixed Text Composition (including Horizontal-in-Vertical Text Composition) He Ou Wen Hun Zhi Chu Li (Zong Zhong Heng Chu Li wo Han mu) 3.2.1 Composition of Japanese and Western Mixed Texts He Wen toOu Wen tono Hun Zhi There are a lot of examples of Japanese text in which Western and/or Greek letters are mixed among Japanese letters. Examples are as follows: He Wen noZhong niratenWen Zi yagirishiyaWen Zi nadonoOu Zi Ou Wen woHun Zhi (He Ou Wen Hun Zhi )suruLi haDuo i.Ci noyounaLi gaaru. 1. Using one Latin letter as a symbol for something, like "A" and "B". AtoBtoitsutayouniOu Zi 1Zi woJi Hao toshiteShi Yong suru. 2. Using a Western word in a Japanese context, like "editor". editornoyouniOu Zi noDan Yu wosonomamaShi Yong suru. 3. Using acronyms of things and organization names, like "DTP" and "GDP". GDPyaDTPnadonoZu Zhi Ming yaShi Xiang niGuan suruTou Zi Yu toshiteShi Yong suru. 4. Writing Western book titles and authors in lists of referred books with original spelling. Ou Wen noWen Xian Biao Shi nadodeZhu Zhe Ming yaShu Ming nadowoYuan Ben Tong riBiao Ji suru. Latin letters are also used in itemized lists and numbering of headings, as well as symbols for units, symbols for chemical elements, and mathematical symbols. As can be judged from these examples, mixtures of Latin letters among Japanese letters are in daily use in Japanese composition. Ge Tiao Shu kiyaJian Chu shinoTou niFu kuFan Hao ,sarani,Dan Wei Ji Hao Yuan Su Ji Hao Shu Xue Ji Hao Deng demoOu Zi haShi Yong sareteori,Ri Ben Yu Zu Ban nitotsuteha,He Ou Wen Hun Zhi ha,goku Yi Ban De naShi Li ninatsuteiru. Note There are some examples which include whole Western paragraphs in Japanese documents. However, there are few ordinary books that include such paragraphs. There are a lot of examples of textbooks for foreign languages, in which one or more Western paragraphs are followed by annotations in Japanese language. Also, there are some examples in treatises and journals, which contain whole Western paragraphs. He Wen Zhong niOu Wen no1tsuYou haFu Shu noDuan Luo wosonomamaYin Yong suruLi haaruga,Yi Ban noBen deha,sonoyounaLi haShao nai.shikashi,Wai Guo Yu noXue Xi Shu deha,1tsuYou haFu Shu no Duan Luo woBiao Shi shi,soreniDui suruJie Shuo woHe Wen deXing utoiuLi haDuo i.sonoTa ,Zhuan Men Shu ,Zhuan Men Za Zhi nadodemoOu Wen no1tsuYou haFu Shu noDuan Luo wosonomamaJie geruLi gaaru . Note In vertical writing mode, symbols for units are usually described with katakana (cl-16), such as senchimetoru (centimeter) or senchi (abbreviation of centimeter in katakana, "senchi"). In horizontal writing mode, the International System of Units (SI) is usually used, such as "cm". Zong Zu noDan Wei Ji Hao ha,Li ebasenchimetoru(You hasenchi)noyouniPian Jia Ming wo Yong iteBiao suFang Fa gaYi Ban niCai Yong sareteiruga,Heng Zu deha,Guo Ji Dan Wei Xi (SI)no Biao Ji niCong i,cmnoyounaBiao Ji woCai Yong shiteiruLi gaDuo i. Note The treatment of mixtures of Japanese and Western characters is also described in JIS X 4051 4.7. He Ou Wen Hun Zhi Chu Li nitsuiteha,JIS X 4051deha"4.7 He Ou Wen Hun Zhi Chu Li "niGui Ding sa reteiru. 3.2.2 Mixed Text Composition in Horizontal Writing Mode Heng Zu noHe Ou Wen Hun Zhi niYong iruWen Zi In horizontal writing mode the basic approach is to use proportional Western fonts (Figure 90). For European numerals, both half-width fonts and proportional fonts are used. Note that Western word space (cl-26) is a one third em space, in principle, except at line head, line head of warichu, line end and line end of warichu. Western word space (cl-26) at line head, line head of warichu, line end and line end of warichu, is set solid. Heng Zu deha,Yuan Ze toshitepuroposhiyonarunaOu Zi woYong iru(Figure 90).mata ,arabiaShu Zi ha,Ban Jiao noarabiaShu Zi You hapuroposhiyonarunaarabiaShu Zi woYong iru.nao,Ou Wen Jian Ge (cl-26)ha,San Fen akiwoYuan Ze tosuru.tadashi, Xing Tou ,Ge Zhu Xing Tou ,Xing Mo Ji biGe Zhu Xing Mo noOu Wen Jian Ge (cl-26)ha,Kong kiLiang wo0tosu ru. Example of proportional Western fonts used in Japanese in horizontal writing mode. Heng Zu nipuroposhiyonarunaOu Zi woYong itaLi Figure 90 Example of proportional Western fonts used in Japanese in horizontal writing mode. Heng Zu nipuroposhiyonarunaOu Zi woYong itaLi Example of Western full-width fonts used in Japanese in horizontal writing mode. (In horizontal writing mode, Western full-width fonts are usually not recommended.) Quan Jiao nomonosupesunoOu Zi woYong itaLi (Heng Zu dehakonoyouna Wen Zi haShi Yong shinai) Figure 91 Example of Western full-width fonts used in Japanese in horizontal writing mode. (In horizontal writing mode, Western full-width fonts are usually not recommended.) Quan Jiao nomonosupe sunoOu Zi woYong itaLi (Heng Zu dehakonoyounaWen Zi haShi Yong shinai) Note As shown in Figure 91, there are some examples of Western full-width fonts used in horizontal Japanese typesetting, this usage is not recommended, for cosmetic reasons. Figure 91noyouni,Quan Jiao nomonosupesunoOu Zi woYong itaYin Shua Wu moMu nisuruga ,Ti Cai gayokunainode,konoyounaWen Zi haShi Yong shinai. Note Usually, in horizontal Japanese text, fonts are used with European numeric glyphs that are easy to balance and harmonize with Japanese fonts. Considering line adjustment, the use of fonts with half-width numeric glyphs is recommended. There are some cases of Japanese fonts with half-width glyphs for European digits. Heng Zu deShi Yong suruarabiaShu Zi ha,He Wen Shu Ti toDiao He notoretaarabiaShu Zi woYong iruga,Xing noDiao Zheng Chu Li woKao Lu surutoBan Jiao noZi Fu toshitaarabiaShu Zi woYong iru nogaWang mashii.He Wen Shu Ti niFu Shu shiteiruarabiaShu Zi deha,Ban Jiao noZi Fu nishi teiruLi gaaru. Note There are two choices for including glyphs of Latin letters and numerals in Japanese and Western mixed text compositions. One way is to use the glyphs for Western characters built into the same Japanese font. The other is to combine an independent Western font for Western characters with a Japanese font for Japanese characters. (Example: Figure 92 is composed using proportional glyphs for Latin letters and numerals included in Ryumin R-KL. Figure 93 is composed with Ryumin R-KL for Japanese characters and Times New Roman for Latin letters and numerals.) He Wen tonoHun Zhi niYong iruOu Zi arabiaShu Zi noShu Ti ha,He Wen Shu Ti nisetsutosare teiruWen Zi (Li ebaFigure 92noyouniriyuuminR-KLnopuroposhiyonaruna Ou Zi arabiaShu Zi )woShi Yong suruFang Fa to,Ou Wen Zhuan Yong noShu Ti woHe Wen Shu Ti toZu mi He waseteShi Yong suruFang Fa gaaru(Li ebaFigure 93noyouniHe Wen hariyuumin R-KL,Ou Zi arabiaShu Zi haTimes New Roman). Example of Japanese and Western mixed text with the same font Ryumin R-KL for both Japanese characters and proportional Western characters. riyuuminR-KLnopuroposhiyonarunaOu Zi arabiaShu Zi woYong itaLi Figure 92 Example of Japanese and Western mixed text with the same font Ryumin R-KL for both Japanese characters and proportional Western characters. riyuuminR-KLnopuroposhiyonarunaOu Zi arabia Shu Zi woYong itaLi Example of Japanese and Western mixed text with two distinct fonts - Ryumin R-KL for Japanese characters and Times New Roman for Western characters. riyuuminR-KLtoOu Zi arabiaShu Zi ni Times New RomanwoYong itaLi Figure 93 Example of Japanese and Western mixed text with two distinct fonts - Ryumin R-KL for Japanese characters and Times New Roman for Western characters. riyuuminR-KL toOu Zi arabiaShu Zi niTimes New RomanwoYong itaLi Note The value of Western word space (cl-26) mentioned here is only applicable for western texts among Japanese texts in Japanese common books. In general, the value of western word space shall be decided with the consideration of the kind of western typeface, the font size and the value of line gap. kokodeShi shitaOu Wen Jian Ge (cl-26)noKong kiLiang ha,Ri Ben Yu noShu Ji noZhong niOu Zi gaHun Zhi sareruChang He woQian Ti nishiteiru.Yi Ban De niieba,Shi Yong suruOu Zi noShu Ti ,Wen Zi saizuyaXing Jian nadomoKao Lu suruBi Yao gaaru. 3.2.3 Mixed Text Composition in Vertical Writing Mode Zong Zu noHe Ou Wen Hun Zhi niYong iruWen Zi As explained in SS 2.3.2 Major Differences between Vertical Writing Mode and Horizontal Writing Mode Zong Zu toHeng Zu noZhu naXiang Wei Dian , there are three different styles for setting Latin letters and European numerals in vertical writing mode: Zong Zu deha,SS 2.3.2 Major Differences between Vertical Writing Mode and Horizontal Writing Mode Zong Zu toHeng Zu noZhu naXiang Wei Dian deJie Shuo shitayouni,Ou Zi Ji biarabiaShu Zi woPei Zhi suruFang Fa toshiteha,Ci no3tsunoFang Fa gaaru. 1. Setting Latin letters and/or European numerals one by one in inline direction with Japanese characters (see Figure 94). Single Latin letters or Arabic numerals are set with this style. In this case, a full width monospace font is usually used. Currently, proportional Western style fonts are also sometimes used with this style. He Wen Wen Zi toTong ziyouniZheng Chang naXiang kide,1Zi 1Zi Pei Zhi suru(Figure 94).Wen Zhong niPei Zhi suruOu Zi You haarabiaShu Zi ga1Zi noChang He ha,konoFang Fa dePei Zhi suru .konoChang He ,Ou Zi Ji biarabiaShu Zi ha,Yi Ban niQuan Jiao nomonosupesunoWen Zi woYong iru.puroposhiyonarunaWen Zi woYong i,Quan Jiao nosupesuniZheng Chang na Xiang kinishitePei Zhi suruFang Fa moaru. Example of Latin letters in normal orientation. Zheng Chang naXiang kidePei Zhi shitaOu Zi noLi Figure 94 Example of Latin letters in normal orientation. Zheng Chang naXiang kidePei Zhi shitaOu Zi noLi 2. Setting Latin letters and/or European numerals rotated 90 degrees clockwise in vertical text mode (Figure 95). This style is usually adopted when Latin letters compose a word or sentence. Proportional fonts are specified for characters in this style, as in horizontal writing mode (or half-width fonts for European numerals). Wen Zi woShi Ji Hui rini90Du Hui Zhuan shi,Pei Zhi suru(Figure 95).Wen Zhong niPei Zhi suru Ou Zi gaYi Ban noDan Yu You haWen noChang He ha,konoFang Fa dePei Zhi suru.konoChang He ,Heng Zu toTong Yang nipuroposhiyonarunaWen Zi (You haarabiaShu Zi haBan Jiao noWen Zi ) woYong iru. Example of Latin letters rotated 90 degrees clockwise. Wen Zi woShi Ji Hui rini90Du Hui Zhuan shiPei Zhi shitaOu Zi noLi Figure 95 Example of Latin letters rotated 90 degrees clockwise. Wen Zi woShi Ji Hui rini90Du Hui Zhuan shi Pei Zhi shitaOu Zi noLi 3. Setting Latin letters and/or European numerals in tate-chu-yoko (horizontal-in-vertical setting, see Figure 96). Tate-chu-yoko layout is usually adopted when dealing with a two-digit number in European numerals, or a combination of two or three Latin letters, the length of which is equal to the default size of the line in paragraph direction or longer than that just to an acceptable extent. (A combination of two or three Latin letters may be rotated 90 degrees clockwise rather than set in tate-chu-yoko layout.) Proportional glyphs (or half-width glyphs for European numerals) are used for characters in tate-chu-yoko layout. Zong Zhong Heng (Zheng Chang naXiang kinomama,Heng Zu nisuru)nishitePei Zhi suru(Figure 96) .2Hang noarabiaShu Zi ,Xing noFu tohoboTong ziCheng Du kayayaXing noFu yorihamiChu su Cheng Du noJi Hao toshiteYong iru2Wen Zi Cheng Du noOu Zi noWen Zi Lie deha,Yi Ban niZong Zhong Heng ni suru(Hou Zhe no2Wen Zi Cheng Du noOu Zi noWen Zi Lie ha,Wen Zi woShi Ji Hui rini90Du Hui Zhuan shi ,Pei Zhi suruFang Fa moaru).konoChang He ,puroposhiyonarunaWen Zi (You haa rabiaShu Zi haBan Jiao noWen Zi )woYong iru. Example of European numerals in tate-chu-yoko (horizontal-in-vertical setting). Zong Zhong Heng nishitaarabiaShu Zi noLi Figure 96 Example of European numerals in tate-chu-yoko (horizontal-in-vertical setting). Zong Zhong Heng nishitaarabiaShu Zi noLi Note Acronyms, such as "GNP", and abbreviations like "Web", are usually set one by one, character-wise in normal orientation (see Figure 97). However, there are some cases where acronyms and abbreviations are rotated 90 degrees clockwise (see Figure 98). Tou Zi Yu (Li ebaGNPnado)You haTou Zi Yu Lei Si noDan Yu (Li ebaWeb)deha,Yi Ban niha1Zi 1Zi woZheng Chang naXiang kidePei Zhi suru(Figure 97).tadashi,Wen Zi woShi Ji Hui rini90Du Hui Zhuan shi,Pei Zhi suruLi moaru(Figure 98). Example of acronyms set one by one in normal orientation. Zheng Chang na Xiang kidePei Zhi shitaTou Zi Yu noLi Figure 97 Example of acronyms set one by one in normal orientation. Zheng Chang naXiang kidePei Zhi shitaTou Zi Yu noLi Example of acronyms rotated 90 degrees clockwise. Wen Zi woShi Ji Hui rini90Du Hui Zhuan shiPei Zhi shitaTou Zi Yu noLi Figure 98 Example of acronyms rotated 90 degrees clockwise. Wen Zi woShi Ji Hui rini90Du Hui Zhuan shiPei Zhi shitaTou Zi Yu noLi Note The ideographic numerals were traditionally used in vertical writing mode instead of European numerals. (Road numbers and car registration numbers were examples of a couple of exceptions). However, the more newspapers and other publications have been adopting European numerals in vertical writing mode, the more the use of tate-chu-yoko layout for European numerals has also been increasing. Zong Zu niokeruShu Zi ha,Cong Lai haarabiaShu Zi woShi Yong shinaide,Han Shu Zi woShi Yong surunogaYuan Ze tosareteita(Zong Zu nioiteha,Dao Lu Fan Hao ,Zi Dong Che Fan Hao nadoXian raretaChang He nishikaarabiaShu Zi haShi Yong sareteinakatsuta).shika shi,Xin Wen woShi metoshiteZong Zu Zhong dearabiaShu Zi woShi Yong suruLi gaZeng eteiru kotokara,Zong Zhong Heng noLi Yong gaZeng Da shiteiru. 3.2.4 Method for Setting Full-width Latin Letters and European Numerals Quan Jiao nomonosupesunoOu Zi Ji bi Quan Jiao no monosupesuno arabia Shu Zi no Pei Zhi Fang Fa When full-width and fixed-width Western characters or European numerals are set in vertical writing mode as "quasi" Japanese characters, inter-character spacing between these characters and hiragana (cl-15), katakana (cl-16) or ideographic characters (cl-19) are set solid, similar to ordinary ideographic characters (cl-19) (see Figure 99). Also, in principle, when full-width and fixed-width Western characters or European numerals are set after full stops (cl-06), commas (cl-07) or closing brackets (cl-02), or before opening brackets (cl-01), insert half em spacing after commas (cl-07) or closing brackets (cl-02), or before opening brackets (cl-01). In addition, in these cases, insert half em spacing after full stops (cl-06). When full-width and fixed-width Western characters or European numerals are set before a full stop (cl-06), comma (cl-07) or closing bracket (cl-02), or after an opening bracket (cl-01), the inter-character spacing before the full stop, comma or closing bracket, or after the opening bracket is set solid. Zong Zu deQuan Jiao nomonosupesunoOu Zi Ji biQuan Jiao nomonosupesunoarabiaShu Zi wo Zheng Chang naXiang kide1Zi 1Zi Pei Zhi suruChang He ha,Yi Ban noHan Zi toTong Yang niQian Hou niPei Zhi suruPing Jia Ming (cl-15),Pian Jia Ming (cl-16)You haHan Zi Deng (cl-19)tonoZi Jian wobetaZu nishi tePei Zhi suru(Figure 99).mata,Ju Dian Lei (cl-06),Du Dian Lei (cl-07)Ruo shiku haZhong wariGua Hu Lei (cl-02)noHou ro,You haShi meGua Hu Lei (cl-01)noQian niQuan Jiao nomo nosupesunoOu Zi You haQuan Jiao nomonosupesunoarabiaShu Zi gakuruChang He ha,Du Dian Lei (cl-07)Ruo shikuhaZhong wariGua Hu Lei (cl-02)noHou ro,You haShi meGua Hu Lei ( cl-01)noQian ha,Yuan Ze toshiteEr Fen akitoshi,Ju Dian Lei (cl-06)noHou rohaEr Fen a kitosuru.Ju Dian Lei (cl-06),Du Dian Lei (cl-07),Ruo shikuhaZhong wariGua Hu Lei ( cl-02)noQian ,You haShi meGua Hu Lei (cl-01)noHou roniQuan Jiao nomonosupesunoOu Zi You haQuan Jiao nomonosupesunoarabiaShu Zi gakuruChang He ha,Ju Dian Lei (cl-06),Du Dian Lei (cl-07)Ruo shikuhaZhong wariGua Hu Lei (cl-02)noQian ,You haShi meGua Hu Lei (cl-01 )noHou rowobetaZu tosuru. Setting example of full-width Latin letters and European numerals. Quan Jiao nomonosupesunoOu Zi Ji biQuan Jiao nomonosupesunoarabiaShu Zi noPei Zhi Li Figure 99 Setting example of full-width Latin letters and European numerals. Quan Jiao nomonosupesunoOu Zi Ji biQuan Jiao nomonosupesunoarabiaShu Zi noPei Zhi Li Example of setting KATAKANA MIDDLE DOT as a decimal symbol among full-width, fixed-space European numerals. Quan Jiao nomonosupesuno arabiaShu Zi noTu Zhong niXiao Shu Dian toshiteRu ruZhong Dian noPei Zhi Li Figure 100 Example of setting KATAKANA MIDDLE DOT as a decimal symbol among full-width, fixed-space European numerals. Quan Jiao nomonosupesunoarabiaShu Zi noTu Zhong niXiao Shu Dian toshiteRu ruZhong Dian noPei Zhi Li Note In this document, full-width and fixed-space Western characters and European numerals are treated as members of the ideographic characters (cl-19) class. Accordingly, when KATAKANA MIDDLE DOT "" appears before or after full-width and fixed-space Western characters and Western numerals, in principle, quarter em spacing is added between KATAKANA MIDDLE DOT "" and Western characters or Western numerals. However, when KATAKANA MIDDLE DOT "" is used as a decimal symbol between Western numerals, in principle, it is set solid, like ideographic numerals. konoWen Shu deha,Quan Jiao nomonosupesunoOu Zi Ji biQuan Jiao nomonosupesunoarabi aShu Zi noWen Zi kurasuha,Han Zi Deng (cl-19)toshiteXi u.shitagatsute,Quan Jiao nomo nosupesunoOu Zi Ji biQuan Jiao nomonosupesunoarabiaShu Zi noQian Hou niZhong Dian Lei ( cl-05)gakuruChang He ha,Zhong Dian Lei (cl-05)toQuan Jiao nomonosupesunoOu Zi You haQuan Jiao nomonosupesunoarabiaShu Zi tonoKong kiLiang ha,Yuan Ze toshiteSi Fen akitosuru .tadashi,Quan Jiao nomonosupesunoarabiaShu Zi noTu Zhong niXiao Shu Dian toshiteZhong Dian [] (KATAKANA MIDDLE DOT)woYong iruChang He ha,Han Shu Zi noChang He toTong Yang ni,Yuan Ze toshitesonoQian Hou wobetaZu tosuru. Note The details of ideographic characters (cl-19), including full-width and fixed-width Western characters and European numerals, are described as a complete table in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang , in accordance with SS 3.9 About Character Classes Wen Zi ku rasunitsuite . Quan Jiao nomonosupesunoOu Zi Ji biQuan Jiao nomonosupesunoarabiaShu Zi woHan muHan Zi Deng (cl-19)noPei Zhi Fang Fa nitsuitenoXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeShuo Ming suruWen Zi kurasuniCong i,Biao noXing Shi nishite SS B. Spacing between Characters Wen Zi Jian noKong kiLiang Yi Xia deShi su. 3.2.5 Handling of Tate-chu-yoko (Horizontal-in-Vertical Settings) Zong Zhong Heng noChu Li To set strings as tate-chu-yoko (horizontal-in-vertical setting), first set from left to right using solid setting, then align the whole string to the center of the vertical line (Figure 101). When hiragana (cl-15), katakana (cl-16) or ideographic characters (cl-19) are set before/after tate-chu-yoko, the inter-character spacing is set solid. In principle, when tate-chu-yoko is set after a comma (cl-07) or closing bracket (cl-02), or before an opening bracket (cl-01), half em spacing is added. In addition, when tate-chu-yoko is set after a full stop (cl-06) in the middle of a line, half em spacing is added. When a full stop (cl-06) is set at the end of a line, half em spacing is inserted after it, in principle. When tate-chu-yoko is set before full stops, commas or closing brackets, or after opening brackets, the inter-character spacing is set solid. Zong Zhong Heng niPei Zhi suruWen Zi Lie ha,Heng Fang Xiang (Zuo karaYou Fang Xiang )nibetaZu dePei Zhi shi,so noWen Zi Lie Quan Ti woXing noZhong Yang niPei Zhi suru(Figure 101).nao,Zong Zhong Heng noQian Hou ni Pei Zhi suruPing Jia Ming (cl-15),Pian Jia Ming (cl-16)You haHan Zi Deng (cl-19)tonoZi Jian ha ,betaZu nisuru.Zong Zhong Heng noWen Zi Lie gaDu Dian Lei (cl-07)Ruo shikuhaZhong wariGua Hu Lei ( cl-02)noHou ro,You haShi meGua Hu Lei (cl-01)noQian nikuruChang He ha,soreratonoZi Jian woYuan Ze toshiteEr Fen akitosuru.Xing Zhong deZong Zhong Heng noWen Zi Lie gaJu Dian Lei (cl-06)no Hou ronikuruChang He ha,sonoZi Jian woEr Fen akitosuru.tadashi,Ju Dian Lei (cl-06)ga Xing Mo niWei Zhi shitaChang He ha,Ju Dian Lei (cl-06)noHou rowoYuan Ze toshiteEr Fen akinisuru .Ju Dian Lei (cl-06),Du Dian Lei (cl-07)Ruo shikuhaZhong wariGua Hu Lei (cl-02)noQian , You haShi meGua Hu Lei (cl-01)noHou roniZong Zhong Heng noWen Zi Lie gakuruChang He ha,sonoZi Jian ha betaZu tosuru. Example of setting tate-chu-yoko (horizontal-in-vertical text setting). Zong Zhong Heng noPei Zhi Li Figure 101 Example of setting tate-chu-yoko (horizontal-in-vertical text setting). Zong Zhong Heng noPei Zhi Li Note The details of handling of inter-character spacing between characters in tate-chu-yoko (cl-30) and adjacent other character classes are described as a complete table in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang , in accordance with SS 3.9 About Character Classes Wen Zi ku rasunitsuite . Zong Zhong Heng dePei Zhi suruWen Zi Lie (Zong Zhong Heng Zhong noWen Zi (cl-30))toLin Jie suruWen Zi Jian noJian Ge nitsuitenoChu Li Fang Fa noXiang Xi ha,SS 3.9 About Character Classes Wen Zi kura sunitsuitedeShuo Ming suruWen Zi kurasuniCong i,Biao noXing Shi nishiteSS B. Spacing between Characters Wen Zi Jian noKong kiLiang Yi Xia deShi su. 3.2.6 Handling of Western Text in Japanese Text using Proportional Western Fonts puroposhiyonaruna Ou Zi woYong ita He Ou Wen Hun Zhi Chu Li Composition rules for Western characters, Western text and European numerals, set rotated 90 degrees clockwise in vertical writing mode, and horizontal writing mode, are as follows: Zong Zu deWen Zi woShi Ji Hui rini90Du Hui Zhuan shitePei Zhi suruOu Zi Ou Wen arabiaShu Zi You haHeng Zu deHun Zhi suruOu Zi Ou Wen arabiaShu Zi noPei Zhi Fang Fa ha,Ci noyounisuru . 1. A sequence of Western characters in a Western word should not be broken across a line-break, except where hyphenation is allowed. Ou Wen noDan Yu noWen Zi Lie ha,haihuneshiyonKe Neng naGe Suo Yi Wai de2Xing niFen Ge shi tehanaranai. 2. When line adjustment is done with line adjustment by inter-character spacing reduction, Western word space (cl-26) is used as first priority. Also, when line adjustment is done with line adjustment by inter-character spacing expansion, Western word spaces are used as first priority. Zhui Ip miChu Li deZi Jian woJie meruChang He ,sonoChu Li Dui Xiang toshiteOu Wen Jian Ge (cl-26) woYou Xian De niShi Yong shi,Zhui Chu shiChu Li deZi Jian woKong keruChang He mo,sonoChu Li Dui Xiang to shiteOu Wen Jian Ge woYou Xian De niShi Yong suru. 3. When line adjustment by inter-character spacing expansion is used, inter-character spacing within Western words and European numerals is not used for expansion. Zhui Chu shiChu Li noJi niha,Ou Wen Ji biarabiaShu Zi noZi Jian ha,Zi Jian woKong keruDiao Zheng Ge Suo toshinai. 4. Inter-character spacing, between hiragana (cl-15), katakana (cl-16) or ideographic characters (cl-19) and Western characters or European numerals, is quarter em spacing (see Figure 102). The issue as to whether the quarter em spacing can be used for line end adjustment or not is discussed in SS 3.8.2 Reduction and Addition of Inter-Character Spacing Jie meruChu Li toKong keruChu Li and SS 3.8.4 Procedures for Inter-Character Space Expansion Kong keruChu Li noYou Xian Shun Wei . Ou Zi arabiaShu Zi noQian Hou niPei Zhi sareruPing Jia Ming (cl-15),Pian Jia Ming ( cl-16)You haHan Zi Deng (cl-19)tonoZi Jian ha,Si Fen akitosuru(Figure 102 ).(konoSi Fen akiwoXing noDiao Zheng Chu Li niShi Yong suruChang He noXiang Xi nitsuiteha SS 3.8.2 Reduction and Addition of Inter-Character Spacing Jie meru Chu Li toKong keruChu Li Ji biSS 3.8.4 Procedures for Inter-Character Space Expansion Kong keruChu Li noYou Xian Shun Wei woCan Zhao .) Example of a quarter em inter-character spacing between hiragana, katakana and ideographic characters, and Latin characters. Ping Jia Ming ,Pian Jia Ming You haHan Zi Deng toOu Zi arabiaShu Zi noZi Jian woSi Fen akitoshitaLi Figure 102 Example of a quarter em inter-character spacing between hiragana, katakana and ideographic characters, and Latin characters. Ping Jia Ming ,Pian Jia Ming You haHan Zi Deng toOu Zi arabiaShu Zi noZi Jian wo Si Fen akitoshitaLi In the following cases, a quarter em spacing is not added (see Figure 103). tadashi,Ci noGe Suo deha,Si Fen akitoshinai(Figure 103). 1. At the start of a line, there is no spacing before Latin characters or European numerals. At the end of the line, there is no spacing after Latin characters or European numerals. Xing Tou nioiteha,Ou Zi arabiaShu Zi noQian haKong kenai.Xing Mo nioi teha,Ou Zi arabiaShu Zi noHou rohaKong kenai. 2. In the case where Latin characters and European numerals follow a comma (cl-07) or closing bracket (cl-02), or are followed by opening brackets (cl-01), in principle, half em spacing is added. In the case where Latin characters and European numerals follow a full stop (cl-06) in the middle of a line, half em spacing is added. When the full stop (cl-06) is set at the end of a line, in principle, half em spacing is added after the full stop (cl-06). Du Dian Lei (cl-07)Ruo shikuhaZhong wariGua Hu Lei (cl-02)noHou ro,You haShi me Gua Hu Lei (cl-01)noQian woYuan Ze toshiteEr Fen akitosuru.mata,Xing Zhong noJu Dian Lei (cl-06)noHou rohaEr Fen akitoshi,Ju Dian Lei (cl-06)gaXing Mo niWei Zhi shitaChang He ha,Ju Dian Lei (cl-06)noHou rowoYuan Ze toshiteEr Fen akinisuru . 3. In the case where Latin characters and European numerals are set before a full stop (cl-06), comma (cl-07) or closing bracket (cl-02), or after an opening bracket (cl-01), the inter-character spacing is set solid. Ju Dian Lei (cl-06),Du Dian Lei (cl-07)Ruo shikuhaZhong wariGua Hu Lei (cl-02) noQian ,You haShi meGua Hu Lei (cl-01)noHou roniOu Zi arabiaShu Zi gakuru Chang He ha,sonoZi Jian habetaZu tosuru. Example of no inter-character spacing before and after Latin characters and European numerals. Ou Zi arabiaShu Zi noQian Hou woSi Fen aki toshinaiGe Suo Figure 103 Example of no inter-character spacing before and after Latin characters and European numerals. Ou Zi arabiaShu Zi noQian Hou woSi Fen akitoshinaiGe Suo Note In this document, proportional Western characters and European numerals are treated as members of the Western characters (cl-27) class. Note that half- and fixed-width European numerals, when mixed with Japanese text, are treated as members of the grouped numerals (cl-24) class. konoWen Shu deha,puroposhiyonarunaOu Zi arabiaShu Zi noWen Zi kurasuha,Ou Wen Yong Wen Zi (cl-27)toshiteXi u.mata,He Wen tonoHun Zhi Yong niShe Ji saretaBan Jiao noa rabiaShu Zi gaaru.konoarabiaShu Zi noWen Zi kurasuha,konoWen Shu dehaLian Shu Zi Zhong noWen Zi (cl-24)toshiteXi u. Note The reason quarter em spacing is needed between Western characters or European numerals and hiragana (cl-15), katakana (cl-16) or ideographic characters (cl-19), is that the design concept of Latin fonts and Japanese fonts are different from each other, so it looks too tight without the spacing (Figure 104). Ou Zi arabiaShu Zi noQian Hou niPei Zhi sareruPing Jia Ming (cl-15),Pian Jia Ming (cl-16) You haHan Zi Deng (cl-19)tonoZi Jian woSi Fen akinisurunoha,puroposhiyonarunaOu Zi arabiaShu Zi toHe Wen deha,Wen Zi She Ji noKao eFang niXiang Wei gaari,Ou Zi ara biaShu Zi toHe Wen tonoZi Jian wobetaZu nisuruto(Figure 104),Zi Jian gaJie mariGuo gininarukaradearu. Example of solid setting between, katakana and ideographic characters and Latin characters and European numerals. (This method is not recommended). Ping Jia Ming ,Pian Jia Ming You haHan Zi Deng toOu Zi arabiaShu Zi tonoZi Jian wo betaZu toshitaLi (konoyounaPei Zhi Fa nihashinai) Figure 104 Example of solid setting between, katakana and ideographic characters and Latin characters and European numerals. (This method is not recommended). Ping Jia Ming ,Pian Jia Ming You haHan Zi Deng toOu Zi arabiaShu Zi tonoZi Jian wobetaZu toshitaLi (konoyounaPei Zhi Fa nihashinai) 3.3 Ruby and Emphasis Dots rubitoQuan Dian Chu Li 3.3.1 Usage of Ruby rubinoShi Yong Ruby is a small-sized, supplementary text attached to a character or a group of characters in the main text. A run of ruby text, usually attached to the right of the characters in vertical writing mode or immediately above them in horizontal writing mode, indicates the reading or the meaning of those characters (see Figure 105). The characters in the main text that are annotated by ruby are called " base characters". Mainly Hiragana (cl-15) characters are often used for ruby to indicate how to read ideographic characters (cl-19); this is known as ruby annotation or as "furigana". rubitoha,Wen Zi nosoba(Zong Zu dehaYi Ban niYou Ce ,Heng Zu dehaYi Ban niShang Ce )niFu ke teWen Zi noDu miFang ,Yi Wei nadowoShi suXiao sanaWen Zi nokotodearu(Figure 105). rubiwoFu keruChang He ,sonoDui Xiang tonaruWen Zi nokotowoQin Wen Zi toiu.rubitoshite ha,Han Zi Deng (cl-19)noDu miwoShi suPing Jia Ming (cl-15)nadowoFu kerukotogaDuo ku ,"Zhen riJia Ming "tomoyobareteiru. Ruby and base characters. rubitoQin Wen Zi Figure 105 Ruby and base characters. rubitoQin Wen Zi Note Societal change in the use of kanji when composing Japanese and changes in the use of ruby implementations in text layout methods have been affecting the usage of ruby itself. Ruby was not very popular while the Touyou Kanji Table (Dang Yong Han Zi Biao ) (the list of kanji characters for everyday use, issued by the Government on November 16, 1946) was in effect because, in principle, it discouraged the use of furigana in its 'directions for use' section. The Jouyou Kanji Table (Chang Yong Han Zi Biao ) (the list of kanji characters in common use, issued by the Government to replace the Touyou Kanji Table on October 10, 1981) has changed the scope of the list. (The Touyou Kanji Table defined the list of all kanji characters that can be used for any documents, while the Jouyou Kanji Table was designed to be a 'reference guide' for the use of kanji to compose contemporary Japanese for general use in society.) For example, the preface of the Jouyou Kanji Table states that one may consider the use of 'furigana (annotations to indicate pronunciation)' when the text appears too difficult to read. This is why the use of ruby has been increasing today. The use of ruby is common in magazines and books, and even newspapers have begun to use ruby these days. rubinoShi Yong ha,Han Zi Biao Ji noKao eFang yaZu Ban niokerurubiChu Li Fang Fa nadoniYing Xiang sa re,Bian Hua shiteiru.Te ni,Ri Ben niokeruHan Zi Biao Ji noJi Zhun tosaretekita"Dang Yong Han Zi Biao "(1946Nian 11Yue 16Ri ,Nei Ge Xun Ling Gao Shi )no"Shi Yong Shang noZhu Yi "nioite,"hu riganaha,Yuan Ze toshiteShi wanai"toatsutakotokara,Yi Qian harubinoShi Yong haShao na katsuta.shikashi,"Dang Yong Han Zi Biao "woGai Zheng shita"Chang Yong Han Zi Biao "(1981Nian 10Yue 1Ri ,Nei Ge Xun Ling Gao Shi )deha,Biao sonomononoKao eFang gaBian Hua shita("Dang Yong Han Zi Biao "haYi Ban She Hui deShi Yong suruHan Zi noFan Wei woShi shitamono,"Chang Yong Han Zi Biao "haYi Ban noShe Hui Sheng Huo ni oiteXian Dai noGuo Yu woShu kiBiao suChang He noHan Zi Shi Yong noMu An woShi shitamono).Li eba ,"Chang Yong Han Zi Biao "no"Da Shen Qian Wen "niha,"Du minikuitoSi wareruyounaChang He ha,Bi Yao niYing ziteZhen riJia Ming woYong iruyounaPei Lu wosurunomoYi tsunoFang Fa dearou"toa ru.koushitakotokara,Jin Ri deharubinoShi Yong gaZeng eteiru.Cong Lai karaZa Zhi ya Shu Ji niokerurubiShi Yong ha,Yi Ban De nakotodeatsutaga,Zui Jin dehaXin Wen demorubi woShi Yong suruyouninatsuteiru. Note The specification of ruby composition was first introduced in the second revision of JIS X 4051, which was further revised in 2004 to add jukugo-ruby, katatsuki-ruby and the dual ruby composition with which two distinct runs of ruby are attached to the same base characters (4.12 Ruby Composition). rubinoZu Ban Chu Li ha,JIS X 4051nioitehaDi 2Ci Gui Ge deGui Ding gaZhui Jia sare,sara ni2004Nian noGai Zheng de,Shou Yu rubi,Jian Fu kirubi,Qin Wen Zi noLiang Ce niFu kerurubiChu Li noGui Ding gaZhui Jia sareteiru("4.12 rubiChu Li "). There are three methods to treat ruby as follows: rubinoZu Ban Chu Li noFang Fa toshiteha,Ci no3tsugaaru. 1. Mono-ruby : ruby characters are set in connection with each base character (see SS 3.3.5 Positioning of Mono-ruby with Respect to Base Characters monorubinoQin Wen Zi niDui suruPei Zhi Wei Zhi ). monorubi:Qin Wen Zi no1Zi gotoniDui Ying shiterubiwoFu ketePei Zhi suru(SS 3.3.5 Positioning of Mono-ruby with Respect to Base Characters monorubi noQin Wen Zi niDui suruPei Zhi Wei Zhi ). 2. Jukugo-ruby : ruby characters are set not only in connection with each base character but also treated as a group as kanji compound word (see SS 3.3.7 Positioning of Jukugo-ruby with Respect to Base Characters Shou Yu rubinoQin Wen Zi niDui suruPei Zhi Wei Zhi and SS F. Positioning of Jukugo-ruby Shou Yu rubinoPei Zhi Fang Fa ). Shou Yu rubi:Ge "noQin Wen Zi noDu mitotomoniShou Yu toshitenomatomariwoZhong Shi shi tePei Zhi suru(SS 3.3.7 Positioning of Jukugo-ruby with Respect to Base Characters Shou Yu rubinoQin Wen Zi niDui suruPei Zhi Wei Zhi Ji biSS F. Positioning of Jukugo-ruby Shou Yu rubinoPei Zhi Fang Fa ). 3. Group-ruby : The connection between ruby characters and base characters is treated as group-to-group (see SS 3.3.6 Positioning of Group-ruby with Respect to Base Characters gurupurubinoQin Wen Zi niDui suruPei Zhi Wei Zhi ). gurupurubi:Fu Shu noQin Wen Zi deGou Cheng sareruYu Quan Ti niGua karuyouniPei Zhi su ru(Chu Li Fang Fa haSS 3.3.6 Positioning of Group-ruby with Respect to Base Characters gurupurubinoQin Wen Zi niDui suruPei Zhi Wei Zhi ). Because of different purposes and different functionalities, there are several complicated methods for ruby as follows: konoyounaFu Shu noChu Li Fang Fa gaBi Yao ninarunoha,Yi Xia deShuo Ming suruyounirubiwo Fu keruMu De ,rubinoYi Ge noWei igaarukotoniyoru. 1. PURPOSE: Ruby annotation with kana (usually hiragana (cl-15)) to provide readings of ideographic characters (cl-19). There are two types of ruby for this purpose depending on the type of base character: Han Zi Deng (cl-19)noDu miFang woShi suZhu niPing Jia Ming (cl-15)norubiwoFu keru. koreniha,Ci no2tsugaaru. 1. Add one or more hiragana (cl-15) ruby characters to indicate the reading (Japanese onyomi or kunyomi) for each base ideographic character (cl-19) (see Figure 106). This method, attaching one or several hiragana or katakana characters for each base ideographic character, is called mono-ruby. 1Wen Zi noQin Wen Zi (Han Zi Deng (cl-19))noYin Du miYou haXun Du minoDu miFang wo Shi su1Wen Zi noPing Jia Ming (cl-15)You haFu Shu noPing Jia Ming (cl-15)norubiwoFu keru(Figure 106).konoyouniQin Wen Zi Lie no1Wen Zi gotoniDui Ying saseta rubinoChu Li Fang Fa womonorubitoiu. Example of ruby annotation per ideographic character. Han Zi Deng no1Zi noDu miwoShi surubinoLi Figure 106 Example of ruby annotation per ideographic character. Han Zi Deng no1Zi noDu miwoShi su rubinoLi 2. In the Japanese writing system, kanji compound words (jukugo) occasionally appear, usually constructed with a couple of ideographic characters (cl-19). There are two different methods of attaching ruby characters to base ideographic characters (cl-19) for these compound words. Ri Ben Yu Biao Ji deha,Fu Shu noHan Zi Deng (cl-19)deGou Cheng saretaShou Yu woyokuShi u.konoShou Yu woGou Cheng suruGe "noHan Zi Deng (cl-19)nitsuite,Yin Du miYou haXun Du minoDu miFang woShi suPing Jia Ming (cl-15)norubiwoFu keru(konoyou narubinoShi Yong Li haDuo i).konoyounaShou Yu niFu kerurubinitsuite, Qin Wen Zi torubiWen Zi tonoDui Ying niha,2tsunoFang Fa gaaru. 1. Mono-ruby. Ruby characters are attached to each base ideographic character (cl-19), similarly to the previous section (see Figure 107). Qian Xiang toTong Yang ni,Ge "noHan Zi Deng (cl-19)(Qin Wen Zi )no1Wen Zi goto nisonorubiwoDui Ying saseruFang Fa .tsumari,monorubitoshiterubiwo Chu Li suruFang Fa dearu(Figure 107). Example of mono-ruby method. Ruby characters are attached to each base ideographic character in a compound word. Shou Yu niFu kurubiwomonorubideChu Li shitaLi Figure 107 Example of mono-ruby method. Ruby characters are attached to each base ideographic character in a compound word. Shou Yu niFu ku rubiwomonorubideChu Li shitaLi Note In Figure 107, there is quarter em spacing between the base characters "Ning " and "Shi ". So when this line happens to appear in the middle of a paragraph, there needs to be some line adjustment processing. Figure 107nioite,Qin Wen Zi no"Ning "to"Shi "noZi Jian gaSi Fen akini natsuteiru.shitagatsute,konoXing gaDuan Luo noTu Zhong noXing deatsutaChang He ha,nanrakanoXing noDiao Zheng Chu Li gaBi Yao ninaru. 2. Jukugo-ruby. Pronunciation is indicated for each ideographic character (cl-19), but the positioning takes into account the fact that together they make up a compound word (see Figure 108). The intention when using jukugo-ruby is to handle the ideographic character (cl-19) phrase as one object. Ge "noHan Zi Deng (cl-19)noDu miFang woShi sutoTong Shi ni,Shou Yu Dan Wei deno Pei Zhi moKao Lu shitePei Zhi suruFang Fa (Figure 108).konoFang Fa haShou Yu rubitoyobareteiru.Shou Yu rubiha,Shou Yu woGou Cheng suruHan Zi Deng ( cl-19)no1Wen Zi 1Wen Zi noDu miFang woShi sutotomoni,Shou Yu toshitenoma tomariwoChi tsuteirunode,rubimomatomaritoshiteDu meruBi Yao ga aru.Shou Yu rubiha,Shou Yu toshitenomatomariwoZhong Shi shitaPei Zhi Fang Fa toieru. Example of jukugo-ruby method. Ruby characters are attached to groups of ideographic characters in compound words. Shou Yu niFu kurubiwoShou Yu rubideChu Li shitaLi Figure 108 Example of jukugo-ruby method. Ruby characters are attached to groups of ideographic characters in compound words. Shou Yu niFu kurubiwoShou Yu rubideChu Li shitaLi Note There is no difference between Figure 107 of mono-ruby and Figure 108 of jukugo-ruby, when the number of ruby characters for each base ideographic character (cl-19) is one or two. When the mono-ruby approach is adopted, the inter-character spacing between base ideographic characters (cl-19) can be expanded for line adjustment (in Figure 107, the inter-character spacing between "Gui " and "Men ", or, "Fang " and "Jiao " can be expanded). When the jukugo-ruby approach is adopted, line adjustment cannot be applied to the base ideographic characters (cl-19). monorubideChu Li shitaFigure 107toShou Yu rubideChu Li shitaFigure 108deha,Shou Yu woGou Cheng suruGe "noHan Zi Deng (cl-19)niFu kurubiWen Zi gasubete2Zi Yi Xia noChang He ha,sonoPei Zhi Wei Zhi noGuan Xi haTong zininaru .shikashi,monorubiderubiwoFu ketaChang He niha,rubiFu kinoQin Wen Zi Jian woXing noDiao Zheng Chu Li deZi Jian woKong keruChu Li noDui Xiang toshiteiru( Figure 107deieba,"Gui "to"Men "noZi Jian ,"Fang "to"Jiao "tonoZi Jian ).koreniDui shi,Shou Yu rubiderubiwoFu ketaChang He niha,rubiFu ki noQin Wen Zi Jian woXing noDiao Zheng Chu Li deZi Jian woKong keruChu Li noDui Xiang toshinai ,toiuWei igaaru. Note The following examples show the relationship between ruby characters and base ideographic characters (cl-19). Shou Yu niFu kerurubitonoDui Ying Guan Xi noZhi Shi Fang Fa nitsuite,"Ning Shi "wo Li niGai Nian toshiteShi seba,Ci noyouninarou. Example of mono-ruby: "Ning +(giyou)" "Shi +(shi)" monorubinoLi ) Example of jukugo-ruby 1: "Ning +(giyou) Shi +(shi)" Shou Yu rubinoLi 1) Example of jukugo-ruby 2: "(Ning Shi )+(giyou/shi)" Shou Yu rubinoLi 2) Note Books commonly adopt kana-based jukugo-ruby for ideographic compound words. However, due to technical difficulties for rendering jukugo-ruby in machine-assisted text layout, the adoption of kana-based mono-ruby is increasing. For example, newspapers do not use jukugo-ruby, and study aids generally use mono-ruby because it is considered more important to show the readings of each ideographic character (cl-19) for students than to be concerned about the beauty of the layout. Shou Yu niFu kerurubideha,Shu Ji noChang He ha,Shou Yu toshitenomatomari woZhong Shi suruPei Zhi Fang Fa gaYi Ban De dearu.tadashi,konpiyutaZu Ban noJi Jie De naChu Li deha,Shou Yu toshitenomatomariwoZhong Shi suruPei Zhi Fang Fa hamuzukashiku,sonoyounaPei Zhi Fang Fa toshinaiLi moZeng etei ru.Xin Wen nadodemo,Shou Yu toshitenomatomariwoZhong Shi suruPei Zhi Fang Fa nihashiteinai.nao,Xue Xi Can Kao Shu nadodeha,Ge "noHan Zi Deng ( cl-19)noDu miFang woShi sukotogaZhong Yao toKao e,Cong Lai karaGe "noHan Zi Deng (cl-19)noDu miFang woShi sukotowoZhong Shi shitaPei Zhi Fang Fa toshiteiru . Note Multiple ideographic compound words can form one compound phrase. In this case, there are two ways to attach ruby, i.e. attaching ruby to the compound phrase as a whole, or to each word which forms the compound (see Figure 109). Similarly, a Japanese personal name consists of a given name and a family name, which together form a compound of a full name, and it is an editorial decision whether to attach two runs of ruby, one each for given name and family name, or to attach the full ruby text to the compound which represents the reading of the full name. Shou Yu toshitenomatomariwoZhong Shi suruChang He ,Fu He Yu notokiha,sono Fu He Yu Quan Ti woShou Yu 1Yu toshiteKao eterubiwoDui Ying saseruFang Fa to,Fu He Yu woGou Cheng suruShou Yu Dan Wei nirubiwoDui Ying saseruFang Fa gaaru( Figure 109).Shi Ming noChang He moXing Ming woYi Ti toshiterubiwoDui Ying sase ruFang Fa to,Xing toMing woBie noDan Wei toshiterubiwoDui Ying saseruFang Fa gaa ru.izurenisurukahaBian Ji Fang Zhen niyoru. Examples of ruby attachment for a compound phrase. Fu He Yu niFu kerurubinoLi Figure 109 Examples of ruby attachment for a compound phrase. Fu He Yu niFu kerurubinoLi Note In most cases, the reading of an ideographic compound word is just a concatenation of the readings of each individual ideographic character (cl-19), but some phrases have their own native readings (known as jukuji readings) (see Figure 110), which cannot be derived from the readings of each character. Attaching ruby to those phrases, which are usually sequences of two or three ideographic characters (cl-19), is essentially the same as attaching ruby in katakana (cl-16) to ideographic character (cl-19) and/or hiragana (cl-15) base characters (see Figure 111). Shou Yu ha,Han Zi Deng (cl-19)no1Wen Zi gotoniYin Du miYou haXun Du misuru kesugaDuo iga,Zhong nihaShou Yu womatometeXun Du misuruChang He gaaru (Shou Zi Xun toiu)(Figure 110).konoChang He ha,Qin Wen Zi dearu2 Wen Zi You ha3Wen Zi noHan Zi Deng (cl-19)noWen Zi Lie nirubiwomatometeFu kerebayoinode,Han Zi Deng (cl-19)yaPing Jia Ming (cl-15)nadonoQin Wen Zi niPian Jia Ming (cl-16)deGou Cheng saretaYan Xie worubitoshiteFu keruChang He (Figure 111)toTong zidearu. Examples of ruby for jukuji readings. Shou Zi Xun norubinoLi Figure 110 Examples of ruby for jukuji readings. Shou Zi Xun no rubinoLi 2. PURPOSE: Ruby annotation that annotates a ideographic character (cl-19) or hiragana (cl-15) word with katakana (cl-16) to provide its meaning, together with its reading. In terms of ruby layout, attaching ruby text to a single character in ideographic character (cl-19) is essentially the same as attaching the reading to a ideographic character (cl-19) (e.g. attaching ruby text "bazaru", 'Bazaar', in hiragana (cl-15) or katakana (cl-16) to a ideographic character (cl-19) "Shi " is just like attaching the reading "ichi" to that character). When attaching katakana (cl-16) ruby text to a run of base text consisting of two or more characters in ideographic character (cl-19) and/or hiragana (cl-15), the ruby text needs to be positioned as if it corresponds to the annotated text itself, no matter how the ruby characters are distributed across each base character. The most typical example of this is attaching ruby text to a kanji compound word to indicate a corresponding loan word in katakana (see Figure 111). The use of ruby text of this kind is on the increase in proportion to the growing need for translations and loan words. This type of ruby, namely ruby characters that are attached to two or more base characters as one object (note that ruby characters are not limited to katakana (cl-16). Figure 110 and Figure 112), is called group-ruby. Group-ruby and its base characters are unbreakable, because of their behavior as one object (it is possible to break a line in the middle of the base characters where jukugo-ruby is in use). Han Zi Deng (cl-19)yaPing Jia Ming (cl-15)nadonoYan Xie (Yu )ni,rubitoshiteBie naYan Xie woPian Jia Ming (cl-16)deShi su(Du miFang woShi sunodehanaku,Yi Wei woShi su rubiwoFu kerutoiukotodemoaru).Han Zi Deng (cl-19)no1Zi noYan Xie niBie noYan Xie woDui Ying saseruChang He (Li eba,"Shi "ni"bazaru"toiurubiwoFu ke ru)ha,Han Zi Deng (cl-19)no1Zi noDu miFang woShi shitaChang He (Li eba,"Shi "ni" ichi"toiurubiwoFu keru)toTong ziyouniKao erebayoiga,2Wen Zi Yi Shang no Han Zi Deng (cl-19)yaPing Jia Ming (cl-15)nadonoQin Wen Zi Lie niPian Jia Ming (cl-16)no rubiwoFu keruChang He ha,Ge "noQin Wen Zi torubitonoDui Ying haWen Ti tonarazu,Qin Wen Zi Lie Quan Ti niDui shiterubiWen Zi Lie woDui Ying saseruBi Yao gaaru.konokesude Zui moDuo iLi ha,Qin Wen Zi dearuHan Zi Deng (cl-19)noShou Yu niDui shi,soretohobo Tong ziYi Wei noWai Lai Yu dearuPian Jia Ming (cl-16)deGou Cheng saretaYan Xie worubitoshite Shi suChang He dearu(Figure 111).Fan Yi gaZeng Da shi,mataPian Jia Ming Yu gaZeng ete irukotokara,konoyounarubinoShi Yong Li haDuo kunatsuteiru.konoyouni2 Wen Zi Yi Shang noQin Wen Zi Lie Quan Ti nimatometeFu kerurubi(rubiWen Zi Lie haPian Jia Ming ( cl-16)niXian ranai.Figure 110Ji biFigure 112)ha,gurupurubitoyo bareteiru.gurupurubiha,Yi Ti toshiteXi i,2Xing niFen Ge dekinai(Shou Yu rubiha,Qin Wen Zi Lie noHan Zi Deng (cl-19)noZi Jian de2Xing niFen Ge dekiru). Examples of ruby for compound ideographic character words to indicate corresponding words in katakana. Han Zi Deng noShou Yu niPian Jia Ming wo Fu ketarubinoLi Figure 111 Examples of ruby for compound ideographic character words to indicate corresponding words in katakana. Han Zi Deng noShou Yu niPian Jia Ming woFu ketarubinoLi Note Having said that, the layout of ruby text to a single ideographic character (cl-19) is not entirely the same depending on the use of ruby, and may differ according to whether it is for indicating the reading or the meaning. In fact, the katatsuki, one of ruby layout per character which will be described in the later section, does allow the nakatsuki layout for those ruby which indicate meaning. Han Zi Deng (cl-19)no1Zi niDui shi,Du miFang woShi surubiwoFu keruChang He to,Yi Wei woShi surubiwoFu keruChang He noZu Ban Chu Li gamatsutakuTong zitoiuwakedehanai .Hou Shu suruJian Fu kitoiuFang Shi woXuan ndaChang He demo,Yi Wei woShi surubihaZhong Fu kinisurutoiuKao eFang moaru. 3. PURPOSE: Ruby annotation, usually with katakana (cl-16) characters, to indicate the reading or the meaning of a Western word used in base text (see Figure 112). There are opposite cases where a synonymous Western word in Latin characters is attached as a ruby annotation to a Japanese word in ideographic character (cl-19) or hiragana (cl-15) and so on (see Figure 112). These cases are less used than a and b, however they are quite common in study guides, translated books and travel guides. Qin Wen Zi dearuOu Wen noDan Yu noDu miFang You haYi Wei woShi suYan Xie (Yi Ban niPian Jia Ming ( cl-16))worubitoshiteFu keru(Figure 112).Ni niQin Wen Zi dearuHan Zi Deng (cl-19)yaPing Jia Ming (cl-15)nadonoYan Xie ni,soretoTong ziYi Wei woShi suOu Wen noDan Yu worubitoshiteFu keru(Figure 112).konoLi ha,ayabniBi beruto Shi Yong Li haShao naiga,Xue Xi Can Kao Shu ,Fan Yi Shu ,Lu Xing An Nei nadodehayokuLi Yong sa reteiru. Examples of Latin characters used either in base text or ruby text for Western words. Qin Wen Zi You harubigaOu Wen noDan Yu noLi Figure 112 Examples of Latin characters used either in base text or ruby text for Western words. Qin Wen Zi You harubigaOu Wen noDan Yu noLi Note There is no difference in the positioning of ruby text whether attaching ruby characters in katakana (cl-16) or hiragana (cl-15) to a Western word in Latin characters or attaching ruby in Latin to a Japanese word in ideographic character (cl-19) or hiragana (cl-15). The ruby text in either case should be positioned relative to a run of base text to be annotated as in b). However, there is a difference in cases where the lengths of the base text and the ruby text are different. Details are described in SS 3.3.8 Adjustments of Ruby with Length Longer than that of the Base Characters rubigaQin Wen Zi yorihamiChu shitaChang He noChu Li . When the length of a ruby text in ideographic character (cl-19), hiragana (cl-15) or katakana (cl-16) is shorter than the corresponding base text, the ruby text is, in general, stretched by adding inter-character spacing between ruby characters, and when the length of a ruby text in ideographic character (cl-19), hiragana (cl-15) or katakana (cl-16) is longer than the corresponding base text, the base text is, in general, stretched by adding inter-character spacing between base characters, so that the ruby and base text look similar in length (see Figure 111). On the other hand, when the base text or ruby text is a Latin word, the word is set with western solid setting, and no inter-character spacing will be added to any ruby or base text in Latin characters no matter how different the ruby and base text look in length (see Figure 112). Details will be explained later. Qin Wen Zi toshitenoFu Shu noOu Zi noWen Zi Lie niPian Jia Ming (cl-16)Ruo shikuhaPing Jia Ming ( cl-15)norubiwoFu keruYou haFu Shu noHan Zi Deng (cl-19)yaPing Jia Ming (cl-15)no Qin Wen Zi Lie niOu Zi norubiwoFu keruChu Li ha,btoTong Yang niQin Wen Zi Lie Quan Ti nimatome terubiwoDui Ying saserutoiuDian dehaTong zidearu.shikashi,Qin Wen Zi torubino Wen Zi Lie noChang sagaTong zidenaitokiha,Xiang Xi haSS 3.3.8 Adjustments of Ruby with Length Longer than that of the Base Characters rubigaQin Wen Zi yorihamiChu shitaChang He noChu Li deJie Shuo suruga,Qin Wen Zi Ji birubigaHan Zi Deng ( cl-19),Ping Jia Ming (cl-15)You haPian Jia Ming (cl-16)noChang He ha,sonoZi Jian woKong keteChang sanobaransuwotoruChu Li woYi Ban niXing u(Figure 111).koreniDui shi,Qin Wen Zi You harubigaOu Wen noDan Yu noChang He ha,Qin Wen Zi torubinoWen Zi Lie noChang sagaBu zoroideatsutemo,Qin Wen Zi Lie noOu Zi You harubiWen Zi Lie noOu Zi ha,so rezorenoWen Zi noGu You noZi Fu niYing zitePei Zhi shiZi Jian haKong kenai,toiuWei i gaaru(Figure 112). 4. PURPOSE: Ruby annotation using ideographic character (cl-19) for a base text word in hiragana (cl-15). This is called furikanji, and is very rarely found. Qin Wen Zi dearuPing Jia Ming (cl-15)nadonirubitoshiteHan Zi Deng (cl-19)woFu ke ru(Zhen riHan Zi toiu).konoShi Yong Li haFei Chang niShao nai. Hereafter, mainly the usage of (a) and (b) will be explained. Yi Xia deha,Zhu nia,bnorubinoZu Ban Chu Li nitsuiteJie Shuo suru. 3.3.2 Choice of Base Characters to be Annotated by Ruby rubinoFu keFang There are several methods of choosing how to attach ruby annotations to which base characters. rubiwodonoyounaYan Xie ni,donoyouniFu kerukahaGe Zhong noFang Fa gaaru. 1. 'General-ruby' is the method of attaching ruby annotations to all base characters in ideographic character (cl-19). Chu tekuruHan Zi Deng (cl-19)nosubetenirubiwoFu keruFang Shi woZong rubitoiu. 2. 'Para-ruby' is the method of attaching ruby annotations to only those base characters in ideographic character (cl-19) for which readings are difficult. Chu tekuruHan Zi Deng (cl-19)nosubetedehanaku,Du miFang gamuzukashiiYi Bu no Han Zi Deng (cl-19)nominiFu keruFang Shi wopararubitoiu. Note The 'para-ruby' method is further divided into the method of attaching ruby annotations regardless of multiple occurrences of the same base ideographic character (cl-19), and the method of attaching ruby annotations to only the first instance of the same base ideographic character (cl-19). Furthermore, the latter method has several variations in counting the first instance for the entire book, each chapter, or each spread, etc. pararubinoChang He ,Chu tekurumuzukashiiTong ziHan Zi Deng (cl-19)nosubeteniru biwoFu keruFang Shi to,muzukashiiHan Zi Deng (cl-19)noChu Chu nomononiXian rirubi woFu keruFang Shi togaaru.Chu Chu mo,Ben gotonoChu Chu ,Zhang gotonoChu Chu ,Jian Kai ki pezigotonoChu Chu nado,ikutsukanoFang Shi gaaru. Note that ruby should be attached to all ideographic characters (cl-19) in a compound word, to reflect the unitary nature of the text. To attach ruby to only some of the ideographic characters (cl-19) in a compound word is not recommended (see Figure 113). nao,Shou Yu ha,matomaritoshiteDu mumononanode,Shou Yu nirubiwoFu keruChang He , Shou Yu woGou Cheng suruYi Bu nomuzukashiiHan Zi Deng (cl-19)ninomirubiwoFu kerunodeha naku,Shou Yu woGou Cheng surusubetenoHan Zi Deng (cl-19)noDu miFang woShi sunogaWang mashii (Figure 113). Examples of ruby on kanji characters in a compound word. (Left side, recommended. Right side, not recommended.) Shou Yu niFu kerurubinoLi (Zuo Ce :Wang mashiiLi .You Ce :Wang mashikunaiLi ) Figure 113 Examples of ruby on kanji characters in a compound word. (Left side, recommended. Right side, not recommended.) Shou Yu niFu kerurubinoLi (Zuo Ce :Wang mashiiLi .You Ce :Wang mashikunaiLi ) 3.3.3 Choice of Size for Ruby Characters rubinoWen Zi saizu The character size of ruby characters is, in principle, the half size of the base characters (see Figure 114). rubinoWen Zi saizuha,Yuan Ze toshiteQin Wen Zi noWen Zi saizuno1/2tosuru(Figure 114). Examples of ruby with half the size of the base characters. rubinoWen Zi saizuwo1/2toshitaLi Figure 114 Examples of ruby with half the size of the base characters. rubinoWen Zi saizuwo1/2toshitaLi The 'one-third-ruby' characters are used on rare occasions to attach three ruby characters to one full-width ideographic character (cl-19) . One-third-ruby for vertical layout has the dimension of the half of the base character in width and the one third in height. Those for horizontal writing mode have the dimension of half of the base characters in height and one third in width (see Figure 115). Quan Jiao noZi Fu noHan Zi Deng (cl-19)nirubiWen Zi wo3Zi Fu keruChang He niShi Yong shiteiruSan Fen rubitoyobarerurubimoaru(Shi Yong Li haShao nai).Zong Zu Yong noSan Fen rubiha,ru biWen Zi noZuo You noFu haQin Wen Zi no1/2tosuruga,rubiWen Zi noTian Di saizuwoQin Wen Zi no 1/3tosuru.Heng Zu Yong noSan Fen rubiha,rubiWen Zi noTian Di saizuhaQin Wen Zi no1/2tosu ruga,rubiWen Zi noZuo You noFu haQin Wen Zi no1/3tosuru(Figure 115). Examples of one third ruby. San Fen rubinoLi Figure 115 Examples of one third ruby. San Fen rubinoLi When ruby is attached to twelve point or larger base characters (usually used for headings), the size of the ruby character is generally smaller than half the size of the base characters, considering the proportion of the sizes of base characters and ruby. When all is said and done, these cases are very rare. mata,12pointoYi Shang noDa kinaWen Zi saizunoJian Chu shinadonirubiwoFu keruChang He (Yong Li haShao nai),Qin Wen Zi torubitonobaransuwoKao Lu shi,rubiWen Zi nosaizu haYi Ban niQin Wen Zi noWen Zi saizuno1/2yoriXiao sakushiteiru. Examples of ruby at a size smaller than half the size of the base characters. Qin Wen Zi noWen Zi saizuno1/2yoriXiao sakushitarubinoLi Figure 116 Examples of ruby at a size smaller than half the size of the base characters. Qin Wen Zi noWen Zi saizuno1/2yoriXiao sakushitarubinoLi Note There are cases where the body size is twelve points in books designed for infants or aged people. In these cases, the size of ruby can be six points, exactly the half size of the base characters. You Er You haGao Ling Zhe Xiang kenoBen de,Ben Wen noWen Zi saizuwo12pointotosuruLi moaru .konoChang He norubinoWen Zi saizuhaQin Wen Zi noWen Zi saizuno1/2no6pointodeyo i. Note When the size of base characters is very small (for e.g. smaller than seven points), ruby which is half the size, will be even more small and illegible. In such cases where the size of base characters is very small, ruby is not a suitable method of annotation. In those cases, consider other annotation methods such as adding the reading in parenthesis immediately after the base character. Qin Wen Zi noWen Zi saizugaXiao saiChang He (Li eba7pointoWei Man noChang He ),rubiWen Zi hasono1/2desaraniXiao sakunari,Ke Du Xing woSun nau.sokodeQin Wen Zi noWen Zi saizu gaXiao saiChang He ha,rubiwoFu kerukotohaWang mashikunai.Qin Wen Zi noZhi Hou niGua Hu wo Fu keteDu miFang nadowoShi sutoiuFang Fa wotorutoyoi. Note Slightly different from the question of the size of ruby, there is a question of whether or not small kana (cl-11) characters should be used in ruby annotations. Because the size is so small, there was no choice of using small kana in letterpress printing. Today there are cases where small kana are used in ruby annotations, but taking legibility into consideration, these cases should be limited to those where accurate readings are needed, such as for proper nouns. rubinoWen Zi saizutohayayaYi naruShi Xiang dearuga,rubiniXiao Shu kinoJia Ming (cl-11 )woShi Yong surukadoukamoWen Ti tonaru.rubiWen Zi haXiao sainode,Huo Zi Zu Ban deha ,somosomorubiWen Zi nihaXiao Shu kinoJia Ming haZhun Bei sareteinakatsuta(Shi Yong dekina katsuta).Jin Ri deharubiniXiao Shu kinoJia Ming woShi Yong suruLi moaruga,Ke Du Xing woKao Lu suruto,Xiao Shu kinoJia Ming norubiha,Te Ding noDu miwoXian Ding shitaiGu You Ming Ci nadoni Xian riShi Yong surunogaWang mashii. 3.3.4 Choice of Sides for Ruby with Respect to Base Characters Qin Wen Zi nodochiraCe nirubiwoFu keruka In principle, ruby is attached to the right of base characters in vertical writing mode, and above in horizontal writing mode. Zong Zu noChang He ,rubihaQin Wen Zi noYou Ce ,Heng Zu noChang He ,rubihaQin Wen Zi noShang Ce niFu ke runogaYuan Ze dearu. In some special cases, ruby can be seen to the left of base characters in vertical writing mode, and below in horizontal writing mode, but this is very rare. Te Bie naChang He ha,Zong Zu derubihaQin Wen Zi noZuo Ce ,Heng Zu deharubihaQin Wen Zi noXia Ce ni Fu keruLi gaaruga,sonoyouniFu keruLi haFei Chang niShao nai. There are cases where two kinds of ruby are attached, one to either side of the base characters, one for readings and the other for meanings (see Figure 117). This is also very rare. mata,Han Zi Deng (cl-19)noDu miwoShi surubitoYi Wei woShi surubitoitsutayouniLiang Ce niFu keruLi (Figure 117)moaruga,konoyouniFu keruLi moFei Chang niShao nai . An example of ruby attached to both sides of the base characters. Qin Wen Zi noLiang Ce nirubiwoFu ketaLi Figure 117 An example of ruby attached to both sides of the base characters. Qin Wen Zi noLiang Ce nirubiwoFu ketaLi In the following sections, the ruby composition methods will be explained on the assumption that the size of ruby is half the size of the base characters, and they will be attached to the right in vertical writing mode and above in horizontal writing mode. First we look at the basic composition rules of mono-ruby, group-ruby and jukugo-ruby, then the rules of positioning of ruby with respect to those characters which come before and after the base characters, and finally the composition rules at the line head and at the line end. Yi Xia deha,rubinoWen Zi saizuwoQin Wen Zi noWen Zi saizuno1/2toshi,Zong Zu dehaQin Wen Zi noYou Ce ,Heng Zu dehaQin Wen Zi noShang Ce nirubiwoFu keruChang He niXian Ding shi,sonoPei Zhi Fang Fa woJie Shuo suru.Zui Chu nimonorubi,gurupurubiJi biShou Yu rubinoQin Wen Zi torubi Wen Zi noYuan Ze De naPei Zhi Fang Fa woJie Shuo shi,sonoHou de,Qian Hou niPei Zhi suruWen Zi tonoGuan Xi ,saraniXing Tou Xing Mo niokeruPei Zhi Fang Fa woJie Shuo suru. 3.3.5 Positioning of Mono-ruby with Respect to Base Characters monoru binoQin Wen Zi niDui suruPei Zhi Wei Zhi When mono-ruby characters are Japanese, they are set solid. If mono-ruby characters have their own character widths such as Western characters or European numerals, they are set according to their own widths and then the ruby text is placed so that its center matches that of its base character. There are more variations depending on the combination of the base character and ruby text and accordingly various composition rules have been invented, which will be explained with examples. monorubinoChang He ,monorubinorubiWen Zi Lie habetaZu toshi,rubiWen Zi Lie gaOu Zi ya arabiaShu Zi nadoGu You noZi Fu woChi tsuWen Zi noChang He niha,sorezorenoWen Zi noGu You noZi Fu niYing zitePei Zhi suru.sonouede,Qin Wen Zi Lie torubiWen Zi Lie noZhong Yang wosoro etePei Zhi surukotogaYuan Ze dearu.shikashi,Qin Wen Zi torubinoZu He seniZhong "noLi gaari,Yang "naGong Fu mosareteirunode,Li woJu genagaraJie Shuo suru. When attaching two hiragana (cl-15) ruby characters to a single base character, the lengths of the ruby text and the base text are the same and they are positioned as shown in Figure 118. Qin Wen Zi 1Wen Zi niPing Jia Ming (cl-15)norubiWen Zi ga2Zi Fu kuChang He ha,Qin Wen Zi noChang sato rubiWen Zi noWen Zi Lie noChang sahasoroi,Figure 118noyouninaru. An example of composition with two ruby characters. rubiWen Zi ga2Zi noChang He noPei Zhi Li Figure 118 An example of composition with two ruby characters. rubiWen Zi ga2Zi noChang He noPei Zhi Li When attaching a single hiragana (cl-15) ruby character to a single base character, there are two ways of positioning the ruby character. Qin Wen Zi 1Wen Zi niFu kuPing Jia Ming (cl-15)norubiWen Zi ga1Zi noChang He ha,Ci no2tsunoFang Fa gaaru. 1. In vertical writing mode, attach a ruby character so that its vertical center matches that of the base character (see Figure 119). In horizontal writing mode, attach a ruby character so that its horizontal center matches that of the base character (see Figure 119). This positioning of a ruby character is called ' nakatsuki' (center-alignment). Zong Zu nioitehaQin Wen Zi noTian Di Zhong Yang torubiWen Zi noTian Di Zhong Yang wosoroetePei Zhi suru(Figure 119).Heng Zu nioitehaQin Wen Zi noZuo You Zhong Yang torubiWen Zi noZuo You Zhong Yang wosoroetePei Zhi suru(Figure 119).konoPei Zhi Fang Fa ha,Zhong Fu ki( Zhong Fu kirubi)toyobareteiru. Examples of nakatsuki and katatsuki alignment. Zhong Fu kitoJian Fu kinoLi Figure 119 Examples of nakatsuki and katatsuki alignment. Zhong Fu ki toJian Fu kinoLi 2. In vertical writing mode, attach a ruby character so that the top of its virtual body is aligned with the top of that of the base character (see Figure 119). This positioning of a ruby character is called 'katatsuki' (top-alignment). For horizontal writing mode, 'katatsuki' should not be adopted. If a ruby character is attached so that the left-edge of its virtual body is aligned with the left-edge of that of the base character, it would result in the loss of the center of balance, which doesn't look good (see Figure 120). Zong Zu nioitehaQin Wen Zi noShang Duan torubiWen Zi noShang Duan wosoroetePei Zhi suru( Figure 119).konoPei Zhi Fang Fa ha,Jian Fu ki(Jian Fu kirubi)toyobareteiru .nao,Heng Zu deha,Jian Fu kinoPei Zhi Fang Fa nihashinai.Heng Zu nioiteQin Wen Zi noZuo Duan torubiWen Zi noZuo Duan wosoroetePei Zhi suruto,Zuo You nobaransugaHuai re ,Ti Cai gayokunaikaradearu(Figure 120). Example of katatsuki alignment in horizontal layout (this is intentionally wrong and should not be applied). Heng Zu deJian Fu kitoshi taLi (konoyounaPei Zhi Fa nihashinai) Figure 120 Example of katatsuki alignment in horizontal layout (this is intentionally wrong and should not be applied). Heng Zu deJian Fu kitoshitaLi (konoyou naPei Zhi Fa nihashinai) Note Katatsuki alignment was commonly used in the letterpress printing era, but today the adoption of nakatsuki alignment is increasing even in vertical writing mode. However, there is still an opinion favoring katatsuki alignment, because it is familiar and readable. Huo Zi Zu Ban nioiteha,Jian Fu kitosuruFang Fa gaYi Ban De deatsutaga,Jin Ri dehaZong Zu nioitemoZhong Fu kitosuruFang Fa gaXu "niZeng eteiru.tadashi,Qin Wen Zi torubino Shang Duan wosoroetaJian Fu kinoFang gaGuan reteori,Du miyasuitoiuYi Jian moaru. When attaching three or more hiragana (cl-15) ruby characters to a single base character, the ruby characters are set solid. In this case, where the length of a ruby text is longer than that of its base character, positioning of the ruby text depends on which alignment has been adopted for a single ruby character. There is another issue: how to maintain the spatial balance of the ruby characters hanging over those characters which are not related base characters. The adjustment of inter-character spacing for those characters which come before and after the base character will be explained in SS 3.3.8 Adjustments of Ruby with Length Longer than that of the Base Characters rubigaQin Wen Zi yorihamiChu shitaChang He noChu Li . Qin Wen Zi 1Wen Zi niPing Jia Ming (cl-15)norubiWen Zi ga3Zi Yi Shang Fu kuChang He ha,rubiWen Zi Lie habetaZu nisuru.shikashi,Qin Wen Zi Lie yorirubiWen Zi Lie gaChang kunarunode,sonoPei Zhi Wei Zhi gaWen Ti tonaru.rubiWen Zi ga1Zi noChang He nidonoFang Fa woCai Yong shitakaniyoriYi naru.Yi Ban niCi noyounishiteiru.nao,Qin Wen Zi kararubigahamiChu shitaChang He niokeruQian Hou nikuruWen Zi tonoZi Jian Chu Li haSS 3.3.8 Adjustments of Ruby with Length Longer than that of the Base Characters rubigaQin Wen Zi yorihamiChu shitaChang He noChu Li deJie Shuo suru. 1. When nakatsuki alignment is adopted for a single ruby character, position a ruby text so that its vertical center is aligned with that of its base character in vertical writing mode (see Figure 121). In horizontal writing mode, position a ruby text so that its horizontal center is aligned with that of its base character (see Figure 121). Zong Zu nioite,rubiWen Zi ga1Zi noPei Zhi Fang Fa woZhong Fu kitoshitaChang He ha,Qin Wen Zi noTian Di Zhong Yang torubiWen Zi Lie Quan Ti noTian Di Zhong Yang wosoroetePei Zhi suru(Figure 121).Heng Zu nioitehaQin Wen Zi noZuo You Zhong Yang torubiWen Zi Lie Quan Ti noZuo You Zhong Yang wo soroetePei Zhi suru(Figure 121). Example 1 of positioning of ruby text with three or more characters. Qin Wen Zi nirubiWen Zi ga3Zi Yi Shang Fu kuChang He noPei Zhi Li 1 Figure 121 Example 1 of positioning of ruby text with three or more characters. Qin Wen Zi nirubiWen Zi ga3Zi Yi Shang Fu kuChang He noPei Zhi Li 1 2. When katatsuki alignment is adopted for a single ruby character, there are two methods, as follows. Zong Zu nioiterubiWen Zi ga1Zi noPei Zhi Fang Fa woJian Fu kitoshitaChang He ha,Ci no2tsu noFang Fa gaaru. 1. Position the ruby text so that its vertical center is aligned with that of its base character (see Figure 121). Qin Wen Zi noTian Di Zhong Yang torubiWen Zi Lie Quan Ti noTian Di Zhong Yang wosoroetePei Zhi suru (Figure 121). 2. Depending on the type of script of the adjacent characters to the base character, and the number of ruby characters, a decision is made about whether ruby hangover is allowed on the character before its base character, or on the character after, or on both adjacent characters. At break-even situation, the hangover is usually on the character after its base character (see Figure 122). Qin Wen Zi noQian Hou niPei Zhi suruWen Zi noZhong Lei Ji birubiWen Zi noZi Shu niyoriQin Wen Zi karanorubinohamiChu shigaHou roninaruka,Qian ninaruka,You haLiang Ce ni narukawoJue meruga,Xia Ce henohamiChu shiwoYou Xian suru(Figure 122). Example 2 of positioning of ruby text with three or more characters (vertical writing mode). Qin Wen Zi nirubiWen Zi ga3Zi Yi Shang Fu kuChang He noPei Zhi Li 2 (Zong Zu ) Figure 122 Example 2 of positioning of ruby text with three or more characters (vertical writing mode). Qin Wen Zi nirubiWen Zi ga3Zi Yi Shang Fu kuChang He noPei Zhi Li 2(Zong Zu ) Note The terms katatsuki and nakatsuki were originally used for ruby alignment only when a single ruby character is attached to a single base character. However there are cases where the meaning is stretched so that the terms can be used when three or more ruby characters are involved. We use the terms katatsuki and nakatsuki with their original meaning throughout this document. Jian Fu kitoZhong Fu kiha,Cong Lai haQin Wen Zi 1Zi de,katsurubiWen Zi ga1Zi noChang He norubino Pei Zhi Fang Fa nitsuitenomiShi Yong sareteitaYong Yu dearu.shikashi,rubiWen Zi ga3Zi Yi Shang noChang He nitsuitemoKuo Da Jie Shi shiteShi Yong suruLi moaru.konoWen Shu deha,Jian Fu ki Ji biZhong Fu kitoiuYong Yu ha,Ben Lai noYi Wei niXian Ding shiteShi Yong shiteiru. Note The preference for the choice of hanging the ruby over the character after its base character is due to the preference to avoid adjustment of inter-character spacing between base characters and their adjacent characters, which was common in letterpress printing. rubiWen Zi ga3Zi Yi Shang Fu itaChang He ,Xia Ce henohamiChu shiwoYou Xian surutoiuFang Fa ha, Qin Wen Zi noZi Jian Ji bisonoQian Hou noZi Jian wodekirudakeKong kenaiChu Li wosurutoiuKao eFang karanomonodearu.Huo Zi Zu Ban deXing wareteitaFang Fa dearu. For mono-ruby, base characters and attached ruby characters are handled as one object, and internal line-breaks are prohibited. monorubinoChang He ,Qin Wen Zi tosoreniFu kurubiWen Zi noWen Zi Lie ha,Yi Ti toshiteXi i ,2Xing niFen Ge shitehanaranai. 3.3.6 Positioning of Group-ruby with Respect to Base Characters guru purubinoQin Wen Zi niDui suruPei Zhi Wei Zhi When the length of a sequence of base characters (number of characters * advance-width of each character) and that of the ruby text are the same, each text is set solid and the center of both texts are aligned with each other (see Figure 123). Qin Wen Zi noWen Zi Lie noChang satorubiWen Zi noWen Zi Lie noChang sagaTong ziChang He ha,sorezoreno Wen Zi Lie wobetaZu nishi,Wen Zi Lie noZhong Xin wosoroetePei Zhi suru(Figure 123). Examples of group-ruby where the length is the same as that of the base text. Qin Wen Zi toTong ziChang sanoChang He nogurupurubinoPei Zhi Li Figure 123 Examples of group-ruby where the length is the same as that of the base text. Qin Wen Zi toTong ziChang sanoChang He nogurupurubinoPei Zhi Li When the length of the ruby text is shorter than that of its base characters, set the base text solid and attached ruby character, so that both texts balance each other. To be more specific, where 2 units of inter-character spacing are used between ruby characters, add 1 unit of spacing between the start of the base text and the start of the ruby text, and between the end of the ruby text and the end of the base text. This will give a balanced appearance, and is the method specified in JIS X 4051 (see Figure 124). Another way is to first align the leading characters for both the base text and ruby text and the ends of both trailing characters, and then add the same amount of inter-character spacing between the rest of the ruby characters (see Figure 125). Qin Wen Zi noWen Zi Lie noChang sayorirubiWen Zi noWen Zi Lie noChang sagaDuan iChang He ha,Qin Wen Zi no Wen Zi Lie wobetaZu nishi,rubiWen Zi noWen Zi Lie noZi Jian Ji bisonoQian Hou woShi Dang niKong ke, Qin Wen Zi tonobaransuwotoru.konoChang He ,JIS X 4051deGui Ding shiteiruyouni, rubiWen Zi noWen Zi Lie noZi Jian noKong kiLiang noDa kisa2niDui shite,Xian Tou madenoKong kiLiang Ji bi Qin Wen Zi noWen Zi Lie noMo Wei kararubiWen Zi noWen Zi Lie noMo Wei madenoKong kiLiang wo1noBi Lu de Kong kerutoTi Cai gayoi(Figure 124).Qin Wen Zi noWen Zi Lie Ji birubiWen Zi noWen Zi Lie noXian Tou Ji biMo Wei wosoroe,rubiWen Zi noWen Zi Lie noZi Jian dakewoKong keruFang Fa moaru (Figure 125). Example 1 of distribution of group-ruby alongside base characters where the length of the ruby is shorter than that of the base characters. Qin Wen Zi yorirubigaDuan iChang He nogurupurubinoPei Zhi Li 1 Figure 124 Example 1 of distribution of group-ruby alongside base characters where the length of the ruby is shorter than that of the base characters. Qin Wen Zi yorirubigaDuan iChang He nogurupurubinoPei Zhi Li 1 Example 2 of distribution of group-ruby alongside base characters where the length of the ruby is shorter than that of the base characters. Qin Wen Zi yorirubigaDuan iChang He nogurupurubinoPei Zhi Li 2 Figure 125 Example 2 of distribution of group-ruby alongside base characters where the length of the ruby is shorter than that of the base characters. Qin Wen Zi yoriru bigaDuan iChang He nogurupurubinoPei Zhi Li 2 Note In letterpress printing, there were not many choices for adjustment of inter-character spacing between ruby characters. Therefore, depending on the number of characters in the base text and its ruby text, the choice was whether to add a certain amount of space before the leading ruby character and after the trailing character, or not. In the former case it had been said that for 2 units of inter-character spacing between each c ruby characters, adding 1 unit of the leading and trailing spacing would give a balanced appearance. Huo Zi Zu Ban deha,rubiWen Zi noZi Jian Diao Zheng gaXi kakudekinaiChang He moDuo ku,Qin Wen Zi to rubiWen Zi noZi Shu niYing zite,Shi Yi rubiWen Zi noWen Zi Lie noXian Tou Ji biMo Wei woKong kenai Fang Fa toKong keruFang Fa woXuan Ze shiteXing tsutekita.mata,rubiWen Zi noWen Zi Lie noXian Tou Ji biMo Wei woKong keruChang He ha,rubiWen Zi noWen Zi Lie noZi Jian noKong kiLiang noDa kisa2niDui shite ,sonoXian Tou Ji biMo Wei noKong kiLiang wo1noBi Lu deKong kerutoTi Cai gayoi,toiwaretei ta. Note When the length of the ruby text is far shorter than that of the base text, the method specified in JIS X 4051 could result in spacing twice the size of a ruby character for the leading and the trailing spacing, which might give a misleading appearance. Therefore, a criterion for deciding whether or not to adopt the method of JIS X 4051 is to see if the amount of the leading and the trailing spacing exceeds the full-width size (or up to 1.5 times the size) of a ruby character (see Figure 126). Qin Wen Zi noWen Zi Lie noChang saniBi be,rubiWen Zi noWen Zi Lie noChang sagaJi Duan niDuan iChang He , JIS X 4051deGui Ding shiteiruFang Fa deha,rubiWen Zi noWen Zi Lie noXian Tou Ji biMo Wei garu biWen Zi noWen Zi saizude2Bei Yi Shang Kong iteshimauChang He gaaru.korehaWu Du noYuan Yin to monarikanenainode,rubiWen Zi noWen Zi Lie noXian Tou Ji biMo Wei noKong kiLiang ha,rubiWen Zi noWen Zi saizunoQuan Jiao (You ha1.5Bei )akimadetoshitaFang gayoi(Figure 126) . Examples of distribution of group-ruby where the length is much shorter than that of the base text. Qin Wen Zi niBi berubigaJi Duan niDuan iChang He nogurupurubinoPei Zhi Li Figure 126 Examples of distribution of group-ruby where the length is much shorter than that of the base text. Qin Wen Zi niBi berubigaJi Duan niDuan iChang He nogurupurubinoPei Zhi Li When the length of the ruby text is longer than that of the base characters, balance the base characters with the ruby text by setting the ruby text solid and adding a certain amount of inter-character spacing between each adjacent base character. To be more specific, for 2 units of inter-character spacing, add 1 unit of spacing between the start of the ruby text and the start of the base text, and between the end of the base text and the end of the ruby text, as specified in JIS X 4051 (see Figure 127). Another way is to first align the start of both the leading characters and the end of the trailing characters, and then add a certain amount of inter-character spacing between each adjacent base character (see Figure 128). Qin Wen Zi noWen Zi Lie noChang sayorirubiWen Zi noWen Zi Lie noChang sagaChang iChang He ha,rubiWen Zi noWen Zi Lie wobetaZu toshi,Qin Wen Zi noWen Zi Lie noZi Jian Ji bisonoQian Hou woShi Dang niKong ke, rubiWen Zi tonobaransuwotoru.konoChang He ,JIS X 4051deGui Ding shiteiruyouni ,Qin Wen Zi noWen Zi Lie noZi Jian noKong kiLiang noDa kisa2niDui shite,rubiWen Zi noWen Zi Lie noXian Tou karaQin Wen Zi noWen Zi Lie noXian Tou madenoKong kiLiang Ji birubiWen Zi noWen Zi Lie noMo Wei kara Qin Wen Zi noWen Zi Lie noMo Wei madenoKong kiLiang noDa kisawo1noBi Lu deKong kerutoTi Cai gayoi (Figure 127).Qin Wen Zi noWen Zi Lie torubiWen Zi noWen Zi Lie noXian Tou Ji biMo Wei wosoro e,Qin Wen Zi noWen Zi Lie noZi Jian dakewoKong keruFang Fa moaru(Figure 128). Example 1 of distribution of group-ruby where the length is longer than that of the base characters. Qin Wen Zi yorirubigaChang iChang He nogurupu rubinoPei Zhi Li 1 Figure 127 Example 1 of distribution of group-ruby where the length is longer than that of the base characters. Qin Wen Zi yo rirubigaChang iChang He nogurupurubinoPei Zhi Li 1 Example 2 of distribution of group-ruby where the length is longer than that of the base characters. Qin Wen Zi yorirubigaChang iChang He nogurupurubinoPei Zhi Li 2 Figure 128 Example 2 of distribution of group-ruby where the length is longer than that of the base characters. Qin Wen Zi yorirubigaChang iChang He nogu rupurubinoPei Zhi Li 2 For group-ruby, base characters and attached ruby characters are handled as one object, and internal line-breaks are prohibited. Also, for an object constructed with base characters and attached ruby characters it is prohibited to insert additional spacing between each character for line adjustment. gurupurubinoChang He ,Qin Wen Zi noWen Zi Lie tosoreniFu kurubiWen Zi noWen Zi Lie ha,Yi Ti toshiteXi i,2Xing niFen Ge shitehanaranai.mata,Qin Wen Zi noWen Zi Lie tosoreniFu kurubiWen Zi noWen Zi Lie woHe wasetaQin Wen Zi Qun ha,Xing noDiao Zheng Chu Li noJi niZi Jian woKong ke ruChu Li woshitehanaranai. 3.3.7 Positioning of Jukugo-ruby with Respect to Base Characters Shou Yu rubinoQin Wen Zi niDui suruPei Zhi Wei Zhi If the number of ruby characters are two or less for each ideographic characters (cl-19) which participates in a kanji compound word (or jukugo), then for each run of ruby text associated with each base character, compose ruby characters as described in SS 3.3.5 Positioning of Mono-ruby with Respect to Base Characters monorubinoQin Wen Zi niDui suruPei Zhi Wei Zhi (see Figure 129). Shou Yu woGou Cheng surusorezorenoHan Zi Deng (cl-19)niFu kurubiWen Zi gasorezore2Wen Zi Yi Xia noChang He ,sorezorenoQin Wen Zi noHan Zi Deng (cl-19)torubiWen Zi woDui Ying sase, SS 3.3.5 Positioning of Mono-ruby with Respect to Base Characters mono rubinoQin Wen Zi niDui suruPei Zhi Wei Zhi deShu betaFang Fa dePei Zhi suru(Figure 129). Example 1 of distribution of jukugo-ruby. Shou Yu rubinoPei Zhi Li 1 Figure 129 Example 1 of distribution of jukugo-ruby. Shou Yu rubinoPei Zhi Li 1 If there is any ideographic character (cl-19) in a given kanji compound word which needs three or more ruby characters, the jukugo-ruby layout cannot be used. In this case, attach the ruby text to the kanji compound word as a whole. The available methods include the layout as specified in JIS X 4051, which is similar to the group-ruby method described in SS 3.3.6 Positioning of Group-ruby with Respect to Base Characters gurupurubinoQin Wen Zi niDui suruPei Zhi Wei Zhi (see Figure 130), and layout decided by the phonetic structure of the kanji compound word and the type of script of the adjacent characters (see Figure 131). The latter method can be used unless a run of ruby text for the base character hangs over another base character more than a full character width (or one and a half times the full-width) of a ruby character. (The detail of this method is described in SS F. Positioning of Jukugo-ruby Shou Yu rubinoPei Zhi Fang Fa .) Shou Yu woGou Cheng surusorezorenoHan Zi Deng (cl-19)noZhong de,1Zi demosoreniDui Ying suru rubiWen Zi ga3Zi Yi Shang nomonogaaruChang He ,Shou Yu Quan Ti torubiWen Zi noWen Zi Lie woDui Ying sa setePei Zhi suru.Shou Yu Quan Ti torubiWen Zi noWen Zi Lie woDui Ying saseruFang Fa toshiteha,JIS X 4051deGui Ding shiteiruyouniSS 3.3.6 Positioning of Group-ruby with Respect to Base Characters gurupurubinoQin Wen Zi niDui suruPei Zhi Wei Zhi Xiang nogu rupurubitoTong Yang naFang Fa dePei Zhi suruFang Fa (Figure 130)to,Shou Yu noGou Cheng ,sa ranisonoShou Yu noQian Hou nikuruWen Zi noZhong Lei woKao Lu shitePei Zhi suruFang Fa togaaru( Figure 131).Hou Zhe noFang Fa deha,Shou Yu woGou Cheng surusorezorenoHan Zi Deng (cl-19) niDui Ying sururubiWen Zi ga,Shou Yu Nei noTa noHan Zi Deng (cl-19)niZui Da derubiWen Zi sai zudeQuan Jiao (You ha1.5Bei )madeGua katsuteyoi,toshiteiru(konoChu Li Fang Fa noXiang Xi ha,SS F. Positioning of Jukugo-ruby Shou Yu rubinoPei Zhi Fang Fa deJie Shuo suru). Example 2 distribution of jukugo-ruby. Shou Yu rubinoPei Zhi Li 2 Figure 130 Example 2 distribution of jukugo-ruby. Shou Yu rubinoPei Zhi Li 2 Example 3 distribution of jukugo-ruby. Shou Yu rubinoPei Zhi Li 3 Figure 131 Example 3 distribution of jukugo-ruby. Shou Yu rubinoPei Zhi Li 3 Note There are often cases where the jukugo-ruby consists of one ruby character followed by three ruby characters, and vice versa, for a kanji compound word of two base characters. If the mono-ruby layout were chosen for these cases, it would look like as shown in Figure 132, which wouldn't be very beautiful. Shou Yu rubiniha,sorezorenoHan Zi Deng (cl-19)tonoDui Ying deiebarubiWen Zi 1Zi + rubiWen Zi 3Zi You harubiWen Zi 3Zi +rubiWen Zi 1Zi gaFu kukesugaDuo i.korewomono rubitoshiteChu Li surutoFigure 132noyouninaru.korehaamariTi Cai gayokuna i. Example of distribution as mono-ruby for jukugo. Shou Yu niFu kurubiwomono rubitoshitePei Zhi shitaLi Figure 132 Example of distribution as mono-ruby for jukugo. Shou Yu niFu kurubiwomonorubitoshitePei Zhi shitaLi Jukugo-ruby can be split into two lines at the boundary of each unit of ruby text attached to one ideographic character (cl-19). When a kanji compound word consists of two characters, each unit will be processed using the mono-ruby method. When dividing a compound word that consists of three ideographic characters (cl-19), use the mono-ruby method for the first ideographic character (cl-19) and use the jukugo-ruby method for the remaining two ideographic characters (cl-19), and vice versa. In order to maintain the correspondence of each ideographic character (cl-19) to its ruby annotation, the layout of the ruby may be different after the division (see Figure 133). Note that jukugo-ruby and its base characters cannot be the subject of inter-character spacing expansion for line adjustment. Shou Yu rubiha,sorezorenoHan Zi Deng (cl-19)tosoreniDui Ying sururubiWen Zi woDan Wei to shite2Xing niFen Ge shitemoyoi.Han Zi Deng (cl-19)ga2Zi noShou Yu woFen Ge suruChang He ha, sorezoregamonorubitoshiteChu Li sarerukotoninaru.Han Zi Deng (cl-19)ga3Zi no Shou Yu rubiwoFen Ge suruChang He ha,Han Zi Deng (cl-19)ga1Zi nomonorubitoHan Zi Deng ( cl-19)ga2Zi noShou Yu rubi,You haHan Zi Deng (cl-19)ga2Zi noShou Yu rubitoHan Zi Deng ( cl-19)ga1Zi nomonorubininaru.sorezorenoHan Zi Deng (cl-19)tosoreniDui Ying su rurubiWen Zi tonoGuan Xi woWei Chi surunode,Fen Ge Yi Qian toYi Hou todeha,Han Zi Deng (cl-19 )torubiWen Zi tonoDui Ying gaBian waruChang He moaru(Figure 133).tadashi,Shou Yu wo Gou Cheng suruHan Zi Deng (cl-19)niShou Yu rubiwoFu ketaChang He niha,rubiFu kinoQin Wen Zi no Zi Jian ha,Xing noDiao Zheng Chu Li deZi Jian woKong keruChu Li noDui Xiang toshinai. Examples of distribution of jukugo-ruby split across two lines. Shou Yu rubiwo2Xing niFen Ge shitePei Zhi shitaLi Figure 133 Examples of distribution of jukugo-ruby split across two lines. Shou Yu rubiwo2Xing niFen Ge shitePei Zhi shitaLi Note The composition of jukugo-ruby changes in accordance with the construction of the jukugo, the position at the head, middle or bottom of the line, and adjacent characters before or after. The detail of this issue is too complicated to discuss here, so it is discussed in SS F. Positioning of Jukugo-ruby Shou Yu rubinoPei Zhi Fang Fa . Shou Yu noGou Cheng nadowoKao Lu shitePei Zhi suruShou Yu rubinoPei Zhi Fang Fa ha,Shou Yu noGou Cheng ,Xing Tou Xing Zhong Xing Mo kanoWei Zhi ,sonoQian Hou niPei Zhi sareruWen Zi nadoniyoriBian Hua suru. konoChu Li Fang Fa noXiang Xi ha,Fu Za ninarunode,SS F. Positioning of Jukugo-ruby Shou Yu rubinoPei Zhi Fang Fa deJie Shuo suru. Note The complexes of base characters with ruby characters are classified as simple-ruby character complex (cl-22) and jukugo-ruby character complex (cl-23). The handling and positioning of these complexes with adjacent characters is discussed in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang as a complete table in accordance with SS 3.9 About Character Classes Wen Zi kurasunitsuite . rubiWen Zi gaFu itaQin Wen Zi Qun nitsuiteha,Qin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai no rubiFu ki)(cl-22)toQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23)niFen ke ,soretoLin Jie suruWen Zi Jian noJian Ge nitsuitenoChu Li Fang Fa noXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeShuo Ming suruWen Zi kurasuniCong i,Biao no Xing Shi nishiteSS B. Spacing between Characters Wen Zi Jian noKong kiLiang Yi Xia deShi su. 3.3.8 Adjustments of Ruby with Length Longer than that of the Base Characters rubigaQin Wen Zi yorihamiChu shitaChang He noChu Li When the length of any ruby text is shorter than that of the base characters, the main text can be just set solid because there is no need for any adjustment of the inter-character spacing between base characters and their adjacent characters in the main text. rubiWen Zi noWen Zi Lie gaQin Wen Zi noWen Zi Lie yoriDuan iChang He ha,Qin Wen Zi noQian Hou niPei Zhi su ruTa noHan Zi Deng (cl-19)yaPing Jia Ming (cl-15)torubinoFu kuQin Wen Zi tonoZi Jian wobe taZu nishitePei Zhi surebayoi(Figure 134). Set solid when the length of ruby text is shorter than that of base characters. rubiWen Zi noWen Zi Lie gaQin Wen Zi noWen Zi Lie yoriDuan iChang He haQian Hou noWen Zi tonoJian habetaZu Figure 134 Set solid when the length of ruby text is shorter than that of base characters. rubiWen Zi noWen Zi Lie gaQin Wen Zi noWen Zi Lie yoriDuan iChang He haQian Hou noWen Zi tonoJian habetaZu When the length of the ruby text is longer than that of the base characters, the method of composing the main text depends on how much the ruby text hangs over the ideographic character (cl-19), hiragana (cl-15) or punctuation marks, which are attached to the base characters. The following are the general rules (see Figure 135 and Figure 136). They were established especially in order to avoid misreading the base text, as well as to maintain the beauty of the layout. Note that the detailed values for inter-character spacing for cases of ruby characters hanging over the base characters is described in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang as Table 1 in accordance with SS 3.9 About Character Classes Wen Zi kurasunitsuite . rubiWen Zi noWen Zi Lie gaQin Wen Zi noWen Zi Lie yoriChang iChang He ha,Qin Wen Zi noQian Hou niPei Zhi su ruTa noHan Zi Deng (cl-19),Ping Jia Ming (cl-15)yaYue Wu nadonidokomadeQin Wen Zi yori hamiChu shitarubiWen Zi gaGua katsuteyoikagaWen Ti tonaru.Yi Ban niCi noyouniChu Li shiteiru(Figure 135,Figure 136).korehamotsuparaWu Du woBi kerukoto, Ji biTi Cai woKao Lu shitenoChu Li dearu.nao,rubiWen Zi noWen Zi Lie gaQin Wen Zi noWen Zi Lie yorihamiChu shitaChang He nitsuitenoXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeShuo Ming suruWen Zi kurasuniCong i,Biao noXing Shi nishiteFu Shu Shu B Wen Zi Jian noKong kiLiang deShi su. Example 1 of distribution of ruby characters overhanging adjacent characters. rubiWen Zi nohamiChu shigaaruChang He noPei Zhi Li 1 Figure 135 Example 1 of distribution of ruby characters overhanging adjacent characters. rubiWen Zi nohamiChu shigaaruChang He noPei Zhi Li 1 Example 2 of distribution of ruby characters overhanging adjacent characters. rubiWen Zi nohamiChu shiga aruChang He noPei Zhi Li 2 Figure 136 Example 2 of distribution of ruby characters overhanging adjacent characters. rubiWen Zi nohamiChu shigaaru Chang He noPei Zhi Li 2 1. Ruby text shall not hang over the ideographic characters (cl-19) adjacent to the base characters. Qian You haHou ronikuruHan Zi Deng (cl-19)nirubiWen Zi woGua ketehanaranai. 2. When the adjacent character is a hiragana (cl-15), katakana (cl-16), prolonged sound mark (cl-10) or small kana (cl-11), the ruby text may overhang the character up to the full-width size of the ruby characters. Qian You haHou ronikuruPing Jia Ming (cl-15),Pian Jia Ming (cl-16),Chang Yin Ji Hao (cl-10 )You haXiao Shu kinoJia Ming (cl-11)niZui Da derubiWen Zi saizunoQuan Jiao maderubiWen Zi woGua ketemoyoi. Note Because ruby characters are allowed to overhang the adjacent base characters when they are hiragana (cl-15) etc. up to the full-width size of a ruby character, ruby characters on either side of a base hiragana (cl-15) that are overhanging it may end up touching, as seen in Figure 137. Setting ruby text like this is not recommended because of the possibility of misreading them. It is recommended to insert one em spacing between the first run of ruby characters and the next run of ruby characters. There are two ways to accomplish this. One is to reduce the maximum size of overhang on the hiragana (cl-15) base character and each adjacent ruby run, and the other is to reduce the maximum size of overhang on the hiragana (cl-15) base character of only the latter ruby run. The latter case is carried out by differently setting the limit of overhang than is set on the prior run. Firstly, set the ruby characters on the prior run as usual, i.e. ruby character may overhang up to the full-width size of a ruby character. Secondly, ruby character on the latter run shall be set with one em spacing before, namely, the ruby character from after can not overhang the base hiragana (cl-15) character in between. Then, appropriate size spacing shall be added between base characters themselves (see Figure 138). Ping Jia Ming (cl-15)nadoniZui Da derubiWen Zi saizunoQuan Jiao maderubiWen Zi woGua ke teyoitoiukotokara,Figure 137noyouni1Wen Zi noPing Jia Ming (cl-15)no Qian Hou niPei Zhi sarerurubiWen Zi nohamiChu shigatsunagatsuteshimauChang He moaru. korehaWu Du sareruKong remoari,Wang mashikunai.Qian norubiWen Zi Lie toHou rono Wen Zi Lie tonoJian worubiWen Zi saizunoQuan Jiao kuraiKong kerunogaWang mashii.kono Pei Zhi Chu Li toshiteha,Zhong Jian niRu ru1Wen Zi noPing Jia Ming (cl-15)niGua katsuteyoi Xian Jie nitsuite,Qian Ji biHou ronorubiWen Zi Lie noLiang Fang woShao nakusuruFang Fa to,Hou roniPei Zhi sururubiWen Zi Lie noGua karuXian Jie woShao nakusuruFang Fa togaKao erareru .Hou Zhe noChang He ,Ping Jia Ming (cl-15)nadonirubiWen Zi Lie gaGua katsuteyoiXian Jie wo ,Qian karaGua karunoka,Hou rokaraGua karunokadeBian erukotodeJie Jue suru.Hou roniPei Zhi suruPing Jia Ming (cl-15)nadoni,hamiChu shitarubiWen Zi Lie woQian karaGua keruChang He ha,rubiWen Zi saizunoQuan Jiao maderubiWen Zi Lie haGua katsuteyoi.shi kashi,Qian niPei Zhi suruPing Jia Ming (cl-15)nadonitsuite,hamiChu shitarubiWen Zi Lie woHou rokaraGua keruChang He ha,sonoPing Jia Ming (cl-15)nadoniBie norubiWen Zi Lie gaQian karaGua katsuteirutoki,Qian karaGua katsuteiruBie norubiWen Zi Lie noGua ka tsuteiruLiang woChai shiYin itaZhi madetosuru.Figure 137noLi deieba,Qian ka raGua karurubino"ki"ha,"no"niGua katsutemoyoiga,Hou roniPei Zhi sururubi no"o"ha,sudeni"ki"garubiWen Zi saizunoQuan Jiao madeGua katsuteirunode," no"nihaGua ketehaikenaikotoninari,Figure 138noyouninaru. An example of not recommended case that two different group of ruby characters are consecutive without space rubiWen Zi nohamiChu shi gatsunagatsuteshimauWang mashikunaiLi Figure 137 An example of not recommended case that two different group of ruby characters are consecutive without added spacing rubiWen Zi nohamiChu shigatsunagatsute shimauWang mashikunaiLi An example of two different group of ruby characters are consecutive with space rubiWen Zi nohamiChu shigatsunaga ranaiyounishitaLi Figure 138 An example of two different group of ruby characters are consecutive with added spacing rubiWen Zi no hamiChu shigatsunagaranaiyounishitaLi 3. The ruby character may overhang the base characters and overhang the half em spacing which is added after closing brackets (cl-02) , full stops (cl-06) or commas (cl-07), set before the target ruby object, up to the full-width size of a ruby character. Also, the ruby character may overhang the base characters and hang over the half em spacing which is added before opening brackets (cl-01), set after the target ruby object, up to the full-width size of a ruby character. Note that when the half em spacing is reduced for line adjustment, the room for ruby character overhang is also compressed to the reduced spacing. (For example, if the spacing is a quarter em in the base character size, the ruby character can overhang by a half em in ruby character size.) Qian nikuruZhong wariGua Hu Lei (cl-02),Ju Dian Lei (cl-06)Ruo shikuhaDu Dian Lei ( cl-07)noHou roniaruEr Fen aki,You haHou ronikuruShi meGua Hu Lei (cl-01)no Qian niaruEr Fen akiniha,Zui Da derubiWen Zi saizudeQuan Jiao maderubiWen Zi woGua ketemoyoi.tadashi,Xing noDiao Zheng Chu Li deEr Fen akigaJie merareteiruChang He ha ,Diao Zheng deJie meraretaKong kiLiang madetosuru(Li eba,Si Fen akitonatsuteire ba,Zui Da derubiWen Zi saizunoEr Fen maderubiWen Zi woGua ketemoyoi). 4. When the adjacent character is an inseparable character (cl-08), the ruby text may overhang the character up to the full-width size of a ruby character. Fen Li Jin Zhi Wen Zi (cl-08)nimo,Zui Da derubiWen Zi saizunoQuan Jiao maderubiWen Zi woGua ketemoyoi. 5. When the adjacent character is one of the middle dots (cl-05), the ruby text may overhang the middle dots, in principle, up to the full-width size of a ruby character. But if there is any reduction of spacing before and after the middle dots as a result of the line adjustment, the amount of the extension shall be up to the amount of spacing after the middle dots plus 1/2 a ruby character size when the middle dots are set before the ruby object, or the spacing before the middle dots plus 1/2 a ruby character size when the middle dots are set after the ruby object. Zhong Dian Lei (cl-05)nimoZui Da derubiWen Zi saizunoQuan Jiao maderubiWen Zi woGua kete moyoi.tadashi,Zhong Dian Lei noQian Hou noSi Fen akigaXing noDiao Zheng Chu Li deJie merarete iruChang He ha,Qian nikuruZhong Dian Lei noChang He haZhong Dian Lei noHou ronoKong kiLiang +rubiWen Zi saizunoEr Fen made,Hou ronikuruZhong Dian Lei noChang He haZhong Dian Lei noQian noKong kiLiang +ru biWen Zi saizunoEr Fen madedearu. 6. When the adjacent character is one of the closing brackets (cl-02), full stop (cl-06) or comma (cl-07) after the ruby object, or one of the opening brackets (cl-01) before the ruby object, the ruby text may overhang the adjacent base character up to the full-width size of a ruby character. Note that the overhang must not go beyond the closing brackets (cl-02), the full stop (cl-06), the comma (cl-07) or the opening brackets (cl-01) itself. Hou ronikuruZhong wariGua Hu Lei (cl-02),Ju Dian Lei (cl-06)Ruo shikuhaDu Dian Lei ( cl-07),You haQian nikuruShi meGua Hu Lei (cl-01)niha,Zui Da derubiWen Zi sai zunoQuan Jiao maderubiWen Zi woGua ketemoyoi.konoChang He ,Hou ronikuruZhong wariGua Hu Lei (cl-02),Ju Dian Lei (cl-06)Ruo shikuhaDu Dian Lei (cl-07)noHou ronoKong ki Liang ,You haQian nikuruShi meGua Hu Lei (cl-01)noQian noKong kiLiang niGua ketehanaranai . Note There is an opinion that it is not good style to hang ruby characters over opening brackets (cl-01), especially LEFT CORNER BRACKET "[" and RIGHT CORNER BRACKET "] ". When this opinion holds, there are two possibilities. One is not allow ruby characters to overhang the opening brackets (cl-01). The other is allow ruby characters to overhang the opening brackets up to 1/2 the size of a ruby character. Qian nikuruShi meGua Hu Lei (cl-01),Te niShi mekagiGua Hu [[] (LEFT CORNER BRACKET)nirubiWen Zi woGua kerukotohaTi Cai gayokunainode,Bi ketaFang gayoito iuKao eFang moaru.konoKao eFang deha,Shi meGua Hu Lei (cl-01)nirubiWen Zi woGua ke naiChu Li tosuruka,You haZui Da derubiWen Zi saizunoEr Fen maderubiWen Zi woGua keru Chu Li Fang Fa tosuru. Note JIS X 4051 classifies katakana characters and kanji characters in same class. Accordingly, in JIS X 4051 it is prohibited for ruby characters to overhang adjacent katakana characters. JIS X 4051deha,Pian Jia Ming haHan Zi toTong ziWen Zi kurasuniHan mareteiru.shitagatsu te,Pian Jia Ming nitsuiteharubiWen Zi woGua kerukotohaJin Zhi sareteiru. Note There is another variation that allows ruby text to overhang any ideographic characters (cl-19), hiragana (cl-15) or katakana (cl-16) up to the half-width size of a ruby character (see Figure 139). rubigaFu itaQin Wen Zi Qun noQian You haHou ronoWen Zi ga,Han Zi Deng (cl-19),Ping Jia Ming ( cl-15)You haPian Jia Ming (cl-16)noizuredemo,Zui Da derubiWen Zi saizunoEr Fen ma derubiWen Zi woGua ketemoyoi,tosuruChu Li Fa moaru(Figure 139). Example 3 of distribution of ruby characters overhanging adjacent characters. rubiWen Zi nohamiChu shigaaruChang He noPei Zhi Li 3 Figure 139 Example 3 of distribution of ruby characters overhanging adjacent characters. rubiWen Zi nohamiChu shigaaruChang He noPei Zhi Li 3 Note There is a further variation that does not allow ruby text to overhang any ideographic (cl-19), hiragana (cl-15) or katakana (cl-16) characters (see Figure 140). Han Zi Deng (cl-19),Ping Jia Ming (cl-15)Ji biPian Jia Ming (cl-16)nosubetenirubiwoGua kenai,tosuruChu Li Fa moaru(Figure 140). Example 4 of distribution of ruby characters overhanging adjacent characters. rubiWen Zi nohamiChu shigaaruChang He noPei Zhi Li 4 Figure 140 Example 4 of distribution of ruby characters overhanging adjacent characters. rubiWen Zi nohamiChu shigaaruChang He noPei Zhi Li 4 When the line head starts with ruby annotated text where the ruby text length is shorter than that of the base characters, compose the text so that the first base character is aligned with the line head. Similarly, when ruby annotated text ends at the line end and the ruby length is shorter than that of the basic characters, compose the text so that the last basic character is aligned with the line end. Xing Tou You haXing Mo nirubigaFu itaQin Wen Zi woPei Zhi suruChang He ,rubiWen Zi noWen Zi Lie gaQin Wen Zi noWen Zi Lie yoriDuan itokiha,Qin Wen Zi noXian Tou You haMo Wei woXing Tou You haXing Mo nisoro etePei Zhi surebayoi. When the line head starts with ruby annotated text where the ruby text length is longer than that of the base characters, compose the text so that the first ruby character which overhangs the base text is aligned with the line head, and vice versa (see Figure 141). Alternatively, there is a variation by which the text is composed so that the first base character is aligned with the line head, and vice versa (see Figure 142). Xing Tou You haXing Mo nirubigaFu itaQin Wen Zi woPei Zhi suruChang He ,rubiWen Zi noWen Zi Lie gaQin Wen Zi noWen Zi Lie yoriChang itokiha,Qin Wen Zi yorihamiChu shitarubiWen Zi noWen Zi Lie noXian Tou You haMo Wei woXing Tou You haXing Mo nisoroetePei Zhi suru(Figure 141).mata,Qin Wen Zi noXian Tou You haMo Wei woXing Tou You haXing Mo nisoroetePei Zhi suruFang Fa moaru(Figure 142). Example 1 of positioning of ruby characters at the line head and at the line end. rubiWen Zi noXing Tou Xing Mo noPei Zhi Li 1 Figure 141 Example 1 of positioning of ruby characters at the line head and at the line end. rubiWen Zi noXing Tou Xing Mo noPei Zhi Li 1 Example 2 of positioning of ruby characters at the line head and at the line end. rubiWen Zi noXing Tou Xing Mo noPei Zhi Li 2 Figure 142 Example 2 of positioning of ruby characters at the line head and at the line end. rubiWen Zi noXing Tou Xing Mo noPei Zhi Li 2 When aligning the first base character to the line head and the last base character to the line end, ruby text is not allowed to extend beyond the hanmen or the area of the column. If it does, the following adjustments should be considered in positioning base characters and ruby characters. Qin Wen Zi noXian Tou You haMo Wei woXing Tou You haXing Mo nisoroetePei Zhi suruFang Fa deha,Xing Tou You haXing Mo deha,rubiWen Zi gaBan Mian You haDuan noLing Yu yorihamiChu sukotohaRen meraretei nainode,Qin Wen Zi torubiWen Zi noPei Zhi Fang Fa woBian Geng suruBi Yao gaaru.Ci noyouni suru. 1. Mono-ruby at the line head: Make adjustments so that the top of the ruby text is aligned with that of the base characters (see Figure 142). monorubinoXing Tou :rubiWen Zi noWen Zi Lie noXian Tou toQin Wen Zi noWen Zi Lie noXian Tou woso roeruXing niBian Geng suru(Figure 142). 2. Mono-ruby at the line end: Make adjustments so that the bottom of the ruby text is aligned with that of the last base character (see Figure 142). monorubinoXing Mo :rubiWen Zi noWen Zi Lie noMo Wei toQin Wen Zi noWen Zi Lie noMo Wei woso roeruXing niBian Geng suru(Figure 142). 3. Group-ruby at the line head: Make adjustments so that the top of the ruby text is aligned with that of the first base character, and add the same amount of inter-character spacing between the base characters and between the end of the last base character and the end of the last ruby character after the last base character (the method specified in JIS X 4051) (see Figure 143). gurupurubinoXing Tou :rubiWen Zi noWen Zi Lie noXian Tou toQin Wen Zi noWen Zi Lie noXian Tou wosoroe,Qin Wen noWen Zi Lie noZi Jian noKong kiLiang to,Qin Wen Zi noWen Zi Lie noMo Wei kara rubiWen Zi noWen Zi Lie noMo Wei madenoKong kiLiang towo1Dui 1noBi Lu niBian Geng suru(JIS X 4051deGui Ding shiteiruFang Fa ,Figure 143). Example 3 of positioning of ruby characters at the line head and at the line end. rubiWen Zi noXing Tou Xing Mo noPei Zhi Li 3 Figure 143 Example 3 of positioning of ruby characters at the line head and at the line end. rubiWen Zi noXing Tou Xing Mo noPei Zhi Li 3 4. Group-ruby at the line end: Make adjustments so that the end of the ruby text is aligned with that of the last base character and add the same amount of inter-character spacing between the base characters and the spacing between the start of the base text and the start of the ruby text (the method specified in JIS X 4051) (see Figure 143). gurupurubinoXing Mo :rubiWen Zi noWen Zi Lie noMo Wei toQin Wen Zi noWen Zi Lie noMo Wei wosoroe,Qin Wen Zi noWen Zi Lie noZi Jian noKong kiLiang to,Qin Wen Zi noWen Zi Lie noXian Tou ka rarubiWen Zi noWen Zi Lie noXian Tou madenoKong kiLiang towo1Dui 1noBi Lu niBian Geng suru(JIS X 4051deGui Ding shiteiruFang Fa ,Figure 143). 5. Jukugo-ruby at the line head or at the line end: Make the same adjustments as described in (c) or (d) for the group-ruby. gurupurubitoTong Yang niChu Li shitaShou Yu rubigaXing Tou You haXing Mo nikitaChang He :cYou hadtoTong ziChu Li ninaru. 6. Jukugo-ruby at the line head: Make adjustments so that the top of the ruby text is aligned with that of the first base character. A run of ruby characters for a base character may overhang the adjacent base characters of the same kanji compound word, up to the full-width size (or one and a half of it) of a ruby character. If the extension should go beyond the limit, just force the ruby text out of the base characters, or make a further adjustment by adding inter-character spacing between the base characters. Shou Yu noGou Cheng nadowoKao Lu shitePei Zhi suruShou Yu rubigaXing Tou nikitaChang He :rubiWen Zi noWen Zi Lie noXian Tou toQin Wen Zi noWen Zi Lie noXian Tou woXing Tou nisoroetePei Zhi suru. konoChang He ,Shou Yu woGou Cheng surusorezorenoHan Zi Deng (cl-19)niFu kurubiWen Zi ga Shou Yu Nei noTa noHan Zi Deng (cl-19)niZui Da derubiWen Zi saizudeQuan Jiao (You ha1.5 Bei )madeGua katsuteyoi.soreYi Shang Gua karuChang He ha,Qin Wen Zi noWen Zi Lie kararu biWen Zi noWen Zi Lie wohamiChu saseruka,Qin Wen Zi noZi Jian woKong keru. 7. Jukugo-ruby at the line end: Make adjustments so that the end of the ruby text is aligned with that of the last base character. A run of ruby characters for a base character may overhang the adjacent base characters of the same kanji compound word, up to the full-width size (or one and a half of it) of the ruby characters. If the extension should go beyond the limit, just force the ruby text out of the base characters, or make a further adjustment by adding inter-character spacing between the base characters. Shou Yu noGou Cheng nadowoKao Lu shitePei Zhi suruShou Yu rubigaXing Mo nikitaChang He :rubiWen Zi noWen Zi Lie noMo Wei toQin Wen Zi noWen Zi Lie noMo Wei woXing Mo nisoroetePei Zhi suru. konoChang He ,Shou Yu woGou Cheng surusorezorenoHan Zi Deng (cl-19)niFu kurubiWen Zi ga Shou Yu Nei noTa noHan Zi Deng (cl-19)niZui Da derubiWen Zi saizudeQuan Jiao (You ha1.5 Bei )madeGua katsuteyoi.soreYi Shang Gua karuChang He ha,Qin Wen Zi noWen Zi Lie kararu biWen Zi noWen Zi Lie wohamiChu saseruka,Qin Wen Zi noZi Jian woKong keru. 8. Jukugo-ruby split across two lines: jukugo-ruby can be split across two lines, with one part at the line end and the other at the line head. In the case of a compound word with two ideographic characters (cl-19), it is as the same as dealing with one ideographic character (cl-19) with a mono-ruby text at the line end and the other ideographic characters (cl-19) with another mono-ruby text at the next line head. In the case of a phrase with three ideographic characters (cl-19), handle one ideographic character (cl-19) with mono-ruby text and the remaining two ideographic characters (cl-19) with jukugo-ruby, and vice versa. The layout of one ideographic character (cl-19) with mono-ruby text will be composed by method (a) or (b) described above. The layout of two ideographic characters (cl-19) with jukugo-ruby text will be composed by method (f) or (g) above. Shou Yu rubiwoQin Wen Zi Dan Wei de2Xing niFen Ge shitaChang He :Shou Yu rubiha,2Xing niFen Ge sa re,Xing Mo Ji biXing Tou niFen karerukotogaaru.Han Zi Deng (cl-19)ga2Zi noShou Yu noChang He ha,Xing Mo niHan Zi Deng (cl-19)ga1Zi nomonorubi,Ci noXing Tou niHan Zi Deng (cl-19)ga1Zi nomonorubitoiuXing ninaru.Han Zi Deng (cl-19)ga3Zi noChang He ha,Han Zi Deng (cl-19)ga1Zi nomonorubitoHan Zi Deng (cl-19)ga2Zi noShou Yu rubiYou haHan Zi Deng (cl-19)ga2Zi noShou Yu rubitoHan Zi Deng (cl-19)ga1Zi nomo norubitonaru.Han Zi Deng (cl-19)ga1Zi nomonorubinoXing ninatsutaChang He ha,a Xiang You habXiang deChu Li surukotoninaru.Han Zi Deng (cl-19)ga2Zi Yi Shang noShou Yu rubi tonatsutaChang He ha,eXiang ,fXiang You hagXiang deChu Li surukotoninaru. 3.3.9 Composition of Emphasis Dots Quan Dian noChu Li Emphasis dots (also known as bouten or side dots) are symbols placed alongside a run of ideographic character (cl-19) or hiragana (cl-15) characters to emphasize the text. Quan Dian (Bang Dian tomoiu)ha,Han Zi Deng (cl-19)yaPing Jia Ming (cl-15)nadonoWen Zi Lie niFu ke,sonoWen Zi Lie woQiang Diao suruYi Ge woGuo tasu. Note There are many ways to emphasize a run of text in Japanese composition. Besides attaching emphasis dots, one may emphasize a certain run of text by selecting a different typeface (for example, Mincho face for normal text and Japanese gothic face for emphasis), a different color (for example, turning to red for emphasis), by enclosing the text within brackets (for example, LEFT CORNER BRACKET "[" and RIGHT CORNER BRACKET "] " or LEFT ANGLE BRACKET "<" and RIGHT ANGLE BRACKET "> "), by drawing a line alongside the text (or bousen, underlining the text), and so on. It is an editorial decision which emphasis method to adopt. Selecting a different typeface and enclosing text within brackets are generally used and popular emphasis methods. Attaching emphasis dots is not very common but one of the long-established and traditional methods typically used in kanbun composition (classic Chinese text). Ri Ben Yu Zu Ban nioiteWen Zhong noYi Bu noWen Zi Lie woQiang Diao suruFang Fa toshiteha,Quan Dian woFu keruFang Fa Yi Wai ni,sonoBu Fen noShu Ti woBian Geng suru(Li ebagoshitsukuTi ),Wen Zi no Se woBian Geng suru(Li ebaChi Se noWen Zi nisuru),Gua Hu Lei dekukuru(Li ebaShi meka giGua Hu [[] (LEFT CORNER BRACKET)Ji biZhong warikagiGua Hu [] ] (RIGHT CORNER BRACKET),You haShi meShan Gua Hu [<] (LEFT ANGLE BRACKET)Ji biZhong wariShan Gua Hu [> ] (RIGHT ANGLE BRACKET)dekukuru),Bang Xian (You haXia Xian )woFu kerunadonoFang Fa ga aru.donoFang Shi nisurukahaBian Ji Fang Zhen niyoru.Yi Ban niShu Ti woBian Geng suruFang Fa yaGua Hu Lei dekukuruFang Fa gayokuShi Yong sareteiru.Quan Dian woFu keruFang Fa hayayaShao naiga ,Han Wen Deng dehaGu kukaradeShi Yong sareteori,Li Shi noaruChuan Tong De naFang Fa dearu. Note In practice, emphasis dots are not used for commas (cl-07), full stops (cl-06), opening brackets (cl-01) or closing brackets (cl-02). Guan Xing toshite,Quan Dian ha,Ju Dian Lei (cl-06),Du Dian Lei (cl-07),Shi meGua Hu Lei ( cl-01),Zhong wariGua Hu Lei (cl-02)nadonihaFu kenai. Composition of emphasis dots is as follows (see Figure 144). Quan Dian noZu Ban Chu Li ha,Ci noyounisuru(Figure 144). Composition of emphasis dots. Quan Dian noPei Zhi Li Figure 144 Composition of emphasis dots. Quan Dian noPei Zhi Li 1. The character size of emphasis dots is the half size of the base characters to be emphasized. Quan Dian noWen Zi saizuha,Quan Dian woFu keruDui Xiang tonaruQin Wen Zi noWen Zi saizuno1/2 tosuru. 2. Emphasis dots are attached to the right of the base characters in vertical writing mode, or above them in horizontal writing mode. The center of emphasis dots is aligned with that of the base characters. Quan Dian noWei Zhi ha,Zong Zu dehaQin Wen Zi noYou Ce toshi,Heng Zu dehaQin Wen Zi noShang Ce toshi ,Qin Wen Zi niJie shi,sorezorenoZhong Xin wosoroetePei Zhi suru. 3. There are many symbols that could be specified for use as emphasis dots. SESAME DOT "[?]" in vertical writing mode and BULLET "*" in horizontal writing mode are those used for emphasis dots in general. Quan Dian nidonoyounaJi Hao woFu kerukahaZhi Ding niyoruga,Yi Ban niZong Zu dehagoma[ [?]] (SESAME DOT),Heng Zu dehabiyuretsuto[*] (BULLET)gaShi Yong sareteiru . 3.4 Inline Cutting Note (Warichu) Ge Zhu Chu Li 3.4.1 Where the Inline Cutting Note (Warichu) is used Ge Zhu noLi Yong Warichu (inline cutting note) is a type of inline notation, where two lines of small characters are inserted into the text. Warichu divides a line into two sub lines. The frequency of use of the inline cutting note is not so high. However, the inline cutting note is very important for study guides, travel guides, reference books, encyclopedias and manuals, because it is very effective for inserting notes at the point in the text where they are needed (see Figure 145 ). Inline cutting note is usually used in vertical writing mode. It is very infrequently used in horizontal writing mode. Ge Zhu toha,Xing noTu Zhong niCha Ru suruZhu (Cha Ru Zhu )noYi Zhong de,2Xing niGe tsute(Ge riShu kitoiu)Cha Ru surukotokara,sonoMing Qian gaFu kerareteiru.Ge Zhu noShi Yong Pin Du haDuo kunaiga,sonoGai Dang Yong Yu gaChu tekitaGe Suo niZhi Jie Bu Zu Shuo Ming dekirukotokara ,Xue Xi Can Kao Shu ,Lu Xing gaido,Shi Dian Lei ,Jie Shuo Shu nadodeLi Yong sareteori,Ren Wu Yong Yu Deng noJian Dan naShao Jie niZhong Yao naYi Ge woGuo tashiteiru(Figure 145).Zong Zu deno Li Yong gaDuo ku,Heng Zu denoLi haFei Chang niShao nai. Warichu (inline cutting note). Ge Zhu noLi Figure 145 Warichu (inline cutting note). Ge Zhu noLi Note JIS X 4051 specifies inline cutting note in 4.16 "Handling of inline cutting note". Ge Zhu nitsuiteha,JIS X 4051deha"4.16 Ge Zhu Chu Li "niGui Ding gaaru. 3.4.2 Character Size for Inline Cutting Notes and Line Gaps Ge Zhu noWen Zi saizutoXing Jian nado Character size for an inline cutting note depends on the character size established for the kihon-hanmen. Usually, around six point size is used (see Figure 145). Ge Zhu noWen Zi saizuha,Zhi Ding niyoruga,Yi Ban ni6pointoCheng Du noWen Zi gaShi Yong sare teiru(Figure 145). The space between adjacent lines in an inline cutting note is zero, that is to say, there is no line gap between them (see Figure 146). Ge Zhu sonomononoXing Jian ha,Yi Ban ni0dearu.tsumari,Xing Jian wotoranai(Figure 146). As shown in Figure 146, an inline cutting note usually has two lines, and is surrounded by LEFT PARENTHESIS "(" and RIGHT PARENTHESIS ")" characters that are double the size of the characters in the inline cutting note itself. There is no space between the surrounding text and parentheses for the inline cutting note. Ge Zhu ha,Figure 146noyouni,Tong Chang ,2Xing niGe riShu kishi,Ge Zhu Quan Ti noXian Tou Ji bi Mo Wei ni,Xing Song riFang Xiang noGe Zhu noFu toTong ziWen Zi saizunoShi meXiao Gua Hu [(] (LEFT PARENTHESIS)Ji biZhong wariXiao Gua Hu [)] (RIGHT PARENTHESIS)dekukuruXing Shi gaDuo i .shitagatsute,Ge Zhu woWei muGua Hu Lei (Yi Xia ,Ge Zhu Shi meGua Hu Lei (cl-28)Ji biGe Zhu Zhong wariGua Hu Lei (cl-29)toyobu)nosaizuha,Ge Zhu noWen Zi saizuno2Bei nisuru .nao,Ge Zhu Shi meGua Hu Lei noQian ,Ji biGe Zhu Zhong wariGua Hu Lei noHou ronoHan Zi Deng ,Ping Jia Ming ,Pian Jia Ming tonoZi Jian habetaZu tosuru. Note There is a style of inline cutting note, which has no opening brackets (cl-01) or closing brackets (cl-02), but is surrounded by spacing that has been added explicitly to act as delimiters. Ge Zhu woShi meGua Hu Lei (cl-01)Ji biZhong wariGua Hu Lei (cl-02)dekukurazuni,Zhi Ding saretaYi Ding noKong kiLiang wotoruFang Fa moaru. Note Handling of inter-character spacing between warichu opening brackets (cl-28) or warichu closing brackets (cl-29) and adjacent characters is described in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang as a complete table, using the concept of character class described in SS 3.9 About Character Classes Wen Zi kurasunitsuite . Ge Zhu Shi meGua Hu Lei (cl-28)Ji biGe Zhu Zhong wariGua Hu Lei (cl-29)toLin Jie suruWen Zi Jian noJian Ge nitsuitenoChu Li Fang Fa noXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeShuo Ming suruWen Zi kurasuniCong i,Biao noXing Shi nishiteSS B. Spacing between Characters Wen Zi Jian noKong kiLiang deShi su. Example of construction of an inline cutting note. Ge Zhu noZhi Ding Li Figure 146 Example of construction of an inline cutting note. Ge Zhu no Zhi Ding Li Symbols, like opening brackets (cl-01), closing brackets (cl-02), commas (cl-07) and full stops (cl-06) are also used in inline cutting note text. In such cases, the handling of such symbols is the same as for the main text. Ge Zhu noZhong nihaShi meGua Hu Lei (cl-01),Zhong wariGua Hu Lei (cl-02),Ju Dian Lei (cl-06 ),Du Dian Lei (cl-07)moShi Yong sareru.koreranoZu Ban Chu Li ha,Ben Wen toTong zidearu . In vertical text, the horizontal width of the inline cutting note area is wider than the width of a kihon-hanmen line. The horizontal centers of the kihon-hanmen line and inline cutting note area are aligned. The line gap used to establish the kihon-hanmen should not be affected by the horizontal width of the inline cutting note area. In other words, the line gap for the kihon-hanmen needs to be designed wider than usual in preparation for the use of the inline cutting note. (see Figure 35 and Figure 145) Warichu is used also in horizontal text, however it is not so common, and usually occurs only in study guides and encyclopedias. Ge Zhu ha,Ben Wen no1Xing noXing Song riFang Xiang noFu noZhong Xin to,Ge Zhu noXing Song riFang Xiang noFu noZhong Xin wosoroetePei Zhi suru.Ge Zhu no2Xing noXing Song riFang Xiang noFu ha,Ben Wen noXing noFu yoriDa ki kunaruga,hamiChu shihaLiang Fang niJun Deng niChu sukotoninaru.konoChang He noXing Jian ha,Ge Zhu nonaiBu Fen noXing Jian woJi Ben Ban Mian toshiteShe Ding shitaXing Jian toshi,Ge Zhu noBu Fen haXia ku naru(Figure 35Ji biFigure 145).shitagatsute,Ji Ben Ban Mian woShe Ding suruJi ni, korewoKao Lu shi,Xing Jian woGuang meniShe Ji suruBi Yao gaaru.Ge Zhu ha,Heng Zu niYong irare ruChang He moaruga,sonoLi hahotondoXue Xi Can Kao Shu yaBai Ke Shi Dian niXian rareru. The length of the two lines of the inline cutting note should be as near as possible the same. When the inline cutting note can be set in one kihon-hanmen line, the whole inline note text should be broken at a position where line breaking is permitted, and where the two resulting lines are as close as possible to the same length. The length of the second line should not be longer than the length of the first line. Note that the same line breaking rules are used as for basic text (see Figure 147). Ge Zhu no2Xing noXing Chang ha,dekirudakesoroeru.Ben Wen no1Xing noZhong niGe Zhu gasubetePei Zhi dekiruChang He ha,2Xing niFen Ge Ke Neng naGe Suo de,katsuGe Zhu Quan Ti noWen Zi Lie noBan Fen niZui moJin iWei Zhi deFen Ge suru(konoChang He no2Xing niFen Ge surururu(Fen Ge Ke Neng Ge Suo )mo Ben Wen toTong zidearu).tadashi,Ge Zhu no2Xing Mu noXing Chang wo1Xing Mu noXing Chang yoriChang kushi nai(Figure 147). Examples showing how the inline cutting note can be set in one line of base text. 1Xing noZhong niGe Zhu gasubetePei Zhi dekiruChang He noLi Figure 147 Examples showing how the inline cutting note can be set in one line of base text. 1Xing noZhong niGe Zhu gasubetePei Zhi dekiruChang He noLi 3.4.3 Handling an Inline Cutting Note when it Straddles Two Kihon-hanmen Lines Ge Zhu woBen Wen no2Xing Yi Shang niwatatsutePei Zhi suruChu Li When an inline cutting note will not fit on a single kihon-hanmen line, it will wrap onto the following line, and will be set as shown in Figure 148 or Figure 149. Ge Zhu noCha Ru Wei Zhi yaFen Liang niyotsuteha,Ben Wen no1Xing noZhong niGe Zhu gasubetePei Zhi dekina ku,Ge Zhu woBen Wen no2Xing You ha3Xing Yi Shang niwatatsutePei Zhi suruChang He gaaru.konoChang He noWen Zi Lie noPei Zhi Shun Xu Ji bisorezorenoGe Zhu noXing Chang ha,Figure 148You haFigure 149noyounisuru. Example of an inline cutting note straddling two base text lines. 2Xing niwatatsuteGe Zhu woPei Zhi suruLi Figure 148 Example of an inline cutting note straddling two base text lines. 2Xing niwatatsuteGe Zhu woPei Zhi suruLi Example of an inline cutting note straddling three base text lines. 3 Xing niwatatsuteGe Zhu woPei Zhi suruLi Figure 149 Example of an inline cutting note straddling three base text lines. 3Xing niwatatsuteGe Zhu woPei Zhi suruLi Note Normally, an inline cutting note is short, and will therefore fit on a single kihon-hanmen line. There are cases where the note wraps onto the following line, but it is rare that it extends over three or more of the kihon-hanmen lines. If the note is too large, other styles of notation should be considered. Ge Zhu noLi Yong ha,somosomoRen Wu yaShi Xiang niJian Dan naShuo Ming woFu kerumonode,Zhu Ji noZi Shu gasorehodoDuo kunaranaiChang He niLi Yong suruXing Shi dearu.shitagatsute,Ge Zhu ga Ben Wen no2Xing niwatatsutePei Zhi sarerukotoha,sonoCha Ru Wei Zhi niyoriPin Chu suru.shika shi,3Xing niwatatsutePei Zhi sareruLi hahotondonai.konoyounaZhu ninarunodea reba,Bie noXing Shi noZhu nisurukotowoJian Tao suruBi Yao gaaru. 3.5 Paragraph Adjustment Rules Duan Luo Zheng Xing ,soroeJi biDuan Luo Mo Wei Chu Li 3.5.1 Line Head Indent at the Beginning of Paragraphs Duan Luo Xian Tou Xing noZi Xia ge A paragraph, a section of a document which consists of one or more sentences to indicate a distinct idea, usually begins on a new line. For the related line head indent at the beginning of paragraphs (in JIS 4051, this is called the "paragraph line head indent") the following methods are available. The amount of spacing used for the indentation is, in principle, one em spacing using the character size in the paragraph. aruYi Wei nomatomariwoChi tsutaFu Shu noWen deGou Cheng sareteiruDuan Luo (Yi Wei Shang noDuan Luo )woShi suChang He ni,Tong Chang ,Xin shiiDuan Luo deGai Xing nishiteiru.konoJi ,Duan Luo Xian Tou Xing noZi Xia ge(JIS X 4051deha"Duan Luo Zi Xia ge"toiuYong Yu woShi Yong shiteiru)nitsui teha,Ci noyounaFang Fa gaaru.nao,Zi Xia gesuruChang He ha,sonoDuan Luo deShi Yong shi teiruWen Zi saizunoQuan Jiao akigaYuan Ze dearu. Note The definition of line head indent at the beginning of paragraphs is provided in JIS X 4051, sec. 4.17 "paragraph appearance processing". Note that "paragraph appearance processing" includes "line head indent", "line end indent" and "indent" in general. Duan Luo Xian Tou Xing noZi Xia genitsuiteha,JIS X 4051deha"4.17 Duan Luo Zheng Xing Chu Li "niGui Ding sareteiru.nao,Duan Luo Zheng Xing toha,Zi Xia ge,Zi Shang ge,indentonadonoDuan Luo noShu Shi woiu. Note The layout processing for opening brackets (cl-01) in the case of full-width line head indent at the beginning of paragraphs, is described in this document, SS 3.1.5 Positioning of Opening Brackets at Line Head Xing Tou no Shi meGua Hu Lei no Pei Zhi Fang Fa . Duan Luo Xian Tou Xing noZi Xia gewoQuan Jiao toshitaChang He noShi meGua Hu Lei (cl-01)noZu Ban Chu Li nitsu iteha,Ben Wen Shu noSS 3.1.5 Positioning of Opening Brackets at Line Head Xing Tou no Shi meGua Hu Lei no Pei Zhi Fang Fa woCan Zhao . 1. Line head indent at the beginning of paragraphs is applied to all paragraphs. Nearly all books and magazines make use of this method (see Figure 150). subetenoDuan Luo noXian Tou Xing noZi Xia gewoXing u.hotondonoShu Ji Za Zhi ha,kono Fang Fa woCai Yong shiteiru(Figure 150). Example of line head indent at the beginning of paragraphs. Duan Luo noXian Tou Xing noZi Xia gewoXing tsutaLi Figure 150 Example of line head indent at the beginning of paragraphs. Duan Luo noXian Tou Xing noZi Xia gewoXing tsutaLi Note In the case of written conversational text followed by, for example, "she said", if the conversational part is bounded by LEFT CORNER BRACKET "[" and RIGHT CORNER BRACKET "] " and the "she said" text appears after a line-break, the conversational text and the "she said" text are considered to be one continuous phrase. Hence, there is no line head indent at the beginning of the "she said" phrase, after the conversation part, i.e. so-called tentsuki (see Figure 151). When you have a (mathematical) formula on a separate line in horizontal writing mode, and a following line containing text such as "will be" there is also no line head indent at the beginning of the paragraph. On the other hand, there is also an approach in novels etc., where the first line indent is applied to paragraphs (see Figure 152). Gai Xing nishiteShi mekagiGua Hu [[] (LEFT CORNER BRACKET)Ji biZhong warikagiGua Hu [] ] (RIGHT CORNER BRACKET)dekukutsutaHui Hua nadowo"toitsuta......"nado toShou keteSok kuChang He ha,Wen Jie gaLian Sok shiteirutoKao e,Duan Luo noXian Tou Xing noZi Xia gehaXing wanaideTian Fu kitosuru(Figure 151).Heng Zu noBie Xing nishitaShu Shi wo Shou kete,Gai Xing de"tonarunode......"nadotoShou keruChang He mo,Tong Yang niDuan Luo noXian Tou Xing noZi Xia gehaXing wanai.tadashi,Xiao Shuo nadodeha,subeteDuan Luo noXian Tou Xing no Zi Xia gehaXing utoiuChu Li Fang Fa moXing wareteiru(Figure 152). Layout example 1 of a line immediately following a written conversation. Hui Hua noZhi Hou noXing noPei Zhi Li 1 Figure 151 Layout example 1 of a line immediately following a written conversation. Hui Hua noZhi Hou noXing noPei Zhi Li 1 Layout example 2 of a line immediately following a written conversation. Hui Hua noZhi Hou noXing noPei Zhi Li 2 Figure 152 Layout example 2 of a line immediately following a written conversation. Hui Hua noZhi Hou noXing noPei Zhi Li 2 2. Line head indent at the beginning of paragraphs is not applied for any paragraph at all, and the tentsuki position is used (see Figure 153). There are examples of this method being used in certain books and magazines for the sake of styling, but this is rather hard to read. subetenoDuan Luo noXian Tou Xing noZi Xia gewoXing wanaide,Tian Fu kitosuru(Figure 153).Heng Zu nadonoYi Bu noShu Ji Za Zhi deTi Cai woYou Xian shiteCai Yong shiteiruLi ga aruga,amariDu miyasuitohaienai. Example of no line head indent at the beginning of paragraphs. Duan Luo noXian Tou Xing noZi Xia gewoXing wanaiLi Figure 153 Example of no line head indent at the beginning of paragraphs. Duan Luo noXian Tou Xing noZi Xia gewoXing wa naiLi 3. In principle, line head indent is applied at the beginning of a paragraph. However, a paragraph immediately following a tentsuki-set heading is also set tentsuki, so that the beginning of the heading and the paragraph are aligned (see Figure 154). In some books and magazines this method is applied to text in horizontal writing mode. Duan Luo noXian Tou Xing noZi Xia gehaYuan Ze toshiteXing uga,Jian Chu shinoZhi Hou noDuan Luo niXian ri Zi Xia gewoXing wanaide,Tian Fu kitosuru(Figure 154).Zi Xia gewoXing wanai Jian Chu shitoTi Cai wosoroerutoiukotomoari,Heng Zu noYi Bu noShu Ji Za Zhi na dodekonoFang Fa gaCai Yong sareteiru. Example of no line head indent at the beginning of paragraphs immediately following headings. Jian Chu shinoZhi Hou noDuan Luo niXian riZi Xia gewo Xing wanaiLi Figure 154 Example of no line head indent at the beginning of paragraphs immediately following headings. Jian Chu shino Zhi Hou noDuan Luo niXian riZi Xia gewoXing wanaiLi On the other hand, for example with itemization, there is also the method that indents the second and following lines of the paragraph (see Figure 155). This is the so-called "questions and answer" (Q&A) form. It has the effect that numbers (if used) stand out. nao,Ge Tiao Shu kinadodeha,Ni ni,Duan Luo no2Xing Mu Yi Xia noXing Tou woZi Xia gesurutoiu Fang Fa moXing wareteiru(Figure 155)."Wen Da Xing Shi (Q&A)"nadotoyobareruChu Li Fang Fa dearu.Fan Hao gaFu kuChang He nado,konoFan Hao gaMu Li tsutoiuXiao Guo gaaru. Layout example for itemization. Ge Tiao Shu kinoPei Zhi Li Figure 155 Layout example for itemization. Ge Tiao Shu kinoPei Zhi Li Note The definition of itemization is provided in JIS X 4051, sec. 8.4 "itemization processing". Ge Tiao Shu kinitsuiteha,JIS X 4051deha"8.4 Ge Tiao Shu kiChu Li "niGui Ding gaaru. 3.5.2 Line Head Indent and Line End Indent Zi Xia getoZi Shang ge The line head indent is the indentation of the line head by a fixed amount, starting from the line head side of the hanmen (in the case of one column) or of the column area (in the case of several columns). In contrast, the indentation of the line end position by a fixed amount, starting from the line head, is called line end indent. Zi Xia geha,Ban Mian (1Duan Zu noChang He )You haDuan noLing Yu (Duo Duan Zu noChang He )noXing Tou Ce noDuan karaZhi Ding saretaLiang dakeXing Tou Wei Zhi woXia geruChu Li dearu.Ni niXing Mo Ce noDuan karaZhi Ding saretaLiang dakeXing Mo Wei Zhi woShang geruChu Li gaZi Shang gedearu. There are examples of line head indent for quotations in separate lines (see Figure 156) or for headings in separate lines. Line end indent is used, for example, for headings or for quotations in separate lines. Zi Xia geha,Yin Yong Wen woBie Xing nishiteShi suChang He (Figure 156)ya,Bie Xing noJian Chu shide Xing uLi gaaru.Zi Shang geha,Bie Xing noJian Chu shinadodeXing uChang He yaYin Yong Wen niLi gaaru . Example of line head indent for a quotation in a separate line. Bie Xing noYin Yong Wen woZi Xia geshitaLi Figure 156 Example of line head indent for a quotation in a separate line. Bie Xing noYin Yong Wen woZi Xia geshitaLi Note For quotations on separate lines, there are the following approaches: either (a) the character size is the same as for the main text, and the difference from the main text is expressed only by the line head indent; or (b) the character size is made smaller than that of the main text. The former approach is applied frequently. With this approach, the line head indent is often set at double the normal character size of the main text. If large quotations are inserted frequently, there is also an approach that uses a full-width line head indent with an empty line inserted before and after the quotation. The approach where characters are made smaller than the main text is the same as the processing of endnotes, see SS 4.2.4 Processing of Endnotes in Vertical Writing Mode or Horizontal Writing Mode Zong Zu You haHeng Zu noHou Zhu Chu Li ). Bie Xing nisuruYin Yong Wen deha,Ben Wen toTong ziWen Zi saizudeZi Xia gedakedeBen Wen tonoQu Bie woBiao suFang Fa to,Wen Zi saizumoBen Wen yorihaXiao sakusuruFang Fa gaaru.Qian Zhe noFang Fa gaDuo i.konoChang He ,Yi Ban niBen Wen noWen Zi saizuno2Bei noZi Xia getosuruLi gaDuo i. Fen Liang noDuo iYin Yong Wen gaShu Duo kuCha Ru sareruChang He ha,Quan Jiao noZi Xia getoshite,sarani Bie Xing noYin Yong Wen noQian Hou wo1Xing akitosuruFang Fa moXing wareteiru.Wen Zi saizuwoBen Wen yoriXiao sakushiteZi Xia gewoXing uFang Fa ha,Hou Zhu nadonoZhu noZi Xia getoTong Yang dearu( konoyounaZhu noZi Xia genitsuiteha,SS 4.2.4 Processing of Endnotes in Vertical Writing Mode or Horizontal Writing Mode Zong Zu You haHeng Zu noHou Zhu Chu Li woCan Zhao ). 3.5.3 Single Line Alignment Processing soroenoChu Li The Japanese "single line alignment method" is a process for setting alignment for a run of text that is shorter than a given line length. This method is frequently used for headings and poems. The following methods are available (see Figure 157). Ri Ben Yu Zu Ban deiu"soroe"toha,1Xing noWen Zi Lie nitsuite,Zhi Ding shitaWei Zhi niWen Zi noPei Zhi Wei Zhi woHe waserukotodearu.Jian Chu shiyaShi nadonoBi Jiao De Duan iXing woaruYi Ding noChang satoWei Zhi niDiao Zheng surukotodearu.Ci noyounaFang Fa gaaru(Figure 157 ).Zhi Ding saretaXing Chang Yi Xia noWen Zi Lie woChu Li suruFang Fa nanode,Jian Chu shiya,Fu Shu Xing karanarugaDuan iWen Zhang deGou Cheng sareru"Shi "nadode,Zhi Ding noWei Zhi nisoroeruChang He ni Li Yong sareteiru. Single line alignment processing. soroenoPei Zhi Li Figure 157 Single line alignment processing. soroenoPei Zhi Li Note The single line alignment method is defined in JIS X 4051, sec. 4.18 "Single Line Alignment Processing". soroenoChu Li nitsuiteha,JIS X 4051deha"4.18 soroeDeng noChu Li "niGui Ding sare teiru. 1. Centering: The spacing between adjacent characters is, in principle, set solid. (If spacing is needed between Japanese text and western text, before opening brackets (cl-01) and after closing brackets (cl-02), that spacing is added based on the table in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang .) Also, if there is an explicit instruction to add spacing, such spacing is added. If there is not solid setting but a fixed spacing between characters, this is used; the amount of spacing at the line head and line end is made equal, and the center of the character sequence is unified with the center of the line. Zhong Yang soroe:Lin Jie suruWen Zi noZi Jian ha,Yuan Ze toshitebetaZu (He Wen toOu Wen to noZi Jian ,Shi meGua Hu Lei (cl-01)noQian ,Zhong wariGua Hu Lei (cl-02)noHou ronado SS B. Spacing between Characters Wen Zi Jian noKong kiLiang niShi shitaYuan Ze tosuru Kong kiLiang gaBi Yao natokiha,sonoKong kiLiang woRu reru)tosuruka,You haMing Shi De ni Zhi Ding saretaKong kiLiang gaaruChang He hasonoKong kiLiang woCha Ru shi,Xing Tou Ce Ji biXing Mo Ce noKong kiLiang woJun Deng nishi,Wen Zi Lie noZhong Yang wo,Xing noZhong Yang noWei Zhi niHe wasetePei Zhi suru. 2. Line head alignment: The spacing between adjacent characters is, in principle, set solid. (If spacing is needed between Japanese text and western text, before opening brackets (cl-01) and after closing brackets (cl-02), that spacing is added based on the table in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang .) Also, if there is an explicit instruction to add spacing, such spacing is added. If there is not solid setting but a fixed spacing between characters, this is used; the start of the character sequence is unified with the line head, and if the line is not full, the line end is kept empty. Xing Tou soroe:Lin Jie suruWen Zi noZi Jian ha,Yuan Ze toshitebetaZu (He Wen toOu Wen to noZi Jian ,Shi meGua Hu Lei (cl-01)noQian ,Zhong wariGua Hu Lei (cl-02)noHou ronado SS B. Spacing between Characters Wen Zi Jian noKong kiLiang niShi shitaYuan Ze tosuru Kong kiLiang gaBi Yao natokiha,sonoKong kiLiang woRu reru)tosuruka,You haMing Shi De ni Zhi Ding saretaKong kiLiang gaaruChang He hasonoKong kiLiang woCha Ru shi,Wen Zi Lie noXian Tou woXing Tou noWei Zhi niHe wase,1Xing niMan tanaitokihaXing Mo Ce woKong ketePei Zhi suru. 3. Line end alignment: The spacing between adjacent characters is, in principle, set solid. (If spacing is needed between Japanese text and western text, before opening brackets (cl-01) and after closing brackets (cl-02), that spacing is added based on the table in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang .) Also, if there is an explicit instruction to add spacing, such spacing is added. If there is not solid setting but a fixed spacing between characters, this is used; the end of the character sequence is unified with the line end, and if the line is not full, the line head is kept empty. Xing Mo soroe:Lin Jie suruWen Zi noZi Jian ha,Yuan Ze toshitebetaZu (He Wen toOu Wen to noZi Jian ,Shi meGua Hu Lei (cl-01)noQian ,Zhong wariGua Hu Lei (cl-02)noHou ronado SS B. Spacing between Characters Wen Zi Jian noKong kiLiang niShi shitaYuan Ze tosuru Kong kiLiang gaBi Yao natokiha,sonoKong kiLiang woRu reru)tosuruka,You haMing Shi De ni Zhi Ding saretaKong kiLiang gaaruChang He hasonoKong kiLiang woCha Ru shi,Wen Zi Lie noMo Wei woXing Mo noWei Zhi niHe wase,1Xing niMan tanaitokihaXing Tou Ce woKong ketePei Zhi suru. 4. Even inter-character spacing: The spacing between adjacent characters is, in principle, set solid. (If spacing is needed between Japanese text and western text, before opening brackets (cl-01) and after closing brackets (cl-02), that spacing is added based on the table in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang .) Also, if there is an explicit instruction to add spacing, such spacing is added. In addition, using the spacing made available during line adjustment processing, equal character spacing is applied where possible. The start of the character sequence is aligned to the position of the line head, and the end of the character sequence to the position of the line end. Jun Deng Ge ri:Lin Jie suruWen Zi noZi Jian ha,Yuan Ze toshitebetaZu (He Wen toOu Wen tono Zi Jian ,Shi meGua Hu Lei (cl-01)noQian ,Zhong wariGua Hu Lei (cl-02)noHou ronado SS B. Spacing between Characters Wen Zi Jian noKong kiLiang niShi shitaYuan Ze tosuru Kong kiLiang gaBi Yao natokiha,sonoKong kiLiang woRu reru)tosuruka,You haMing Shi De ni Zhi Ding saretaKong kiLiang gaaruChang He hasonoKong kiLiang woCha Ru shi,sonouede,Xing no Diao Zheng woXing uJi niKong keruDiao Zheng gaKe Neng naGe Suo deZi Jian woJun Deng niKong kete,Wen Zi Lie noXian Tou woXing Tou noWei Zhi ni,Wen Zi Lie noMo Wei woXing Mo noWei Zhi niHe waseru. Note Several justification methods are applied for positioning of headings or items of tables. For example, centering is often used for headings in horizontal writing mode, taking the left-right balance is taken into account. However, there are also examples of line head alignment . soroeha,Jian Chu shiyaBiao noXiang Mu noPei Zhi Fang Fa deikutsukanoFang Fa gaXing wareteiru. Li eba,Heng Zu noJian Chu shihaZuo You nobaransuwoKao Lu shiZhong Yang soroegaDuo iga,Xing Tou soroenisuruLi moaru. Note Even inter-character spacing is often used for printing Haiku in separate lines (see Figure 158). Jun Deng Ge riha,Pai Ju woBie Xing nishiteJie geruChang He niyokuLi Yong sareteiru(Figure 158). Example of Haiku positioning with even inter-character spacing. Jun Deng Ge rinishitaPai Ju noPei Zhi Li Figure 158 Example of Haiku positioning with even inter-character spacing. Jun Deng Ge rinishitaPai Ju noPei Zhi Li 3.5.4 Widow Adjustment of Paragraphs Duan Luo Mo Wei Chu Li The intent of widow adjustment of paragraphs is to avoid that the last line of a paragraph contains less than a given number of characters. This is also called "widow" processing. Duan Luo Mo Wei Chu Li toha,Duan Luo noZui Zhong Xing noWen Zi Shu ga,aruWen Zi Shu Wei Man ninarukotowo Bi kerutamenoChu Li nokotodearu.uidou(widow)Chu Li tomoiu. Note Widow adjustment of paragraphs is defined in JIS X 4051, sec. 4.20 "Widow Adjustment of Paragraphs". Duan Luo Mo Wei Chu Li nitsuiteha,JIS X 4051deha"4.20 Duan Luo Mo Wei Chu Li "niGui Ding sarete iru. Note Widow adjustment of paragraphs is not regarded as very important in Japanese composition. However, care is taken to avoid cases such as a single character in the last line of a paragraph (often this is tolerated), or - even more extreme - just one character on a page just before a page break or a new recto (see Figure 159). Ri Ben Yu Zu Ban deha,Duan Luo Mo Wei Chu Li haamariZhong Shi sareteinai.shikashi,Duan Luo no Zui Zhong Xing ga1Zi dakeninaruChang He (korehaXu Rong shiteiruLi gaDuo i),motsutoJi Duan ni Gai Ding Gai pezideShi maruZhi Qian nopezini1Zi dakePei Zhi sarerutoiuChang He ha,Bi keruyounisuru(Figure 159). Example of just one character on a page just before a page break (to be avoided). Gai pezideShi maruZhi Qian nopezini1Zi dakePei Zhi saretaLi (kore haBi keru) Figure 159 Example of just one character on a page just before a page break (to be avoided). Gai pezideShi maruZhi Qian nopezini1 Zi dakePei Zhi saretaLi (korehaBi keru) 3.6 Tab Setting tabuChu Li 3.6.1 Usage of Tab Setting tabuChu Li noLi Yong Tab setting is useful for alignment of table data, itemized lists, etc. where a series of characters need to be set at specific alignment positions within a line (see Figure 160). tabuChu Li toha,aruTe Ding noWen Zi Lie woXing Zhong noZhi Ding saretaWei Zhi niHe wasetePei Zhi su rukotodearu.1tsuaruihaFu Shu noWen Zi Lie woXing noTe Ding noWei Zhi niPei Zhi suruChang He ni Li Yong dekiru.Biao Xing Shi nodetanoPei Zhi ,Ge Tiao Shu kinadoniLi Yong sareteiru( Figure 160). Example of tab setting. tabuChu Li noJi Neng woShi Yong shitePei Zhi shitaLi Figure 160 Example of tab setting. tabuChu Li noJi Neng woShi Yong shitePei Zhi shitaLi Note Tab Setting is described in "JIS X 4051 4.21 Tab Setting". tabuChu Li noJi Neng woShi Yong shitePei Zhi shitaLi For tab setting, it is necessary to identify tab positions, tab types (how to align the characters in the tab position), and the characters to be set. For this purpose, it is necessary to insert a tab sign before the tabbed character. The series of characters just after the tab sign are the target characters (see Figure 161). If there is more than one tab sign, it is necessary to set the same numbers of tab positions and tab types as the number of tab signs. tabuChu Li woXing utameniha,tabuWei Zhi Ji bisonotabuZhong (Pei Zhi Wei Zhi nidonoyouni soroerukanoXing Shi )noZhi Ding ,sarani,sonoZhi Ding Wei Zhi niPei Zhi suruWen Zi Lie gaBi Yao dearu.sokode,tabuChu Li woXing uWen Zi Lie noQian nitabuJi Hao woCha Ru shiteokuBi Yao gaaru.tabuJi Hao noZhi Hou niaruWen Zi Lie gatabuChu Li woXing uDui Xiang noWen Zi Lie ninaru (Figure 161).soshite,1Xing Zhong niCha Ru shitatabuJi Hao noShu dakenotabuWei Zhi toso notabuZhong woZhi Ding suru. Tab signs and the target text of tab setting. tabuJi Hao totabuChu Li noDui Xiang tonaruWen Zi Lie Figure 161 Tab signs and the target text of tab setting. tabuJi Hao totabuChu Li noDui Xiang tonaruWen Zi Lie 3.6.2 Types of Tab Settings tabuChu Li deZhi Ding suruPei Zhi Wei Zhi nisoroeruXing Shi There are the following types of tab setting to align texts. tabuChu Li deZhi Ding suruPei Zhi Wei Zhi nidonoyounisoroerukanoXing Shi (tabuZhong )toshi teha,Ci noyounamonogaBi Yao ninaru. 1. Start alignment tab setting: the start position of the text is aligned to the tab position (see Figure 162). Zuo (Shang )soroetabu:tabuChu Li woXing uDui Xiang noWen Zi Lie noXian Tou wotabuWei Zhi ni He wasetePei Zhi suru(Figure 162).Zuo soroetabuhaHeng Zu noChang He notabuZhong ,Shang soroetabuhaZong Zu noChang He notabuZhong dearu. Examples of start alignment tab settings. Zuo (Shang )soroetabunoLi Figure 162 Examples of start alignment tab settings. Zuo (Shang )soro etabunoLi 2. End alignment tab setting: the end position of the text is aligned to the tab position (see Figure 163). You (Xia )soroetabu:tabuChu Li woXing uDui Xiang noWen Zi Lie noMo Wei wotabuWei Zhi ni He wasetePei Zhi suru(Figure 163).You soroetabuhaHeng Zu noChang He notabuZhong ,Xia soroetabuhaZong Zu noChang He notabuZhong dearu. Examples of end alignment tab settings. You (Xia )soroetabunoLi Figure 163 Examples of end alignment tab settings. You (Xia )soroe tabunoLi 3. Center alignment tab setting: the center of the text is aligned to the tab position (see Figure 164). Zhong Yang soroetabu:tabuChu Li woXing uDui Xiang noWen Zi Lie noZhong Yang wotabuWei Zhi niHe wa setePei Zhi suru(Figure 164). Examples of center alignment tab settings. Zhong Yang soroetabunoLi Figure 164 Examples of center alignment tab settings. Zhong Yang soroe tabunoLi 4. Alignment with a specified character tab setting: the start position of a specified character or sign (for example, a period) in the text is aligned to the tab position (see Figure 165). Zhi Ding Wen Zi soroetabu:tabuChu Li woXing uDui Xiang noWen Zi Lie noZhong niaruZhi Ding sare taWen Zi (Li ebapiriodo)noXian Tou wotabuWei Zhi niHe wasetePei Zhi suru( Figure 165). Examples of specified character alignment tab settings. Zhi Ding Wen Zi soroetabunoLi Figure 165 Examples of specified character alignment tab settings. Zhi Ding Wen Zi soroetabunoLi 3.6.3 The Method of Setting the Target Text tabuChu Li woXing uDui Xiang noWen Zi Lie noPei Zhi Fang Fa Set the text from the line head to the position before the tab sign in the first tab position, set the text from the first tab sign to the next tab sign in the second tab position, and so on. The behavior of opening brackets (cl-01) and closing brackets (cl-02), etc. is same as for the main text. Xing Tou kara,tabuJi Hao deQu Qie raretaWen Zi Lie to,tabuChu Li toshiteZhi Ding saretaPei Zhi Wei Zhi (tabuWei Zhi )wo,Shun Fan niDui Ying sasetePei Zhi suru.sorezorenoWen Zi Lie niHan ma reruShi meGua Hu Lei (cl-01),Zhong wariGua Hu Lei (cl-02)nadonoZu Ban Chu Li ha,Ben Wen toTong zidearu. Following are some examples. The behavior of text before and after the tab positions are very difficult to anticipate, so it is necessary to design using trial and error. ikutsukanoPei Zhi Li woShi su.tadashi,bYi Jiang haShe Ji Duan Jie dehaYu Xiang shinakatsutaPei Zhi tonaruChang He gaDuo ku,Yi Ban ni,tabuWei Zhi noShe Ji noyariZhi shigaBi Yao ninaru. 1. If the target string is the first series of the line, the characters should be set in the first tab position from the start of the line, and so on, one after another (see Figure 166). tabuChu Li noDui Xiang tonaruWen Zi Lie gaXing noZui Chu noWen Zi Lie deareba,Xing Tou niYi Fan Jin itabuWei Zhi nisonoWen Zi Lie woHe wase,Yi Xia ,Shun Fan niDui Ying sasetePei Zhi suru (Figure 166). Example of tab setting 1. tabuChu Li niyoruPei Zhi Li 1 Figure 166 Example of tab setting 1. tabuChu Li niyoruPei Zhi Li 1 2. If the target string of text is too long to be set before the next tab position and overflows, the next string of text is aligned to the tag position after the end of the preceding string (see Figure 167). tabuChu Li noDui Xiang tonaruWen Zi Lie gaChang kute,Ci nikurutabuWei Zhi wohamiChu shita Chang He ha,sonoChang iWen Zi Lie noHou ronotabuChu Li noDui Xiang tonaruWen Zi Lie ha,sono hamiChu shitaChang iWen Zi Lie noMo Wei Yi Jiang niaruZui Chu notabuWei Zhi gaDui Ying suru( Figure 167). Example of tab setting 2. tabuChu Li niyoruPei Zhi Li 2 Figure 167 Example of tab setting 2. tabuChu Li niyoruPei Zhi Li 2 3. If the beginning of the string overlaps with the end of the preceding string as the result of the tab setting indication, the following string is set just after the preceding string (see Figure 168). Zhi Ding Wei Zhi nitabuChu Li noDui Xiang tonaruWen Zi Lie woPei Zhi shitaJie Guo ,Qian noWen Zi Lie to Zhong natsuteshimatsutaChang He ha,Zhi Qian noWen Zi Lie noMo Wei niSok ketePei Zhi suru( Figure 168). Example of tab setting 3. tabuChu Li niyoruPei Zhi Li 3 Figure 168 Example of tab setting 3. tabuChu Li niyoruPei Zhi Li 3 4. If there is no tab position corresponding to the target string, the string should be set from the tab position of the next line, and so forth (see Figure 169). tabuChu Li noDui Xiang tonaruWen Zi Lie niDui Ying surutabuWei Zhi ganaiChang He ha,Ci Xing no Xian Tou notabuWei Zhi karaShun Fan niDui Ying wototsutePei Zhi suru(Figure 169). Example for tab setting 4. tabuChu Li niyoruPei Zhi Li 4 Figure 169 Example for tab setting 4. tabuChu Li niyoruPei Zhi Li 4 3.7 Other Rules of Japanese Typesetting sonoTa noXing Zu Ban Chu Li 3.7.1 Superscripts and Superscripts Tian eZi Chu Li Superscripts and subscripts are small letters associated with base characters, and typically used to indicate SI unit symbols, or used for mathematical or chemical formulae. Tian eZi toha,Wen Zi nosobaniFu keruShang Fu kiWen Zi You haXia Fu kiWen Zi woiu.Guo Ji Dan Wei Xi (SI)noDan Wei ,Shu Shi ,Hua Xue Shi Deng deShi Yong sareteiru. Note Superscripts and subscripts are described in JIS X 4051 sec.4.13. Tian eZi nitsuiteha,JIS X 4051deha"4.13 Tian eZi Chu Li "niGui Ding gaaru. Superscripts and subscripts are usually set after the base character, with some exceptions for chemical formulae (which appear before the base character). They should be set solid. Shang Fu kiWen Zi ha,Yi Ban niQin Wen Zi noHou roniFu kuga,Hua Xue Shi dehaQian niFu kuChang He gaa ru.Xia Fu kiWen Zi ha,Yi Ban niQin Wen Zi noHou roniFu kuga,Hua Xue Shi dehaQian niFu kuChang He gaaru.Qin Wen Zi toTian eZi tonoZi Jian habetaZu nisuru. For examples of superscripts and subscripts see Figure 170. In this document, superscripts and subscripts and their base characters are handled as ornamented character complex (cl-21) characters. Tian eZi gaFu kuLi woikutsukaJie geru(Figure 170).nao,Tian eZi nitsuiteha ,Tian eZi gaFu kuQin Wen Zi woHan me,konoWen Shu dehaQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki )(cl-21)toshiteXi u. Examples of superscripts and subscripts. Tian eZi noPei Zhi Li Figure 170 Examples of superscripts and subscripts. Tian eZi noPei Zhi Li Note Inter-letter spacing between ornamented character complex (cl-21) and adjacent characters is described in detail in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang in accordance with the character class concept in SS 3.9 About Character Classes Wen Zi kurasunitsuite . Qin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)toLin Jie suruWen Zi Jian noJian Ge nitsuite noChu Li Fang Fa noXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuite deShuo Ming suruWen Zi kurasuniCong i,Biao noXing Shi nishiteSS B. Spacing between Characters Wen Zi Jian noKong kiLiang niShi su. JIS X 4051 specifies the character size and the block direction positioning of superscripts and subscripts alongside the base character to be implementation definable parameters. However it is recommended that the size of superscripts and subscripts are around 60% of the base character, depending on the size of the base character. Tian eZi noWen Zi saizuJi biQin Wen Zi niDui suruTian eZi noXing Song riFang Xiang noPei Zhi Wei Zhi nitsu iteha,JIS X 4051deha,"Chu Li Xi Ding Yi tosuru"tonatsuteiru.Tian eZi noWen Zi saizuha,Qin Wen Zi nosaizunimoyoruga,Yi Ban niQin Wen Zi no60%kuraigayoide arou. It is prohibited to break lines within an ornamented character complex (cl-21) sequence. Also, it is prohibited to use inter-character spacing within an ornamented character complex (cl-21) sequence for line adjustment. nao,Qin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)noWen Zi Lie noZi Jian de2Xing niFen Ge shitehanaranai.mata,sonoWen Zi Lie noZi Jian ha,Xing noDiao Zheng Chu Li deZi Jian woKong ke ruGe Suo nihashinai. Note In vertical writing mode, characters with superscripts or subscripts, that is ornamented character complex (cl-21) characters, are rotated 90 degrees clock-wise. If the length of the sequence is short enough, the sequence can be set as tate-chu-yoko. Zong Zu noZhong niTian eZi gaFu itaWen Zi Lie (Qin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21 ))woPei Zhi suruChang He ha,Wen Zi woShi Ji Hui rini90Du Hui Zhuan shi,Pei Zhi suru.Wen Zi Lie ga Duan iChang He haZong Zhong Heng nishitePei Zhi shitemoyoi. Note When both the superscript and the subscript follow the base character, usually the subscript is set first and set solid, followed by the superscript set with solid spacing. For chemical formulae sometimes both superscript and subscript are set vertically in the same position with respect to the base character, and with solid spacing between them and the base character. Qin Wen Zi noHou roniXia Fu kitoShang Fu kitoga2tsuFu kuChang He gaaru.konoChang He ha,Shu Shi de haQin Wen Zi toXia Fu kitowobetaZu dePei Zhi shi,sonoHou ronibetaZu deShang Fu kiwoPei Zhi su ruFang Fa gaYi Ban De dearu.Hua Xue Shi demoTong Yang dearuga,Shi noYi Wei karaShang Fu kimoQin Wen Zi tobetaZu dePei Zhi suruChang He moaru. 3.7.2 Furiwake Processing Zhen Fen keChu Li Furiwake is a typesetting style for setting multiple phrases or sentences in the middle of a line. Furiwake is also used to indicate options (see Figure 171). Study guides, manuals and reference books sometimes use furiwake. In many furiwake styles, multiple lines are indicated with opening brackets (cl-01) and closing brackets (cl-02), etc. Zhen Fen ketoha,1Xing noTu Zhong niFu Shu noYan Xie yaWen woPei Zhi suruChu Li dearu.Fu Shu noXuan Ze Zhi woShi suChang He nadoniLi Yong sareteiru(Figure 171).Xue Xi Can Kao Shu ,maniyua ru,Jie Shuo Shu nadodeShi Yong shiteiruLi gaaru.Zhen Fen kewoXing uChang He ,Fu Shu noXing woGua Hu Lei dekukurukotomoDuo i. Example of furiwake. Zhen Fen kenoLi Figure 171 Example of furiwake. Zhen Fen kenoLi Furiwake is usually done as follows (see Figure 172). In this document, the lines which combine to make the furiwake are called furiwake-gyou. Zhen Fen keChu Li ha,Yi Ban niCi noyouniXing tsuteiru(Figure 172).Yi Xia deha,Zhen Fen kesurusorezorenoWen Zi Lie woZhen Fen keXing toyobu. 1. The character size of the furiwake-gyou is usually the same as that of the base paragraph. Sometimes, the furiwake-gyou is a little bit smaller than the size of the base paragraph. Sometimes, the font style of the furiwake-gyou is different typeface the style of the base paragraph. Zhen Fen keniShi Yong suruWen Zi ha,sonoDuan Luo deShi Yong shiteiruWen Zi saizutosuruga ,yayaXiao saiWen Zi saizunishitari,Shu Ti woBian eruChang He moaru. 2. In the same furiwake block, the top positions of all the furiwake-gyou lines are aligned. Tong Yi noZhen Fen keChu Li noZhong nosubetenoZhen Fen keXing noXian Tou ha,soroeru. 3. The line length of the furiwake block is the line length of the longest furiwake-gyou. However, it is permitted to indicate the length of the furiwake block, and break the furiwake-gyou lines. In this style, the start positions of the broken lines should be explicitly indicated. When there are line break marks in the furiwake-gyou, the line is broken in the indicated places. In this style, the start positions of the wrapped lines are aligned to the first line. The spacing between wrapped lines should be set solid. Zhen Fen kenoXing Chang ha,Tong Yi noZhen Fen keChu Li noZhong deZui moChang iZhen Fen keXing noXing Chang woZhen Fen keXing Chang tosuru.tadashi,Zhen Fen kenoXing Chang woZhi Ding shi,Chang iTong Yi noZhen Fen keXing woZhe riFan shiteFu Shu noXing nisurukotomoaru.konoChang He no2Xing Mu Yi Xia noXing Tou ha Zhi Ding niyoru.Tong Yi noZhen Fen keXing tosuruWen Zi Lie Zhong niGai Xing noZhi Ding gaaruChang He ha ,sonoZhi Ding Ge Suo deZhen Fen keXing woFen Ge suru.konoChang He noXing Tou ha,Zhen Fen keXing no1 Xing Mu noWei Zhi tosoroeru.mata,Tong Yi noZhen Fen keXing woFu Shu noXing niFen Ge shitaChang He noXing Jian ha0tosuru. 4. The line-feed spacing of each furiwake block should be explicitly indicated. Yi naruZhen Fen keXing noXing Song riFang Xiang noXing Jian ha,Zhi Ding niyoru. 5. The center line of the furiwake block should be aligned with the center line of the main text. Tong Yi Zhen Fen keChu Li niHan mareruXing Song riFang Xiang noFu (noHe Ji )noZhong Xin to,Ben Wen no Xing noZhong Xin towosoroetePei Zhi suru. 6. When the furiwake block is enclosed by opening brackets (cl-01) and closing brackets (cl-02), etc. the width of brackets should be the same as the width of the furiwake block. Zhen Fen kenoQian Hou woGua Hu Lei deWei muChang He ,Gua Hu Lei noXing Song riFang Xiang noFu ha,Zhen Fen ke Xing noXing Song riFang Xiang noFu (noHe Ji )tosoroeru. 7. One furiwake block should be set per base text line. One furiwake block should not be extended across multiple base text lines. Tong Yi noZhen Fen keha,Yi Ti toshiteXi i,Ben Wen noFu Shu noXing niwatatsutePei Zhi shite hanaranai. Setting method of furiwake. Zhen Fen kenoPei Zhi Fang Fa Figure 172 Setting method of furiwake. Zhen Fen kenoPei Zhi Fang Fa The size of the line-feed spacing of the paragraph which contains the furiwake block, should be explicitly indicated. The spacing should be decided by considering the content of the furiwake block, and may therefore differ from the size of the line-feed spacing of kihon-hanmen. Zhen Fen kewoHan muDuan Luo noXing Jian ha,Zhi Ding niyoru.sokoniPei Zhi sareruZhen Fen kenoNei Rong wo Kao Lu shiteZhi Ding suruBi Yao gaaru. In general, the width of the furiwake block is larger than the width of an inline cutting note block. However, unlike in the case of the inline cutting block, the whole furiwake block should be set inside of the kihon-hanmen, or a column of the kihon-hanmen Setting a furiwake block that extends beyond the border of the kihon-hanmen is prohibited. Zhen Fen kehaGe Zhu toYi nari,Yi Ban niXing Song riFang Xiang nosaizugaDa kikunaru.sokode, Ban Mian You haDuan noLing Yu noWai Ce henohamiChu shihaRen merareteinai.Ban Mian You haDuan noLing Yu noFan Wei Nei niPei Zhi suru. 3.7.3 Jidori Processing Zi Qu riChu Li In cases such as lists of names of Japanese people, the length of some part of the text may be explicitly defined. In such cases, different numbers of characters are set, using adjustment of the inter-character spacing, so that they are all aligned to the same length. This is called jidori processing (see Figure 173). Ri Ben Ren Ming noMing Bo woYi Lan nisuruChang He nado,Xing Zhong noWen Zi Lie noYi Bu nitsuiteQuan Chang wo Zhi Ding suruLi gaaru.konoyounaChang He ni,Xing Zhong noZhi Ding saretaWen Zi Lie wo,Zi Jian wo Diao Zheng shite,Zi Jie meFang Xiang nitsuiteZhi Ding saretaChang sanisuruChu Li gaZi Qu riChu Li dea ru(Figure 173).Ren Ming nadoZi Shu noYi naruWen Zi Lie woZhi Ding shitaYi Ding noChang sadeso roetaiChang He niLi Yong dekiru. Example 1 of jidori processing. Zi Qu riChu Li noLi 1 Figure 173 Example 1 of jidori processing. Zi Qu riChu Li noLi 1 Sometimes, in horizontal writing mode, text in running heads (with the exception of chapter and section numbers) are set using jidori processing. For example, three to six characters are set in a 7 character space (based on the size of the characters in the running head (see Figure 174). Two characters are set in a 6 character space to avoid too much space. Seven characters are set solid in a seven character space, and eight or more characters are set solid in a space of eight or more characters. This rule can be applied to other numbers of characters, such as five, six and eight. Heng Zu noZhu nadodeha,Li eba,Zhang Fan Hao nadonoHou roniSok kuWen Zi Lie dakewo,Zi Qu ri Chu Li suruLi gaaru.Li eba,2Zi noWen Zi Lie noZi Qu riha,Kong kiGuo gininarunodeLi Wai De niZhu noWen Zi saizuno6Bei toshi,3Zi kara6Zi madenoWen Zi Lie noZi Qu riwoZhu noWen Zi saizuno7Bei tosuru(Figure 174).konoLi deha,7Zi Yi Shang ha,betaZu tosu ru. Example 2 of jidori processing. Zi Qu riChu Li noLi 2 Figure 174 Example 2 of jidori processing. Zi Qu riChu Li noLi 2 Jidori processing should be done as follows: Zi Qu riChu Li ha,Ci noyouniXing u. 1. The length for the jidori processing should be defined as a whole number of full-width characters at the size defined for the surrounding text. Zi Qu rinoQuan Chang noZhi Ding ha,sokoniShi Yong sareteiruWen Zi saizunoZheng Shu Bei tosu ru. 2. The jidori text should be adjusted using spacing between characters so that the sides of the text are aligned at the defined length. The following, however, should be set solid: Zhi Ding saretaWen Zi Lie nitsuite,Zi Jian woJun Deng niKong ke,Zi Jie meFang Xiang noXian Tou kara Mo Wei madewo,Zhi Ding saretaChang sanisuru.tadashi,Ci noyounaGe Suo ha,Kong ke ruDui Xiang toshinai. 1. Positions where line breaks are prohibited: between grouped numerals (cl-24); between Western characters (cl-27); between two inseparable characters (cl-08); and so on. These sequences should be treated as a single block. 2Xing niFen Ge shitehanaranaiGe Suo .Lian Shu Zi Zhong noWen Zi (cl-24)noZi Jian , Ou Wen Yong Wen Zi (cl-27)noZi Jian ,Tong Yi noFen Li Jin Zhi Wen Zi (cl-08)noZi Jian nado.koreranoWen Zi Lie haYi Ti toshiteXi itaikaradearu. Note The handling of opening brackets (cl-01) and closing brackets (cl-02) in jidori processing is also very controversial. Usually, the spacing before opening brackets (cl-01) and spacing after closing brackets (cl-02) is set solid. In jidori processing, the spacing before opening brackets (cl-01) and the spacing after closing brackets (cl-02) may be used for line adjustment, but the spacing after opening brackets (cl-01) and the spacing before closing brackets (cl-02) should not used for adjustment, because it is prohibited to break lines in these positions. Figure 175 shows one example with even spacing for all characters, a second example as explained here, and a third example that is set solid before and after the opening brackets (cl-01) and closing brackets (cl-02). Shi meGua Hu Lei (cl-01)noQian ,Zhong wariGua Hu Lei (cl-02)noHou ronadoXing no Diao Zheng Chu Li deKong keruDui Xiang Ge Suo toshinaiZi Jian moWen Ti tonaru.koreranoGe Suo ha,Yi Lun noFen karerutokorodaga,Zi Qu riChu Li deKong keruDui Xiang Ge Suo to shiteyoidarou.tadashi,Shi meGua Hu Lei (cl-01)noHou roJi biZhong wariGua Hu Lei (cl-02)noQian ha,2Xing niFen Ge shitehanaranaiGe Suo nanode,Zi Qu riChu Li deKong keruDui Xiang Ge Suo toshinai.Ci ni,subetenoZi Jian woKong ketaLi ,kokodeShuo Ming shitaFang Fa ,Shi meGua Hu Lei (cl-01)Ji biZhong wariGua Hu Lei ( cl-02)noQian Hou wosubeteKong kenaiLi woFigure 175niShi su. Examples of jidori processing including opening brackets and closing brackets. Shi meGua Hu Lei Ji biZhong wariGua Hu Lei woHan ndaWen Zi Lie no Zi Qu riLi Figure 175 Examples of jidori processing including opening brackets and closing brackets. Shi meGua Hu Lei Ji biZhong wariGua Hu Lei woHan ndaWen Zi Lie noZi Qu riLi 2. Where Western word space (cl-26) or full-width ideographic space (cl-14) are inserted, add the same spacing to those space characters as is being added to the other characters. Ou Wen Jian Ge (cl-26),He Zi Jian Ge (cl-14)nadoKong Bai woCha Ru shitearuGe Suo ha,sonoKong Bai noQian Ji biHou rono2Ge Suo dehanaku,Kong Bai noQian (You haHou ro )daketosuru.Kong Bai noQian Hou 2Ge Suo deKong kerutoKong kiGuo gininaru. 3. If there is only one character, it should be aligned to the left of the jidori block. Zhi Ding saretaWen Zi Lie ga1Zi noChang He nado,Zi Jian woKong keruGe Suo ganaitokiha,Wen Zi Lie noHou rowoKong keteoku. 3.7.4 Processing of Math Symbols and Math Operators Deng Hao Lei toYan Suan Ji Hao noChu Li Math symbols and math operators, such as EQUALS SIGN "=", APPROXIMATELY EQUAL TO OR THE IMAGE OF "[?]", PLUS SIGN "+" and MINUS SIGN "-" are commonly used not only for scientific and technical documents but also for ordinary books. In the Japanese composition system, there are two different groups of math symbols, which are each treated differently. So in this document math symbols are classified into two different classes; math symbols (cl-17) and math operators (cl-18). Li Gong Xue Shu dakedenaku,Yi Ban noBen demo,Deng Hao [=] (EQUALS SIGN),hotondoDeng shi i[[?]] (APPROXIMATELY EQUAL TO OR THE IMAGE OF),Zheng Fu Hao [+] (PLUS SIGN) ,Fu Fu Hao [-] (MINUS SIGN)nadonoShu Xue Ji Hao gaShi Yong sareteiru.Ri Ben Yu Zu Ban de ha,Deng Hao ,hotondoDeng shiinadoto,Zheng Fu Hao ,Fu Fu Hao nadodehaZu Ban Chu Li Fang Fa ga Yi naru.sokode,konoWen Shu deha,Deng Hao noLei Si Ji Hao woDeng Hao Lei (cl-17)ni,Zheng Fu Hao nadonoLei Si Ji Hao woYan Suan Ji Hao (cl-18)niFen kete,soreraniXian ri,Chu Li Fang Fa wo Jie Shuo suru. Note The members of the math symbols (cl-17) and math operators (cl-18) classes are described in SS 3.9 About Character Classes Wen Zi kurasunitsu ite . Also, the handling of inter-character spacing between these math symbols and adjacent characters is described in SS A. Character Classes Wen Zi kurasuYi Lan as a complete table, in accordance with the concept of character class, described in SS 3.9 About Character Classes Wen Zi kurasunitsuite . Deng Hao Lei (cl-17)Ji biYan Suan Ji Hao (cl-18)nidonoyounaJi Hao gaHan marerukaha, SS 3.9 About Character Classes Wen Zi kurasunitsuitedeJie Shuo suru.korerano Shu Xue Ji Hao toLin noWen Zi Jian noKong kiLiang noXi initsuiteha,SS A. Character Classes Wen Zi kurasuYi Lan niSS 3.9 About Character Classes Wen Zi kurasunitsuitenoJi Zai noWen Zi kurasuwoYong iteWan Quan naBiao toshiteJie Zai suru. Note Because the math symbols, such as SQUARE ROOT "[?]", INTEGRAL "[?]" and GREEK CAPITAL LETTER SIGMA "S", are not frequently used in common books, the handling of these math symbols is considered to be out of scope for this document. Also, mathematical and scientific notations like numerical formulae are out of scope for this document. Li Gong Xue Shu nadodeha,Shui Ping noGua Xian woShi Yong shitaFen Shu (yaguraZu tomoyobareteiru ),Gen Hao Shi ,Ji Fen Ji Hao ,Zong He Ji Hao nadomoShi Yong sareru.koreranoJi Hao ha,Yi Ban Shu dehasorehodoShi Yong sareteinainode,konoWen Shu deha,koreranoChu Li haFan Wei toshinai. Composition rules for math symbols (cl-17) and math operators (cl-18) are as follows: Deng Hao Lei (cl-17)Ji biYan Suan Ji Hao (cl-18)noZu Ban Chu Li ha,Ci noyounisuru. 1. The width of math symbols (cl-17) and math operators (cl-18) is full-width, i.e. one em (see Figure 176). Deng Hao Lei (cl-17)Ji biYan Suan Ji Hao (cl-18)noZi Fu ha,Quan Jiao tosuru(Figure 176). 2. The inter-character spacing between math symbols (cl-17) or math operators (cl-18) and before and after adjacent characters, such as grouped numerals (cl-24), Western characters (cl-27), and ornamented character complex (cl-21) in one line is set solid (see Figure 176). However, when the top and/or the bottom of the mathematical formula is grouped numerals (cl-24) or Western characters (cl-27), the spacing between ideographic characters (cl-19), hiragana (cl-15) and katakana (cl-16) is quarter em spacing. Bie Xing toshinaide,Xing noTu Zhong niPei Zhi suruDeng Hao Lei (cl-17)Ji biYan Suan Ji Hao ( cl-18)ha,sonoQian Hou niPei Zhi suruLian Shu Zi Zhong noWen Zi (cl-24),Ou Wen Yong Wen Zi (cl-27)Ji biQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)tonoZi Jian wobe taZu tosuru(Figure 176).nao,Shu Shi noXian Tou Ji bi/You haMo Wei gaLian Shu Zi Zhong noWen Zi (cl-24)You haOu Wen Yong Wen Zi (cl-27)noChang He ha,Han Zi Deng (cl-19) ,Ping Jia Ming (cl-15)Ji biPian Jia Ming (cl-16)toShu Shi tonoJian ha,Si Fen akitosu ru. Example of math symbols and math operators set within an ordinary line. Xing noTu Zhong niPei Zhi suruDeng Hao Lei Ji biYan Suan Ji Hao noPei Zhi Li Figure 176 Example of math symbols and math operators set within an ordinary line. Xing noTu Zhong niPei Zhi suruDeng Hao Lei Ji biYan Suan Ji Hao noPei Zhi Li Note The inter-character spacing between ideographic characters (cl-19), hiragana (cl-15) or katakana (cl-16) and math symbols (cl-17) or math operators (cl-18) is solid. However, it is better to add quarter em spacing between ideographic characters (cl-19), hiragana (cl-15) or katakana (cl-16) and adjacent math operators (cl-18) when the math operators (cl-18) are followed by grouped numerals (cl-24) or Western characters (cl-27) which represent some mathematical value (see Figure 177). Han Zi Deng (cl-19),Ping Jia Ming (cl-15)Ji biPian Jia Ming (cl-16)noQian Hou niDeng Hao Lei (cl-17)You haYan Suan Ji Hao (cl-18)gakuruChang He mo,sonoZi Jian habetaZu tosu ru(Figure 177).tadashi,"koreha-5tonari"noyouniYan Suan Ji Hao ( cl-18)toLian Shu Zi Zhong noWen Zi (cl-24)gaLian Sok suruWen Zi Lie ,You ha"koreha-a tonari"noyouniYan Suan Ji Hao (cl-18)toLiang woShi suOu Wen Yong Wen Zi (cl-27)gaLian Sok suruWen Zi Lie woPei Zhi suruChang He ha,Qian niPei Zhi suruHan Zi Deng (cl-19),Ping Jia Ming (cl-15)Ji biPian Jia Ming (cl-16)toYan Suan Ji Hao tonoZi Jian haSi Fen akitoshitaFang gayoi(Figure 177). Example of math symbols and math operators set within an ordinary line. Han Zi Deng ,Ping Jia Ming Ji biPian Jia Ming noQian Hou niDeng Hao Lei You haYan Suan Ji Hao woPei Zhi shi taLi Figure 177 Example of math symbols and math operators set within an ordinary line. Han Zi Deng ,Ping Jia Ming Ji biPian Jia Ming noQian Hou niDeng Hao Lei You haYan Suan Ji Hao woPei Zhi shitaLi 3. When math formulae or chemical formulae are set in one independent line, the inter-character spacing between math symbols (cl-17) and adjacent grouped numerals (cl-24), Western characters (cl-27) and ornamented character complex (cl-21) is quarter em. Also, when math formulae or chemical formulae are set in an individual line, the inter-character spacing between math operators (cl-18) and adjacent grouped numerals (cl-24), Western characters (cl-27) or ornamented character complex (cl-21) is set solid. Bie Xing tosuruShu Shi ,Hua Xue Shi nadoniPei Zhi suruDeng Hao Lei (cl-17)toLian Shu Zi Zhong noWen Zi (cl-24),Ou Wen Yong Wen Zi (cl-27)Ji biQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki )(cl-21)tonoZi Jian ha,Si Fen akitosuru.Bie Xing tosuruShu Shi ,Hua Xue Shi nado niPei Zhi suruYan Suan Ji Hao (cl-18)to,Lian Shu Zi Zhong noWen Zi (cl-24),Ou Wen Yong Wen Zi (cl-27)Ji biQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)tonoZi Jian ha ,betaZu tosuru. Example of math symbols and math operators in one independent line. Bie Xing Shi niPei Zhi suruDeng Hao Lei Ji biYan Suan Ji Hao noPei Zhi Li 1 Figure 178 Example of math symbols and math operators in one independent line. Bie Xing Shi niPei Zhi suruDeng Hao Lei Ji biYan Suan Ji Hao noPei Zhi Li 1 Note In most case when a math formula or chemical formula is set in one independent line, the position of the formula is the center of the line in horizontal writing mode, and has is indented by some indicated number of characters from the head of line in vertical writing mode. Bie Xing tosuruShu Shi ,Hua Xue Shi nadoha,Heng Zu dehaBan Mian You haDuan noLing Yu noZuo You Zhong Yang niPei Zhi suruLi gaDuo i.Zong Zu deShi Ji Hui rini90Du Hui Zhuan saseteShu Shi ,Hua Xue Shi na dowoPei Zhi suruChang He ha,Xing Tou karaZhi Ding shitaZi Xia geshitaWei Zhi niPei Zhi suruLi ga Duo i. Note In the formula in one independent line, there is another method to set the inter-character spacing between grouped numerals (cl-24) or Western characters (cl-27) and math symbols (cl-17), solid or half em. When the inter-character spacing before and after the math symbols (cl-17) is set to a quarter em or a half em, there is another method to set the inter-character spacing, between math operators (cl-18) and grouped numerals (cl-24) or Western characters (cl-27), that is, a quarter em. Bie Xing tosuruShu Shi nadodeha,Lian Shu Zi Zhong noWen Zi (cl-24)Ji biOu Wen Yong Wen Zi ( cl-27)toDeng Hao Lei (cl-17)noQian Hou noZi Jian wobetaZu tosuruFang Fa yaEr Fen aki tosuruFang Fa moaru.mata,Deng Hao Lei (cl-17)noQian Hou noZi Jian woSi Fen akiYou ha Er Fen akitoshitaChang He ha,Yan Suan Ji Hao (cl-18)toLian Shu Zi Zhong noWen Zi (cl-24) Ji biOu Wen Yong Wen Zi (cl-27)tonoQian Hou noZi Jian woSi Fen akitosuruFang Fa moaru. Another example of setting math symbols and math operators in one independent formula line. Bie Xing Shi niPei Zhi suruDeng Hao Lei Ji biYan Suan Ji Hao noPei Zhi Li 2 Figure 179 Another example of setting math symbols and math operators in one independent formula line. Bie Xing Shi niPei Zhi suruDeng Hao Lei Ji biYan Suan Ji Hao noPei Zhi Li 2 4. A line can be broken between math symbols (cl-17) or math operators (cl-18) and adjacent grouped numerals (cl-24), Western characters (cl-27) or ornamented character complex (cl-21). Deng Hao Lei (cl-17)Ji biYan Suan Ji Hao (cl-18)ha,sonoQian Hou niPei Zhi suruLian Shu Zi Zhong noWen Zi (cl-24),Ou Wen Yong Wen Zi (cl-27)Ji biQin Wen Zi Qun Zhong noWen Zi (Tian e Zi Fu ki)(cl-21)nadotonoZi Jian de2Xing niFen Ge shiteyoi. Note In an independent formula line, when there are more than one place where the line can be broken the first priority is before the math symbols (cl-17), and the next is before the math operators (cl-18). Bie Xing Shi de,2Xing niFen Ge suruWei Zhi woaruCheng Du Ren Yi niXuan Ze dekiruChang He ha,mazu Deng Hao Lei (cl-17)noQian de2Xing niFen Ge surutoyoi.soregadekinaiChang He ha, Yan Suan Ji Hao (cl-18)noQian de2Xing niFen Ge surutoyoi. Note The inter-character spacing before and after KATAKANA MIDDLE DOT "", before opening brackets (cl-01) and after closing brackets (cl-02) in an independent formula line is set solid, except for the case to set spacing between these characters and adjacent math symbols (cl-17) or math operators (cl-18). Shu Shi ,Hua Xue Shi niPei Zhi suruZhong Dian [] (KATAKANA MIDDLE DOT),Shi meGua Hu Lei (cl-01)Ji biZhong wariGua Hu Lei (cl-02)ha,Deng Hao Lei (cl-17)You haYan Suan Ji Hao (cl-18)noQian Hou niKong kiLiang woQue Bao suruChang He woChu ki,Zhong Dian [] (KATAKANA MIDDLE DOT)noQian Hou ,Shi meGua Hu Lei (cl-01)noQian Ji biZhong wariGua Hu Lei (cl-02 )noHou rohabetaZu tosuru. 3.8 Line Adjustment Xing noDiao Zheng Chu Li 3.8.1 Necessity for Line Adjustment Xing noDiao Zheng Chu Li noBi Yao Xing Line adjustment processing is applied where inter-character adjustments are needed to bring the line end into the correct alignment, e.g. because of line wrap or other reasons. Within a paragraph, lines are created by separating character sequences at places where line breaking is not prohibited. Except for the end of the last line of a paragraph, it is necessary to set the head and end of each line at predicable, aligned positions. For the last line of the paragraph, it is still necessary to set the head at the aligned position, however the line end need not aligned to the other alignment position. To achieve this, only inter-character spacing indicated in the table of SS B. Spacing between Characters Wen Zi Jian noKong kiLiang , or explicitly chosen spacing, are added, and other inter-character spacing is set solid. Jin Ze Chu Li sonoTa noYao Yin niyoriXing Chang niGuo Bu Zu gaChu ruChang He ha,Xing noDiao Zheng Chu Li woXing u.Duan Luo Nei deha,Fen Ge Jin Zhi tosareteinaiGe Suo deWen Zi Lie woFen Ge shi,sorezore noXing woGou Cheng shiteiku.konoJi ,Duan Luo Mo Wei no1Xing noXing Chang niMan tanaiXing Yi Wai noXing ha ,Zhi Ding saretaXing Chang nishi,Duan Luo Mo Wei no1Xing noXing Chang niMan tanaiXing Yi Wai noXing Tou Ji biXing Mo noWei Zhi woSuo Ding noWei Zhi niPei Zhi suruBi Yao gaaru.Duan Luo Mo Wei no1Xing noXing Chang niMan tana iXing ha,Lin Jie suruWen Zi noZi Jian niSS B. Spacing between Characters Wen Zi Jian no Kong kiLiang niShi shitaYuan Ze tosuruKong kiLiang woCha Ru suruka,You haZhi Ding saretaKong kiLiang gaa ruChang He hasonoKong kiLiang woCha Ru suruYi Wai ha,Yuan Ze toshitebetaZu nishiteWen Zi Lie noXian Tou woXing Tou nisoroetePei Zhi shi,Wen Zi Lie noMo Wei haXing Mo nisoroeruBi Yao hanai. Note In Japanese composition, there is no concept corresponding to the Western "ragged right (flush left)", "ragged left (flush right)", or "ragged center". In Japanese composition, especially common book composition, usually only "justification" is applied. Note that, in Western composition, "justification" is usually applied for only word spacing. In Japanese composition, it is applied for not only Western word space (cl-26) but also in several other places as explained in following text. Ou Wen Zu Ban nioitemirareruragged right (flush left),ragged left (flash right),ragged centertoyobareruFang Fa ha,Ri Ben Yu Zu Ban ,Te niShu Ji noBen Wen nio iteha,Yi Ban niXing wareteinai.Shu Ji noBen Wen niokeruDuan Luo noChu Li ha,Ou Wen Zu Ban deiu"justification"gaYuan Ze dearu.nao,Ou Wen Zu Ban noChang He no justificationha,Zhu niDan Yu Jian noKong kiLiang (Yu Jian )woZeng Jian shite1Xing noXing Chang wosoro erunoniDui shi,Ri Ben Yu Zu Ban deha,Ou Wen Jian Ge (cl-26)dakedenaku,Yi Xia niShu be ruyouniDuo kunoGe Suo woDiao Zheng niLi Yong shiteiru. Note Usually, the last line of a paragraph needs no adjustment. However, when the last line of a paragraph is a little bit longer than the line length, inter-character spacing reduction is applied for opening brackets (cl-01), closing brackets (cl-02) and at other places, if possible. Duan Luo noZui Zhong Xing ha,1Xing noXing Chang Yi Xia deareba,Te niDiao Zheng noBi Yao hanai.tadashi, Zui Zhong Xing gaXing Chang yoriwazukaniChang ku,Hou Shu suruShi meGua Hu Lei (cl-01),Zhong wariGua Hu Lei (cl-02)nadonoQian Hou noKong kiLiang woJie meteXing Chang nisoroeruChu Li gaKe Neng naChang He ha ,Xing Chang noDiao Zheng Chu Li gaXing warerukotoninaru. Note There is another adjustment processing, besides line adjustment, called "single line alignment". Single line alignment is applied to align a run of the text that is shorter than a given line length to designated positions. Details are explained in SS 3.5.3 Single Line Alignment Processing soroenoChu Li . Duan Luo woChu Li Dui Xiang toshitaXing noDiao Zheng Chu Li tohaChu Li Dui Xiang gaYi naruga,Zhi Ding saretaXing Chang Yi Xia no1Xing noWen Zi Lie noWei Zhi woZhi Ding shitaWei Zhi niHe waseruFang Fa nitsuiteha, SS 3.5.3 Single Line Alignment Processing soroenoChu Li deJie Shuo suru. There are various reasons for line adjustment processing. Examples of the most important ones will be given below. Xing noDiao Zheng Chu Li gaBi Yao tonaruYao Yin haYang "dearuga,Zhu namononiCi noyounaLi ga aru. 1. Mixed use of characters and symbols (e.g. grouped numerals (cl-24) or Western characters (cl-27)) where not all characters are full-width (see Figure 180). Lian Shu Zi Zhong noWen Zi (cl-24),Ou Wen Yong Wen Zi (cl-27)nadoZi Fu gaQuan Jiao denai Wen Zi Ji Hao woHun Yong suru(Figure 180). Example of grouped numerals and Western characters. Lian Shu Zi Zhong noWen Zi ,Ou Wen Yong Wen Zi woShi Yong shitaLi Figure 180 Example of grouped numerals and Western characters. Lian Shu Zi Zhong noWen Zi ,Ou Wen Yong Wen Zi woShi Yong shitaLi 2. Sequences of punctuation marks. For example, a sequence of a closing bracket (cl-02) and a full stop (cl-06) takes one and a half em of spacing altogether (see Figure 181). However, if an opening bracket (cl-01) follows immediately after the full stop, these punctuation marks will need two em of spacing altogether. Hence, no adjustment is needed to correctly align the line end (see Figure 181). Yue Wu gaLian Sok suru.Li eba,Zhong wariGua Hu Lei (cl-02)toJu Dian Lei (cl-06)ga Lian Sok shitaChang He ha,Zhong wariGua Hu Lei (cl-02),Ju Dian Lei (cl-06)Ji biKong kiLiang noHe Ji ha1.5Bei tonaru(Figure 181).tadashi,Zhong wariGua Hu Lei (cl-02) ,Ju Dian Lei (cl-06),saraniShi meGua Hu Lei (cl-01)gaLian Sok shitaChang He ha,ko reraYue Wu noZi Fu toKong kiLiang noHe Ji ha2Bei tonarunode,Guo Bu Zu hadenai( Figure 181). Examples of sequences of punctuation marks. Yue Wu gaLian Sok shitaLi Figure 181 Examples of sequences of punctuation marks. Yue Wu gaLian Sok shitaLi 3. Mixtures of characters with different sizes (see Figure 182). Wen Zi saizunoYi naruWen Zi woHun Yong suru(Figure 182). Example of characters within brackets which are made a level smaller than the normal character size. Gua Hu Nei noWen Zi saizuwo1Duan Jie Xiao sakushitaLi Figure 182 Example of characters within brackets which are made a level smaller than the normal character size. Gua Hu Nei noWen Zi saizuwo1Duan Jie Xiao sakushitaLi Note In cases where additional information like page references, explanations of terminology, etc. appear within brackets, sometimes the character size is a level smaller than the character size established by the kihon-hanmen. Can Zhao pezinoBiao Shi ,Yong Yu noShuo Ming nadonioiteGua Hu woFu keteBu Zu Shuo Ming suru Chang He ,Ji Ben Ban Mian noWen Zi saizuyoriha1Duan Jie Xiao saiWen Zi saizunisuruLi gaa ru. 4. Cases where line head wrapping, line end wrapping or unbreakable character sequences should not be broken (see Figure 89). Xing Tou Jin Ze ,Xing Mo Jin Ze You haFen Ge Jin Zhi woHui Bi suru(Figure 89). 3.8.2 Reduction and Addition of Inter-Character Spacing Jie meruChu Li to Kong keruChu Li Line adjustment processing targets places with a predefined spacing or solid setting. Methods for line adjustment are as follows. Xing noDiao Zheng Chu Li ha,Gui Ding sareteiruKong kiLiang woQue Bao shitaGe Suo You habetaZu noZi Jian de Diao Zheng suru.sonoFang Fa toshiteha,Ci gaaru. 1. Line adjustment by inter-character spacing reduction. This means that half em spacing is reduced after commas (cl-07) or closing brackets (cl-02), or before opening brackets (cl-01), and Western word space (cl-26) is reduced within a defined limit. Gui Ding sareteiruKong kiLiang woJie meruChu Li (Zhui Ip miChu Li ).Zhui Ip miChu Li deha, Du Dian Lei (cl-07)You haZhong wariGua Hu Lei (cl-02)noHou ronoEr Fen akiya,Shi me Gua Hu Lei (cl-01)noQian noEr Fen aki,Ou Wen Jian Ge (cl-26)nadonoKong kiLiang woGui Ding noFan Wei Nei deJie meruChu Li woXing u. 2. Line adjustment by inter-character spacing expansion. Line adjustment by inter-character spacing expansion means expanding inter-character spacing for line adjustment, where inter-character spacing is allowed to be extended up to a defined limit, such as for Western word space (cl-26) or other places where it is not prohibited to extend inter-character spacing. Zi Jian woKong keruChu Li (Zhui Chu shiChu Li ).Zhui Chu shiChu Li deha,Ou Wen Jian Ge (cl-26) nadoGui Ding noFan Wei Nei deKong kerukotogaXu sareteiruGe Suo ya,Xing noDiao Zheng Chu Li de Zi Jian woKong keruChu Li woBi kerutosareteinaiGe Suo noZi Jian nitsuiteKong keruChu Li woXing u. Normally line adjustment by inter-character spacing reduction is preferred. Only when there is no spacing that can be reduced is line adjustment by inter-character spacing expansion applied. The reason for the preference of line adjustment by inter-character spacing reduction comes from the thinking that characters in solid setting should not have more inter character spacing, if at all possible. Tong Chang ,Jie meruChu Li (Zhui Ip miChu Li )woYou Xian shi,soredeChu Li dekinaiChang He haKong ke ruChu Li (Zhui Chu shiChu Li )woXing u.Jie meruChu Li (Zhui Ip miChu Li )woYou Xian surunoha, betaZu noGe Suo hadekirudakeKong kenaitoiuKao eFang niyoru. Note Line adjustment by hanging punctuation is a method of avoiding line head wrap of full stops (cl-06) and commas (cl-07). This method is not formally defined in JIS X 4051, however JIS X 4051 does provide explanatory material about it. Ju Dian Lei (cl-06)Ji biDu Dian Lei (cl-07)noXing Tou Jin Ze woHui Bi suruFang Fa toshitebura Xia geZu gaaru.konoFang Fa ha,JIS X 4051dehaGui Ding shiteinaiga,sono"Jie Shuo " dehaShuo Ming gaXing wareteiru. Line adjustment by hanging punctuation is a method which is only applied to full stops (cl-06) and commas (cl-07). These touch the hanmen and are set in a place outside the defined line length (see Figure 183). This is also applied, for example, in books, in order to avoid the addition of inter character spacing and maintain solid setting. However, line adjustment by hanging punctuation is not an appropriate method for dealing with a mixture of Japanese and Latin script text, since the latter principally does not apply line adjustment by hanging punctuation. In addition, there is another argument against line adjustment by hanging punctuation. Originally it was a method used in letterpress printing, to make the task of line adjustment easier. Furthermore, as shown at the end of line 1 and 5 of Figure 183, if possible the full stops (cl-06) or commas (cl-07) are placed at the line end (the 18th position). In DTP there are examples of hanging punctuation like in line 3, but this may be regarded as unnecessary processing. buraXia geZu ha,Ju Dian Lei (cl-06)Ji biDu Dian Lei (cl-07)niXian ri,Ban Mian niJie shite ,Zhi Ding noXing Chang yorihamiChu shitePei Zhi suruFang Fa dearu(Figure 183).betaZu no Zi Jian woKong keruDiao Zheng gaBi kerarerutoshite,Shu Ji Deng demoCai Yong sareteiru.shikashi ,Ou Wen Zu dehaYuan Ze toshiteburaXia geZu haCai Yong sareteinainode,He Wen toOu Wen to noHun Zhi ninazimanai,mata,buraXia geZu haBen Lai ,Huo Zi Zu Ban nioiteDiao Zheng noZuo Ye woQing Jian surutameniCai Yong sareteitaFang Fa dearu,tonoFan Dui Yi Jian gaaru.nao ,Figure 183nioite,1Xing Mu Mo Wei Ji bi5Xing Mu Mo Wei noyouni,Xing Mo no18Zi Mu ni Pei Zhi dekiruChang He ha,sonomamaPei Zhi suru.DTPnadodeha,konoyounaJu Du Dian wo3 Xing Mu noyouniburaXia geZu nisuruChu Li woXing tsuteiruLi gaaruga,Bu Bi Yao naChu Li toieyou. Examples of line adjustment by hanging punctuation. buraXia geZu noLi Figure 183 Examples of line adjustment by hanging punctuation. buraXia geZu noLi Note The processing mentioned here that the widths of Western word spaces are reduced or added to between a given range is only applicable for the cases that Western text is inserted into the Japanese text in common Japanese books. In general, the value of Western word space (cl-26) shall be decided with the consideration of the kind of typeface, font size and the value of line gap. In Western typography, there is a method to decide only the minimum word space width (e.g. one-fourth em) and adding appropriate spacing values, rather than using spacing reduction. Ou Wen Jian Ge (cl-26)noKong kiLiang woGui Ding noFan Wei Nei deJie meruChu Li You haKong keruChu Li nitsu itenoCi Xiang Yi Xia denoChu Li Fang Fa ha,Ri Ben Yu noShu Ji noZhong niOu Zi gaHun Zhi sareruChang He woQian Ti nishiteiru.Ou Wen Jian Ge (cl-26)noKong kiLiang ha,Yi Ban De niieba,Shi Yong su ruOu Zi noShu Ti ,Wen Zi saizuyaXing Jian nadomoKao Lu suruBi Yao gaaru.mata,Jie meru Chu Li haXing wanaide,mazuZui Xiao noKong kiLiang (Li ebaSi Fen aki)deChu Li shi,Kong keru Chu Li dakewoXing uFang Fa moaru. 3.8.3 Procedures for Inter-Character Spacing Reduction Jie meruChu Li noYou Xian Shun Wei For line adjustment by inter-character spacing reduction decisions must first be made about the preferred order in which reduction processing options are applied, and the maximum amount of spacing reduction needed. Inter-character spacing reduction is processed with following priorities. Jie meruChu Li (Zhui Ip miChu Li )woXing uChang He ha,Tong Chang ,You Xian Shun Wei toJie meruXian Jie woJue meteXing u.Jie meruChu Li ha,Ci noShun Xu deXing u. Note JIS X 4051 provides also definitions for the adaptation of inline cutting note, but for the purpose of this section, these are rather complex and hence left out. JIS X 4051dehaGe Zhu noDiao Zheng Fang Fa moGui Ding shiteiruga,kokodehaShuo Ming gayayaFu Za ninarunodeChu ita. Note The details of inter-character spacing and where reduction processing may be applied are described in the table of SS D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo , following SS 3.9 About Character Classes Wen Zi kurasunitsuite . Xing noDiao Zheng Chu Li noJi niJie meruChu Li (Zhui Ip miChu Li )gaKe Neng naGe Suo noXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeShuo Ming suruWen Zi kurasuniCong i ,SS D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo noBiao 4deShi su. 1. Western word spaces (cl-26) are reduced to leave a minimum of one-quarter em spacing between words. The same width reduction is applied to all spaces on the target line at the same time. Ou Wen Jian Ge (cl-26)wo,Zui Xiao deSi Fen akimadeWen Zi saizuBi deJun Deng niJie meru . 2. The half em spacing after closing brackets (cl-02),commas (cl-07) and full stops (cl-06) at the end of a line, is removed and set solid. Xing Mo niPei Zhi suruZhong wariGua Hu Lei (cl-02),Du Dian Lei (cl-07)Ji biJu Dian Lei ( cl-06)noHou ronoEr Fen akiwobetaZu nisuru. 3. The quarter em spacing both before and after the middle dots (cl-05) is removed and set solid. Xing Mo niPei Zhi suruZhong Dian Lei (cl-05)noQian Ji biHou ronoSi Fen akiwoYi Xu nibetaZu nisuru. 4. The quarter em spacing before or after middle dots (cl-05), in the middle of a line, is reduced equally in proportion to the character size, to a minimum of zero (solid setting). Xing Zhong noZhong Dian Lei (cl-05)noQian Hou noSi Fen akiwo,Zui Xiao debetaZu madeWen Zi sai zuBi deJun Deng niJie meru. 5. The half em spacing before opening brackets (cl-01) or after closing brackets (cl-02) or commas (cl-07), in the middle of a line, is reduced equally in proportion to the character size, to a minimum of zero (solid setting). Xing Zhong noShi meGua Hu Lei (cl-01)noQian Ce ,Bing biniZhong wariGua Hu Lei (cl-02)Ji bi Du Dian Lei (cl-07)noHou roCe noEr Fen akiwo,Zui Xiao debetaZu madeWen Zi saizuBi deJun Deng niJie meru. Note With the exception of the line end position, the half spacing after full stops (cl-06) should not adapted, since it plays an important role as a sentence separator. Ju Dian Lei (cl-06)noHou ronoEr Fen akiha,Wen noQu Qie ritoshitenoYi Ge gaDa kii node,Xing Mo niPei Zhi suruChang He woChu ite,Diao Zheng nihaShi Yong shinai. Note Commas (cl-07) fulfill different roles to opening brackets (cl-01) and closing brackets (cl-02). Hence, there are examples where it is preferred to reduce the half em spacing before or after brackets, rather than to reduce the half em spacing after commas. Du Dian Lei (cl-07)to,Shi meGua Hu Lei (cl-01)Zhong wariGua Hu Lei (cl-02)deha ,sonoYi Ge gaYi narukotokara,Shi meGua Hu Lei noQian ,Zhong wariGua Hu Lei noHou rono Er Fen akiwoJie meruDiao Zheng wo,Du Dian Lei noHou ronoEr Fen akiwoJie meruDiao Zheng yoriYou Xian shiteChu Li shiteiruLi moaru. Note The reduction of the half em spacing before opening brackets (cl-01) or after closing brackets (cl-02) and commas (cl-07) up to solid setting is regarded as too much reduction. Hence, there are examples where the maximum amount of spacing reduction is up to quarter em spacing. Shi meGua Hu Lei (cl-01)noQian noEr Fen aki,Zhong wariGua Hu Lei (cl-02)noHou roJi biDu Dian Lei (cl-07)noHou ronoEr Fen akiwo,betaZu madeJie merunohaJie meGuo gi dearutoiuKao ekara,Jie meruXian Jie woZui Xiao deSi Fen akimadetoshiteChu Li shi teiruLi moaru. 6. The quarter em spacing between Japanese text (hiragana (cl-15), katakana (cl-16) and ideographic characters (cl-19)) and Latin script text (grouped numerals (cl-24), Western characters (cl-27) and unit symbols (cl-25)), is reduced equally with proportional character size, as far as one eighth em spacing. Ping Jia Ming (cl-15),Pian Jia Ming (cl-16),Han Zi Deng (cl-19)nadoto,Lian Shu Zi Zhong noWen Zi (cl-24),Ou Wen Yong Wen Zi (cl-27)You haDan Wei Ji Hao Zhong noWen Zi (cl-25) tonoZi Jian noSi Fen akiwo,Zui Xiao deBa Fen (Quan Jiao no8Fen no1)akimadeWen Zi sai zuBi deJun Deng niJie meru. Note There are also examples where the quarter em spacing between Japanese text (hiragana (cl-15), katakana (cl-16) and ideographic characters (cl-19)) and Latin script text (Western characters (cl-27), grouped numerals (cl-24) or unit symbols (cl-25)) is regarded as fixed size spacing, and spacing adaptation is not applied. Han Zi Deng (cl-19)nadoto,Ou Wen Yong Wen Zi (cl-27),Lian Shu Zi Zhong noWen Zi (cl-24 )You haDan Wei Ji Hao Zhong noWen Zi (cl-25)tonoSi Fen akiha,Gu Ding shitaKong kiLiang toshi te,Diao Zheng nihaShi Yong shinaiLi moaru. In JIS X 4051, the spacing after closing brackets (cl-02), commas (cl-07) and middle dots (cl-05) at the end of a line are set solid, and the spacing after commas (cl-07) at the end of a line is set to a half em. Accordingly, JIS X 4051 defines the priority of processing as follows: nao,JIS X 4051deha,Xing Mo niPei Zhi suruZhong wariGua Hu Lei (cl-02),Du Dian Lei ( cl-07)Ji biZhong Dian Lei (cl-05)noHou rowobetaZu toshi,Xing Mo niPei Zhi suruJu Dian Lei ( cl-06)noHou rohaEr Fen akitosurukotokara,Ci noShun Xu deChu Li suruyouniGui Ding shi teiru. Note The details of the inter-character spacing, where the inter-space reduction processing can be applied, which is defined in JIS X 4051, is described in detail in the Table 5 of SS D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo in accordance with the character class concept in SS 3.9 About Character Classes Wen Zi kurasunitsuite . JIS X 4051deGui Ding shiteiruXing noDiao Zheng Chu Li noJi niJie meruChu Li (Zhui Ip miChu Li )ga Ke Neng naGe Suo noXiang Xi ha,SS 3.9 About Character Classes Wen Zi kurasunitsuite deShuo Ming suruWen Zi kurasuniCong i,Biao noXing Shi nishiteSS D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo noBiao 5deShi su. 1. Western word space (cl-26), which is usually one third em, is reduced by equal amounts, to leave a minimum of a quarter em spacing between words. Ou Wen Jian Ge (cl-26)wo,Zui Xiao deSi Fen akimadeWen Zi saizuBi deJun Deng niJie meru . 2. The quarter em spacing before and after middle dots (cl-05) is reduced equally with proportional character size as far as solid setting. Zhong Dian Lei (cl-05)noQian Hou noKong kiLiang wo,Zui Xiao debetaZu madeWen Zi saizuBi deJun Deng niJie meru. 3. The half em spacing before opening brackets (cl-01) and after closing brackets (cl-02) or commas (cl-07), is reduced equally in proportion to the character size, to a minimum of zero (solid setting). Shi meGua Hu Lei (cl-01)noQian Ce ,Bing biniZhong wariGua Hu Lei (cl-02)Ji biDu Dian Lei (cl-07)noHou roCe noEr Fen akiwo,Zui Xiao debetaZu madeWen Zi saizuBi deJun Deng niJie meru. 4. The quarter em spacing between Japanese text (hiragana (cl-15), katakana (cl-16) and ideographic characters (cl-19)) and Latin script text (grouped numerals (cl-24), Western characters (cl-27) and unit symbols (cl-25)) are reduced in proportion to the character size, to a minimum of 1/8th em spacing. Ping Jia Ming (cl-15),Pian Jia Ming (cl-16),Han Zi Deng (cl-19)nadoto,Lian Shu Zi Zhong noWen Zi (cl-24),Ou Wen Yong Wen Zi (cl-27)You haDan Wei Ji Hao Zhong noWen Zi (cl-25) tonoZi Jian noSi Fen akiwo,Zui Xiao deBa Fen akimadeWen Zi saizuBi deJun Deng niJie me ru. 3.8.4 Procedures for Inter-Character Space Expansion Kong keruChu Li noYou Xian Shun Wei As with line adjustment by inter-character spacing reduction, for line adjustment by inter-character spacing expansion at first the order of processing and the maximum amount of spacing to be added are defined. In JIS X 4051, the following processing order is defined. Kong keruChu Li (Zhui Chu shiChu Li )woXing uChang He moJie meruChu Li (Zhui Ip miChu Li )toTong Yang , You Xian Shun Wei toKong keruXian Jie woJue meteXing u.JIS X 4051deha,Ci noShun Xu deChu Li suru youniGui Ding shiteiru. 1. Western word space (cl-26), which is usually one third em, is added equally with proportional character size up to a maximum of a half em size for each space. Ou Wen Jian Ge (cl-26)wo,Zui Da deEr Fen akimadeWen Zi saizuBi deJun Deng niKong keru . 2. The quarter em spacing between Japanese text (hiragana (cl-15), katakana (cl-16) and ideographic characters (cl-19)) and Latin script text (grouped numerals (cl-24), Western characters (cl-27) and unit symbols (cl-25)) is increased equally with proportional character size, up to half em spacing (or one third em spacing). Ping Jia Ming (cl-15),Pian Jia Ming (cl-16),Han Zi Deng (cl-19)nadoto,Lian Shu Zi Zhong noWen Zi (cl-24),Ou Wen Yong Wen Zi (cl-27)You haDan Wei Ji Hao Zhong noWen Zi (cl-25) tonoZi Jian noSi Fen akiwo,Zui Da deEr Fen akimade(You haSan Fen akimade)Wen Zi saizuBi deJun Deng niKong keru. Note Like with inter-character spacing reduction, there are also examples there the quarter em spacing between Japanese text ( hiragana (cl-15), katakana (cl-16) and ideographic characters (cl-19)) and Latin script text (Western characters (cl-27), grouped numerals (cl-24) and unit symbols (cl-25)) is regarded as a fixed spacing, and spacing adaptation is not applied. Jie meruChu Li toTong Yang ni,Han Zi Deng (cl-19)nadoto,Ou Wen Yong Wen Zi (cl-27), Lian Shu Zi Zhong noWen Zi (cl-24)You haDan Wei Ji Hao Zhong noWen Zi (cl-25)tonoZi Jian noSi Fen akiha,Gu Ding shitaKong kiLiang toshite,Kong keruDiao Zheng demoShi Yong shinaideChu Li shi teiruLi gaaru. 3. For places which do not fall under (a) or (b) and which do not have the inseparable character rule (bunrikinshi), spacing is added equally with proportional character size up to one quarter em spacing. aJi bibYi Wai noXing noDiao Zheng Chu Li deZi Jian woKong keruChu Li woBi kerutosareteinai Ge Suo (Kong keruChu Li gaKe Neng naGe Suo )noZi Jian wo,Zui Da deSi Fen akimadeWen Zi sa izuBi deJun Deng niKong keru. 4. In addition to the adaptation in the manner of (a), (b) and (c), in cases where such processing is not possible, spacing is added equally with proportional character size, with the exception of places which require the inseparable character rule (bunrikinshi). a,b,cdeDiao Zheng dekinaiChang He ha,a,b,cniJia e,Fen Ge Jin Zhi tosareteina iWen Zi Jian woJun Deng niKong keru. Note JIS X 4051 provides a definition in addition to (d). This says that it depends on each layout processing system whether inter-character spacing should be added equally. This includes the spacing between Western characters (cl-27). JIS X 4051dehadnoChu Li niJia ete,Ou Wen Yong Wen Zi (cl-27)noZi Jian woHan me, Jun Deng niKong kerukadoukaha,Chu Li Xi Ding Yi tosuru,tonatsuteiru. Note The detail of the places where spacing expansion is possible for line adjustment is described in SS E. Opportunities for Inter-character Space Expansion during Line Adjustment Xing noDiao Zheng Chu Li de Kong keruChu Li ga Ke Neng naGe Suo as a complete table, in accordance with the concept of character class in SS 3.9 About Character Classes Wen Zi kurasunitsuite . Xing noDiao Zheng Chu Li noJi niKong keruChu Li (Zhui iChu shiChu Li )gaKe Neng naGe Suo noXiang Xi ha ,SS 3.9 About Character Classes Wen Zi kurasunitsuitedeShuo Ming suruWen Zi kurasuniCong i,Biao noXing Shi nishiteSS E. Opportunities for Inter-character Space Expansion during Line Adjustment Xing noDiao Zheng Chu Li de Kong keruChu Li ga Ke Neng naGe Suo deShi su. 3.9 About Character Classes Wen Zi kurasunitsuite 3.9.1 Differences in Positioning of Characters and Symbols Wen Zi Ji Hao niyoriZhen ruWu iFang haYi naru The positioning of characters and symbols may vary depending on the following. Wen Zi yaJi Hao woXing niPei Zhi suruChang He ,Ci noyounaDian desonoZhen ruWu i(Pei Zhi Fang Fa ) gaYi naru. 1. Is the character width full-width, half-width, or something else? Wen Zi Ji Hao noZi Fu ha,Quan Jiao ka,Ban Jiao ka,You hasoreYi Wai ka. 2. Is it allowed or forbidden to place the character or symbol at the line head? If it is allowed, how will it be placed? Xing Tou niPei Zhi shiteyoika,You haJin Zhi surunoka.Pei Zhi shiteyoiChang He ,donoyo uniPei Zhi suruka. 3. Is it allowed or forbidden to place the character or symbol at the line end? If it is allowed, how will it be placed? Xing Mo niPei Zhi shiteyoika,You haJin Zhi surunoka.Pei Zhi shiteyoiChang He ,donoyo uniPei Zhi suruka. 4. Are characters and symbols appearing in sequence in solid setting , or will there be a fixed size space between them? For example, sequences of ideographic characters (cl-19) and hiragana (cl-15) are set solid, and for Western characters (cl-27) following hiragana (cl-15) there will be quarter em spacing. Wen Zi Ji Hao gaBing ndaChang He ,sonoZi Jian habetaZu nisuruka,You haYi Ding noKong ki Liang wotorunoka.Li eba,Han Zi Deng (cl-19)toPing Jia Ming (cl-15)gaBing ndaChang He ,sonoZi Jian habetaZu deari,Ping Jia Ming (cl-15)noHou roniOu Wen Yong Wen Zi ( cl-27)gakitaChang He ,sonoZi Jian haSi Fen akitonaru. 5. Is it allowed to have a line break within a sequence of characters? For example, there must not be a line break in a sequence of grouped numerals (cl-24). Wen Zi gaBing ndaChang He ,sonoZi Jian de2Xing niFen Ge shiteyoika.Li eba,Lian Shu Zi Zhong noWen Zi (cl-24)gaBing ndaChang He ,sonoZi Jian deha2Xing niFen Ge shitehanaranai . 6. Is it allowed to use the spacing between characters in a sequence during line adjustment processing? For example, is inter-character spacing reduction or addition possible between the characters appearing in sequence? Another issue to be decided is the preferred order for adjustment processing, and the amount of the allowed adjustment. Xing noDiao Zheng Chu Li noJi ni,sonoBing ndaWen Zi noZi Jian woShi Yong shiteyoika.Li eba ,Zi Jian woJie meteyoika,Ni niZi Jian woKong keteyoika.nao,Diao Zheng Chu Li noYou Xian Shun Wei toDiao Zheng Liang noXian Jie moWen Ti tonaru. 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen keru During layout processing, the issues mentioned in the previous section are addressed by grouping characters and symbols according to their characteristics, and handling them as character classes. Zu Ban Chu Li woXing uChang He ,Qian Xiang deShu betayounaShi Xiang nitsuite,Xing Ge woTong zinisuru Wen Zi Ji Hao gotonigurupuniFen ke,Wen Zi kurasutoshiteGuan Li suruFang Fa gaaru. JIS X 4051 also provides similar character classes but that are slightly different from this document. Furthermore JIS X 4051 states that it is implementation-defined how to handle characters that are not explicitly mentioned, e.g. whether they should belong to either class or not. JIS X 4051demo,"6.1.1 Wen Zi kurasu"niWen Zi kurasugaShi sareteiru.nao, JIS X 4051deha,"kokoniJu getaWen Zi Yi Wai wo,sorezorenoWen Zi kurasuniZhui Jia su rukaFou kaha,Chu Li Xi Ding Yi tosuru"toBei Kao niShu kareteiru. Note In JIS X 4051 Annex 1, the member characters and symbols of each character class are specified as a mapping table to JIS X 0213 character names. JIS X 4051deha,Ge Wen Zi kurasuniHan mareruWen Zi Ji Hao woTe Ding suruZi Liao toshite ,sonoFu Shu Shu niGe Wen Zi kurasuniHan mareruWen Zi Ji Hao toJIS X 0213tonoDui Ying Biao ga"Fu Shu Shu 1"toshiteJie gerareteiru. A few character classes of this document are modified from JIS X 4051. In SS A. Character Classes Wen Zi kurasuYi Lan , there is a whole mapping table to ISO/IEC 10646 Annex A collection 285 (BASIC JAPANESE) and collection 286 (JAPANESE NON IDEOGRAPHIC EXTENSION). All character classes of this document are as follows: konoWen Shu niokeruWen Zi kurasuha,JIS X 4051niokeruWen Zi kurasuFen kewoYi Bu Xiu Zheng shi,Ci noyounisuru.nao,SS A. Character Classes Wen Zi kurasuYi Lan ni ,Ge Wen Zi kurasuniHan mareteiruWen Zi Ji Hao toISO/IEC 10646(UCS)noAnnex A deGui Ding sareteiru"Ji Ben Ri Ben Yu Wen Zi Ji He "(UCSnokorekushiyon285)Ji bi"Kuo Zhang Fei Han Zi Ji He "(UCSnokorekushiyon286)niHan mareruFei Han Zi tonoDui Ying woShi su. 1. Opening brackets (cl-01) Shi meGua Hu Lei (cl-01) '"([[{<<<[{[( etc. nado 2. Closing brackets (cl-02) Zhong wariGua Hu Lei (cl-02) '")] ]}> >> ] } )] etc. nado Note In JIS X 4051, IDEOGRAPHIC COMMA ", " and COMMA "," are classified as closing brackets (cl-02), because they have similar positioning methods. However, in this document, the handling of IDEOGRAPHIC COMMA ", " and COMMA "," are described as an independent class, named commas (cl-07). JIS X 4051deha,Du Dian [, ] (IDEOGRAPHIC COMMA)Ji bikonma[,] (COMMA) nitsuitehaZhong wariGua Hu Lei toTong Yang naPei Zhi Fa tonarunode,Wen Zi kurasutoshite haZhong wariGua Hu Lei niHan meteiru.shikashi,konoWen Shu deha,Du Dian Ji bikonma haDu Dian Lei (cl-07)toshiteWen Zi kurasuwoDu Li sase,Jie Shuo suru. 3. Hyphens (cl-03) haihunLei (cl-03) -~ etc. nado 4. Dividing punctuation marks (cl-04) Qu Qie riYue Wu (cl-04) ?! etc. nado 5. Middle dots (cl-05) Zhong Dian Lei (cl-05) :; 6. Full stops (cl-06) Ju Dian Lei (cl-06) . . 7. Commas (cl-07) Du Dian Lei (cl-07) , , 8. Inseparable characters (cl-08) Fen Li Jin Zhi Wen Zi (cl-08) --..... etc. nado 9. Iteration marks (cl-09) Zao Fan shiJi Hao (cl-09) """"" etc. nado Note In JIS X 4051, iteration marks such as IDEOGRAPHIC ITERATION MARK """ are classified as "no line break allowed before" characters. In this document, IDEOGRAPHIC ITERATION MARK """ etc. are classified as iteration marks (cl-09). Zao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK)nadoha,JIS X 4051deha ,Xing Tou Jin Ze He Zi niHan mareteiruga,konoWen Shu deha,Du Li shitaWen Zi kurasu toshita. Note There is another method where it is permitted to break a line before IDEOGRAPHIC ITERATION MARK """. In this case, IDEOGRAPHIC ITERATION MARK """ is regarded as a member of ideographic characters (cl-19). Zao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK)woXing Tou Jin Ze noDui Xiang toshina iFang Fa gaaru.konoChang He ha,Han Zi Deng (cl-19)noWen Zi kurasutosuru. 10. Prolonged sound marks (cl-10) Chang Yin Ji Hao (cl-10) Note In JIS X 4051, KATAKANA-HIRAGANA PROLONGED SOUND MARK "" is a member of "Japanese characters with no line break allowed before". In this document KATAKANA-HIRAGANA PROLONGED SOUND MARK "" is the only member of prolonged sound mark (cl-10). Chang Yin Ji Hao [] (KATAKANA-HIRAGANA PROLONGED SOUND MARK)ha,JIS X 4051deha,Xing Tou Jin Ze He Zi niHan mareteiruga,konoWen Shu deha,Du Li shitaWen Zi kurasutoshita. Note In JIS X 4051, it is permitted to exclude KATAKANA-HIRAGANA PROLONGED SOUND MARK "" from the "Japanese characters with no line break allowed before" character class. JIS X 4051deha,Chu Li Xi Ding Yi toshite,Chang Yin Ji Hao [] (KATAKANA-HIRAGANA PROLONGED SOUND MARK)woXing Tou Jin Ze He Zi karaChu kukotohaRen merareteiru. Note When it is permitted to break a line before KATAKANA-HIRAGANA PROLONGED SOUND MARK "", KATAKANA-HIRAGANA PROLONGED SOUND MARK "" is regarded as a member of the katakana (cl-16) class. Chang Yin Ji Hao [] (KATAKANA-HIRAGANA PROLONGED SOUND MARK)woXing Tou Jin Ze no Dui Xiang toshinaiChang He ha,Chang Yin Ji Hao ha,Pian Jia Ming (cl-16)noWen Zi kurasutosuru . 11. Small kana (cl-11) Xiao Shu kinoJia Ming (cl-11) aiueoaiueotsuyayuyotsuyayuyo etc. nado Note In JIS X 4051, small katakana letters, such as KATAKANA LETTER SMALL TU "tsu", are regarded as members of "Japanese characters with no line break allowed before" character class. In this document, small katakana letters are classified in small kana (cl-11). Accordingly, the "Japanese characters with no line break allowed before" character class in JIS X 4051 is divided to three separate classes; iteration marks (cl-09), prolonged sound mark (cl-10) and small kana (cl-11). Xiao Shu kinoPian Jia Ming tsu[tsu] (KATAKANA LETTER SMALL TU)nadoha,JIS X 4051 deha,Xing Tou Jin Ze He Zi niHan mareteiruga,konoWen Shu deha,Du Li shitaWen Zi ku rasutoshita.shitagatsute,JIS X 4051deiu"Xing Tou Jin Ze He Zi "ha,Zao Fan shi Ji Hao (cl-09),Chang Yin Ji Hao (cl-10)Ji biXiao Shu kinoJia Ming (cl-11)no3tsuni Fen Jie saretakotoninaru. Note In JIS X 4051, it is permitted to exclude small kana letters (a iuaiu etc.) from the "Japanese characters with no line break allowed before" character class as an implementation definable option. JIS X 4051deha,Chu Li Xi Ding Yi toshite,Xiao Shu kinoJia Ming (aiuaiunado )woXing Tou Jin Ze He Zi karaChu kukotohaRen merareteiru. Note When it is permitted to break a line before small hiragana (ai u etc.) are regarded as members of the hiragana (cl-15) class, and small katakana (aiu etc.) are regarded as members of the katakana (cl-16) class. Xiao Shu kinoJia Ming woXing Tou Jin Ze noDui Xiang toshinaiChang He ha,sokoniHan mareruXiao Shu ki noPing Jia Ming haPing Jia Ming (cl-15)noWen Zi kurasu,Xiao Shu kinoPian Jia Ming haPian Jia Ming ( cl-16)noWen Zi kurasutosuru. 12. Prefixed abbreviations (cl-12) Qian Zhi Sheng Lue Ji Hao (cl-12) Y=$PS# etc. nado 13. Postfixed abbreviations (cl-13) Hou Zhi Sheng Lue Ji Hao (cl-13) deg'''/C%%0 etc. nado 14. Full-width ideographic space (cl-14) He Zi Jian Ge (cl-14) U+3000 (IDEOGRAPHIC SPACE) U+3000 (IDEOGRAPHIC SPACE) 15. Hiragana (cl-15) Ping Jia Ming (cl-15) aiueokagakigi etc. nado Note The reason kanji etc. (Japanese characters except 1. to 12.) and hiragana are regarded different classes in JIS X 4051, is the difference in the case of ruby, and specifically the handling in terms of characters jutting out of the base and overhanging adjacent characters. JIS X 4051de,Han Zi nado(1.~12.Yi Wai noHe Zi )toPing Jia Ming gaBie nokurasuni natsuteirunoha,rubinoQin Wen Zi karanohamiChu shigaatsutaChang He ,sonohami Chu shiwoGua keteyoikadoukadeChai gaarukaradearu. 16. Katakana (cl-16) Pian Jia Ming (cl-16) aiueokagakigi etc. nado Note In JIS X 4051, katakana and kanji are included in the same class (Japanese characters except for 1. to 12.). However, in this document, when ruby characters jut out of the base characters and overhang adjacent hiragana or katakana, the handling is same. That is the reason that in this document, katakana (cl-16) is an independent character class. Pian Jia Ming ha,JIS X 4051deha,Han Zi nadotoTong ziWen Zi kurasu(1.~12.Yi Wai no He Zi )niHan mareteiru.shikashi,konoWen Shu deha,rubinohamiChu shigaatsu taChang He ,Ping Jia Ming toTong Yang niGua katsuteyoitoshitakotokaraDu Li shitaWen Zi kura sutoshita. 17. Math symbols (cl-17) Deng Hao Lei (cl-17) =[?]<><=>=[?][?][?][?] etc. nado Note In JIS X 4051, math symbols (+-/xetc.) and math operators (=[?] <><=>=[?][?][?][?]etc.) are included in the "Japanese characters excluded from 1. to 12." class or Western character class. However, handling of math symbols and math operators adjacent to Western character or Arabic numerals is different from kanji. So, in this document, new math operators (cl-18) and math symbols (cl-17) classes are defined. Shu Shi nadoniShi uYan Suan Ji Hao (+-/xDeng )yaDeng Hao Lei (=[?]<><=>=[?][?][?][?]Deng )ha, JIS X 4051dehaHan Zi nadotoTong ziWen Zi kurasu(1.~12.Yi Wai noHe Zi )You haOu Wen Yong Wen Zi niHan mareteiru.shikashi,Ou Zi yaarabiaShu Zi toLian Sok shitaChang He noXi iha,Han Zi tohaYi narunode,Ci Xiang noYan Suan Ji Hao totomoniXin tanaWen Zi ku rasuwoZuo Cheng shita. Note From mathematical view point, "[?][?][?][?][?][?]" are included in math operators (cl-18), however, in this document, these symbols are included in math symbols (cl-17) because these symbols are traditionally considered to behave in the same way as other Math symbols. "[?][?][?][?][?][?]"ha,koremadenoZu Ban Shang noGuan Xi De Chu Li karaDeng Hao Lei niHan meteiru. 18. Math operators (cl-18) Yan Suan Ji Hao (cl-18) +-/x etc. nado 19. Ideographic characters (cl-19) Han Zi Deng (cl-19) Ya Ya Wa A Ai Ai Ai "Tong / etc. nado Note In JIS X 4051, corresponding character class for ideographic characters (cl-19) is "Japanese characters excluded from 1. to 12.". JIS X 4051noWen Zi kurasuMing ha,"1.~12.Yi Wai noHe Zi "dearu. 20. Characters as reference marks (cl-20) He Yin Zhong noWen Zi (cl-20) Characters which are inside verification seal (those are characters inside a verification seal that appear in the line just after the item applicable for reference marks of notes). See SS 4.2.2 Note Numbers Zhu noFan Hao . Zhu noCan Zhao notameniGai Dang suruXiang Mu noZhi Hou noXing Zhong niPei Zhi shitaHe Yin Zhong noWen Zi de aru(SS 4.2.2 Note Numbers Zhu noFan Hao ). 21. Ornamented character complexes (cl-21) Qin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21) Note The name of this class in JIS X 4051 is "Characters included in ornamented base characters complex". The meaning of "base characters complex" is characters in a complex including ruby, ornament characters and emphasis dots. JIS X 4051noMing Cheng ha,"Tian eZi Fu kiQin Wen Zi Qun Zhong noWen Zi "dearu.Qin Wen Zi Qun toha,Qin Wen Zi Ji bisoreniFu Sui sururubi,Tian eZi You haQuan Dian woHan metaWen Zi Qun nokotodearu. 22. Simple-ruby character complexes (cl-22) Qin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki)(cl-22) Note The name of this class in JIS X 4051 is "Characters included in base characters complex with ruby (excluding jukugo-ruby)". JIS X 4051noMing Cheng ha,"Shou Yu rubiYi Wai norubiFu kiQin Wen Zi Qun Zhong noWen Zi "dea ru. 23. Jukugo-ruby character complexes (cl-23) Qin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23) Note The name of this class in JIS X 4051 is "Characters included in base characters complex with jukugo-ruby". JIS X 4051noMing Cheng ha,"Shou Yu rubiFu kiQin Wen Zi Qun Zhong noWen Zi "dearu. 24. Grouped numerals (cl-24) Lian Shu Zi Zhong noWen Zi (cl-24) Sequences of European numerals which are not full-width and are handled as Japanese text, the decimal point or the comma and space used as a decimal place indicator in numbers. Lian Shu Zi toshiteXi wareruLian Sok shitaShu Zi (arabiaShu Zi )Ji biXiao Shu Dian nopiri odo,Bing biniWei Qu rinokonmaJi biKong Bai nokotodearu. 25. Unit symbols (cl-25) Dan Wei Ji Hao Zhong noWen Zi (cl-25) Units described here include combinations of Latin script and Greek script characters used for international units (SI). kokodeiuDan Wei Ji Hao ha,Guo Ji Dan Wei Xi (SI)toshiteShi Yong sareteiruraten Wen Zi You hagirishiyaWen Zi woZu miHe waseteDan Wei woShi sumonodearu. Note There are units created with combinations of Latin and Greek script characters with a full-width character frame (full-width units). Such units are not part of the characters for units described here. Furthermore, full-width characters for units are mainly used in vertical writing mode. Their usage in horizontal writing mode is regarded as bad style and should be avoided (see Figure 184). Quan Jiao noWen Zi noWai Waku niratenWen Zi yaarabiaShu Zi nadowoZu miHe wasetaDan Wei Ji Hao gaaru(Quan Jiao Dan Wei Zi ).konoyounaDan Wei Ji Hao ha,kokodeiuDan Wei Ji Hao Zhong noWen Zi nihaHan menai.nao,Quan Jiao Dan Wei Zi ha,Zhu niZong Zu deShi Yong surumo node,Heng Zu deShi Yong surunoha,Ti Cai gayokunainodeBi ketaFang gayoi( Figure 184). Example of a unit which encompasses a full-width unit character (upper part) and characters for Latin script text (lower part). Quan Jiao Dan Wei Zi (Shang Ce )toOu Wen Yong Wen Zi (Xia Ce )woYong itaDan Wei Ji Hao noLi Figure 184 Example of a unit which encompasses a full-width unit character (upper part) and characters for Latin script text (lower part). Quan Jiao Dan Wei Zi (Shang Ce )toOu Wen Yong Wen Zi (Xia Ce )woYong itaDan Wei Ji Hao noLi 26. Western word space (cl-26) Ou Wen Jian Ge (cl-26) 27. Western characters (cl-27) Ou Wen Yong Wen Zi (cl-27) Note Western characters (cl-27) include punctuation marks, such as commas, used in Western context. Among these punctuation marks, several marks are used both in a Japanese context and Western context. However, these marks have different character shapes depending on whether they are used in a Japanese context or Western context. For example, LEFT PARENTHESIS "(" and RIGHT PARENTHESIS ")" has not only different width (Japanese, half em, Western, proportional) but are also different in line position (Japanese, center of the character frame in the inline direction, Western, base line and descender line dependent) and design (Japanese, slightly bent and constant line thickness, Western, strongly curved and dynamic line thickness). The usage of these two differently designed commas should be explicit. Usually, in a Japanese context Japanese design is used, and in Western context Western design is used. However, there are some ambiguous cases, such as "edeita(editor)ha......". In this case, English spelling is indicated using parentheses in a Japanese line of text. In this particular case, Japanese design is better. Ou Wen Yong Wen Zi (cl-27)niha,Ou Wen toshiteShi Yong suruGua Hu Lei nadonoOu Wen noYue Wu woHan mu.nao,korerahaHe Wen demoOu Wen demoShi Yong shiteiruZhong Lei gaaru.shi kashi,soreranoZi Fu yaZi Xing haYi narukotogaDuo i.Li eba,Shi meXiao Gua Hu ( Shi meWan Gua Hu )[(] (LEFT PARENTHESIS)Ji biZhong wariXiao Gua Hu (Zhong wariWan Gua Hu )[)] (RIGHT PARENTHESIS)ha,He Wen Yong toOu Wen Yong todeha,Zi Fu gaYi naru dakedehanaku(He Wen Yong haWen Zi noWai Waku noXing Song riFang Xiang noZhong Yang ,Ou Wen Yong haBing bi Xian deisendaraingaJi Zhun ),Yuan Hu noShen sa(huontonimoyoruga,Yi Ban niHe Wen Yong haYuan Hu gaShen ku,Ou Wen Yong haQian i),Zi Xing (huontonimoyoruga ,He Wen Yong haXian noTai sanoBian Hua gaXiao saku,Ou Wen Yong haBian Hua gaDa kii)toitsuta Wei igaaru.koreranitsuki,donoBu Fen niHe Wen Yong ,donoBu Fen niOu Wen Yong woShi Yong surukahaZhi Ding niyoru.He Wen Zhong haHe Wen Yong wo,Ou Wen Zhong haOu Wen Yong woShi Yong suru nogaYuan Ze dearuga,Pan Duan niMi uLi moaru.Li eba,"edeita(editor )ha......"noyouniHe Wen Zhong niYing Yu noZhui riwoGua Hu Nei niShi suLi haDuo i.konoShi me Xiao Gua Hu (Shi meWan Gua Hu )[(] (LEFT PARENTHESIS)Ji biZhong wariXiao Gua Hu (Zhong wa riWan Gua Hu )[)] (RIGHT PARENTHESIS)ha,He Wen kaOu Wen katoiukotodearu .konoChang He noShi meXiao Gua Hu (Shi meWan Gua Hu )[(] (LEFT PARENTHESIS)Ji biZhong wariXiao Gua Hu (Zhong wariWan Gua Hu )[)] (RIGHT PARENTHESIS)haHe Wen toshiteyoi dearou. 28. Warichu opening brackets (cl-28) Ge Zhu Shi meGua Hu Lei (cl-28) ([[ etc. nado 29. Warichu closing brackets (cl-29) Ge Zhu Zhong wariGua Hu Lei (cl-29) )] ] etc. nado Note warichu opening brackets (cl-28) and warichu closing brackets (cl-29) are used for surrounding inline cutting notes and the space. They are in a separate class since they differ from normal brackets with regard to their processing. Ge Zhu Shi meGua Hu Lei (cl-28)You haGe Zhu Zhong wariGua Hu Lei (cl-29)ha,Ge Zhu woWei mutameniYong iruGua Hu Lei Ji biKong kiLiang nokotodearu.Yi Ban niShi Yong suruGua Hu Lei toZu Ban Chu Li gaYi narunode,Bie noWen Zi kurasunishiteiru. 30. Characters in tate-chu-yoko (cl-30) Zong Zhong Heng Zhong noWen Zi (cl-30) 3.9.3 Positioning Methods for each Character Class Ge Wen Zi kurasunoPei Zhi Fang Fa For each character class it is possible to describe whether the characters may appear at the line head or line end or not, the positioning method for the line head or line end positions (if available), the amount of spacing between sequences of several characters, and the combination with character classes before or after the characters (in a 2 dimensional table). In JIS X 4051 this is shown in table 5 "Amount of spacing (between characters)". Wen Zi kurasugotoni,Xing Tou Xing Mo niPei Zhi shiteyoika,Jin Zhi suruka,saraniXing Tou Xing Mo nikitaChang He noPei Zhi Fa ya,sorezoregaBing ndaChang He noWen Zi Jian noKong kiLiang ha, Qian niPei Zhi sareruWen Zi kurasutoHou roniPei Zhi sareruWen Zi kurasunoZu He se(2Ci Yuan no Biao )deShi sukotogadekiru.JIS X 4051deha,Biao 5ni"(Wen Zi Jian no)Kong kiLiang "toshi teShi sareteiru. Note For the presentation as a two dimensional table, it becomes necessary for each class to have separate items about "line head" (the column about the character classes appearing before) and "line end" (the column about the character classes appearing after). If it is forbidden that the characters of the class appear at the line head or line end, JIS X 4051 uses an "X" mark in the columns for "line head" and "line end". 2Ci Yuan noBiao niShi suChang He ,Ge Wen Zi kurasunoTa ni,"Xing Tou "(Qian niPei Zhi sareruWen Zi ku rasunoLan )Ji bi"Xing Mo "(Hou roniPei Zhi sareruWen Zi kurasunoLan )noXiang Mu gaBi Yao ni naru.soshite,Xing Tou You haXing Mo noPei Zhi woJin Zhi suruChang He ha,JIS X 4051deha"Xing Tou "Ji bi"Xing Mo "noLan nixYin deShi shiteiru. Also, it can be defined for each combination of the character classes (in a two dimensional table) whether the characters of classes appearing in sequence allow for a line break between them, or whether it is possible during line adjustment processing to add inter character spacing between them. In JIS X 4051 these items are also shown in a two dimensional table. Table 6 shows whether a line break is possible, and table 7 shows if it is possible to add inter-character spacing. mata,Wen Zi kurasunoWen Zi Ji Hao gaBing ndaChang He ,sonoZi Jian de2Xing niFen Ge gaKe Neng ka ,Xing noDiao Zheng Chu Li noJi niZi Jian woKong keteyoikadoukamo,Ge Wen Zi kurasunoZu He se (2Ci Yuan noBiao )deGui Ding dekiru.konoyounaShi Xiang nitsuitemo,JIS X 4051deha2 Ci Yuan noBiao deShi shiteiru.2Xing niFen Ge gaKe Neng kadoukahaBiao 6,Xing noDiao Zheng Chu Li noJi niZi Jian woKong keteyoikadoukahaBiao 7niShi sareteiru. Note It is also possible to define for each combination of character classes whether it is possible to apply kerning during line adjustment processing for character classes appearing in sequence. However, JIS X 4051 does not provide this information as a two dimensional table, but only as a textual description. Wen Zi kurasunoWen Zi Ji Hao gaBing ndaChang He ,Xing noDiao Zheng Chu Li noJi nisonoZi Jian woJie me teyoikadoukamoGe Wen Zi kurasunoZu He se(2Ci Yuan noBiao )deGui Ding dekiru.shikashi ,JIS X 4051deha,sonoyounaBiao haShi sareteinai.Wen Zhang deShi sareteiru. The width, in principle, of the spacing between each character or symbol in character classes used in this document is described in the table of SS B. Spacing between Characters Wen Zi Jian noKong kiLiang . konoWen Shu niokeru,sorezorenoWen Zi kurasunoWen Zi Ji Hao gaBing ndaChang He noWen Zi Jian noYuan Ze De naKong kiLiang noBiao woSS B. Spacing between Characters Wen Zi Jian noKong ki Liang niJie geru. The combinations of adjacent characters and symbols in character classes used in this document, and where text is breakable or not, is described in the table of SS C. Possibilities for Line-breaking between Characters Wen Zi Jian denoFen Ge noKe Fou . konoWen Shu niokeru,sorezorenoWen Zi kurasunoWen Zi Ji Hao gaBing ndaChang He ni,so noZi Jian de2Xing niFen Ge gaKe Neng kadoukawoShi suBiao woSS C. Possibilities for Line-breaking between Characters Wen Zi Jian denoFen Ge noKe Fou niJie geru. The width of spacing between each character or symbol in character classes used in this document, and which can be reduced, is described in the table of SS D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo . Also, expandable spacing is described in the table of SS E. Opportunities for Inter-character Space Expansion during Line Adjustment Xing noDiao Zheng Chu Li de Kong keruChu Li ga Ke Neng naGe Suo . konoWen Shu niokeru,sorezorenoWen Zi kurasunoWen Zi Ji Hao gaBing ndaChang He ni,Xing noDiao Zheng Chu Li noJi niZi Jian woJie meteyoikawoShi suBiao woSS D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo ,Xing noDiao Zheng Chu Li noJi niZi Jian woKong keteyoikawoShi su Biao woSS E. Opportunities for Inter-character Space Expansion during Line Adjustment Xing noDiao Zheng Chu Li de Kong keruChu Li ga Ke Neng naGe Suo niJie geru. 4. Positioning of Headings, Notes, Illustrations, Tables and Paragraphs Jian Chu shiZhu Tu Ban Biao Duan Luo noPei Zhi Chu Li 4.1 Handling of Headings (including Page Breaks) Jian Chu shiChu Li (Gai pezi Chu Li moHan mu) 4.1.1 Types of Headings Jian Chu shinoZhong Lei In terms of text composition, there are four types of headings. Jian Chu shiha,Zu Ban Chu Li noFang Fa deFen keruto,Ci no4tsuninaru. 1. Naka-tobira or han-tobira Zhong Fei You haBan Fei 2. Block headings Bie Xing Jian Chu shi 3. Run-in headings Tong Xing Jian Chu shi 4. Cut-in headings Chuang Jian Chu shi Note JIS X 4051 describes naka-tobira and han-tobira in "8.2 Handling of naka-tobira". Zhong Fei Ji biBan Fei nitsuiteha,JIS X 4051deha"8.2 Zhong Fei Chu Li "niGui Ding gaaru. Note JIS X 4051 describes block headings, run-in headings and cut-in headings in "8.3 Handling of headings". Bie Xing Jian Chu shi,Tong Xing Jian Chu shiJi biChuang Jian Chu shinitsuiteha,JIS X 4051deha"8.3 Jian Chu shiChu Li "niGui Ding gaaru. Note Punctuation marks are also used in headings, and usually used in the same manner as in the main text. However, sometimes, half em spacing before opening brackets (cl-01), and, after closing brackets (cl-02) and commas (cl-07) are changed to solid setting or quarter em spacing because of the larger character size of headings. Jian Chu shinimoYue Wu haShi Yong sareru.koreranoChu Li ha,Ben Wen toTong zidearu.shikashi ,Jian Chu shidehaWen Zi saizugaDa kikunarukotokara,Shi meGua Hu Lei (cl-01)noQian no Er Fen akiya,Zhong wariGua Hu Lei (cl-02)Ji biDu Dian Lei (cl-07)noHou ronoEr Fen aki woTe Bie nibetaZu You haSi Fen akinisurukotomoXing wareteiru. Note Some types of magazine use horizontal headings with extremely large character size, even in vertical writing mode, to emphasize the headings. Even inclined headings can sometimes be seen. However, in common books, only vertically written headings are used in vertical writing mode. Za Zhi nadodeha,Zong Zu woJi Ben tosuruChang He demo,Jian Chu shiwoQiang Diao surutameniDa kina Wen Zi saizudeHeng Zu nishiteJie geruLi moaru(Ji Duan naChang He haJiao Du woFu keteXie meni shiteJie geruChang He moaru).shikashi,Shu Ji deha,Yi Ban nikonoyounaFang Fa haCai Yong shiteinai. Naka-tobira is used to separate sections of books. One whole odd page is used for the section title and the following even page is left blank. Naka-tobira sometimes includes author's names and illustrations, in addition to the section title (see Figure 185) (see Figure 185). Some kinds of book, such as encyclopedias, dictionaries and annual reports, use a different kind of paper from that in the main text. Zhong Fei ha,Shu Ji noNei Rong woDa kikuQu Fen suruChang He niYong iru.Biao Ti notameni1peziwo Yong i(Gai Ding tosuru),Li Mian haBai pezinisuru.Biao Ti noTa ni,Zhi Bi Zhe Ming yaTu Ban nadowoJie geruChang He moaru(Figure 185).Shi Dian nadodeha,Ben Wen tohaBie noYong Zhi woShi Yong suruLi moaru. An example naka-tobira Zhong Fei noLi Figure 185 An example naka-tobira Zhong Fei noLi Han-tobira is a simplified naka-tobira. The following even page is not blank, and is used for the main text. Ban Fei ha,Zhong Fei woJian Lue nishitamonode,Li Mian woBai pezitoshinaide,Li Mian karaBen Wen woKai Shi suru. Most books are usually set using naka-tobira or han-tobira, even when sections need not be separated with naka-tobira. In such cases, at the very top of the main text, namely just after the front matter, one naka-tobira is commonly set to show the book title itself. Duo kunoShu Ji dehaZhong Fei You haBan Fei woFu keteiru.Da kikuNei Rong woQu Qie ruYao Su ganai Chang He ha,Qian Fu noZhi Hou ,tsumariBen Wen noXian Tou niShu Ming woZhong Fei toshiteJie gerukotomoyo kuXing wareteiru. A block heading is the heading occupying a whole, independent line. The main text is set from the very next line. Top level headings and medium level headings are of this type (see Figure 186). Bie Xing Jian Chu shiha,Du Li shitaXing toshiteJian Chu shiwoJie getamonodearu.Jian Chu shinoZhi Hou niBen Wen woSok ketePei Zhi suru.Da Jian Chu shiyaZhong Jian Chu shiha,konoXing Shi dearu(Figure 186). An example of block heading Bie Xing Jian Chu shinoLi Figure 186 An example of block heading Bie Xing Jian Chu shinoLi Note Headings are sub titles, which separate and indicate sub parts with one coherent set of content. Headings are usually classified into several levels, like naka-tobira or han-tobira, top level heading, medium level heading and low level heading. Jian Chu shiha,Nei Rong woQu Fen surumatomariniFu keruBiao Ti dearu.Nei Rong noQu Fen ha,Yi Ban niJie Ceng Gou Zao wototsuteori,Shang Wei noreberukaraZhong Fei (You haBan Fei )tonari,Yi Xia haDa Jian Chu shi,Zhong Jian Chu shi,Xiao Jian Chu shitoyobareteiru. Note The depth of heading levels depends on the content of the book itself. It is commonly said that the depth should be limited to three or four levels at most to make the structure of content clearer. Jian Chu shinoJie Ceng Gou Zao wodonoyounisurukaha,Shu Ji noNei Rong niyoru.Yi Ban ni3Duan Jie You ha4Duan Jie Cheng Du niZhi meteokunogaNei Rong Li Jie noMian karaWang mashiitoiuYi Jian gaaru. Note In multi-column format, block headings sometimes span multiple columns. This style is called "dan-nuki midashi", which corresponds to "column spanning heading" in accordance with the terminology in SS G. Terminology Yong Yu Ji . Duan Zu noChang He ha,Bie Xing Jian Chu shiwoFu Shu noDuan nimatagatsutePei Zhi suruFang Fa gaaru."Duan Ba ki"toiu. An example with Spanning block heading Duan Ba kinoBie Xing Jian Chu shinoLi Figure 187 An example with Spanning block heading Duan Ba kinoBie Xing Jian Chu shinoLi A run-in heading is a heading immediately followed by main text without a line break, and is usually used as a low level heading (see Figure 188). Note that a low level heading can also appear as a block heading. Tong Xing Jian Chu shiha,Jian Chu shiniSok kuWen Zhang woGai Xing surukotonaku,Jian Chu shinoZhi Hou niSok ke ruXing Shi noJian Chu shidearu(Figure 188).Tong Xing Jian Chu shiha,Xiao Jian Chu shiniLi Yong sare teiru.nao,Xiao Jian Chu shihaBie Xing Jian Chu shitosurukotomoaru. An example of run-in heading. Tong Xing Jian Chu shinoLi Figure 188 An example of run-in heading. Tong Xing Jian Chu shinoLi A drop heading is a somewhat modified run-in heading style. The footprint of the heading is followed by two or three main text lines without line breaks, like drop caps (see Figure 189). Drop headings are usually used for low level headings. Chuang Jian Chu shiha,Tong Xing Jian Chu shiwoShao shiBian Xing shitaXing Shi de,Jian Chu shiniSok kuWen Zhang woGai Xing su rukotonaku,Jian Chu shinoZhi Hou niSok keruga,Jian Chu shinoHou rowo2Xing You ha3Xing nisuru( Figure 189).Chuang Jian Chu shiha,Xiao Jian Chu shiniLi Yong sareteiru. An example of cut-in heading Chuang Jian Chu shinoLi Figure 189 An example of cut-in heading Chuang Jian Chu shinoLi 4.1.2 Elements of Block Heading Bie Xing Jian Chu shinoGou Cheng JIS X 4051 describes the elements of a block heading for three levels: top level heading, medium level heading, and low level heading. These block headings have to have a heading text, and may have a label name, number, and subtitle (see Figure 190). Bie Xing Jian Chu shinoGou Cheng nitsuiteha,JIS X 4051dehaDa Jian Chu shi,Zhong Jian Chu shiJi biXiao Jian Chu shiwoDing Yi shi,sorezoreraberuMing ,Fan Hao ,Jian Chu shiWen Zi Lie Ji biFu Ti deGou Cheng suru toshiteiru(Figure 190).tadashi,raberuMing ,Fan Hao Ji biFu Ti ha,Bi Xu Yao Su dehanaku,Sheng Lue shitemoyoitonatsuteiru. Elements of block heading Bie Xing Jian Chu shinoGou Cheng Figure 190 Elements of block heading Bie Xing Jian Chu shinoGou Cheng There are several different styles of heading as follows: the heading is enclosed with symbols at the top and the bottom, rules (or thin lines) are inserted before and after the heading line, or the heading is enclosed with rectangular rules (or thin lines). nao,koreYi Wai niJian Chu shinoQian Hou niJi Hao woFu keru,aruihaGua Xian woJian Chu shinoQian Hou niPei Zhi suru,Gua Xian deJian Chu shiwoWei munadotoitsutakotomoXing wareteiru. 4.1.3 Font Selection and Heading Font Size Jian Chu shiniakusentowoFu keru Headings have a hierarchical structure. So, each level of heading has to have an appropriate visual style. The following issues have to be considered: Jian Chu shiha,Jie Ceng Gou Zao woShi shiteiruwakedearukara,sorezorenoreberuniYing zi taBiao Shi Ti Cai nisuruBi Yao gaaru.Jian Chu shinitsuiteha,Ci noyounaShi Xiang deJian Chu shi noreberuniYing zitaBiao Shi Ti Cai nishiteiru. 1. Character size for the heading Shi Yong suruWen Zi saizu The character size of headings should be selected as appropriate in accordance with the level of headings. For example, when the character size of main text is 9 point, the low level headings are usually set with 10 points, medium level headings are usually set with 12 points and top level headings are usually set with 14 points. The character size of headings is usually larger than main text, and the character size of higher level headings are larger than the size of smaller size headings. Figure 191 is an example of this principle. Jian Chu shinoreberuniYing zitaWen Zi saizunisuruChang He ,Li eba,Da Jian Chu shi,Zhong Jian Chu shi,Xiao Jian Chu shitoatsutatokiha,Xiao Jian Chu shiha,Ben Wen noWen Zi saizu(Li :9pointo)yori1Duan Jie Da kiku(Li :10pointo),Zhong Jian Chu shihaXiao Jian Chu shiyori1Duan Jie Da kiku(Li :12pointo),Da Jian Chu shihaZhong Jian Chu shiyori1Duan Jie Da kikusuru(Li :14pointo).konoLi niCong tsutaWen Zi saizunoJian Chu shiLi woFigure 191niShi su. An example of different character sizes corresponding to the heading levels Jian Chu shinoWen Zi saizuniBian Hua woFu ketaLi Figure 191 An example of different character sizes corresponding to the heading levels Jian Chu shinoWen Zi saizuniBian Hua woFu ketaLi Note JIS X 4051 describes the character sizes for different heading levels below as informative. Wen Zi saizuniDuan Jie woFu keruFang Fa toshiteha,JIS X 4051deha,Can Kao toshite Ci no2tsunoFang Fa woShao Jie shiteiru. 1. According to table 1 in JIS Z 8305 (basic sizes of fonts), use a series of point sizes in the left column (for 6, 7, 8, 9, 10, the differences are 1 point, for 12, 14, 16, 18, 20 point, the differences are 2 points, for 24, 28, 32, 36, 40 point, the differences are 4 points). JIS Z 8305(Huo Zi noJi Zhun Cun Fa )noBiao 1niGui Ding sareteirupointonoDa kisanoZhong Lei toshiteJie gerareteiruWen Zi saizunouchi,Zuo Lan niJie gera reteiruZhong Lei woJi Zhun toshiteDuan Jie woXuan Ze suruFang Fa .[Zuo Lan niJie gerare teiruZhong Lei ha,6pointoYi Shang nitsuiteieba,6,7,8,9,10(Yi Shang ha1pointoChai ),12,14,16,18,20(Yi Shang ha2pointoChai ), 24,28,32,36,40pointo(Yi Shang ha4pointoChai )dearu.] 2. Based on the character size of main text and scaling sizes with constant ratio. The ratio is usually 15% to 20%. Ji Zhun tonaruWen Zi saizunoYi Ding noBi Lu deDa kikushiteikuFang Fa .konoChang He ha,15~20%kuraizutsuZeng Da surunogayoi. Note Low level headings are sometimes set with a Japanese gothic face and smaller character size than the character size of the main text. For example, for 8 point mincho main text, set the low level headings with 8 point Japanese gothic. Xiao Jian Chu shideha,Li eba,Ji Ben Ban Mian noWen Zi saizuwo9pointotoshitaChang He , Xiao Jian Chu shinoShu Ti woBen Wen noMing Zhao Ti tohaYi narugoshitsukuTi nishitatokiha,Wen Zi saizuwo1Duan Jie Xia gete,8pointotosuruFang Fa moaru. 2. Type faces for headings Shi Yong suruShu Ti Both mincho and Japanese gothic are usually used. Other type face designs are seldom used. Ben Wen toTong ziMing Zhao Ti tosuruFang Fa to,goshitsukuTi nisuruFang Fa togaaru.nao ,koreYi Wai noShu Ti nisuruLi moaruga,sonoLi haShao nai. Note Usually, the character size for main text mincho is 8 point or 9 point and the weight is light (Hoso-mincho). For such main text, heading font weight sometimes changes to a heavier weight for better balance (see Figure 192). Ben Wen ga8pointoya9pointonoChang He ,Ming Zhao Ti noueitohaL(Xi Ming Zhao Ti ) kasoreyoriyayaGao kushiteiruLi gaDuo i.konoChang He ,Jian Chu shinoWen Zi saizu woDa kikushitatokiha,Yi Ban niBen Wen toTong ziueitodehayayaRuo kunarunode ,ueitowoyayaTai imononiBian erukotomoBi Yao ninaru(Figure 192). An example of same mincho but different weight for headings Jian Chu shinoMing Zhao Ti noueitoniBian Hua woFu ketaLi Figure 192 An example of same mincho but different weight for headings Jian Chu shinoMing Zhao Ti nou eitoniBian Hua woFu ketaLi 3. Alignment of headings (inline direction) soroe(Zi Song riFang Xiang noPei Zhi Wei Zhi ) In the case of horizontal writing mode, top level headings and medium level headings are in most cases centre-aligned. In the case of vertical writing mode, headings are usually aligned to the line head with some indent. Heng Zu noDa Jian Chu shiyaZhong Jian Chu shiha,Zhong Yang soroenisuruLi gaBi Jiao De Duo i.kore niDui shite,Zong Zu deha,Xing Tou soroetoshi,Yi Ban niZi Xia gewoXing u. Note The number of characters of line head indent for a heading depends on the heading level. If the heading level is higher, the indent character number is less, if the heading level is lower, the number of indent characters is more. The character size is based on the main text of the kihon-hanmen. The differences of character numbers are usually around two characters. For example, when the character size of main text is 9 point, the indent of a top level heading is 9 point by 4 times, medium level heading is 9 point by 6 times, low level heading is 9 point by 8 times. Zi Xia gewosuruChang He ,Da kinaJian Chu shikaraXiao sanaJian Chu shiwoShun Ci Xia geteiku. Xia geteikuLiang noChai ha,Ji Ben Ban Mian deShe Ding shitaWen Zi saizude2Zi (2Bei )kura inishiteiru.Li eba,Ji Ben Ban Mian noWen Zi saizuwo9pointotoshitaChang He , Da Jian Chu shiha9pointono4Zi (4Bei ),Zhong Jian Chu shiha9pointono6Zi (6Bei ) ,Xiao Jian Chu shiha9pointono8Zi (8Bei )tosuru. Note The reason the value of the indent is based on the main text is to align the top of the heading to the edge of the character boundary of the main text. Accordingly, so that the main text is set solid, the indent value of a heading is recommended to be an integral multiplication of the main character size (see Figure 193). Jian Chu shiwoZi Xia gesuruChang He ,Jian Chu shinoXian Tou toBen Wen noWen Zi Wei Zhi tonosoroega Wen Ti tonaru.dekirudakeJi Ben Ban Mian deShe Ding shitaWen Zi Wei Zhi tomosoroetaFang ga Wang mashii.sokode,Ben Wen gabetaZu dearukotowoQian Ti nisuruto,Jian Chu shino Zi Xia geha,Ji Ben Ban Mian deShe Ding shitaWen Zi saizunoZheng Shu Bei niShe Ding surukotogaWang mashii(Figure 193). An example of indented heading Jian Chu shiwoZi Xia geshitaLi Figure 193 An example of indented heading Jian Chu shiwoZi Xia geshitaLi 4. Block direction footprint of headings Xing Song riFang Xiang noJian Chu shinoZhan meruLing Yu (Xing Qu ri) Generally, the block direction footprint of any element of layout, including figures, notes and headings, should be aligned to the line positions of the kihon-hanmen. Accordingly, the block direction space is set based on a number of lines in the kihon-hanmen. This method is usually called "gyou-dori". "Gyou-dori" is a very complicated issue, and provokes much discussion, so the detail will be discussed in another section with examples. Details will be discussed in SS 4.1.6 Processing of Gyou-dori Xing Qu rinoChu Li Li and SS 4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page Xing Qu riChu Li shitaJian Chu shigape ziMo nikitaChang He noChu Li . Ge pezideXing woPei Zhi shiteikuChang He ,Ji Ben Ban Mian deShe Ding shitaXing Wei Zhi nisorotsu taFang gaWang mashii.sokode,Xing Song riFang Xiang noJian Chu shinoZhan meruLing Yu ha,Ji Ben Ban Mian deShe Ding shitaXing Wei Zhi woJi Zhun nishiteShe Ding suruFang Fa gaXing wareteiru.konoyo unaShe Ding Fang Fa woXing Qu ritoiu.Xing Qu rinoZu Ban Chu Li nitsuitehaWen Ti gaDuo i node,Xiang Xi haSS 4.1.6 Processing of Gyou-dori Xing Qu rinoChu Li Li Ji bi SS 4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page Xing Qu riChu Li shitaJian Chu shigapeziMo nikitaChang He noChu Li deJie Shuo suru. 5. The beginning position of headings around page breaks etc. Jian Chu shinoPei Zhi sareruBu Fen noKai Shi Fang Fa (Gai pezinado) The handling of headings around page breaks and other places will be discussed in SS 4.1.4 How to Handle Headings with New Recto, Page Break and New Column Gai Ding Gai peziGai Duan Chu Li . Gai pezinadonoZu Ban Chu Li nitsuiteha,SS 4.1.4 How to Handle Headings with New Recto, Page Break and New Column Gai Ding Gai peziGai Duan Chu Li deJie Shuo suru. 6. At any level, when the number of characters for a heading is two or three, the heading is sometimes set with fixed inter-character spacing. Examples are shown below (see Figure 194). Jian Chu shinoreberunoBiao Shi tohaZhi Jie nihaGuan Xi shinaiga,Jian Chu shideha2Zi ya3Zi toitsutaJi Duan niZi Shu gaShao naiChang He gaaru.sokode,Jian Chu shinoZi Shu niYing zi teakiZu nisuruLi gaaru.Figure 194niikutsukanoLi woJie geteoku. An example of a heading with fixed inter-character spacing Jian Chu shi woakiZu nishitaLi Figure 194 An example of a heading with fixed inter-character spacing Jian Chu shiwoakiZu nishitaLi 7. Whether to decorate with solid lines, or give a symbol on the top of the heading. sonoTa ,Gua Xian deShi riwoFu keru,Ji Hao woFu kerunado 4.1.4 How to Handle Headings with New Recto, Page Break and New Column Gai Ding Gai peziGai Duan Chu Li A top level heading sometimes starts with a new page following a page break, to clarify the separation between sections. The processing below should be followed: Da Jian Chu shinadodeha,Qu Qie riwoMing Que nisurutameniXin shiipezikaraShi meruFang Fa moXing wareteiru.Ci noyounaChu Li gaBi Yao ninaru. Note Processing with a new page is described in JIS X 4051 "8.1 New recto, Page break and new column". Xin shiipezikaraKai Shi suruChu Li nitsuiteha,JIS X 4051deha"8.1 Gai Ding Gai pe ziGai Duan Chu Li "niGui Ding gaaru. 1. Always begin with odd pages, i.e. new recto. Used for Naka-tobira, han-tobira and top level heading. Bi zuQi Shu pezikaraKai Shi suru.Gai Ding toiu.Zhong Fei ,Ban Fei ,Da Jian Chu shinado deCai Yong sareteiru. Note Books usually begin with page one. Accordingly, vertical writing mode and books bound on the right-hand side begin with a left page, horizontal writing mode and books bound on the left-hand side begin with a right page after a new recto (see Figure 195). Shu Ji ha,Biao (omote)Mian wo1pezitoshiteKai Shi suru.shitagatsute,Zong Zu no You Zhui zinoChang He ha,Zuo pezikaraKai Shi suru(Zuo peziokoshitoiu)gaGai Ding ninari(Figure 195),Heng Zu noZuo Zhui zinoChang He ha,You pezikaraKai Shi su ru(You peziokoshitoiu)toGai Ding ninaru. An example of new recto (vertical writing mode) Gai Ding noLi (Zong Zu ) Figure 195 An example of new recto (vertical writing mode) Gai Ding no Li (Zong Zu ) 2. Always begin with new pages, regardless of even pages or odd pages, i.e. page breaking. Used for top level heading. Ou Shu pezikaQi Shu pezikaniGuan warazu,Xin shiipezikaraKai Shi suru.Gai pezitoiu.Da Jian Chu shinadodeCai Yong sareteiru. 3. Always begin with even pages. Used for magazines articles beginning a spread page. Begin with right pages when in vertical writing mode and bound on the right-hand side. Begin with left pages when in horizontal writing mode and bound on the left-hand side. Bi zuOu Shu pezikaraKai Shi suru.Za Zhi nadodeXin shiiJi Shi woJian Kai kipezide Kai Shi suruChang He nadoniCai Yong sareteiru.Zong Zu noYou Zhui zinoChang He ha,You pezi karaKai Shi suru(You peziokoshi),Heng Zu noZuo Zhui zinoChang He ha,Zuo pezika raKai Shi suru(Zuo peziokoshi)tonaru. 4. In multicolumn format, begin with a new column. Duan Zu noChang He ,Xin shiiDuan karaKai Shi suru.Gai Duan toiu. 5. Following previous text (see Figure 196), i.e. "nariyuki". Medium level headings and low level headings are usually processed with "nariyuki". Note that medium level headings are sometimes processed with a page break. Even when "nariyuki" mode is adopted, low level headings sometimes happen to be set at the top of new pages, also the headings at the very end of pages or columns are sometimes moved to the top of next page or column, for aesthetic reasons. (Details are described at SS 4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page Xing Qu riChu Li shitaJian Chu shigapeziMo nikitaChang He noChu Li .) Qian noWen Zhang niSok keru(Figure 196)."nariyuki"toiu.Zhong Jian Chu shiyaXiao Jian Chu shiha,Yi Ban ni"nariyuki"deChu Li shiteiru(Zhong Jian Chu shihaGai pezitosuru kotomoaru)."nariyuki"noChang He demo,Wei Zhi niyori,tamatamaXiao Jian Chu shi nadogaXin shiipezinoXian Tou niPei Zhi sarerukesumoaru.mata"nariyuki" dePei Zhi shitaJian Chu shinoWei Zhi gapeziMo You haDuan noMo Wei ninatsutaChang He mo,Ti Cai gayokunainode,Ci nopezinoXian Tou You haDuan noXian Tou niJian Chu shiwoYi Dong suruko togaaru(Xiang Xi haSS 4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page Xing Qu riChu Li shitaJian Chu shigapeziMo nikitaChang He no Chu Li ). An example of a "nariyuki" heading "nariyuki"noJian Chu shinoLi Figure 196 An example of a "nariyuki" heading "nariyuki"noJian Chu shinoLi 4.1.5 Handling of Space just before the New Recto, Page Breaks and New Edges Gai peziDeng noZhi Qian pezinoChu Li Spacing just before new rectos, page breaks and new columns is treated as follows (the last pages are treated as the same): Gai Ding Gai peziGai Duan Chu Li woXing uChang He ,sonoZhi Qian nopezinoChu Li gaWen Ti tona ru(Zui Zhong pezimoTong ziXi itonaru).Ci noyounisuru. 1. In the case of single column typesetting, the space just before the new rectos and page breaks is left alone (see Figure 197). 1Duan Zu noGai Ding Gai pezinoChang He ,Gai Ding Gai pezinoZhi Ding Zhi Qian niPei Zhi shitaXing nadonoMo Wei noHou rohaKong keteokebayoi(Figure 197). An example of processing of the page just before a page break (one column setting) Gai pezinoZhi Qian pezinoChu Li Li (1Duan Zu ) Figure 197 An example of processing of the page just before a page break (one column setting) Gai pezinoZhi Qian pezinoChu Li Li (1Duan Zu ) 2. In the case of multiple columns, the remaining space of preceding columns is left as-is. Gai Duan noChang He ,sonoZhi Ding Zhi Qian niPei Zhi shitaXing nadonoMo Wei noHou rohaKong keteoke bayoi. 3. In the case of vertical writing mode, columns are filled with text lines from upper right to lower left. There is no need to align line numbers of the upper column and lower column, and remaining space is left alone (see Figure 198). Zong Zu noDuan Zu noChang He ,Shang Duan karaXia Duan niXing woShun Ci Pei Zhi shiteiku(Figure 198 ).Ji Ben Ban Mian deZhi Ding saretaGe Duan niPei Zhi suruXing Shu hasoroenaideyoi. An example of text handling for vertical writing mode and multi-column format just before the page break. Zong Zu noDuan Zu noChang He niokeruGai peziDeng noZhi Qian pezinoChu Li Li Figure 198 An example of text handling for vertical writing mode and multi-column format just before the page break. Zong Zu noDuan Zu noChang He niokeruGai peziDeng no Zhi Qian pezinoChu Li Li 4. In horizontal writing mode and multi-column format, the number of lines for each column is set to be the same, but where the result of the total number of lines divided by the column number chosen for the kihon-hanmen results in an odd number, the last column may have a smaller number of lines and may be followed by blank space (see Figure 199). Heng Zu noDuo Duan Zu noChang He ,Ji Ben Ban Mian deZhi Ding saretaGe Duan niPei Zhi suruXing Shu wosoro eru.tadashi,sonopeziniPei Zhi suruZong Xing Shu woDuan Shu deGe riQie renakuBan Duan gaChu ruChang He ha,sonoBan Duan noBu Zu Xing haZui moYou nikuruDuan Mo woKong keru(Figure 199). An example of handling of space just before page breaks, in the case of horizontal writing mode and multi-column format Heng Zu noDuan Zu noChang He niokeruGai peziDeng noZhi Qian pezinoChu Li Li Figure 199 An example of handling of space just before page breaks, in the case of horizontal writing mode and multi-column format Heng Zu noDuan Zu noChang He niokeruGai peziDeng noZhi Qian pezinoChu Li Li 4.1.6 Processing of Gyou-dori Xing Qu rinoChu Li Li "Gyou-dori" is the process of specifying the footprint of headings in the block direction by using the line positions provided by the kihon-hanmen as a basis and by deciding how many times they need to be used. The length of the footprint in the block direction is calculated as follows: (line width in the block direction) x (line number) + (line gap) * (line number - 1). However, when the heading footprint happens to appear in middle of the page or the column, the footprint has adjacent line gaps before and after, and when the heading footprint happens to appear at the top of the page or the column, the footprint has an adjacent line gap after. Jian Chu shiwoPei Zhi suruXing Song riFang Xiang noLing Yu She Ding de,Ji Ben Ban Mian deShe Ding shitaXing Wei Zhi woJi Zhun nishiteShe Ding suruFang Fa gaXing Qu ridearu.konoChang He ,Jian Chu shinoXing Song riFang Xiang niZhan meruLing Yu ha,"Xing noFu xXing Shu +Xing Jian x(Xing Shu -1)"tonaru.shikashi,Jian taMu niha ,pezi(You haDuan )noTu Zhong niJian Chu shiwoPei Zhi suruChang He ha,sonoLing Yu noQian Ji biHou ronoXing Jian gaJia wari,pezi(You haDuan )noXian Tou niJian Chu shiwoPei Zhi suruChang He ha,so noLing Yu noHou ronoXing Jian gaJia watsutaDa kisatonaru. The following procedures are some of the ways "betsugyou" headings are processed based on the "gyou-dori" method: Bie Xing Jian Chu shinoPei Zhi woXing Qu rinoKao eFang deShe Ding suruFang Fa niha,Ci noyounamonoga aru. 1. Set the heading text at the center of the space specified with multiple lines of the kihon-hanmen. For example, when the heading is set at the center of a three line space, it is called "center of three lines space". Following are some examples (see Figure 200 et al). In these figures, gray rectangles indicate the main text, and dotted rectangles in the heading area indicate the space specified with kihon-hanmen text lines. Also, running headings and page numbers are indicated with gray rectangles. Ji Ben Ban Mian deShe Ding shita2Xing Yi Shang noFu Shu Xing noLing Yu noZhong Yang niPei Zhi suru.Li eba, Ji Ben Ban Mian deShe Ding shita3Xing noZhong Yang niPei Zhi suruChang He ha,"3Xing Qu riZhong Yang "toiu .ikutsukanoPei Zhi Li woFigure 200Yi Xia niShi su.nao,Yi Xia noTu Ban nioi te,gurenoChang Fang Xing haBen Wen noWen Zhang woShi shi,Jian Chu shinobatsukuniaruDian Xian no Chang Fang Xing haJi Ben Ban Mian deShe Ding shitaWen Zi Ji biXing noPei Zhi Wei Zhi woShi sumonodearu. Note The character size of a subtitle is usually two thirds of the main heading character size. The line gap is usually half the heading character size, narrower than the line gaps of main text lines. In the line head alignment case, the subtitle is indented, and in the centering case, the subtitle is also centered. The main heading and the subtitle should not be separated across two pages or two columns. It is expected that the main heading and the subtitle are treated as one object. Fu Ti (sabutaitoru)noWen Zi saizuha,Zhu Jian Chu shinoWen Zi saizuno2/3kura igayoi.Yi Ti toshiteJian eruyouni,Zhu Jian Chu shitonoXing Song riFang Xiang noKong kiLiang moXia kushi,Li eba,Zhu Jian Chu shinoWen Zi saizuno1/2kurainisuru.Zi Jie meFang Xiang noWei Zhi moXing Tou soroenoChang He ha,Zhu Jian Chu shiyoriFu Ti woXia ge,Zhong Yang soroe noChang He haFu Ti moZhong Yang soroetosuru.Zhu Jian Chu shitoFu Ti haYi Ti toshiteXi i,2 peziYou ha2Duan niwatatsuteFen Ge shitehanaranai. Note When heading text happens to be broken across lines, the break point should be decided with consideration given to the balance of the line head indent and the content itself. It is not aesthetically good that the bottom of the indented heading reach near the bottom of the kihon-hanmen. For example, proper nouns should not be broken, particles should not set at the top of the line. The line gap should be narrowed to be seen as one object. For example, line gap between headings that are broken across lines is one third em or a half em of the heading character size. The second line of a heading that breaks across a line is set with inline indent. The heading lines are treated as one object, and are not separately set across two pages or two columns. Jian Chu shiwoZhe riFan suChang He ,Zhe Fan shiGe Suo ha,Jian Chu shinoZi Xia genoLiang tonobaran suwotori(Zi Xia gewoXing tsutaJian Chu shinoMo Wei gaJi Ben Ban Mian deShe Ding shitaXing Mo Fu Jin nimadeninarunohaTi Cai gayokunai),mata,Wen Zhang noNei Rong karaPan Duan shiteXing u.Li eba,Gu You Ming Ci nadowoTu Zhong deFen Ge shinaiyounisuru.Zhu Ci woXing Tou niPei Zhi surukotomoWang mashikunai.sonoXing Jian ha,Jian Chu shigaYi Ti toshiteJian e ruyouniXia kusuru.Li ebaJian Chu shiWen Zi Lie noWen Zi saizunoSan Fen akiYou haEr Fen akitosuru.Zhe riFan suXing Tou mo1Xing Mu yoriXia geru.Zhe riFan shitaJian Chu shihaYi Ti toshiteXi i,2peziYou ha2Duan niwatatsuteFen Ge shitehanaranai. 2. Set the heading text at the center of the footprint specified with a multiple number of lines of the kihon-hanmen, and add spacing before and/or after also specified using numbers of lines of the kihon-hanmen. For example, when adding space corresponding to the size of one line of the kihon-hanmen, it is called a one line blank space. Following are some examples (see Figure 205 et al). Ji Ben Ban Mian deShe Ding shita2Xing Yi Shang noFu Shu Xing noLing Yu noZhong Yang niPei Zhi shi,sonoQian You ha Hou roniJi Ben Ban Mian deShe Ding shitaXing Shu deKong kiLiang woShe Ding suru.Li eba,Ji Ben Ban Mian deShe Ding shita1Xing noKong kiLiang wotoruChang He ha,1Xing akitoiu.ikutsukanoPei Zhi Li woFigure 205Yi Xia niShi su. 3. Set the heading text in the space specified with multiple number of lines from the kihon-hanmen, with specific specifications regarding size. In this case, the size of the heading block in the block direction is the total of the previous space, the character size and the after space, and the size should be the same as the space occupied by multiple lines of the kihon-hanmen. Following are some examples (see Figure 208 et al). Ji Ben Ban Mian deShe Ding shita2Xing Yi Shang noFu Shu Xing noLing Yu noZhi Ding shitaWei Zhi niJian Chu shiwoPei Zhi suru.konoChang He ,Jian Chu shinoWen Zi saizu+Qian noKong kiLiang +Hou ronoKong kiLiang no He Ji ga,Ji Ben Ban Mian deShe Ding shita2Xing Yi Shang noFu Shu Xing noLing Yu noHe Ji toYi Zhi shitei nakerebanaranai.ikutsukanoPei Zhi Li woFigure 208Yi Xia niShi su. 4. Set one line heading at the place decided by the kihon-hanmen design and set one blank line before the heading line. Blank lines may be more than one line, but such cases are very rare. This style is commonly used for low level headings. Following are some examples (see Figure 210 et al). 1Xing noJian Chu shiwoJi Ben Ban Mian deShe Ding shitaXing Wei Zhi niPei Zhi shi,sonoQian wo1Xing (You ha Fu Shu Xing )Kong keru(Fu Shu Xing Kong keruLi haShao nai).konoPei Zhi Fang Fa haXiao Jian Chu shi noChang He niLi Yong sareteiru.ikutsukanoPei Zhi Li woFigure 210Yi Xia niShi su. 5. When headings are on multiple levels, set "gyou-dori" headings with different line spacing per heading level. There are two cases. One is the single heading case, the other is adjacent multiple level headings. In these cases, spacing in the block direction should look the same in both the single heading case and in the case of adjacent different level headings. To implement this design, in some cases, same level headings have different spacing depending on whether the heading is single or whether headings are adjacent. There are some examples in Figure 213. Xing Qu ridePei Zhi surureberunoYi natsutaJian Chu shigaFu Shu atsutaChang He ,Jian Chu shino reberuniYing ziteXing Qu riShu woBian eru.mata,Jian Chu shihaDan Du deJie geruChang He to ,reberunoYi naruJian Chu shiwoLian Sok shiteJie geruChang He gaaru.konoChang He ,Tong Yi noreberunoJian Chu shinitsuite,Dan Du deJie gerutokinoJian Chu shinoXing Song riFang Xiang no Kong kiLiang to,Lian Sok shiteJie gerutokinoJian Chu shinoXing Song riFang Xiang noKong kiLiang wodekiru dakesoroetaFang gayoi.shitagatsute,Tong Yi noreberunoJian Chu shinitsuite, Dan Du deJie gerutokinoJian Chu shinoXing Qu rito,Lian Sok shiteJie gerutokinoJian Chu shino Xing Qu riwoBian eruChang He gaaru.sonoLi woFigure 213niShi su. 6. The heading is set in a block of multiple lines, which is specified by using the line positions provided by the kihon-hanmen as a basis, but is not set in the center of the block but rather specified by specification of line numbers and space before and after. See an example in Figure 214 et al. Jian Chu shiwoJi Ben Ban Mian deShe Ding shitaFu Shu Xing noLing Yu niPei Zhi suruga,Fu Shu Xing noXing Song riFang Xiang noZhong Yang niPei Zhi surunodehanaku,Pei Zhi suruXing Shu tosonoQian You haHou rono Kong kiLiang woZhi Shi suruFang Fa moaru.sonoLi woFigure 214Yi Xia niShi su. Example one of a heading set in the center of indicated multiple lines (the heading is set around the center of the page). Zhi Ding shi taFu Shu Xing noZhong Yang niPei Zhi shitaLi 1 (Jian Chu shigapezinoZhong hodonikitaChang He ) Figure 200 Example one of a heading set in the center of indicated multiple lines (the heading is set around the center of the page). Zhi Ding shitaFu Shu Xing noZhong Yang niPei Zhi shitaLi 1(Jian Chu shigapezinoZhong hodonikitaChang He ) Example two of a heading set in the center of indicated lines (The heading is set in the top of the page). Zhi Ding shitaFu Shu Xing noZhong Yang niPei Zhi shitaLi 2 (Jian Chu shigapezinoXian Tou nikitaChang He ) Figure 201 Example two of a heading set in the center of indicated lines (The heading is set in the top of the page). Zhi Ding shitaFu Shu Xing noZhong Yang niPei Zhi shitaLi 2(Jian Chu shigapezinoXian Tou nikitaChang He ) Example three of a heading set in the center of indicated multiple lines (the heading, which is permitted to be set in one column of the hanmen, is set at the bottom of an even page). Zhi Ding shitaFu Shu Xing noZhong Yang niPei Zhi shitaLi 3 (Zong Zu no1Duan Zu ninomiXu sareruJian Chu shiga Ou Shu pezinoMo Wei nikitaChang He ) Figure 202 Example three of a heading set in the center of indicated multiple lines (the heading, which is permitted to be set in one column of the hanmen, is set at the bottom of an even page). Zhi Ding shitaFu Shu Xing noZhong Yang niPei Zhi shitaLi 3(Zong Zu no1Duan Zu ninomiXu sareruJian Chu shigaOu Shu pezinoMo Wei nikitaChang He ) Example four of a heading set in the center of indicated multiple lines (a heading with subtitle is set around the center of the page). Zhi Ding shitaFu Shu Xing noZhong Yang niPei Zhi shitaLi 4 (Fu Ti gaFu itaJian Chu shigapezinoZhong hodonikitaChang He ) Figure 203 Example four of a heading set in the center of indicated multiple lines (a heading with subtitle is set around the center of the page). Zhi Ding shitaFu Shu Xing noZhong Yang niPei Zhi shitaLi 4(Fu Ti gaFu itaJian Chu shigapezinoZhong hodonikitaChang He ) Example five of a heading set in the center of indicated multiple lines (the heading has two lines and set in around the center of the page). Zhi Ding shitaFu Shu Xing noZhong Yang niPei Zhi shitaLi 5 (2Xing ninatsutaJian Chu shigapezinoZhong hodonikitaChang He ) Figure 204 Example five of a heading set in the center of indicated multiple lines (the heading has two lines and set in around the center of the page). Zhi Ding shitaFu Shu Xing noZhong Yang niPei Zhi shitaLi 5 (2Xing ninatsutaJian Chu shi gapezinoZhong hodonikitaChang He ) Example one of a heading set in the center of indicated multiple lines with a blank line before (the heading is set around the center of the page). Zhi Ding shitaXing noZhong Yang ni Pei Zhi shi,Qian woKong ketaLi 1 (Jian Chu shigapezinoZhong hodonikitaChang He ) Figure 205 Example one of a heading set in the center of indicated multiple lines with a blank line before (the heading is set around the center of the page). Zhi Ding shitaXing noZhong Yang niPei Zhi shi,Qian woKong ketaLi 1(Jian Chu shigapezinoZhong hodonikitaChang He ) Example two of a heading set in the center of indicated multiple lines with a blank line before (the heading is set in the top of the page). Zhi Ding shitaXing noZhong Yang niPei Zhi shi,Qian woKong ketaLi 2 (Jian Chu shigapezinoXian Tou niki taChang He ) Figure 206 Example two of a heading set in the center of indicated multiple lines with a blank line before (the heading is set in the top of the page). Zhi Ding shitaXing noZhong Yang niPei Zhi shi,Qian woKong keta Li 2(Jian Chu shigapezinoXian Tou nikitaChang He ) Example of a heading set in the center of indicated multiple lines with one blank line after (the heading is set in the top of the page). Zhi Ding shitaXing noZhong Yang niPei Zhi shi,Hou rowoKong ketaLi (Jian Chu shigapezinoXian Tou nikitaChang He ) Figure 207 Example of a heading set in the center of indicated multiple lines with one blank line after (the heading is set in the top of the page). Zhi Ding shitaXing noZhong Yang niPei Zhi shi,Hou rowoKong ketaLi (Jian Chu shigape zinoXian Tou nikitaChang He Example one of a heading set in the specified position relative to multiple lines (the heading is set in around the center of the page). Zhi Ding shitaFu Shu Xing noZhi Ding Wei Zhi niPei Zhi shitaLi 1 (Jian Chu shigapezinoZhong hodonikitaChang He ) Figure 208 Example one of a heading set in the specified position relative to multiple lines (the heading is set in around the center of the page). Zhi Ding shitaFu Shu Xing noZhi Ding Wei Zhi niPei Zhi shitaLi 1(Jian Chu shigapezinoZhong hodonikitaChang He ) Example two of a heading set the specified position relative to multiple lines (the heading is set in the top of the page). Zhi Ding shitaFu Shu Xing noZhi Ding Wei Zhi niPei Zhi shitaLi 2 (Jian Chu shi gapezinoXian Tou nikitaChang He ) Figure 209 Example two of a heading set the specified position relative to multiple lines (the heading is set in the top of the page). Zhi Ding shitaFu Shu Xing noZhi Ding Wei Zhi niPei Zhi shitaLi 2(Jian Chu shigapezinoXian Tou nikitaChang He ) Example one of a heading with one blank line before (the heading is set in around the center of the page). Jian Chu shinoQian wo1Xing akinishitePei Zhi shitaLi 1 ( Jian Chu shigapezinoZhong hodonikitaChang He ) Figure 210 Example one of a heading with one blank line before (the heading is set in around the center of the page). Jian Chu shinoQian wo1Xing akinishitePei Zhi shitaLi 1(Jian Chu shigapezinoZhong hodonikitaChang He ) Example two of a heading set with one blank line before (the heading is set in the top of the page). Jian Chu shinoQian wo1Xing akinishitePei Zhi shitaLi 2 (Jian Chu shigapezinoXian Tou nikitaChang He ) Figure 211 Example two of a heading set with one blank line before (the heading is set in the top of the page). Jian Chu shinoQian wo1Xing akinishitePei Zhi shitaLi 2(Jian Chu shigapezinoXian Tou nikitaChang He ) Example three of a heading set with one blank line before (the heading is set in the bottom of even page (This case is limited to vertical writing mode and one column style)). Jian Chu shino Qian wo1Xing akinishitePei Zhi shitaLi 3 (Jian Chu shigaOu Shu pezinoMo Wei nikitaChang He (Zong Zu no1Duan Zu noChang He niXian ru)) Figure 212 Example three of a heading set with one blank line before (the heading is set in the bottom of even page (This case is limited to vertical writing mode and one column style)). Jian Chu shinoQian wo1Xing akinishitePei Zhi shitaLi 3 (Jian Chu shigaOu Shu pezinoMo Wei nikitaChang He (Zong Zu no1Duan Zu noChang He niXian ru)) Examples of top level, medium level and low level heading in gyou-dori style. Da Zhong Xiao Jian Chu shinoXing Qu rinoShe Ding Li Figure 213 Examples of top level, medium level and low level heading in gyou-dori style. Da Zhong Xiao Jian Chu shinoXing Qu rinoShe Ding Li Example one of a heading set with specification of line numbers in kihon-hanmen and blank lines before and after (the heading is set in around the center of the page). Pei Zhi suruXing Shu tosonoQian You haHou ronoKong kiLiang woZhi Shi shitaShe Ding Li 1 (Jian Chu shigapezinoZhong hodonikitaChang He ) Figure 214 Example one of a heading set with specification of line numbers in kihon-hanmen and blank lines before and after (the heading is set in around the center of the page). Pei Zhi suruXing Shu tosonoQian You haHou ronoKong kiLiang woZhi Shi shitaShe Ding Li 1(Jian Chu shigapezinoZhong hodonikitaChang He ) Example one of instruction of line numbers in block direction for headings and blank lines before and after (The heading is set in the top of the page). Pei Zhi suruXing Shu tosonoQian You haHou ronoKong kiLiang woZhi Shi shitaShe Ding Li 1 (Jian Chu shigapezinoXian Tou nikitaChang He ) Figure 215 Example one of instruction of line numbers in block direction for headings and blank lines before and after (The heading is set in the top of the page). Pei Zhi suruXing Shu tosonoQian You haHou ronoKong kiLiang woZhi Shi shitaShe Ding Li 1(Jian Chu shigapezinoXian Tou nikitaChang He ) 4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page Xing Qu riChu Li shitaJian Chu shigapeziMo nikitaChang He noChu Li When the gyou-dori heading is set at the bottom of the page (or the top of the page), the processing is done as follows in consideration of the visual effect: Xing Qu riChu Li shitaJian Chu shigapeziMo (You hapeziXian Tou )nikitaChang He noChu Li nitsu iteha,Ti Cai woKao Lu shiteCi noyouniChu Li suru. 1. Except for (d) of the previous section, when it is not possible to set the heading block at the bottom of the page, the block is set at the top of the next page and the remaining space at the bottom of the former page may be left blank (see SS 4.1.8 Processing when a One Line Space is Set Before a Low Level Heading Xiao Jian Chu shinoQian wo1Xing akinishitaChang He noChu Li for the case of the previous section). Qian Xiang nodYi Wai noChang He ,peziMo niZhi Ding saretaXing Shu gaQue Bao dekinaitokiha, sonoXing Qu rinoShe Ding gasaretaJian Chu shiQuan Ti woCi pezinoMou Tou niPei Zhi suru.Qian nopeziMo ha,Kong ketamamanishiteoku(dnoChang He haSS 4.1.8 Processing when a One Line Space is Set Before a Low Level Heading Xiao Jian Chu shi noQian wo1Xing akinishitaChang He noChu Li ). 2. When there is space for the heading block at the bottom of the page but no space for following main text, in cases involving vertical writing style on an odd page, horizontal writing style on an odd page and horizontal writing style on an even page, the heading block is set at the top of the next page and remaining space at the bottom of the previous page may be left blank (see Figure 216). In the case of vertical writing style on an even page, the heading block is set at the bottom of the page. peziMo niZhi Ding saretaXing Shu haQue Bao dekiruga,Jian Chu shinoHou roniBen Wen noXing ga1 Xing moPei Zhi dekinaiChang He ,Zong Zu noQi Shu pezi,Heng Zu noQi Shu peziJi biHeng Zu noOu Shu pezinotokiha,sonoXing Qu rinoShe Ding gasaretaJian Chu shiQuan Ti woCi pe zinoMou Tou niPei Zhi suru(Figure 216).Qian nopeziMo ha,Kong ketamamanishi teoku.Zong Zu noOu Shu pezinoChang He ha,peziMo niJian Chu shiwoPei Zhi suru. An example of heading blocks set at the top of even page, when the heading block is come to the bottom of odd page of vertical writing style. Zong Zu noQi Shu peziMo noJian Chu shiwoCi peziniPei Zhi shitaLi Figure 216 An example of heading blocks set at the top of even page, when the heading block is come to the bottom of odd page of vertical writing style. Zong Zu noQi Shu peziMo noJian Chu shiwoCi peziniPei Zhi shitaLi Note In vertical writing style the heading block at the bottom of an even page is naturally followed by the main text on the next odd page (see Figure 217). Note that there is the style to process to set the heading block to the top of the next page like for the odd page case. Zong Zu noOu Shu pezinoChang He ,peziMo niJian Chu shiwoPei Zhi shitemoJian Kai kitonari ,Ci noQi Shu pezigaLian Sok surukaradearu(Figure 217).tadashi,Qi Shu pezitoTong Yang ni,Ci peziniPei Zhi suruFang Fa moaru. An example of heading set at the bottom of vertical writing style even page Zong Zu noOu Shu peziMo niJian Chu shiwoPei Zhi shitaLi Figure 217 An example of heading set at the bottom of vertical writing style even page Zong Zu noOu Shu peziMo niJian Chu shiwoPei Zhi shitaLi 3. When the heading block of gyou-dori comes at the bottom of the column, the block is moved to the top of the next for reasons of visual aesthetics. The blank space of the bottom of a previous column needs some processing, however it may be left blank if there is no solution. Xing Qu riChu Li shitaJian Chu shigaDuan noLing Yu noMo Wei nikitaChang He ha,Ti Cai gayokunai node,Ci noDuan noXian Tou niPei Zhi suru.Qian Duan noMo Wei haKong keteokunohaTi Cai gayo kunainode,nanrakanoChu Li woXing i,Kong kenaiyounisurunogaWang mashii ga,yamuwoDe naiChang He haKong keteoku. 4.1.8 Processing when a One Line Space is Set Before a Low Level Heading Xiao Jian Chu shinoQian wo1Xing akinishitaChang He noChu Li When a one line space is set before a low level heading, the following different cases apply when the one line space comes at the top of the page. Jian Chu shinoQian wo1Xing akiniShe Ding shitaXiao Jian Chu shigapeziXian Tou nikitaChang He ha,1Xing a kinoChu Li noWei ikaraCi noyounaFang Fa gaaru. 1. When the low level heading with a one line space before comes at the top of the page, the one line space is always set before the heading. The reason is that the heading and the one line space before are regarded as one unified object. Jian Chu shinoQian wo1Xing akiniShe Ding shitaXiao Jian Chu shigapeziXian Tou nikitaChang He ,Chang ni Xiao Jian Chu shinoQian wo1Xing akinisuru.Xiao Jian Chu shito1Xing akihasetsutodeari,ko rewoYi Ti niXi utoiuKao eFang karadearu. Note With this policy, the tail of the previous page fall into one of the following three cases: (1) the lines of the before page are filled with text, (2) the last line is set blank, (3) the last two lines are set blank. Except (1), in cases (2) and (3), the blank line before the low level heading is doubled (see Figure 218). konoFang Zhen noChang He ,Qian nopeziMo noZhuang Tai toshiteha,(1)peziMo madeBen Wen gaPei Zhi sareteiru.(2)1Xing akininatsuteiru.(3)2Xing akininatsute iru,gaaru.(1)woChu ki,(2)Ji bi(3)haEr Zhong ni1Xing akiwoXing uko toninaru(Figure 218). Example one of a low level heading where one blank line comes at the top of the page Jian Chu shinoQian wo1Xing akiniShe Ding shitaXiao Jian Chu shigapezi Xian Tou nikitaChang He noPei Zhi Li 1 Figure 218 Example one of a low level heading where one blank line comes at the top of the page Jian Chu shi noQian wo1Xing akiniShe Ding shitaXiao Jian Chu shigapeziXian Tou nikitaChang He noPei Zhi Li 1 2. When a heading with one blank line comes at the top of the page, the blank line before should be deleted. At the top of the page there is already space before the line, so there is no need for an additional blank line. Jian Chu shinoQian wo1Xing akiniShe Ding shitaXiao Jian Chu shigapeziXian Tou nikitaChang He ,Chang ni Xiao Jian Chu shinoQian wo1Xing akinishinai.pezinoXian Tou deha,sonoQian niYu Bai gaa runode,1Xing akinisuruBi Yao hanai,toiuKao eFang karadearu. Note With this principle, there are three cases: (1) the previous page is filled with text lines, (2) the bottom of the previous page is one blank line, (3) the bottom of the previous page is two blank lines. In case (1) there is no blank line, in case (2) and (3) the blank line before the heading is at the bottom of the previous page (see Figure 219). konoFang Zhen noChang He ,Qian nopeziMo noZhuang Tai toshiteha,(1)peziMo madeBen Wen gaPei Zhi sareteiru.(2)1Xing akininatsuteiru.(3)2Xing akininatsute iru,gaaru.(1)ha1Xing akigadochiranopezinimonaku,1Xing akiha( 2)Ji bi(3)dehaQian nopeziMo deXing warerukotoninaru(Figure 219). Example two of a heading with one blank line that comes at the top of the page Jian Chu shinoQian wo1Xing akiniShe Ding shitaXiao Jian Chu shigapeziXian Tou nikitaChang He noPei Zhi Li 2 Figure 219 Example two of a heading with one blank line that comes at the top of the page Jian Chu shinoQian wo1Xing aki niShe Ding shitaXiao Jian Chu shigapeziXian Tou nikitaChang He noPei Zhi Li 2 3. When a heading with one blank line before comes at the top of the page, if the previous page is filled with lines of text, set the blank line before the heading, and if the bottom of the previous page has one or two blank lines, set no blank line before the heading (Figure 220). Jian Chu shinoQian wo1Xing akiniShe Ding shitaXiao Jian Chu shigapeziXian Tou nikitaChang He ,Qian no peziMo madeBen Wen gaPei Zhi sareteirutokiha,1Xing akinisuru.Qian nopezi Mo de1Xing akiYou ha2Xing akininatsuteiruChang He ha,1Xing akinishinai.itsute mireba,"nariyuki"deChu Li surutoiuFang Fa dearu(Figure 220). Example three of a heading with one blank line before that comes at the top of the page Jian Chu shinoQian wo1Xing akiniShe Ding shitaXiao Jian Chu shigape ziXian Tou nikitaChang He noPei Zhi Li 3 Figure 220 Example three of a heading with one blank line before that comes at the top of the page Jian Chu shinoQian wo1Xing akiniShe Ding shitaXiao Jian Chu shigapeziXian Tou nikitaChang He noPei Zhi Li 3 4.1.9 Processing of Run-in Headings Tong Xing Jian Chu shinoChu Li Run-in headings are usually used for low level headings. The following are some examples of run-in headings. Inter-character spacing between the run-in heading and following main text is usually one em spacing of the base character size decided for the kihon-hanmen. Note that the run-in heading may be set at the last line of the page, or of the column in multi column style. Tong Xing Jian Chu shiha,Xiao Jian Chu shiniLi Yong sareteiru.ikutsukanoTong Xing Jian Chu shinoPei Zhi Li woCi niJie geru.Tong Xing Jian Chu shitoCi niSok kuBen Wen tonoKong kiLiang ha,Yi Ban niJi Ben Ban Mian no Wen Zi saizunoQuan Jiao akitosuru.nao,Tong Xing Jian Chu shiha,peziMo Ji biDuan Zu nio iteDuan Mo niPei Zhi shiteyoi. 1. The run-in heading is set with the same character size as the main text and with Japanese gothic face (see Figure 221). Ben Wen toTong ziWen Zi saizunishi,Shu Ti wogoshitsukuTi nisuru(Figure 221). Example one of run-in heading Tong Xing Jian Chu shinoPei Zhi Li 1 Figure 221 Example one of run-in heading Tong Xing Jian Chu shinoPei Zhi Li 1 2. Set the run-in heading with one level smaller character size than the main text and use Japanese gothic face (see Figure 222). Ben Wen noWen Zi saizuyori1Duan Jie Xiao sanaWen Zi saizunishi,Shu Ti wogoshitsukuTi ni suru(Figure 222). Example two of run-in heading Tong Xing Jian Chu shinoPei Zhi Li 2 Figure 222 Example two of run-in heading Tong Xing Jian Chu shinoPei Zhi Li 2 3. Set the run-in heading with the same character size and type-face as the main text. Note that the heading number or Western characters (cl-27) at the top of the heading are set with Japanese gothic face or bold face, for emphasis (see Figure 223). Ben Wen toTong ziWen Zi saizuJi biShu Ti nisuru.tadashi,Xian Tou niFu kuarabiaShu Zi You haOu Wen Yong Wen Zi (cl-27)noFan Hao wogoshitsukuTi You haueitonoTai iShu Ti nishi,yayaMu Li tsuyounisuru(Figure 223). Example three of run-in heading Tong Xing Jian Chu shinoPei Zhi Li 3 Figure 223 Example three of run-in heading Tong Xing Jian Chu shinoPei Zhi Li 3 4.1.10 Processing of Cut-in Headings Chuang Jian Chu shinoChu Li Drop headings are also used for low level headings. A drop heading has no label name or heading number. Processing is as follows (see Figure 224): Chuang Jian Chu shimoXiao Jian Chu shiniLi Yong sareru.Chuang Jian Chu shideha,raberuMing yaFan Hao woFu kena i.Ci noyouniChu Li suru(Figure 224). Note A drop heading is frequently used in Shinsho-ban (Japanese non-fiction paperback style, 105mm*173mm), because it is very easy to recognize the block of low level heading text. Chuang Jian Chu shiha,matomarigaaruXiao Jian Chu shinoQu Fen gaMing Que ninari,Xin Shu Pan ( 105mmx173mm)toyobareruQi Meng Shu noshirizudeyokuLi Yong sareteiru. An example of cut-in headings Chuang Jian Chu shinoLi Figure 224 An example of cut-in headings Chuang Jian Chu shinoLi 1. Set the cut-in heading with one level smaller character size than the main text or the same character size as the main text, and with Japanese gothic face. Chuang Jian Chu shinoWen Zi ha,Ben Wen yori1Duan Jie Xiao sakusurukaTong ziWen Zi saizude,Shu Ti wogoshitsukuTi nisuru. 2. It is better that the cut-in heading occupies a maximum of three lines and ten characters per line. JIS X 4051 determines that cut-in headings with up to six characters should be one line, up to twenty characters should be two lines and more than twenty-one characters should be three lines. When the cut-in heading has two lines, each line has half the number of characters of the heading text. When the cut-in heading has three lines, each line has a third of the number of characters of the heading text. If lines have a different number of characters, the last line may have less characters, and the remainder may be blank space. The line gap of two or three lines of cut-in heading is usually a fourth of an em of the heading character size. Chuang Jian Chu shinoXing Shu ha,Zui Da 3Xing toshi,1Xing noZi Shu haZui Da de10Zi kuraitosuru kotogaWang mashii.JIS X 4051deha,"Chuang Jian Chu shinoWen Zi Shu ga6Zi madeha1Xing , 20Zi madeha2Xing ,21Zi Yi Shang ha3Xing tosurukotowoJi Ding Zhi tosuru"toGui Ding shitei ru.Chuang Jian Chu shinoXing Shu wo2Xing nisuruChang He ha,Chuang Jian Chu shinoZi Shu no1/2noWei Zhi de Zhe riFan shi,Chuang Jian Chu shinoXing Shu wo3Xing nisuruChang He ha,Chuang Jian Chu shinoZi Shu no1/3Ji bi2/3noWei Zhi deZhe riFan su.Bu Zu Fen ha,Zui Zhong Xing noMo Wei woKong keru.Chuang Jian Chu shiwo 2Xing You ha3Xing nisuruChang He noXing Jian ha,Chuang Jian Chu shinoWen Zi saizunoSi Fen akikura igaWang mashii. 3. The line indent of a cut-in heading is usually a half em of the base character size for the kihon-hanmen. The in-line direction length of a cut-in heading is usually multiples of the character size for the kihon-hanmen. The space between the cut-in heading and the main text is usually more than one em and less than two em of the character size for the kihon-hanmen. Chuang Jian Chu shinoZi Xia geha,Ji Ben Ban Mian noWen Zi saizunoEr Fen akikuraigayoku, Chuang Jian Chu shinoZi Jie meFang Xiang noLing Yu ha,Ji Ben Ban Mian noWen Zi saizunoZheng Shu Bei tosuru .Chuang Jian Chu shitoBen Wen tonoKong kiLiang ha,Ji Ben Ban Mian noWen Zi saizunoQuan Jiao Yi Shang ,2Bei Wei Man tosuru. 4. When a cut-in heading has one line, the heading is set in the center of a two line space of the kihon-hanmen and two lines of main text are set following the cut-in heading. When the cut-in heading has two lines or three lines, the heading is set in the center of a three line space of the kihon-hanmen and three lines of main text follow the cut-in heading. Chuang Jian Chu shiga1Xing noChang He ha,2Xing Qu rinoZhong Yang niPei Zhi shi,Chuang Jian Chu shiniSok kuBen Wen ha2Xing Pei Zhi suru.Chuang Jian Chu shiga2Xing You ha3Xing noChang He ha,3Xing Qu rinoZhong Yang niPei Zhi shi,Chuang Jian Chu shiniSok kuBen Wen ha3Xing Pei Zhi suru. An example of a one line cut-in heading Chuang Jian Chu shiga1Xing noPei Zhi Li Figure 225 An example of a one line cut-in heading Chuang Jian Chu shiga1Xing noPei Zhi Li An example of two lines or three lines cut-in headings Chuang Jian Chu shiga2Xing You ha3Xing noPei Zhi Li Figure 226 An example of two lines or three lines cut-in headings Chuang Jian Chu shiga2Xing You ha3Xing noPei Zhi Li 5. A cut-in heading may be set at the end of a page or column. Note that if the space is less than the block direction width of the cut-in heading, the heading should be set on a new page or new column and the blank before the heading may be left as is. One cut-in heading is not set across two pages or two columns. Chuang Jian Chu shiha,peziMo Ji biDuan Zu nioiteDuan Mo niPei Zhi shiteyoi.tadashi, Pei Zhi suruXing Shu gaBu Zu suruChang He ha,Ci peziYou haCi Duan niChuang Jian Chu shiwoZhui iChu shi,sonopeziYou hasonoDuan noMo Wei haKong keteoku.1tsunoChuang Jian Chu shiwo2tsuno peziYou ha2tsunoDuan nimatagatsutePei Zhi shitehanaranai. Note When a two line cut-in heading comes at the end of a page and only two lines of kihon-hanmen are left for the heading, two lines of main text may follow the cut-in text, in some cases. 2Xing noChuang Jian Chu shigapeziMo nikitaChang He ,Ji Ben Ban Mian no3Xing Fen noLing Yu gaQue Bao de kinaitokiha,2Xing Fen noLing Yu dePei Zhi suruFang Fa moaru. 4.1.11 Processing of Column Spanning Headings Duan Ba kinoJian Chu shinoChu Li In multi-column pages, headings spanning multiple columns are processed as follows: Duan Zu niokeruFu Shu noDuan noLing Yu niwatatsutePei Zhi suruDuan Ba kinoBie Xing Jian Chu shiha,Ci noyouniChu Li suru. Note In multi-column books, the top level heading for the start page usually spans all columns designed in the kihon-hanmen. In common magazines, the title of the start page of an article usually spans all columns designed in the kihon-hanmen. There are examples where medium level headings do not span not all columns. Duan Zu noShu Ji deha,Kai Shi pezinoDa Jian Chu shinadoha,Yi Ban niJi Ben Ban Mian deShe Ding shita Duan Shu woShi tsutaDuan Ba kinishiteiru.Za Zhi noChang He ha,Kai Shi pezinotaitorunado ha,Yi Ban niJi Ben Ban Mian deShe Ding shitaDuan Shu woShi tsutaDuan Ba kinishiteiruga,Zhong Jian Chu shi nadodeha,Ji Ben Ban Mian deShe Ding shitaDuan Shu yoriShao naiDuan Shu woShi tsutaDuan Ba kinishitei ruLi gaaru. 1. A spanning heading spanning all columns in the kihon-hanmen is usually set at the top of the page after the page break or new recto. However, there are cases where full spanning headings are set around the middle of the page. In such cases, main text lines are turned back before the heading block, including before headings that are not full spanning headings (see Figure 227). Ji Ben Ban Mian deShe Ding shitaDuan Shu nisuruDuan Ba kinoBie Xing Jian Chu shiha,Yi Ban niGai pezi You haGai Ding deKai Shi suruXian Tou peziniPei Zhi suru.shikashi,pezinoTu Zhong niPei Zhi suruChang He moaru.konoChang He ha,Ji Ben Ban Mian deShe Ding shitaDuan Shu yoriShao naiDuan Shu woShi tsutaDuan Ba kinoBie Xing Jian Chu shiwoHan me,Ben Wen ha,Bie Xing Jian Chu shiwo"kabe"to shite,sonoQian deZhe riFan suyounisuru(Figure 227). Example one of spanning block heading turned back before the heading block Duan Ba kinoBie Xing Jian Chu shinoQian deBen Wen haZhe riFan suLi 1 Figure 227 Example one of spanning block heading turned back before the heading block Duan Ba kinoBie Xing Jian Chu shinoQian deBen Wen haZhe riFan suLi 1 2. When turning back main text before a spanning block, if the divided text lines are not same, the last column has less lines and remaining blank lines may be left as is (see Figure 228). In vertical writing mode, the column with the least number of lines is the column nearest the bottom, and in horizontal writing mode, the column with the least number of lines is the right-most column. Duan Ba kinoJian Chu shinoQian deZhe riFan suChang He ,Xing Shu niBan Duan gaChu rutokiha,sonoBan Duan noBu Zu Xing ha,Zui moHou roninaruDuan woKong keru(Figure 228).Zong Zu dehaZui Xia Duan ,Heng Zu dehaZui You Duan woKong keru. Example two of turning back of main text lines before spanning block heading Duan Ba kinoBie Xing Jian Chu shinoQian deBen Wen haZhe riFan suLi 2 Figure 228 Example two of turning back of main text lines before spanning block heading Duan Ba kinoBie Xing Jian Chu shinoQian deBen Wen haZhe riFan suLi 2 3. The less spanning block headings are usually set in the middle of the page. In these cases, the way in which multi column heading blocks are set is decided as follows: Ji Ben Ban Mian deShe Ding shitaDuan Shu yoriShao naiDuan Ba kinoBie Xing Jian Chu shiha,pezinoTu Zhong niPei Zhi sareruChang He gaDuo i.konoChang He noPei Zhi Wei Zhi ,tsumari,donoDuan kara Kai Shi surukaha,Ci noyouniChu Li suru. 1. When setting main text lines in multiple columns, if the spanning block heading appears in the first column, the spanning heading block is set to start from the first column (Figure 229). Duan noLing Yu niPei Zhi shiteitsutaJie Guo ,Duan Ba kinoBie Xing Jian Chu shigaBan Mian Nei noXian Tou noDuan niChu Xian shitaChang He ha,Xian Tou noDuan woKai Shi suruDuan tosuru(Figure 229). Example one of spanning block heading started from the first column Duan Ba kinoBie Xing Jian Chu shiwoKai Shi suruDuan noLi 1 Figure 229 Example one of spanning block heading started from the first column Duan Ba kinoBie Xing Jian Chu shiwoKai Shi suruDuan noLi 1 2. When main text lines are set following the multi column region, if a spanning block heading does not appear in the top column, the heading is set in that column or in the previous column. If the heading block appears before the block direction center of the column, the heading is set from the previous column (see Figure 230). If the heading block appears after the block direction center of the column, the heading is set from that column itself (see Figure 231). Note that if the line direction bottom of the heading block runs out of the hanmen, the heading block is set from previous columns (see Figure 232). Duan noLing Yu niPei Zhi shiteitsutaJie Guo ,Duan Ba kinoBie Xing Jian Chu shigaBan Mian Nei no2Duan Mu Yi Jiang noDuan niChu Xian shitaChang He ha,Chu Xian shitaDuan You hasonoShang noDuan woKai Shi su ruDuan tosuru.Chu Xian Wei Zhi gaDuan noLing Yu noQian (Li eba1/2Wei Man noWei Zhi )niki taChang He ha,suguShang noDuan tosuru(Figure 230).Chu Xian Wei Zhi gaDuan noLing Yu noHou roninaruChang He ha,Chu Xian shitaDuan tosuru(Figure 231).tadashi, Pei Zhi shitaJie Guo ,Duan Ba kinoBie Xing Jian Chu shigaBan Mian noLing Yu wohamiChu shitaChang He ha,Shang noDuan nisuru(Figure 232). Example two of spanning block heading started from the first column Duan Ba kinoBie Xing Jian Chu shiwoKai Shi suruDuan noLi 2 Figure 230 Example two of spanning block heading started from the first column Duan Ba kinoBie Xing Jian Chu shiwoKai Shi suruDuan noLi 2 Example three of which column the spanning block heading is set from Duan Ba kinoBie Xing Jian Chu shiwoKai Shi suruDuan noLi 3 Figure 231 Example three of which column the spanning block heading is set from Duan Ba kinoBie Xing Jian Chu shiwoKai Shi suruDuan noLi 3 Example four of which column the spanning block heading is set from Duan Ba kinoBie Xing Jian Chu shiwoKai Shi su ruDuan noLi 4 Figure 232 Example four of which column the spanning block heading is set from Duan Ba kinoBie Xing Jian Chu shiwoKai Shi su ruDuan noLi 4 4. Spanning block headings are not set at the bottom of columns. Full spanning block headings are moved to the top of the next page. The bottom of the previous page is processed in the same way as for new recto and page break cases. Less column spanning block headings are moved to other positions, usually one column down. Duan Ba kinoBie Xing Jian Chu shiha,Duan noMo Wei niPei Zhi shitehanaranai.Ji Ben Ban Mian deShe Ding shitaDuan Shu nisuruDuan Ba kinoBie Xing Jian Chu shiha,Ci pezinoXian Tou niPei Zhi suru. Qian nopeziMo ha,Gai Ding Gai pezinoZhi Qian nopezitoTong ziChu Li woXing u.Ji Ben Ban Mian deShe Ding shitaDuan Shu yoriShao naiDuan Ba kinoBie Xing Jian Chu shiha,Pei Zhi Wei Zhi woBian Geng suru(Kai Shi suruDuan wo1Duan Xia nisuru). 4.2 Processing of Notes Zhu noChu Li 4.2.1 Kinds of Notes Zhu noZhong Lei The following kinds of notes are used in Japanese text layout, besides notes between LEFT PARENTHESIS "(" and RIGHT PARENTHESIS ")" or warichu: Ri Ben Yu Zu Ban deLi Yong sareteiruZhu woBiao suXing Shi toshiteha,Shi meXiao Gua Hu [(] (LEFT PARENTHESIS)Ji biZhong wariXiao Gua Hu [)] (RIGHT PARENTHESIS)Nei niBu Zu suruFang Fa ya Ge Zhu Yi Wai niCi gaaru. 1. Endnotes: Notes used both in horizontal writing mode and vertical writing mode, set after a paragraph, a clause, a chapter or the whole base text. In vertical writing mode this type is most frequently used (see Figure 233). In horizontal writing mode, the frequency of this type is second after footnotes (see Figure 234 ). Hou Zhu (kouchiyuu):Zong Zu demoHeng Zu demoLi Yong sareruXing Shi de,Duan Luo noHou ro ,Xiang Jie Zhang noHou roYou haBen Quan Ti noBen Wen noHou roniJie geruZhu dearu.Zong Zu de ha,konoHou Zhu gaZui moDuo i(Figure 233).Heng Zu dehaJiao Zhu niSok iteShi Yong Li gaDuo i(Figure 234). An example of an endnote in vertical writing mode Zong Zu niokeruHou Zhu noLi Figure 233 An example of an endnote in vertical writing mode Zong Zu niokeruHou Zhu noLi An example of an endnote in horizontal writing mode Heng Zu niokeruHou Zhu noLi Figure 234 An example of an endnote in horizontal writing mode Heng Zu niokeruHou Zhu noLi 2. Headnotes (in vertical writing mode) : Notes set above the kihon-hanmen in vertical writing mode. The area for the headnote is reserved at the upper part of the kihon-hanmen when the kihon-hanmen is designed, and notes related to a page or spread are set in the same page or spread (see Figure 235). Headnotes are frequently used as explanations for words and idioms of Japanese classic texts. Japanese classic texts are sometimes set with three vertical areas, the top area is used for head notes, the middle area is used for the original text and the bottom area is used for a modern Japanese translation. Tou Zhu (Zong Zu ):Zong Zu nioite,Ji Ben Ban Mian noTian Ce niJie gerareruZhu dearu. Ji Ben Ban Mian noShe Ji Duan Jie dearakazimeZhu notamenoLing Yu woTian Ce niQue Bao shi,pe zi(You haJian Kai ki)woDan Wei toshite,sonoFan Wei niaruXiang Mu niGuan Lian shitaZhu woShe Ding shitaLing Yu Nei niPei Zhi shiteiku(Figure 235).Tou Zhu ha,Li eba,Gu Dian no Zhu Shi Ben nioite,Wen Zhong noYu Ju niShuo Ming woShi suChang He niyokuLi Yong sareteiru. konoChang He ,Ban Mian Nei woShang Zhong Xia no3tsunoLing Yu niFen ke,Yi Fan Shang noLing Yu woZhu ,Zhong Yang Ling Yu niGu Dian noYuan Wen ,Xia Duan noLing Yu niFan Yi shitaXian Dai Wen woJie gerutoiuXing Shi mo Xing wareteiru. An example of headnotes in vertical writing mode Zong Zu niokeruTou Zhu noLi Figure 235 An example of headnotes in vertical writing mode Zong Zu niokeruTou Zhu noLi 3. Footnotes (in horizontal writing mode) : Notes set beneath the kihon-hanmen (see Figure 236). In horizontal writing mode, footnotes are the most frequently used note style. Jiao Zhu (Heng Zu ):Jiao Zhu ha,Ji Ben Ban Mian noDi Ce niJie gerareruZhu dearu(Figure 236).Heng Zu deha,Jiao Zhu noLi Yong gaZui moDuo i. An example of a footnote in horizontal writing mode Heng Zu niokeru Jiao Zhu noLi Figure 236 An example of a footnote in horizontal writing mode Heng Zu niokeruJiao Zhu noLi 4. Footnotes (in vertical writing mode) : The area for the footnote for vertical writing mode is reserved at the bottom of the kihon-hanmen beforehand, when the kihon-hanmen is designed, and notes are set in this area. This is similar to a headnote, but the location is beneath the base text. It is used in Japanese classic texts and keimousho (enlightening books), as explanations for technical terms. When illustrations are included in the footnote, basically the illustrations should be set within the footnote area (see Figure 237). Jiao Zhu (Zong Zu ):Zong Zu noJiao Zhu ha,Ji Ben Ban Mian noShe Ji Duan Jie dearakazimeZhu nota menoLing Yu woJi Ben Ban Mian noDi Ce niQue Bao shi,sokoniPei Zhi shiteiku.Tou Zhu noXing Shi niSi teiruga,Zhu noPei Zhi Wei Zhi woXia Bu nishitaXing Shi dearu(Figure 237). Gu Dian nadonoZhu Shi Ben yaQi Meng De naBen de,Zhuan Men De naShi Xiang noShuo Ming woShi suChang He nado niLi Yong sareteiru.konoXing Shi noZhu woCai Yong shitaChang He deTu Ban woPei Zhi surutoki ha,Tu Ban nosaizunimoyoruga,dekirudake,Zhu noLing Yu niTu Ban moPei Zhi suru younishiteiru. An example of a footnote in vertical writing mode Zong Zu niokeruJiao Zhu noLi Figure 237 An example of a footnote in vertical writing mode Zong Zu niokeruJiao Zhu noLi 5. Sidenotes (in vertical writing mode) : In vertical writing mode, related notes in a spread are set in the fore-edge of the left (recto) page (see Figure 238). In vertical writing mode, sidenotes are not frequently used. However, this style may be used more frequently, because for the reader this style causes minimal disturbance when following the flow of the base text, and the notes can be set very near to the related base text. Bang Zhu (Zong Zu ):Zong Zu nioite,Jian Kai kiwoDan Wei toshite,sonoFan Wei niaruXiang Mu niGuan Lian shitaZhu wo,Jian Kai kinoZuo pezi(Qi Shu pezi)noXiao Kou Ce niJie geru Zhu dearu(Figure 238).Zong Zu noBang Zhu noShi Yong Li haShao naiga,Ben Wen noLiu re woZu Hai shinaide,katsu,Guan Lian Xiang Mu noJin kuniZhu woJie gerukotogadekirunode ,motsutoLi Yong gaZeng etemoyoiXing Shi dearu. An example of a sidenote in vertical writing style Zong Zu niokeruBang Zhu noLi Figure 238 An example of a sidenote in vertical writing style Zong Zu niokeruBang Zhu noLi 6. Sidenotes (in horizontal writing mode) : In horizontal writing mode an area for a sidenote is reserved at the fore-edge side when the kihon-hanmen is designed, and the notes related to the page are set in the sidenote area of the same page (Figure 239). Related illustrations are also set in the area. There are cases where sidenotes in horizontal writing style are set not in the fore-edge but right side of both recto and verso pages (Figure 240). There are not so many cases of sidenotes in horizontal writing style. This style is sometimes used for keimousho (enlightening books) with many illustrations. Bang Zhu (Heng Zu ):Heng Zu okeruBang Zhu ha,saidonototoyobareteori,Ji Ben Ban Mian noShe Ji Duan Jie dearakazimeZhu notamenoLing Yu woXiao Kou Ce niQue Bao shi,pezi woDan Wei toshite,sonoFan Wei niaruXiang Mu niGuan Lian shitaZhu wosokoniPei Zhi shiteiku (Figure 239).Zhu dakedenaku,konoLing Yu niTu Ban Deng moPei Zhi sareru.Heng Zu okeruBang Zhu noWei Zhi woXiao Kou Ce denaku,pezinoYou Ce toshitaLi moaru( Figure 240).Heng Zu noBang Zhu noShi Yong Li haDuo kunaiga,Tu Ban Deng gaRu ruQi Meng De naBen deLi Yong sareteiru. Example one of a sidenote in horizontal writing mode Heng Zu niokeru Bang Zhu noLi 1 (Bang Zhu woXiao Kou Ce niPei Zhi ) Figure 239 Example one of a sidenote in horizontal writing mode Heng Zu niokeruBang Zhu noLi 1(Bang Zhu wo Xiao Kou Ce niPei Zhi ) Example two of a sidenote in horizontal writing mode (sidenotes are set in the right side of the pages) Heng Zu nio keruBang Zhu noLi 2 (Bang Zhu wopezinoYou Ce niPei Zhi ) Figure 240 Example two of a sidenote in horizontal writing mode (sidenotes are set in the right side of the pages) Heng Zu niokeruBang Zhu noLi 2(Bang Zhu wopezi noYou Ce niPei Zhi ) Note The processing of endnotes (vertical writing mode, horizontal writing mode), footnotes (horizontal writing mode) and sidenotes (vertical writing mode) is described in JIS X 4051 clause 9 "The processing of notes". Zhu noChu Li nitsuiteha,JIS X 4051deha"9 Zhu noChu Li "niGui Ding gaari,Hou Zhu (Zong Zu Heng Zu ),Jiao Zhu (Heng Zu ),Bang Zhu (Zong Zu )noChu Li Fa gaGui Ding sareteiru. Note Punctuation marks are also used in notes. The behavior of punctuation marks in notes is the same as in base text. Zhu nimoYue Wu haShi Yong sareru.koreranoChu Li haBen Wen toTong zidearu. Note The justification process is also applied to text processing in notes like in base text and paragraph processing. Accordingly, the line adjustment process is also applied to notes like in base text, and the details of the line adjustment process is very much the same as for base text. Shu Ji noBen Wen niokeruDuan Luo noChu Li toTong Yang ni,Zhu noChu Li demoOu Wen Zu Ban deiu "justification"gaYuan Ze dearu.shitagatsute,Ben Wen toTong Yang ni,Zhu nioitemoXing noDiao Zheng Chu Li gaBi Yao ninaru.sonoFang Fa moBen Wen toTong zidearu. Note Sidenotes in vertical writing mode can be considered as a modified footnote in horizontal writing mode, when conceiving a spread as a page. Zong Zu niokeruBang Zhu ha,Jian Kai kiwo1tsunopezitoKao ereba,Heng Zu niokeruJiao Zhu wo Zong Zu niYing Yong shitaXing Shi toiukotogadekiyou. Note Other than these styles of note, explanations of facts and persons in study aid books and history texts, and modern translations of Japanese classic texts are sometimes set between lines. These notes are called interlinear notes (see Figure 241). Shang Ji niJie getaZhu noXing Shi Yi Wai ni,Xue Xi Can Kao Shu yaLi Shi noJiao Ke Shu nadodeRen Wu yaShi Xiang noJian Dan naShuo Ming ,Gu Dian noXian Dai Wen henoFan Yi nadowoXing Jian niPei Zhi suruLi gaaru.kono youniXing Jian niPei Zhi suruZhu noXing Shi moaru(Figure 241).Xing Jian Zhu nadotoyobare teiru. An example of a note in inter lines Xing Jian niPei Zhi shitaZhu noLi Figure 241 An example of a note in inter lines Xing Jian niPei Zhi shitaZhu noLi Note The appropriate style of notes is dependent on the purpose of the notes, the volume of the notes and the content of the notes in each book. In general, it is preferable that notes are set as close as possible to the corresponding position of the base text. However, because sometimes notes are skipped to follow the base text stream, notes should not prevent the user reading the base text without reading the notes. donoyounaZhu noFang Shi woXuan Ze surukaha,sonoShu Ji niokeruZhu noZhu naMu De ,Zhu no Fen Liang ,Zhu noNei Rong nadoniyoru.Yi Ban ni,Zhu ha,Can Zhao shitaiJi nisuguniCan Zhao deki ruyouni,Ben Wen noGai Dang Ge Suo nodekirudakeJin kuniPei Zhi surukotogaWang mashii.shi kashi,Zhu hatoriaezuFei bashite,Ben Wen dakewoDu ndeikuChang He moarunode,Ben Wen dakewoDu ndeikuJi niZu Hai shinaiyounaChang Suo niZhu woPei Zhi suru,toiukoto moKao Lu suruBi Yao gaaru. 4.2.2 Note Numbers Zhu noFan Hao Some notes have no explicit relationship to the specific position of the base text, and describe issues only vaguely related to the issues on the same page. However, in most cases, notes are explicitly related to specific positions within the base text using note numbers. Zhu ha,Ben Wen noGai Dang Ge Suo tonoGuan Lian woShi sanaide,sonopeziniaruXiang Mu niGuan Lian shitaZhu woPei Zhi suruLi moaru.shikashi,Duo kuhaBen Wen noGai Dang Ge Suo tonoGuan Lian woShi su Zhu noFan Hao woFu ke,Guan Lian woShi suFang Fa wototsuteiru. Note There are cases, in the headnote for vertical writing mode and the sidenote for horizontal writing mode, where notes are set without an explicit relationship to the position of the base text. Zong Zu noTou Zhu Jiao Zhu ,Heng Zu noBang Zhu nadoni,Ben Wen noGai Dang Ge Suo tonoGuan Lian woShi sanai de,sonopeziniaruXiang Mu niGuan Lian shitaZhu woPei Zhi suruLi gaaru. Note Western numerals (for both vertical writing mode and horizontal writing mode) and ideographic numerals (for vertical writing mode) are frequently used for note numbers. Beside these numerals, a series of ASTERISK "*" characters, like "*", "**" and "***", or a sequence of ASTERISK "*", DAGGER "+", DOUBLE DAGGER "++", PILCROW SIGN "P", SECTION SIGN "SS", DOUBLE VERTICAL LINE "||", NUMBER SIGN "#" in this order are used as note numbers. Zhu noFan Hao niha,arabiaShu Zi (Zong Zu Heng Zu ),Han Shu Zi (Zong Zu )gayokuShi Yong sa reteiru.konoTa ni,*,**,...,toasuterisuku[*] (ASTERISK)noGe Shu deShi suFang Fa ,sarani,asuterisuku[*] (ASTERISK),daga[+] (DAGGER), daburudaga[++] (DOUBLE DAGGER),Duan Luo Ji Hao [P] (PILCROW SIGN),Jie Ji Hao [SS] (SECTION SIGN),Shuang Zhu [||] (DOUBLE VERTICAL LINE TO),Fan Hao Ji Hao [#] (NUMBER SIGN)deShun Xu woShi suFang Fa gaaru. Note Sometimes western numerals and ideographic numerals used as note numbers have accompanying parentheses. Usually, in vertical writing mode they are accompanied by LEFT PARENTHESIS "(" and RIGHT PARENTHESIS ")", and in horizontal writing mode, only RIGHT PARENTHESIS ")". Zhu noFan Hao ha,arabiaShu Zi You haHan Shu Zi woShi Yong shitaChang He ,sonoQian Hou niGua Hu Lei wo Fu keruXing Shi motorareteiru.Zong Zu deha,Qian niShi meXiao Gua Hu [(] (LEFT PARENTHESIS)wo,Hou roniZhong wariXiao Gua Hu [)] (RIGHT PARENTHESIS)woFu keruXing Shi gaDuo ku,Heng Zu deha,Hou roninomiZhong wariXiao Gua Hu [)] (RIGHT PARENTHESIS)wo Fu keruXing Shi gaDuo i. Note In vertical writing mode, western numerals used as note numbers are usually set using tate-chu-yoko style (see Figure 242). Zong Zu deZhu noFan Hao niarabiaShu Zi woYong itaChang He ha,Yi Ban niZong Zhong Heng nishiteiru( Figure 242). An example of western numerals as note numbers in tate-chu-yoko style. arabiaShu Zi noZhu noFan Hao woZong Zhong Heng nishitaLi Figure 242 An example of western numerals as note numbers in tate-chu-yoko style. arabia Shu Zi noZhu noFan Hao woZong Zhong Heng nishitaLi Note In vertical writing mode, the shapes of ideographic numerals used as note numbers are usually modified to a half em size in height. These ideographic characters are called hiraji (see Figure 243). Zong Zu deZhu noFan Hao niHan Shu Zi woYong itaChang He ha,Wen Zi woBian Xing shi,Shang Xia noWen Zi noWai Waku nosaizuwo50%nishitaHan Shu Zi woShi Yong suruLi gaDuo i.konoyounaWen Zi haPing Zi ( hirazi)toyobareteiru(Figure 243). An example of ideographic numerals as note numbers with hiraji shape Zhu noFan Hao niPing Zi noHan Shu Zi woShi Yong shitaLi Figure 243 An example of ideographic numerals as note numbers with hiraji shape Zhu noFan Hao niPing Zi noHan Shu Zi woShi Yong shitaLi Note numbers in corresponding positions in the base text are called reference marks. The character class of reference mark is characters as reference marks (cl-20). Ben Wen Zhong noGai Dang Xiang Mu niFu ketaZhu noFan Hao woHe Yin (aizirushi)toiu.Wen Zi kura sutoshiteha,He Yin Zhong noWen Zi (cl-20)tonaru. There are several principles related to how to reset the series of note numbers. Endnotes are usually reset every chapter or section. Sidenotes in vertical writing mode are usually reset in every spread. Footnotes in horizontal writing mode are usually reset in every page. Zhu noFan Hao noKai Shi Fang Fa niha,ikutsukanoFang Zhen gaaru.Hou Zhu noChang He ha,Pei Zhi Wei Zhi nimoyoruga,Zhang ,Jie nadowoDan Wei toshite,Zhang yaJie gaBian warutabini1karaKai Shi suru Xing Shi gaDuo i.Zong Zu noBang Zhu ha,Jian Kai kiDan Wei deKai Shi suruXing Shi gaDuo ku,Heng Zu noJiao Zhu ha,peziDan Wei deKai Shi suruXing Shi gaDuo i. Headnotes (in vertical writing mode), footnotes (vertical writing mode) and sidenotes (in horizontal writing mode) sometimes have no note numbers and are set with corresponding heading text with Japanese gothic typeface at the top of the note text (see Figure 244 ). Tou Zhu (Zong Zu ),Jiao Zhu (Zong Zu ),Bang Zhu (Heng Zu )deha,Zhu noFan Hao woFu kezuni,Gai Dang Xiang Mu woJian Chu shiXiang Mu toshitegoshitsukuTi nishiteMou Tou niJie geruXing Shi motoraretei ru(Figure 244). An example of a footnote (in vertical writing mode), with corresponding heading text with Japanese gothic face Jiao Zhu (Zong Zu )deMou Tou noXiang Mu Ming wogoshitsukuTi nishitaLi Figure 244 An example of a footnote (in vertical writing mode), with corresponding heading text with Japanese gothic face Jiao Zhu (Zong Zu )deMou Tou noXiang Mu Ming wogoshitsukuTi nishitaLi 4.2.3 The Processing of the Reference Mark He Yin noChu Li There are two styles for setting reference marks (characters as reference marks (cl-20)). One is to set the reference mark adjacent to the target word and on the interlinear right side (in vertical writing mode) or interlinear upper side (in horizontal writing mode). The other is to set the reference mark in the line just after the target word. Zong Zu You haHeng Zu noHe Yin (He Yin Zhong noWen Zi (cl-20))ha,Gai Dang Xiang Mu niJie shite,sono You Ce (Zong Zu )You haShang Ce (Heng Zu )noXing Jian niPei Zhi suruFang Fa to,Gai Dang Xiang Mu noHou rono Xing Zhong niPei Zhi suruFang Fa gaaru. Note characters as reference marks (cl-20) When the target word is at the bottom of the sentence, characters as reference marks (cl-20) are set before the full stops (cl-06). There is another method that sets the characters as reference marks (cl-20) after the full stops (cl-06), but this method is very rare. He Yin Zhong noWen Zi (cl-20)woGai Dang Xiang Mu noHou ronoXing Zhong niPei Zhi suruChang He ,Wen Mo notoki ha,Yi Ban niJu Dian Lei (cl-06)noQian niPei Zhi suru.Ju Dian Lei (cl-06)noHou roniPei Zhi suruFang Fa moaruga,sonoLi haShao nai. The method where the reference mark is set on the right side (vertical writing mode) or above (horizontal writing mode) is as follows (see Figure 245, Figure 246). Gai Dang Xiang Mu noYou Ce (Zong Zu )You haShang Ce (Heng Zu )niPei Zhi suruChang He ha,Ci noyounisu ru(Figure 245,Figure 246). An example where reference marks are set in the right inter-line space in vertical writing mode Zong Zu noHe Yin Zhong noWen Zi woYou Ce noXing Jian niPei Zhi su ruLi Figure 245 An example where reference marks are set in the right inter-line space in vertical writing mode Zong Zu noHe Yin Zhong noWen Zi woYou Ce no Xing Jian niPei Zhi suruLi An example where reference marks are set in inter-line space above in horizontal writing mode Heng Zu noHe Yin woShang Ce no Xing Jian niPei Zhi suruLi Figure 246 An example where reference marks are set in inter-line space above in horizontal writing mode Heng Zu noHe Yin woShang Ce noXing Jian niPei Zhi suruLi 1. Character size of reference marks is around 6 points. Wen Zi saizuha,6pointokuraitosuru. 2. In vertical writing mode, the bottom edges of the character frames of the target word and the characters as reference marks (cl-20) are aligned. In horizontal writing mode, the right side of the characters as reference marks (cl-20) and the target word are aligned. The characters as reference marks (cl-20) are not set outside of the area of the hanmen or column, so in such cases, characters as reference marks (cl-20) are aligned at the top of the line. In this case, characters as reference marks (cl-20) may jut out of the bottom of the target word. Zong Zu noChang He ,He Yin Zhong noWen Zi (cl-20)noZui Xia Duan toGai Dang Xiang Mu noZui Xia Duan towoso roeru.Heng Zu noChang He ,He Yin Zhong noWen Zi (cl-20)noZui You Duan toGai Dang Xiang Mu noZui You Duan towosoroeru.soroetaJie Guo ,Xing Tou Ce niFu kuHe Yin Zhong noWen Zi (cl-20)ga Ban Mian You haDuan noLing Yu yorihamiChu suChang He ha,konohamiChu shihaJin Zhi sareteiru node,He Yin Zhong noWen Zi (cl-20)noXian Tou woXing Tou nisoroeru.konoChang He ,Gai Dang Xiang Mu noZui Xia Duan You haZui You Duan yorihamiChu shitemoyoi. 3. The target word corresponding to the reference mark can be split across a line break where permitted. However, characters as reference marks (cl-20) are not split when including opening brackets (cl-01) and closing brackets (cl-02) and are treated as one object. He Yin Zhong noWen Zi (cl-20)gaFu kuGai Dang Xiang Mu ha,2Xing niFen Ge Ke Neng naGe Suo deha2Xing niFen Ge shiteyoiga,He Yin Zhong noWen Zi (cl-20)haShi meGua Hu Lei (cl-01)Ji bi Zhong wariGua Hu Lei (cl-02)woHan meteYi Ti toshiteXi i,sonoZi Jian deha2Xing niFen Ge shitehanaranai. 4. Reference marks do not affect the default line gap. He Yin Zhong noWen Zi (cl-20)gaFu kuChang He demo,sonoXing Jian haBian Geng shinai. 5. Reference marks, attached to the word set in the first line of the page or column, are set touching the outside of the hanmen or column area (see (Figure 245, Figure 246). Ban Mian You haDuan noXian Tou noXing niHe Yin Zhong noWen Zi (cl-20)gaFu kuChang He ,He Yin Zhong noWen Zi (cl-20)ha,Ban Mian noWai Ce niJie shitePei Zhi suru.(Figure 245,Figure 246) In vertical writing mode, characters as reference marks (cl-20) are set just after the target word inline, as follows (see Figure 247): Zong Zu nioite,He Yin Zhong noWen Zi (cl-20)woGai Dang Xiang Mu noHou ronoXing Zhong niPei Zhi suruChang He ha,Ci noyounisuru(Figure 247). An example of reference marks set inline just after the target word in vertical writing mode Zong Zu noHe Yin Zhong noWen Zi woGai Dang Xiang Mu noHou ronoXing Zhong niPei Zhi suruLi Figure 247 An example of reference marks set inline just after the target word in vertical writing mode Zong Zu noHe Yin Zhong noWen Zi woGai Dang Xiang Mu noHou ronoXing Zhong niPei Zhi suruLi 1. Character size of reference marks is one or two levels smaller than the character size defined for the kihon-hanmen. He Yin Zhong noWen Zi (cl-20)noWen Zi saizuha,Ji Ben Ban Mian noWen Zi saizuyori1Duan Jie You ha2Duan Jie Xiao sakusuru. 2. The right side of characters as reference marks (cl-20) is set aligned with the right side of the base character line. He Yin Zhong noWen Zi (cl-20)noXing niokeruXing Song riFang Xiang noWen Zi noPei Zhi Wei Zhi ha,Xing noYou Duan nisoroetePei Zhi suru. 3. Characters as reference marks (cl-20) are set solid with the base text before and after, except when followed by opening brackets (cl-01) (see SS B. Spacing between Characters Wen Zi Jian noKong kiLiang ). He Yin Zhong noWen Zi (cl-20)noQian Hou ha,He Yin Zhong noWen Zi (cl-20)noHou roCe niShi meGua Hu Lei (cl-01)gaPei Zhi sareruChang He woChu ite,betaZu tosuru(SS B. Spacing between Characters Wen Zi Jian noKong kiLiang ). 4. Characters as reference marks (cl-20) do not include line breaks when including opening brackets (cl-01) and closing brackets (cl-02), and are handled as one object. Characters as reference marks (cl-20) are not used for the line adjustment process, i.e., are set solid. Also, characters as reference marks (cl-20) and base characters before and after are set solid. He Yin Zhong noWen Zi (cl-20)haShi meGua Hu Lei (cl-01)Ji biZhong wariGua Hu Lei (cl-02 )woHan meteYi Ti toshiteXi i,sonoZi Jian deha2Xing niFen Ge shitehanaranai.ma ta,Xing noDiao Zheng Chu Li deZi Jian woKong ketehanaranai.mata,He Yin Zhong noWen Zi ( cl-20)noQian tosonoQian niPei Zhi sareruWen Zi Ji Hao tonoZi Jian moTong Yang tosuru. In horizontal writing mode, characters as reference marks (cl-20) are set inline just after the target word as follows (Figure 248): Heng Zu nioite,He Yin Zhong noWen Zi (cl-20)woGai Dang Xiang Mu noHou ronoXing Zhong niPei Zhi suruChang He ha,Ci noyounisuru(Figure 248). An example of reference marks set inline just after the target word in horizontal writing mode Heng Zu noHe Yin Zhong noWen Zi woGai Dang Xiang Mu noHou ronoXing Zhong ni Pei Zhi suruLi Figure 248 An example of reference marks set inline just after the target word in horizontal writing mode Heng Zu noHe Yin Zhong noWen Zi wo Gai Dang Xiang Mu noHou ronoXing Zhong niPei Zhi suruLi 1. Characters as reference marks (cl-20) are same kind to characters for superior scripts. He Yin Zhong noWen Zi (cl-20)niShi Yong suruWen Zi ha,Tian eZi noShang Fu kiWen Zi toTong zito suru. 2. Characters as reference marks (cl-20) and base characters before and after are set solid, except for characters as reference marks (cl-20) followed by opening brackets (cl-01). He Yin Zhong noWen Zi (cl-20)noQian Hou ha,He Yin Zhong noWen Zi (cl-20)noHou roCe niShi meGua Hu Lei (cl-01)gaPei Zhi sareruChang He woChu ite,betaZu tosuru. 3. Characters as reference marks (cl-20) are not broken across a line end when including opening brackets (cl-01) and closing brackets (cl-02), and are handled as a one object. Characters as reference marks (cl-20) are not used for the line adjustment process, i.e., are set solid. Also, characters as reference marks (cl-20) and base characters before and after are set solid. He Yin Zhong noWen Zi (cl-20)haShi meGua Hu Lei (cl-01)Ji biZhong wariGua Hu Lei (cl-02 )woHan meteYi Ti toshiteXi i,sonoZi Jian deha2Xing niFen Ge shitehanaranai.ma ta,Xing noDiao Zheng Chu Li deZi Jian woKong ketehanaranai.mata,He Yin Zhong noWen Zi ( cl-20)noQian tosonoQian niPei Zhi sareruWen Zi Ji Hao tonoZi Jian moTong Yang tosuru. 4.2.4 Processing of Endnotes in Vertical Writing Mode or Horizontal Writing Mode Zong Zu You haHeng Zu noHou Zhu Chu Li The following figure is a common example of endnotes set at the end of paragraphs in vertical writing mode (see Figure 249). Duan Luo noHou roniPei Zhi shitaZong Zu niokeruHou Zhu noYi Ban De naPei Zhi Li woTu Jie shiteShi su( Figure 249). An example of endnotes set at the end of paragraphs in vertical writing mode Duan Luo noHou roniPei Zhi shitaZong Zu noHou Zhu noPei Zhi Li Figure 249 An example of endnotes set at the end of paragraphs in vertical writing mode Duan Luo noHou roniPei Zhi shitaZong Zu noHou Zhu noPei Zhi Li Specific issues related to setting endnotes in vertical writing mode or horizontal writing mode include the following: Zong Zu You haHeng Zu nioiteHou Zhu woPei Zhi suruJi ni,Te niWen Ti tonaruShi Xiang woJie Shuo suru . 1. The character size of endnotes should be one or two levels smaller than the character size of the base text in the kihon-hanmen. Hou Zhu noWen Zi saizuha,Ji Ben Ban Mian noWen Zi saizuyori1Duan Jie You ha2Duan Jie Xiao saku suru. Note For example, when the character size of the base text is nine points, the character size of endnotes in B6 size or four by six size is seven points, and in A5 size is eight points or seven points. Li eba,Ji Ben Ban Mian noWen Zi saizuga9pointonoChang He ,B6You haSi Liu Pan deha7 pointo,A5deha8pointoYou ha7pointotosuru. 2. The indent length should be around two characters sizes of the base text in the kihon-hanmen. The line length of endnotes should be an integer-based number of times the endnote character size. The bottom of the endnote line should be set aligned with the bottom edge of the kihon-hanmen or column area. Accordingly, the indent length of endnotes needs to be adjusted and the length may sometimes differ by an integer-based number of units based on the base character size of the kihon-hanmen. Zi Xia geha,Ji Ben Ban Mian noWen Zi saizuno2Bei kurainisuru.Hou Zhu noXing Chang ha,Hou Zhu noWen Zi saizunoZheng Shu Bei nisuru.mata,Hou Zhu noMo Wei ha,Ban Mian You haDuan noLing Yu noXia Duan (Zong Zu )You haYou Duan (Heng Zu )niJie shitePei Zhi suru.koreniCong i,Zi Xia genoLiang haDiao Zheng gaBi Yao ninari,Ji Ben Ban Mian noWen Zi saizunoZheng Shu Bei ninarana iLi moDuo i. Note For example, supposing the character size of the base text in the kihon-hanmen is nine points and one line contains forty three characters, the character size of the endnote is seven points, the indent length is calculated as follows: Li eba,Ji Ben Ban Mian noWen Zi saizuga9pointo,Zi Jie meShu ga43Zi noChang He ,Hou Zhu noWen Zi saizuwo7pointotosuruto,Zi Xia genoLiang ha,Ci noyouniJi Suan de kiru. line length of base text 387 point = 9 point x 43 characters Ji Ben Ban Mian noXing Chang 387pointo=9pointox43Zi convert to 7 point based 387 point = 7 point x 55 characters line length + 2 point 7pointonoZi Shu niHuan Suan 387pointo=7pointox55Zi +2poin to Suppose the line length of the endnote is 7 points by 53 characters, the length of indent is 16 points with following calculation: Hou Zhu noXing Chang wo7pointox53Zi tosuruto,Zi Xia genoLiang ha,Ci noJi Suan kara, 16pointotonaru. 16 point = 387 point - 7 point x 53 characters 16pointo=387pointo-7pointox53Zi Suppose line length of the endnote is 7 points by 52 characters, indent length is 23 points with following calculation: Hou Zhu noXing Chang wo7pointox52Zi tosuruto,Zi Xia genoLiang ha,Ci noJi Suan kara, 23pointotonaru. 23 point = 387 point - 7 point x 52 characters 23pointo=387pointo-7pointox52Zi Accordingly, in this case, the indent length of the endnote is 16 points or 23 points. shitagatsute,konoChang He noHou Zhu noZi Xia genoLiang ha,16pointoYou ha23poin totosuru. 3. The inter-letter spacing after the head endnote number is usually the size of a full-width character of the endnote. Hou Zhu noXing Tou Ce niFu kuZhu noFan Hao noHou roha,Yi Ban niHou Zhu noWen Zi saizunoQuan Jiao akitosuru. 4. When the endnote is two lines or more, the second line and after are indented one or two full-width character sizes longer than the first line. Hou Zhu ga2Xing Yi Shang tonatsutaChang He ,Hou Zhu no2Xing Mu Yi Xia noZi Xia geha,1Xing Mu yori, Hou Zhu noWen Zi saizuno2Bei You haQuan Jiao tosuru. 5. Line gaps of endnotes are narrower than the line gap of the kihon-hanmen because of the smaller character size of endnotes. Hou Zhu noXing Jian ha,Wen Zi saizuwoXiao sakushiteirunode,soreniYing ziteXia kusu ru. 6. When new chapters are begun after a page break or new recto, endnotes are set just before the page or page break or new recto, and the space after the endnote may be left as is. Only the line gap between the base text and the endnote should be specified. However, when the endnotes are set between paragraphs, the line gap before and after the endnote becomes an issue. Basically, the minimum size of line gaps between the endnote and the base text, before and after, is the line gap decided for the kihon-hanmen, and usually, the line at the end of the hanmen or a column is aligned with the bottom of the hanmen or the column. In these cases, the fraction of line gap is basically adjusted by the increase of the line gap after the endnote, but when the endnote comes to the end of the hanmen or the column, the line gap before the endnote is increased (Figure 250). Gai pezi,Gai Ding nadodeKai Shi suruZhang nadonoMo Wei niHou Zhu woPei Zhi suruChang He ,Gai pezi,Gai Ding nadodeKai Shi sareruZhi Qian nopeziniHou Zhu haPei Zhi sare,Hou Zhu no Hou rohaKong Bai tonari,Da kinaWen Ti hadenai.Hou Zhu tosonoQian niPei Zhi sareruBen Wen tonoXing Jian woJue merebayoi.shikashi,Duan Luo noJian nadoniHou Zhu woCha Ru suruChang He ha,Hou Zhu noQian Ji biHou roniPei Zhi sareruBen Wen tonoXing Jian gaWen Ti tonaru.Yuan Ze toshite,Hou Zhu tosonoQian Hou niPei Zhi suruBen Wen tonoZui Xiao noXing Jian ha,Ji Ben Ban Mian de She Ding shitaXing Jian tosuru.mata,Tong Chang ,Ban Mian You haDuan noMo Wei niPei Zhi sareruXing ha ,Ban Mian You haDuan noLing Yu noMo Wei nisoroeru.konoChang He noXing Song riFang Xiang noBan Duan ha ,Yuan Ze toshiteHou Zhu noHou rowoZeng yashiteChu Li suruga,Ban Mian You haDuan noMo Wei niHou Zhu gakitatokiha,Hou Zhu noQian nitoru(Figure 250). An example of the handling of line gaps before and after endnotes Hou Zhu Qian Hou noXing Jian noChu Li Li Figure 250 An example of the handling of line gaps before and after endnotes Hou Zhu Qian Hou noXing Jian noChu Li Li 4.2.5 Processing of Footnotes in Horizontal Writing Mode Heng Zu noJiao Zhu Chu Li Setting positions of footnotes in horizontal writing mode are at the bottom of the hanmen in the page where the target words and the reference marks appear in one column, and at the bottom of the column space where the target words and the reference marks appear in two or more columns. When footnotes overflow from the hanmen or the column, the overflowed part of the footnotes is inserted before the footnotes of the next page or next column. Heng Zu niokeruJiao Zhu noPei Zhi Wei Zhi ha,1Duan Zu noChang He ha,He Yin gaarupezinoBan Mian no Zui Xia Duan niJie shitePei Zhi shi,Duo Duan Zu noChang He ha,He Yin gaaruDuan noLing Yu noZui Xia Duan niJie shitePei Zhi suru.sonopeziYou haDuan niDui Ying suruJiao Zhu noQuan Bu You haYi Bu gaRu rikira naiChang He ha,Ru rikiranaiJiao Zhu Bu Fen woCi peziYou haCi noDuan ni,sonopeziYou haDuan niRu ruJiao Zhu noQian niCha Ru suru. Note In the case of multiple columns, footnotes are set at the bottom of the column where corresponding reference marks appear (see Figure 251 ). However, there are cases where all footnotes in the page are set at the bottom of the hanmen with one column (see Figure 252). Duo Duan Zu noChang He ,Ge Duan gotoniDuan noLing Yu niJiao Zhu haPei Zhi suru(Figure 251).shika shi,He Yin gaarupezinoXia Duan niQuan Duan woTong shitePei Zhi suruFang Fa moXing wareteiru( Figure 252). Example one of footnotes in multiple columns Duo Duan Zu noJiao Zhu noPei Zhi Li 1 Figure 251 Example one of footnotes in multiple columns Duo Duan Zu noJiao Zhu noPei Zhi Li 1 Example two of footnotes in multiple columns Duo Duan Zu noJiao Zhu no Pei Zhi Li 2 Figure 252 Example two of footnotes in multiple columns Duo Duan Zu noJiao Zhu noPei Zhi Li 2 Note When footnotes are set just before page breaks or new rectos, footnotes are set aligned with the bottom of the kihon-hanmen including rules, and space between base text and footnotes are used for the alignment (see Figure 253). There are cases where footnotes are set continuously following the base text and the space after footnotes is left as is, but in Japan these cases are few (see Figure 254). Gai pezi,Gai Ding nadonoZhi Qian pezinadoniJiao Zhu woPei Zhi suruChang He mo,Jiao Zhu woQu Qie ruGua Xian woHan meteBan Mian noZui Xia Duan niJie shitePei Zhi shi,Yu Bai ha,Ben Wen toJiao Zhu tonoJian ni toru(Figure 253).Ben Wen niLian Sok shitePei Zhi shi,Jiao Zhu noHou roniYu Bai wotoruFang Fa moaruga,Ri Ben Yu Zu Ban deha,sonoLi haShao nai(Figure 254). Example one of footnotes before page break or new recto Jiao Zhu noGai pe zi,Gai Ding nadonoZhi Qian pezihenoPei Zhi Li 1 Figure 253 Example one of footnotes before page break or new recto Jiao Zhu noGai pezi,Gai Ding nadonoZhi Qian pezihenoPei Zhi Li 1 Example two of footnotes before page break or new recto Jiao Zhu noGai pezi,Gai Ding nadonoZhi Qian pezihenoPei Zhi Li 2 Figure 254 Example two of footnotes before page break or new recto Jiao Zhu noGai pe zi,Gai Ding nadonoZhi Qian pezihenoPei Zhi Li 2 Note When some part of a footnote overflows to the next page or the next column, it is recommended to set an arrow symbol or similar symbol at the very end of the part of the footnote set in the page or the column where the corresponding reference mark appears, to indicate that the footnote is continuing to the next page or the next column. Especially, when the overflowed part of the footnote is set in an even page, such guidance is very useful. To put it the other way around, it is better to avoid such cases. Treating such cases is not a matter of type setting methodology but of editorial issues. One editorial solution is to change the position of the reference mark by modification of the page layout. He Yin gaarupeziYou haDuan ni,Dui Ying suruJiao Zhu noYi Bu gaRu rikirazu,Ru rikirana iBu Fen woCi peziYou haCi Duan niPei Zhi suruChang He ha,He Yin gaarupeziYou haDuan niPei Zhi shitaJiao Zhu noZui Hou Ji biCi peziYou haCi Duan niPei Zhi suruJiao Zhu noXian Tou niShi Yin nadono gaidowoFu kerutoyoi.Te niPei Zhi Xian gaOu Shu pezininaruChang He ha,gaidogaBi Yao ninaru.Ni niieba,konoyounaPei Zhi ninaruChang He ha,dekirudakeBi ketaFang gayoi.korehaZu Ban Shang noChu Li toiuyorihaBian Ji Shang noGong Fu gaBi Yao ninari,Li e ba,Ke Neng dearebaBen Wen Zhong noHe Yin noFu kuWei Zhi woBian Geng surunadonoGong Fu woXing utoyo i. Following figure is an common example of footnotes in horizontal writing mode (see Figure 255). 1Duan Zu noHeng Zu niokeruJiao Zhu noYi Ban De naPei Zhi Li woTu Jie shiteShi su(Figure 255). An example of footnotes in single column horizontal writing mode 1Duan Zu noHeng Zu noJiao Zhu noPei Zhi Li Figure 255 An example of footnotes in single column horizontal writing mode 1Duan Zu noHeng Zu noJiao Zhu noPei Zhi Li The following items are outstanding issues when setting footnotes in horizontal writing mode: Heng Zu noJiao Zhu woPei Zhi suruJi ni,Te niWen Ti tonaruShi Xiang woJie Shuo suru. 1. The character size of footnotes is one or two levels smaller than the character size of the base text in the kihon-hanmen. Jiao Zhu noWen Zi saizuha,Ji Ben Ban Mian noWen Zi saizuyori1Duan Jie You ha2Duan Jie Xiao saku suru. 2. Usually footnotes are accompanied by lines to separate the base text and footnotes (i.e. rules), indentation is not needed. However because the line length of footnotes should be multiples of the character size of footnotes, the difference in line length of the base text and line length of footnotes is adjusted with the insertion of left side spacing and the bottom of footnote is aligned with the kihon-hanmen or column area. Jiao Zhu ha,Yi Ban nisonoQian niQu Qie rinotamenoGua Xian woCha Ru surunode,Zi Xia geha Xing wanakuteyoi.tadashi,Jiao Zhu noXing Chang ha,Jiao Zhu noWen Zi saizunoZheng Shu Bei ni suruBi Yao gaarunode,Ji Ben Ban Mian deShe Ding shitaXing Chang toJiao Zhu noXing Chang tonoChai ha, Zuo Duan nitori(Zi Xia getonaru),Jiao Zhu noXing Mo haBan Mian You haDuan noLing Yu noYou Duan ni Jie suruyounisuru. Note For example, when the base text line length is nine point by thirty four characters and footnote character size is seven point, the remaining space of footnotes are calculated as follows: Li eba,Ji Ben Ban Mian noWen Zi saizuga9pointo,Zi Jie Shu ga34Zi noChang He ,Jiao Zhu noWen Zi saizuwo7pointotosuruto,Zi Xia genoLiang ha,Ci noyouniJi Suan deki ru. line length of base text 306 point = 9 point x 34 characters Ji Ben Ban Mian noXing Chang 306pointo=9pointox34Zi convert to 7 point based 306 point = 7 point x 43 characters line length + 5 point 7pointonoZi Shu niHuan Suan 306pointo=7pointox43Zi +5poin to When line length of footnotes is set as seven point by forty three characters, the space inserted in the left side of footnote lines is 5 point. Jiao Zhu noXing Chang wo7pointox43Zi tosuruto,Zi Xia genoLiang ha5pointotonaru. Note For example, when base text line length is 9 point by thirty five characters and footnote character size is seven point, the left space of footnotes are calculated as follows: Jiao Zhu noXing Chang wo7pointox43Zi tosuruto,Zi Xia genoLiang ha5pointotonaru. line length of base text 315 point = 9 point x 35 characters Ji Ben Ban Mian noXing Chang 315pointo=9pointox35Zi convert to 7 point based line 315 point = 7 point x 45 length characters 7pointonoZi Shu niHuan Suan 315pointo=7pointox45Zi when line length of footnote is seven point by 45 characters, there is no left space inserted. Jiao Zhu noXing Chang wo7pointox45Zi tosuruto,Zi Xia genoLiang ha0pointotonaru. 3. The inter-character spacing between footnote numbers at the top of the line and footnote text is usually a full-width of footnote text character in size. Jiao Zhu noXing Tou Ce niFu kuZhu noFan Hao noHou roha,Yi Ban niJiao Zhu noWen Zi saizunoQuan Jiao akitosuru. 4. When a footnote has two or more lines, the second line or below is indented by one em space, or the first line is indented by one em space of footnote character size (Figure 256). Jiao Zhu ga2Xing Yi Shang tonatsutaChang He ,Jiao Zhu no2Xing Mu Yi Xia noZi Xia gewo1Xing Mu yori,Jiao Zhu noWen Zi saizunoQuan Jiao akitosuruka,Ni ni,1Xing Mu noZi Xia gewo2Xing Mu yori ,Jiao Zhu noWen Zi saizunoQuan Jiao akitosuru(Figure 256). Examples of indents of footnotes, first line indentation and second line and below indentation Jiao Zhu no2Xing Mu Yi Xia You ha1Xing Mu noZi Xia genoLi Figure 256 Examples of indents of footnotes, first line indentation and second line and below indentation Jiao Zhu no2Xing Mu Yi Xia You ha1Xing Mu noZi Xia genoLi 5. Line gaps of footnotes are narrower according to the smaller size of footnote characters. The line gap of footnotes is recommended to be a half em of a footnote character size or slightly narrower, depending on the base text line gap. Jiao Zhu noXing Jian ha,Wen Zi saizuwoXiao sakushiteirunode,soreniYing ziteXia kusu ru.Jiao Zhu noXing Jian ha,Ji Ben Ban Mian noXing Jian nimoyoruga,Jiao Zhu noWen Zi saizunoEr Fen kuraika,soreyoriyayaJie merukuraigayoi. 6. A line called a rule is inserted between the base text and footnotes to distinguish the footprint of the footnotes. For this purpose, a thin border is used. The length of the line is usually one third of the line length of the kihon-hanmen, depending on the kihon-hanmen design. The left side of the line is aligned to the left side of the hanmen or column. The line gap between the line and the footnote is slightly wider than the usual line gap among footnotes. Jiao Zhu tosonoQian niPei Zhi suruBen Wen tonoJian woQu Qie rutamenoGua Xian woCha Ru suru.ko noGua Xian ha,Biao Gua (omotekei)tosuru.Gua Xian noChang saha,Ji Ben Ban Mian deShe Ding shitaXing Chang nimoyoruga,Xing Chang no1/3kurainisuru.Zuo Duan haBan Mian You haDuan noZuo Duan nisoroeru.Qu Qie rutamenoGua Xian toJiao Zhu tonoXing Jian ha,Jiao Zhu noXing Jian yoriyaya Guang kusurukotogaWang mashii. Note There are cases without the line between base text and footnotes, but in Japan these cases are few. Jiao Zhu toBen Wen towoQu Qie ruGua Xian woRu renaiFang Fa moaruga,Ri Ben Yu Zu Ban deha, sonoLi haShao nai. 7. The minimum size of line gaps among base text, the rule, and footnotes is a line gap size of the base text in the kihon-hanmen. The bottom line of footnotes is aligned to the edge of the kihon-hanmen or column area. Accordingly, fractions will appear. This fraction is inserted between the base text area and the rule. Accordingly, the fraction between the rule and the base text area will change between the line gap of the kihon-hanmen and the character size plus line gap of the kihon-hanmen. Jiao Zhu toBen Wen towoQu Qie ruGua Xian to,sonoQian nikuruBen Wen tonoKong kiLiang (Xing Jian )ha ,Zui Xiao woJi Ben Ban Mian deShe Ding shitaXing Jian noDa kisatosuru.Jiao Zhu noXia Duan ha,Ban Mian You haDuan noLing Yu noZui Xia Duan nisoroerunode,Xing Song riFang Xiang nosaizudeBan Duan gaChu ru.konoBan Duan haBen Wen toQu Qie rinotamenoGua Xian tonoJian nitoru.shitagatsute, Jiao Zhu toBen Wen towoQu Qie ruGua Xian to,sonoQian nikuruBen Wen tonoKong kiLiang (Xing Jian )ha ,Ji Ben Ban Mian deShe Ding shitaXing Jian kara,Ji Ben Ban Mian noWen Zi saizu+Xing Jian Wei Man noZhi noJian deBian Dong suru. Note When rules are not used between base text and footnotes, the line gap between base text and footnotes is set wider than the usual line gap between base text of kihon-hanmen. For example, when the character size of the base text in the kihon-hanmen is nine point, the minimum size of the line gap between the base text and the footnotes is twelve point. Usually, it is recommended that the minimum size of the line gap between the base text and the footnotes is set larger than the character size of the base text in the kihon-hanmen. Jiao Zhu toBen Wen towoQu Qie ruGua Xian woRu renaiFang Fa noChang He ha,Jiao Zhu toBen Wen tonoJian noZui Xiao noKong kiLiang (Xing Jian )woJi Ben Ban Mian deShe Ding shitaXing Jian yoriDa kikusuruBi Yao gaaru.Li eba,Ji Ben Ban Mian noWen Zi saizuwo9pointotoshitaChang He ,konoXing Jian noZui Xiao noKong kiLiang wo12pointotoitsutayouni,Ji Ben Ban Mian noWen Zi saizu yorimoDa kikushitaFang gayoi. 4.2.6 Processing of Sidenotes in Vertical Writing Mode Zong Zu noBang Zhu Chu Li The following figure is a common example of sidenotes in vertical writing mode (see Figure 257). Zong Zu niokeruBang Zhu noYi Ban De naPei Zhi Li woTu Jie shiteShi su(Figure 257). An example of sidenotes in vertical writing mode Zong Zu noBang Zhu noPei Zhi Li Figure 257 An example of sidenotes in vertical writing mode Zong Zu noBang Zhu noPei Zhi Li Side notes in vertical writing mode are similar to footnotes in horizontal writing mode. Accordingly, general methods for footnotes in horizontal writing mode can be applied to sidenotes in vertical writing mode. The following items are outstanding issues only applied to sidenotes in vertical writing mode: Zong Zu noBang Zhu ha,Heng Zu noJiao Zhu noXing Shi toSi teiru.shitagatsute,sonoChu Li ha,Heng Zu noJiao Zhu noChu Li noYing Yong demoaru.Zong Zu noBang Zhu woPei Zhi suruJi ni,Te niWen Ti tona ruShi Xiang niXian riJie Shuo suru. 1. Side notes in vertical writing mode are set at the left side of the odd page of the spread to which corresponding reference marks appear. In multiple columns, sidenotes are aligned to the left side of the lowest column. Zong Zu noBang Zhu ha,sonoJian Kai kiNei niFu iteiruHe Yin niDui Ying suruZhu wo,Qi Shu pe zinoZuo Duan nisoroetePei Zhi suru.Duo Duan Zu dehaZui Xia Duan noZuo Duan nisoroetePei Zhi suru. 2. When the volume of sidenotes is too great, the sidenotes may overflow to the even page. In multiple columns, the sidenotes may overflow to the column above. Zhu noFen Liang gaDuo iChang He ha,Ou Shu pezinihamiChu shiteyoi.Duo Duan Zu noChang He ha ,Shang noDuan nihamiChu shiteyoi. 3. When it is not possible to set any sidenotes or some of the sidenotes in a spread, the overflowed part may be inserted before the sidenotes corresponding to the next reference mark in an odd page or the lowest column in an odd page of the next spread. Dui Ying suruBang Zhu noQuan Bu You haYi Bu gaRu rikiranaiChang He niha,Ru rikiranaiBang Zhu Bu Fen wo,Zhi Hou noJian Kai kiniokeruQi Shu peziYou haQi Shu pezinoZui Xia Duan ni ,Ci noJian Kai kinoHe Yin niDui Ying suruBang Zhu noQian niCha Ru suru. 4. In pages just before a page break or a new recto, the sidenotes are set in the last page of the section following the base text, even if the last page is even. If it is not possible to set the side notes in the page, the part of the notes that juts out is set from the top of the next page or the top of the first column, then the page is followed by page break or new recto. Gai pezi,Gai Ding nadonoZhi Qian nopezinadodeha,Qi Shu peziOu Shu pezi niGuan warazu,sonoBu Fen noZui Zhong peziniPei Zhi suru.nao,Zui Zhong peziniPei Zhi dekinaidehamiChu shigaChu ruChang He ,sonohamiChu shiha,1Duan Zu notokihaCi pe zinoXian Tou karaPei Zhi shi,Bang Zhu noPei Zhi gaJi ndatokorodeGai pezi,Gai Ding na donoChu Li wosuru.Duo Duan Zu noChang He ha,hamiChu shiha,Ci pezinoXian Tou Duan kara Pei Zhi shi,Bang Zhu noPei Zhi gaJi ndatokorodeGai pezi,Gai Ding nadonoChu Li wosuru . 5. In the above cases, the remaining space is usually inserted after the sidenote, unlike the case where footnotes are inserted between the base text and the footnotes in horizontal writing mode. Shang Ji ddePei Zhi shitaJie Guo ,Yu Bai gaChu taChang He noChu Li ha,Jiao Zhu noyouniBen Wen toJiao Zhu tonoJian nitoruXing Shi dehanaku,Bang Zhu noHou ronitoruFang Fa gaDuo i. 6. A thin line is inserted between the base text and sidenotes to distinguish them. The line is a thin border. The length of the line depends on the line length of the kihon-hanmen, but is usually one third of the line length, and the top end of the line is aligned to the top edge of the kihon-hanmen. It is recommended that the gap between the line and the sidenotes is a little bit wider than for footnote cases. Bang Zhu tosonoQian niPei Zhi suruBen Wen tonoJian woQu Qie rutamenoGua Xian woCha Ru suru.ko noGua Xian ha,Biao Gua (omotekei)tosuru.Gua Xian noChang saha,Ji Ben Ban Mian deShe Ding shitaXing Chang nimoyoruga,Xing Chang no1/3kurainisuru.Shang Duan haBan Mian You haDuan noShang Duan nisoroeru.Qu Qie rutamenoGua Xian toBang Zhu tonoXing Jian ha,Jiao Zhu noXing Jian yoriyaya Guang kusurukotogaWang mashii. Note There are cases when the lines to distinguish base text and sidenotes are not inserted. Bang Zhu toBen Wen towoQu Qie ruGua Xian woRu renaiFang Fa moaru. 7. The minimum value of the line gap between the line to distinguish the base text and sidenotes is the value of line gap decided in the kihon-hanmen. The left side of the last line of the sidenotes is aligned to the left edge of the kihon-hanmen or the column. Accordingly, a fraction space in the block direction is inserted between the base text area and the rule, and the fraction between the rule and the base text area will change between the line gap of the kihon-hanmen and the character size plus line gap of the kihon-hanmen. Bang Zhu toBen Wen towoQu Qie ruGua Xian to,sonoQian nikuruBen Wen tonoKong kiLiang (Xing Jian )ha ,Zui Xiao woJi Ben Ban Mian deShe Ding shitaXing Jian noDa kisatosuru.Bang Zhu noZuo Duan ha,Ban Mian You haDuan noLing Yu noZui Zuo Duan nisoroerunode,Xing Song riFang Xiang nosaizudeBan Duan gade ru.konoBan Duan haBen Wen toQu Qie rinotamenoGua Xian tonoJian nitoru.shitagatsute, Bang Zhu toBen Wen towoQu Qie ruGua Xian to,sonoQian nikuruBen Wen tonoKong kiLiang (Xing Jian )ha ,Ji Ben Ban Mian deShe Ding shitaXing Jian kara,Ji Ben Ban Mian noWen Zi saizu+Xing Jian Wei Man noZhi noJian deBian Dong suru. 4.2.7 Processing of Headnotes (in Vertical Writing Mode), Footnotes (in Vertical Writing Mode) and Sidenotes (in Horizontal Writing Mode) Tou Zhu (Zong Zu )Jiao Zhu (Zong Zu )Bang Zhu (Heng Zu )noChu Li Processing of headnotes in vertical writing mode, footnotes in vertical writing mode and sidenotes in horizontal writing mode is very similar, so these processing methods will be described together in this section. These types of notes will be called parallel-notes, hereafter. Tou Zhu (Zong Zu ),Jiao Zhu (Zong Zu )Ji biBang Zhu (Heng Zu )(Yi Xia ,konoXiang dehaBing Lie Zhu to iu)noChu Li haSi teirunodematometeJie Shuo suru. Note There is no description about headnotes in vertical writing mode, footnotes in vertical writing mode and sidenotes in horizontal writing mode in JIS X 4051. Tou Zhu (Zong Zu ),Jiao Zhu (Zong Zu )Ji biBang Zhu (Heng Zu )noChu Li nitsuiteha,JIS X 4051dehaGui Ding sareteinai. There are the following relationships between the parallel-note and the main text: Bing Lie Zhu toBen Wen tonoDui Ying niha,Ci noyounaFang Fa gaaru. 1. Setting the note number as a reference mark: Set a number as a reference mark (characters as reference marks (cl-20) at the corresponding main text position, and set the same number at the very top of the parallel-note. Zhu noFan Hao woFu keruFang Fa .Ben Wen noGai Dang Ge Suo niHe Yin (He Yin Zhong noWen Zi (cl-20) )woFu ke,Bing Lie Zhu noXian Tou niZhu noFan Hao woJie ge,soredeDui Ying saseru. Note Processing of reference marks (characters as reference marks (cl-20) is very similar to the processing of endnotes and footnotes in horizontal writing mode. Ben Wen Zhong niFu keruHe Yin (He Yin Zhong noWen Zi (cl-20))noChu Li ha,Hou Zhu yaHeng Zu no Jiao Zhu noChang He toTong zidearu. 2. Setting symbols as a reference mark: Set a symbol (ex. ASTERISK "*") beside the corresponding main text position or change the font style or corresponding main text position to another font style (ex. Japanese Gothic) (Figure 258, Figure 259). Ji Hao nadodeShi suFang Fa .Ben Wen noGai Dang Xiang Mu noHeng niJi Hao woFu keru(Li eba,a suterisuku[*] (ASTERISK)),You haBen Wen noGai Dang Yu Ju noShu Ti woBian Geng shi(Li eba,goshitsukuTi ),Bing Lie Zhu noXian Tou niJie geruXiang Mu woQiang Diao suruShu Ti niBian Geng shite(Li eba,goshitsukuTi )Shi su(Figure 258,Figure 259). Examples of numbers and a symbol to indicate corresponding reference marks Ji Hao woFu keteBing Lie Zhu noXiang Mu woShi shitaLi Figure 258 Examples of numbers and a symbol to indicate corresponding reference marks Ji Hao woFu keteBing Lie Zhu noXiang Mu woShi shitaLi Examples of changed font style to indicate corresponding reference marks Shu Ti woBian Geng shiteBing Lie Zhu noXiang Mu woShi shitaLi Figure 259 Examples of changed font style to indicate corresponding reference marks Shu Ti woBian Geng shi teBing Lie Zhu noXiang Mu woShi shitaLi 3. Set parallel-notes in the same spread where the corresponding main text positions appear without reference marks. Only the key words are emphasized with a difference of font style (ex. Japanese Gothic). sonopeziYou haJian Kai kiniaruXiang Mu niGuan Xi suruBing Lie Zhu woJie geruga,Ben Wen to noDui Ying woShi sanaiFang Fa .Bing Lie Zhu noXian Tou niJie geruXiang Mu woQiang Diao suruShu Ti nishi te(Li eba,goshitsukuTi ),soredakedeShi su. There are some issues specific to setting parallel-notes as follows: Bing Lie Zhu woPei Zhi suruJi ni,Te niWen Ti tonaruShi Xiang woJie Shuo suru. 1. The character size of parallel-notes is one or two levels smaller than the character size of main text in the kihon-hanmen. Bing Lie Zhu noWen Zi saizuha,Ji Ben Ban Mian noBen Wen Bu Fen noWen Zi saizuyori1Duan Jie You ha 2Duan Jie Xiao sakusuru. 2. The line length of parallel-notes is an integer based multiple of the character size of notes. It depends on the book size; around fifteen characters to twenty characters in a line is recommended. In some cases around twenty five characters is acceptable. Bing Lie Zhu noZi Jie meFang Xiang noChang sa(Xing Chang )ha,Zhu noWen Zi saizunoZheng Shu Bei nisuru .Pan Xing yaZhu noFen Liang nimoyoruga,15Zi kara20Zi kuraidearu.kesuniyo tsuteha25Zi Cheng Du nisuruChang He moaru. 3. The line gap of parallel-notes is basically a half em of the character size of the parallel-notes. When the volume of parallel-notes is high, there are cases of one third em. Bing Lie Zhu noXing Jian ha,Bing Lie Zhu niShi Yong suruWen Zi saizunoEr Fen gaJi Zhun dearu.Bing Lie Zhu noFen Liang gaDuo iChang He ha,Bing Lie Zhu niShi Yong suruWen Zi saizunoSan Fen kuraini suruLi moaru. 4. The size of the parallel-note area in the block direction is the same as the size of the main text in the kihon-hanmen. Bing Lie Zhu noLing Yu noXing Song riFang Xiang nosaizuha,Ji Ben Ban Mian noBen Wen Bu Fen noXing Song riFang Xiang nosaizutosoroeru. Note The size of the main text in the kihon-hanmen in the block direction is calculated with character size, number of lines and line gap. The block direction size of the parallel-note area is the same with regards to the result of the calculation. Accordingly, the block direction size of the parallel-note area might be different from the result of following calculation: (character size of parallel-note) x (number of lines of parallel-note + line gap of note x (number of lines of parallel-note - 1). Ji Ben Ban Mian niokeruBen Wen Bu Fen noXing Song riFang Xiang nosaizuha,Wen Zi saizu,Xing Shu Ji biXing Jian (You haXing Song ri)deShe Ding suru.konosaizutoBing Lie Zhu noLing Yu noXing Song riFang Xiang nosaizuhasoroeru.shitagatsute,Bing Lie Zhu noXing Song riFang Xiang nosaizu ha,Bing Lie Zhu noWen Zi saizuxBing Lie Zhu noXing Shu +Bing Lie Zhu noXing Jian x(Bing Lie Zhu noXing Shu -1)deJi Suan shitaZhi toYi Zhi shinaiChang He gaaru. 5. It is recommended to set the space between parallel-notes and the main text in inline direction at around double the em character size of the main text in the kihon-hanmen. Bing Lie Zhu toBen Wen tonoZi Jie meFang Xiang noKong kiLiang ha,Ji Ben Ban Mian noBen Wen Bu Fen noWen Zi sa izuno2Bei kuraitosuru. 6. Usually, indentation of the second line and after, like end notes, is not applied to parallel-notes. In the majority of cases, the first line of a parallel-note is set as tentsuki. There are cases where the first line is indented by one a em character size of the parallel-notes, like common paragraphs. Hou Zhu noyouni1Xing Mu noXing Tou noWei Zhi yori2Xing Mu noXing Tou noWei Zhi woXia gerutoiu kotoha,Bing Lie Zhu deha,Tong Chang ,Xing wanai.Bing Lie Zhu noXian Tou Xing ha,Tian Fu kitosu ruLi gaDuo iga,(Yi Ban noDuan Luo toTong ziyouni)Bing Lie Zhu niShi Yong suruWen Zi sai zunoQuan Jiao Xia geruFang Fa moaru. 7. The inter-letter spacing between the note number and the following parallel-note text is around one em of a parallel-note character size. There are cases where the note number and target word are changed to a different font style (ex. Japanese Gothic) and the note number and the target word are set solid. The inter-letter spacing between the target word and parallel-note text is one em of the parallel-note text size (see Figure 260). Zhu noFan Hao tosoreniSok kuBing Lie Zhu tonoJian noKong kiLiang ha,Bing Lie Zhu niShi Yong suruWen Zi saizunoEr Fen akikuraitosuru.Zhu noFan Hao noShu Ti toDui Xiang tonaruYong Yu woBian Geng shi(Li eba,goshitsukuTi ),betaZu deSok keruLi moaru.Qiang Diao shitaYong Yu tosoreniSok kuBing Lie Zhu tonoJian noKong kiLiang ha,Bing Lie Zhu niShi Yong suruWen Zi saizuno Quan Jiao akitosuru.Zhu noFan Hao nadonoPei Zhi Li woikutsukaShi su(Figure 260) . Examples of headnotes in vertical writing mode Tou Zhu (Zong Zu )noZhu no Fan Hao nadonoPei Zhi Li Figure 260 Examples of headnotes in vertical writing mode Tou Zhu (Zong Zu )noZhu noFan Hao nadonoPei Zhi Li The setting of parallel-notes and the main text area is as follows: Bing Lie Zhu woPei Zhi suruJi noBen Wen tonoWei Zhi Guan Xi ha,Ci noyounisuru. 1. The position of target text and the position of a parallel-note in block direction are aligned as near as possible. In vertical writing mode, the right edge of the target word and the right edge of the parallel-note are aligned. In horizontal writing mode, the upper edge of the target word and the upper edge of the parallel-note are aligned (see Figure 261). Ben Wen noGai Dang Ge Suo toBing Lie Zhu noWei Zhi hadekirudakesoroeru.Zong Zu deha,Gai Dang Xiang Mu noWen Zi noYou Duan toBing Lie Zhu Quan Ti noZui You Duan towosoroe,Heng Zu deha,Gai Dang Xiang Mu noWen Zi noShang Duan toBing Lie Zhu Quan Ti noZui Shang Duan towosoroeru(Figure 261). Example one of headnotes in vertical writing mode Tou Zhu (Zong Zu )no Pei Zhi Wei Zhi Li 1 Figure 261 Example one of headnotes in vertical writing mode Tou Zhu (Zong Zu )noPei Zhi Wei Zhi Li 1 2. After these methods are applied, if the parallel-note text overflows, there needs to be some arrangement to handle that within the page. In vertical writing mode, the parallel-note positions are shifted to the right, and in horizontal writing mode, the parallel-note positions are shift above (see Figure 262 ). This arrangement is done until the first parallel-note reaches the right edge in vertical writing mode or the top edge in horizontal writing mode. If there is more overflow, the overflowed part of the parallel-notes is set at the top of the next page. In vertical writing mode, arrangements may be applied not within the page but within the spread. Shang Ji aniyoriPei Zhi shitaJie Guo ,Bing Lie Zhu gaBing Lie Zhu nopezinoLing Yu wohamiChu suChang He ha,peziDan Wei denoDiao Zheng woXing u.peziDan Wei denoDiao Zheng woXing uChang He ,Zong Zu dehaYou Ce ,Heng Zu dehaShang Ce niYi Dong suru(Figure 262).konoChu Li ha,Bing Lie Zhu Quan Ti noZui You Duan You haZui Shang Duan woBing Lie Zhu Ling Yu noXian Tou niDa surumadeXing i,so redemohamiChu shigaChu ruChang He ha,hamiChu shitaBing Lie Zhu noQuan Bu You haYi Bu woCi no pezinoXian Tou niPei Zhi suru.nao,Zong Zu deBing Lie Zhu gaQuan Ti niDuo Shu Ru ruyouna Chang He ha,peziwoDan Wei toshitenoDiao Zheng dakedenaku,Jian Kai kiwoDan Wei toshitaDiao Zheng noChu Li woXing uFang Fa moaru. Example two of headnote in vertical writing mode Tou Zhu (Zong Zu )noPei Zhi Wei Zhi Li 2 Figure 262 Example two of headnote in vertical writing mode Tou Zhu (Zong Zu )noPei Zhi Wei Zhi Li 2 Note When the overflowed part of the parallel-notes is set on the next page, there are cases where a line is inserted between the overflowed part and the parallel-notes in the page. Ci noJian Kai kini,Bing Lie Zhu noQuan Bu You haYi Bu woPei Zhi suruChang He ha,sonoJian Kai kino Bing Lie Zhu tonoJian niQu Qie rinoGua Xian woRu reruLi moaru. 3. When there are multiple parallel-notes set in the same page or the same spread, the following methods are applied: Tong Yi nopeziYou haJian Kai kiwoDan Wei ni,sonoLing Yu niFu Shu noBing Lie Zhu woPei Zhi shi, Wei Zhi Guan Xi noDiao Zheng gaBi Yao naChang He ha,Ci noyounisuru. 1. The line gap between the two different parallel-notes is explicitly specified, or the value for the line gap within the parallel-note itself is applied if there is no explicit instruction. Yi naruBing Lie Zhu woMi Zhao shiteBing beruChang He noXing Song riFang Xiang noJian noKong kiLiang ha, Zhi Ding shitaKong kiLiang (Zhi Ding ganaitokihaBing Lie Zhu noXing Jian noDa kisa)tosuru . 2. The arrangement of positioning is done as follows. First, the parallel-note positions are settled from first parallel-note, and second parallel-note and after is set with the instructed line gap or corresponding position to the target word in the main text. Second, if the parallel-note will overflow, the parallel-notes are set from the bottom of parallel-note area. Third, if the parallel-notes still overflow, parallel-notes are set from the top of the parallel-note area with appropriate line gap, and the overflowed part of the parallel-notes is set at the top of the next page or next spread. Wei Zhi noDiao Zheng woXing uJi niha,Qian niPei Zhi shitaBing Lie Zhu karaWei Zhi woJue metei ki,Ci niPei Zhi suruBing Lie Zhu ha,Ben Wen noGai Dang Ge Suo You haZhi Qian noBing Lie Zhu tono Jian niSuo Ding noKong kiLiang wototsutePei Zhi shiteiku.sonoJie Guo ,Bing Lie Zhu noLing Yu wohamiChu shitaChang He ha,Bing Lie Zhu noLing Yu noMo Wei karaPei Zhi shiteiku.sono Jie Guo ,Bing Lie Zhu noXian Tou karahamiChu shitaChang He ha,Xian Tou karaChu Xian Shun ni,Ge Bing Lie Zhu noJian niSuo Ding noKong kiLiang woQue Bao shi,Pei Zhi shi,Bing Lie Zhu gaBing Lie Zhu noLing Yu noMo Wei karahamiChu shitatokiha,hamiChu shitaBing Lie Zhu woCi nopeziYou haJian Kai kinoXian Tou niPei Zhi suru. 3. When the parallel-notes will overflow to the next page or next spread, the instructed line gap is inserted between the overflowed part of the parallel-notes and the original parallel-note part. The realm after the overflowed part is the area for the original parallel-notes. Bing Lie Zhu woCi nopeziYou haJian Kai kiniPei Zhi shitaChang He ,sonoPei Zhi shitaBing Lie Zhu noHou roniSuo Ding noKong kiLiang woQue Bao shite,sonoCan rinoLing Yu woCi nopezi You haJian Kai kinoBing Lie Zhu noPei Zhi Ling Yu tosuru. 4.3 Positioning of Illustrations Tu Ban noPei Zhi Chu Li 4.3.1 Specification of the Position of Illustrations Tu Ban Pei Zhi noZhi Ding Fang Fa There are two methods for specifying the position of illustrations. Shu Ji niTu Ban (Tu yaXie Zhen Deng )noPei Zhi woZhi Ding suruFang Fa toshiteha,Ci no2tsugaaru. 1. With this method, first, the in slip for the body of the book is created. Then, for each page, layout processing is executed, and the positioning of illustrations on a specific page and its position in that page are specified. arakazimeBen Wen notekisutonitsuiteZhi Ding noWen Zi saizu,Zi Jie meyaXing Jian de Zu Ban shi,Wen Zi noPei Zhi Ling Yu nosaizuwoFen karuyounishiteoki,sorewoLi Yong shite,pezigotonireiautowoXing i,Tu Ban woPei Zhi suruJu Ti De napezi to,sonopeziNei denoXiang Xi naPei Zhi Wei Zhi woZhi Ding suruFang Fa . 2. With this method, the relation between the main text and the illustration is specified, and the position of the illustration within the page is specified only in principle. Tu Ban toBen Wen notekisutotonoDui Ying woZhi Shi shi,peziNei denoTu Ban Pei Zhi Wei Zhi ha Yuan Ze nomiwoZhi Ding suruFang Fa . Note Normally, if there are many illustrations inserted, method "a" is used. If there are not so many illustrations, method "b" is used. With method "b", the concrete page for a given figure is determined as the result of the layout process. Hence, it is often the case that the choice of odd page or even page for a figure is determined as a result of the layout process. Yi Ban De niha,Tu Ban gaDuo kuRu ruChang He haanoFang Fa ,sorehodoRu ranaiChang He hab noFang Fa deZhi Ding woXing u.bnoFang Fa deha,Tu Ban woPei Zhi suruJu Ti De napeziha, Zu Ban noJie Guo toshiteJue marunode,Qi Shu pezininaruka,Ou Shu pezininaru kamoJie Guo toshiteJue marukesugaDuo i. Note Normally, when applying method "b" for vertical layout, the illustration is placed on the head or fore-edge (see Figure 263). For even pages, the figure will be on the left, for odd pages, it will be on the right side. bnoFang Fa woZong Zu deCai Yong shitaChang He ,Pu Tong ha,Figure 263niShi shitayouni"Tian Xiao Kou Ji ri"niTu Ban woPei Zhi suru.Ou Shu peziniTu Ban woPei Zhi suruChang He hape zinoYou Ce ninari,Qi Shu pezidehapezinoZuo Ce ninaru. Common example of illustration positioning Zong Zu noTu Ban Pei Zhi noYi Ban De naLi Figure 263 Common example of illustration positioning Zong Zu no Tu Ban Pei Zhi noYi Ban De naLi Note The prototypical method for horizontal layout using method "b" is to position the illustration centered, without characters to the left or to the right. In this case, the illustration is normally either positioned between paragraphs (see the left page in Figure 264), or at the foot or head (see the right page in Figure 264). bnoFang Fa woHeng Zu deCai Yong shitaChang He nioiteha,Dai Biao De naPei Zhi Fa toshite,1Duan Zu notokihaTu Ban woBan Mian noZuo You Zhong Yang niPei Zhi shi,Tu Ban noZuo You nihaWen Zi woPei Zhi shinaiFang Fa gaaru.konoChang He ,Pu Tong ha,Figure 264noZuo peziniShi shita youniDuan Luo noJian niTu Ban woPei Zhi suruka,You peziniShi shitayouniBan Mian noDi (You haTian )toiukotoninaru. Common example of figure positioning in horizontal layout Heng Zu no Tu Ban Pei Zhi noYi Ban De naLi Figure 264 Common example of figure positioning in horizontal layout Heng Zu noTu Ban Pei Zhi noYi Ban De naLi Note Illustrations are often accompanied by captions or notes. Captions are normally positioned below the illustration. Captions also frequently include illustration numbers. The character size in captions is smaller than in the main text, and often a different font is used. If the caption stretches across more than 2 lines, inter-line spacing is not too large, so that the caption looks compact. If the font of the caption is changed, the whole caption will be in a gothic typeface, or only the illustration number will be in a gothic typeface. The latter case means a moderate emphasis of the illustration and can be used for putting the figure into the background (see Figure 265). Tu Ban niha,kiyapushiyonJi biZhu gaFu kuChang He gaDuo i.kiyapushiyonha,Yi Ban niTu Ban noXia Ce niPei Zhi suru.mata,kiyapushiyonniha,Tu Ban Fan Hao gaFu ku Li moDuo i.kiyapushiyonha,Ben Wen noWen Zi saizuyorihaXiao sakushi,huon tomoBian eruChang He gaDuo i.2Xing Yi Shang ninatsutaChang He deha,kiyapushiyongamato matsuteJian eruyouniXing Jian haamariKong kenaiyounisuru.kiyapushiyonno huontowoBian eruChang He ,kiyapushiyonQuan Ti wogoshitsukuTi nisuruFang Fa ( Figure 265noShang Ce noLi )to,Tu Fan Hao dakewogoshitsukuTi nisuruFang Fa ( Figure 265noXia Ce noLi )gaaru.Hou Zhe noFang Fa ha,Shi Du niQiang Diao sarerunode ,Tu Ban wosorehodoCha Ru shinaiChang He niCai Yong dekiruFang Fa dearu. Example for layout of captions kiyapushiyonnoZu Fang Li Figure 265 Example for layout of captions kiyapushiyonnoZu Fang Li The explanation below is restricted to method (b). Illustration, captions and notes will be regarded as one piece of data. The positioning method for this single piece of data is explained. Yi Xia deha,bniXian Ding shiteJie Shuo suru.mata,Yi Xia deha,Tu Ban ,kiyapushiyonJi bi Zhu woYi Ti toshitadetagaarunomonotoshi,sonoQuan Ti woPei Zhi suruFang Fa nitsuite Jie Shuo suru. 4.3.2 Basic Concepts about Illustration Positioning Tu Ban Pei Zhi noJi Ben De naKao eFang When the position of an illustration within a page is specified only by the relation between illustration and main text, it is desirable that the explanation of the illustration in the main text and the illustration are as close as possible to each other. Tu Ban toBen Wen notekisutotonoDui Ying woZhi Shi shi,peziNei denoTu Ban Pei Zhi Wei Zhi haYuan Ze nomiwoZhi Ding suruChang He ,Ben Wen notekisutonoShuo Ming toTu Ban Pei Zhi Wei Zhi tonoGuan Xi ha,Tong Yi pezinodekirudakeJin iWei Zhi gaWang mashii. Note Depending on the size of an illustration, it may not be possible to have references to the illustration and the illustration itself on the same page. In such cases, the following considerations for illustration positioning are taken into account. Ben Wen notekisutoniokeruCan Zhao Ge Suo noChu Xian Wei Zhi ,Tu Ban nosaizunadoniyori,Ben Wen notekisutoniokeruCan Zhao Ge Suo toTong zipeziniPei Zhi dekinaiChang He moChu tekuru .konoChang He ha,Ci noShi Xiang woKao Lu shitePei Zhi Wei Zhi woJue meru. 1. It is better to position the illustration on the page after the page with references to the illustration, and not on the page before the references. Ben Wen notekisutoniokeruCan Zhao Ge Suo noChu Xian peziyoriQian nopeziniTu Ban wo Pei Zhi suruyoriha,Hou ronopeziniPei Zhi shitaFang gadochirakatoiebaHao mashi i. 2. Sometimes there are no references to an illustration, but an explanation of the illustration appears before it. That means that it is not possible to avoid in every case that illustrations appear on the page before (or after) the references. If the illustration and its references are on the same spread it is often possible to be tolerant with illustration positioning. Ben Wen notekisutonoShuo Ming ha,Can Zhao Ge Suo noChu Xian Wei Zhi dakedenaku,soreYi Qian ka raJie Shuo sareteiruChang He moarunode,Ben Wen notekisutoniokeruCan Zhao Ge Suo no Chu Xian peziyoriQian nopezi(You haHou ronopezi)niTu Ban woPei Zhi surukoto haJue Dui niBi kerutoiukotonihanaranai.Te niTong ziJian Kai kiniPei Zhi dekiru Chang He ha,Xu Rong dekirukesumoDuo i. 3. Many aspects have to be taken into account with regards to the positioning of illustrations. This means that, even if automatic processing is used as much as possible, according to the layout result it will be necessary to change the position of references or the size of the illustration manually. Tu Ban noPei Zhi Wei Zhi ha,Yang "naYao Su woKao Lu suruBi Yao gaarunode,dekirudake Zi Dong Chu Li deXing utoshitemo,Zu Ban Jie Guo niyotsutehaCan Zhao Ge Suo woXiu Zheng suru,You haTu Ban saizuwoXiu Zheng surunadotoitsutakotogaBi Yao ninaruChang He moaru. 4.3.3 Requirements for Illustration Positioning in Vertical Layout Zong Zu niokeruTu Ban Pei Zhi noTiao Jian For vertical layout as in Figure 263, the following requirements for illustration positioning apply. Figure 263noZong Zu noChang He nioite,Tu Ban woPei Zhi suruJi niBi Yao tonaruTiao Jian toshi teha,Ci gaaru. 1. In books, the spread is the basis for the design, and the illustration position is specified towards the head and fore-edge. Hence it is necessary to use the spread as the basis for the specification of the position. Concretely it means that the position has to correspond to "towards the fore-edge" or towards the gutter. Shu Ji dehaJian Kai kiwoJi Zhun niShe Ji shi,"Tian Xiao Kou Ji ri"nadotoitsutaZhi Ding woXing unode,Jian Kai kiwoJi Zhun toshitaZhi Ding gadekinakerebanaranai.Ju Ti De niha ,"Xiao Kou Ji ri"You ha"nodoJi ri"toiuZhi Ding niDui Ying shinakerebanaranai. 2. In vertical layout, often the upper part of an illustration touches the head of the hanmen, or the left or right part touches the fore-edge. This makes it necessary to position the illustration relying on the hanmen (or the final size). Furthermore, even if the complete hanmen is occupied by the illustration, depending on the illustration content, in some cases it is better style to position the illustration about 1mm inside the hanmen. Zong Zu deha,Tu Ban noShang Duan woBan Mian noTian Ce ni,katsuTu Ban noZuo Duan You haYou Duan woBan Mian noXiao Kou Ce niJie shitePei Zhi suruLi gaDuo inode,Ban Mian (You haShi Shang risaizu)ka raZhi Ding shitaWei Zhi niTu Ban woPei Zhi dekinakerebanaranai.nao,Ban Mian itsupa iniPei Zhi suruChang He demo,Tu Ban noNei Rong niyotsuteha,Ban Mian kara1mmCheng Du Nei Ce ni Pei Zhi shitaFang gaTi Cai gayoikesumoaru. Note The reason for the positioning 1mm inside the hanmen is that in that way, the character area of the hanmen and the illustration appear to be arranged together. Ban Mian kara1mmCheng Du Nei Ce niPei Zhi surunoha,Jian taMu deBan Mian noWen Zi Mian toTu Ban woso roerutamedearu. 3. As said in "b", normally, it is appropriate to specify a position starting from the hanmen. However, in the case of a bleed, it is necessary to jut out of the final size to position the illustration (see Figure 39). Furthermore, in such cases it is possible to specify an intuitive position, if the specification of the position uses the edge of the trim size as the origin (see Figure 266). Tong Chang ha,bdeShu betayouniBan Mian karanoZhi Ding Wei Zhi deyoiga,Cai Qie rinisuruChang He nadodeha,Shi Shang risaizuwohamiChu shiteTu Ban woPei Zhi dekiruBi Yao gaaru( Shi Li haFigure 39).nao,koushitaChang He nadodeha,Shi Shang risaizunoJiao wo Yuan Dian toshitenoWei Zhi Zhi Ding gadekireba,Zhi Gan De naZhi Ding gaKe Neng ninaru.( Figure 266) Bleed positioning Cai Qie rinoPei Zhi noWei Zhi Zhi Ding noYuan Dian Li Figure 266 Bleed positioning Cai Qie rinoPei Zhi noWei Zhi Zhi Ding noYuan Dian Li 4. If base text is placed around illustrations, normally the smallest spacing between them is specified. The smallest spacing is the character size used for the main text (which is specified for the kihon-hanmen), or the line gap (also specified for the kihon-hanmen). It is also necessary to specify the line length of surrounding text as an integral multiple of the character size in use. Tu Ban woPei Zhi shitaZhou Wei niBen Wen notekisutowoPei Zhi suruChang He ha,Tong Chang ,Zui Xiao no Kong kiLiang Ji biZui Da noKong kiLiang woZhi Ding suru.Zui Xiao noKong kiLiang ha,Yi Ban niBen Wen niShi Yong suruWen Zi saizu(Ji Ben Ban Mian deShe Ding shitaWen Zi saizu)You haBen Wen noXing Jian ( Ji Ben Ban Mian deShe Ding shitaXing Jian )dearu.mata,Zhou Wei niPei Zhi suruJi noXing Chang ha, Shi Yong suruWen Zi saizunoZheng Shu Bei nisuruBi Yao gaaru. Note Here an example is shown of the smallest and largest spacing between an illustration and characters, for a character size of 9 points in the kihon-hanmen and 8 points for line gap (see Figure 267). Ji Ben Ban Mian deShe Ding shitaWen Zi saizu9pointo,Xing Jian 8pointonoChang He noZui Xiao noKong kiLiang Ji biZui Da noKong kiLiang noLi woShi su(Figure 267). Space in the inline 9points<=spacing of illustration and direction surrounding characters<18points Zi Jie meFang Xiang noKong kiLiang 9pointo<=Tu Ban toZhou Wei noWen Zi noKong kiLiang <18poi nto Space in the block 9points<=spacing of illustration and direction surrounding characters<26points Xing Song riFang Xiang noKong kiLiang 9pointo<=Tu Ban toZhou Wei noWen Zi noKong kiLiang <26poi nto or, Space in the 8points<=spacing of illustration and block direction surrounding characters<25points You ha,Xing Song riFang Xiang noKong 8pointo<=Tu Ban toZhou Wei noWen Zi noKong kiLiang <25poi kiLiang nto An example of spacing around illustration Tu Ban noZhou Wei noKong kiLiang noLi Figure 267 An example of spacing around illustration Tu Ban noZhou Wei no Kong kiLiang noLi Note If possible, it is appropriate to unify the space between illustrations and surrounding main texts. For example it can be unified to be 1.5 times the character size used in the main text. Depending on the size of the illustration it may be that such unification is not possible, since it is necessary that the line-length be an integral multiple of the character size in use. But, at the design step, some modifications of the illustration size are possible. Accordingly it is possible to unify the space around illustrations, by creating an overview of the various sizes of illustrations and the related numbers of characters and lines, and choose from that overview the applicable numbers and apply these during the design step. Tu Ban tosonoZhou Wei noBen Wen notekisutotonoKong kiLiang ha,dekirebaTong Yi shitaFang ga yoi.Li eba,Ji Ben Ban Mian deShe Ding shitaWen Zi saizuno1.5Bei deTong Yi suru.kono Chang He ,Pei Zhi suruJi noXing Chang ha,Shi Yong suruWen Zi saizunoZheng Shu Bei nisuruBi Yao ga arunode,Tu Ban saizuniyotsutehaBu Tong Yi gaFa Sheng suru.shikashi,Tu Ban sai zuha,She Ji Duan Jie dehaDuo Shao noDiao Zheng gaKe Neng dearu.sokode,Zi Shu You haXing Shu ni tsuite,sorezorenoChang He niokeruTu Ban saizunoYi Lan woZuo Cheng shiteoki,so noYi Lan noZhong karaDang tehamaruShu Zhi woTu Ban noShe Ji Duan Jie deCai Yong sureba,Tu Ban Zhou Wei noKong kiLiang woTong Yi dekiru. 5. If the number of characters of main text to be placed around illustrations in inline direction is very small (for example 1/4 of the line length of the kihon-hanmen or less than 9 characters), it is better to not place the characters and leave the space free (see Figure 268). Also, as shown in the left part of Figure 269, for the arrangement of illustrations in the block direction, it is bad style and should be avoided to have only one line of main text (in Figure 269, the right side shows the appropriate way). Ben Wen notekisutowoTu Ban noZhou Wei niPei Zhi suruChang He de,sonoPei Zhi Ling Yu noZi Jie me Fang Xiang noChang sagaJi Duan niDuan iChang He (Li ebaJi Ben Ban Mian deZhi Ding suru1Xing noXing Chang no1/ 4You ha9Zi Yi Xia noChang He )ha,Ben Wen notekisutohaPei Zhi shinaide,Kong keteoi taFang gayoi(Figure 268).mata,Figure 269noZuo Ce noLi noyouni,Xing Song riFang Xiang noTu Ban noQian Hou niha,Ben Wen notekisutowo1Xing dakePei Zhi surukotohaTi Cai gayokunainodeBi keru(Figure 269noLi dehaYou Ce noyounisurutoyoi ). A case where the number of characters of main text in inline direction is very short Zong Zu dePei Zhi Ling Yu noZi Jie meFang Xiang noChang sagaJi Duan ni Duan iChang He Figure 268 A case where the number of characters of main text in inline direction is very short Zong Zu dePei Zhi Ling Yu noZi Jie meFang Xiang noChang sagaJi Duan niDuan iChang He Example of only one full length line of vertical text after illustrations in the block direction (the left case should be changed to the right case) Zong Zu deXing Song riFang Xiang no Tu Ban noHou roni1Xing dakePei Zhi shitaLi (Zuo Ce woYou Ce noPei Zhi niBian Geng suru) Figure 269 Example of only one full length line of vertical text after illustrations in the block direction (the left case should be changed to the right case) Zong Zu deXing Song riFang Xiang noTu Ban noHou roni1Xing da kePei Zhi shitaLi (Zuo Ce woYou Ce noPei Zhi niBian Geng suru) Note The placement of characters around illustrations in the inline direction is called mawarikomi. Zi Jie meFang Xiang noTu Ban noZhou Wei niWen Zi woPei Zhi surukotoha,Hui riIp mitoiu. 4.3.4 Requirements for Illustration Positioning in Horizontal Layout Heng Zu niokeruTu Ban Pei Zhi noTiao Jian In the case of horizontal layout as in Figure 264, the following requirements for illustration positioning apply. Figure 264noHeng Zu noChang He nioite,Tu Ban woPei Zhi suruJi niBi Yao tonaruTiao Jian toshi teha,Ci noyounaShi Xiang gaaru. Note Below, the discussion is restricted to problems arising within one column space. Yi Xia deha,Zhu ni1Duan Zu noChang He niXian Ding shiteWen Ti woKao eteikukotonisuru. 1. In case of Figure 264, the basic approach is to position the illustration directly after the paragraph with its explanation (see Figure 270). Figure 264noChang He ,Shuo Ming noaruDuan Luo noZhi Hou niPei Zhi surukotogaJi Ben dearu (Figure 270). Positioning directly after the explaining paragraph Tu Ban woShuo Ming no aruDuan Luo noZhi Hou niPei Zhi shitaLi Figure 270 Positioning directly after the explaining paragraph Tu Ban woShuo Ming noaruDuan Luo noZhi Hou niPei Zhi shitaLi If due to space it is not possible to position the illustration in that place, it is placed at the head or foot of the hanmen (see Figure 271). konoWei Zhi nisupesunoGuan Xi dePei Zhi dekinaiChang He ha,Ban Mian noDi You haCi pe zinoTian niPei Zhi suru(Figure 271). Placing the illustration at the foot or head of the hanmen Tu Ban wo Di You haTian niPei Zhi shitaLi Figure 271 Placing the illustration at the foot or head of the hanmen Tu Ban woDi You haTian niPei Zhi shitaLi Note In the case of a print space (out of several), the illustration is placed at the foot or head of that print space. Duan Zu noChang He ha,sonoDuan noLing Yu noDi You haCi Duan noTian niPei Zhi suru. 2. As shown in Figure 264, often characters are not put to the right or left of an illustration, and the space is left blank. However, there is also the possibility of placing the illustration at the side of the fore-edge (see Figure 272) or the right side (see Figure 273). Also in these cases, the illustrations are not placed - like in vertical layout - at the side of the head, but often in linkage with the main text. That is, the illustrations are placed on the page with their explanations, beside the mid paragraph anchor point or on the head or foot (see Figure 272 and Figure 273). Figure 264noyouniTu Ban noZuo You nihaBen Wen notekisutowoPei Zhi shinaideKong ke teokuFang Fa gaDuo i.shikashi,pezinoXiao Kou Ce (Figure 272)You haYou Ce ( Figure 273)niPei Zhi suruFang Fa moaru.pezinoXiao Kou Ce You haYou Ce niPei Zhi su ruChang He demo,Zong Zu noyouniTian Ce niPei Zhi surunodehanaku,Figure 272You ha Figure 273noyouniBen Wen notekisutotoLian Dong shitePei Zhi Wei Zhi woJue merukotoga Duo i.tsumari,Shuo Ming noarupeziTu Zhong noDuan Luo noHeng ka,Tian You haDi niPei Zhi su ru. Example of placing an illustration at the fore-edge of the hanmen Ban Mian noXiao Kou Ce niTu Ban woPei Zhi shitaLi Figure 272 Example of placing an illustration at the fore-edge of the hanmen Ban Mian noXiao Kou Ce niTu Ban wo Pei Zhi shitaLi Example of placing an illustration at the right side of the hanmen Ban Mian noYou Ce niTu Ban woPei Zhi shitaLi Figure 273 Example of placing an illustration at the right side of the hanmen Ban Mian noYou Ce niTu Ban woPei Zhi shitaLi 3. As shown in the left part of Figure 274, like in vertical layout, it is bad style and must be avoided to have just one line of the main text around an illustration in the block direction. In the example in Figure 274, the problem is solved by transferring the single line below the illustration above it and placing the illustration at the bottom fore-edge of the hanmen. Figure 274noZuo Ce noyouniXing Song riFang Xiang noTu Ban noQian Hou niBen Wen notekisutowo1 Xing dakePei Zhi surunoha,Zong Zu Tong Yang niTi Cai gayokunainodeBi keru.Figure 274noLi deieba,Tu noXia no1Xing woTu Ban noShang niYi Dong shi,Tu Ban haBan Mian noXia Duan niPei Zhi suru. Example for horizontal layout of having just only one line after the illustration in the block direction (should change the left case to the right case) Heng Zu deXing Song riFang Xiang noTu Ban noHou roni1Xing dakePei Zhi shitaLi (Zuo Ce woYou Ce noPei Zhi niBian Geng suru) Figure 274 Example for horizontal layout of having just only one line after the illustration in the block direction (should change the left case to the right case) Heng Zu deXing Song riFang Xiang noTu Ban noHou roni1Xing dakePei Zhi shita Li (Zuo Ce woYou Ce noPei Zhi niBian Geng suru) 4. Illustrations which stretch across several columns in a print space are normally placed at the head or foot (see Figure 275). Duan Zu nioite,Fu Shu noDuan nimatagatsutePei Zhi suruTu Ban ha,Yi Ban niTian kaDi ni Pei Zhi suru(Figure 275). Example of illustration stretching across several columns Fu Shu Duan nimatagatsutePei Zhi shitaTu Ban noLi Figure 275 Example of illustration stretching across several columns 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051 JIS X 4051niokeruTu Ban Pei Zhi noJi Ben De naKao eFang To provide some background for the preceding discussion, the main definitions of JIS X 4051 will be introduced below. koremadenoShuo Ming woQian Ti nishite,JIS X 4051noTu Ban wopeziniPei Zhi suruChu Li no Zhu naGui Ding Nei Rong woShao Jie suru. 1. JIS X 4051 defines two methods for illustration positioning: "relative position specification" and "absolute position specification". Below the definitions from this standard are described. JIS X 4051deha,Tu Ban Pei Zhi nitsuiteha"Xiang Dui Wei Zhi Zhi Ding "to"Jue Dui Wei Zhi Zhi Ding " no2tsunoFang Fa woGui Ding shiteiru.Ci niTong Gui Ge noYong Yu noDing Yi woJie geru. Relative position specification: the specification of block units appears together with the flow of, say, paragraphs of the main text within lines. The lines are the basis for positioning, and segmentation of the line feed is not possible. ("block unit": a general term for blocks of figures, images etc. and tables) Xiang Dui Wei Zhi Zhi Ding :burotsukuLei noZhi Ding gaBen Wen Duan Luo nadonoLiu retotomoniChu Xian shi taXing woPei Zhi Wei Zhi Ji Zhun toshi,Xing Song riFang Xiang noFen Ge woBu Ke tosuru,burotsukuLei noPei Zhi Wei Zhi Zhi Ding Fang Fa .(burotsukuLei :Tu Xie Zhen Deng noburotsukuJi biBiao nobu rotsukunoZong Cheng ) Absolute position specification: the specification of block units appears within the hanmen or spread. An absolute position based on these is the basis for illustration placement. Jue Dui Wei Zhi Zhi Ding :burotsukuLei noZhi Ding gaChu Xian shitaBan Mian You haJian Kai kiwoDan Wei tosu ruLing Yu karanoJue Dui De naWei Zhi woPei Zhi Wei Zhi Ji Zhun tosuru,burotsukuLei noPei Zhi Wei Zhi Zhi Ding Fang Fa . In the case of Figure 263, where the position is specified from two directions (from the head or the fore-edge), the absolute position specification method is used. Figure 263noyouniTian Ji biXiao Kou karano2Fang Xiang karaZhi Ding suruChang He ha,Jue Dui Wei Zhi Zhi Ding noFang Fa tonaru. As shown in Figure 264, Figure 272 or Figure 273, when the position in the inline direction is given as specified, and the position in the block direction is determined depending on the position of the main text which refers to the block unit, the adopted method is relative positioning (of course absolute positioning is possible too for placement at the head or foot ). Figure 264,Figure 272You haFigure 273noyouni,Zi Jie meFang Xiang haZhi Ding no Wei Zhi ,Xing Song riFang Xiang ha,rinkushitaBen Wen notekisutonoWei Zhi niyoriJue marumo noha,Xiang Dui Wei Zhi Zhi Ding toiukotoninaru(mochironTian You haDi niPei Zhi suruChang He haJue Dui Wei Zhi Zhi Ding noFang Fa moKe Neng dearu). Furthermore, JIS X 4051 defines the placement of the specification method for gutter and fore-edge with absolute positioning method, but not with relative positioning. It is desirable to allow for a positioning based upon a specification method of gutter and fore-edge, also for relative positioning. nao,JIS X 4051deha,Jue Dui Wei Zhi Zhi Ding noFang Fa deha,nodoXiao Kou noZhi Ding Fang Fa noPei Zhi woGui Ding shiteiru.shikashi,Xiang Dui Wei Zhi Zhi Ding deha,nodoXiao Kou noZhi Ding Fang Fa noPei Zhi woGui Ding shiteinai.Xiang Dui Wei Zhi Zhi Ding deatsutemo,nodoXiao Kou noZhi Ding Fang Fa niyoruPei Zhi gadekirukotogaWang mashii. 2. When both the main text (or the main paragraph in JIS X 4051 terminology) and the illustration are on the same page, either method does not raise any problem unless there is only a single line of the main text to be laid out before the illustration in the block direction on the top of the content page area or after the illustration at the bottom as shown in Figure 269 or in Figure 274. The problematic cases are where, via the relation to the corresponding text or the size of the illustration, the illustration juts out of the the hanmen or the area of the column, or the page of the main text and the page of the illustration are different. About these issues JIS X 4051 makes the following definitions. izurenoFang Fa morinkushitaBen Wen notekisuto(JIS X 4051noYong Yu dehaBen Wen Duan Luo )toPei Zhi suruTu Ban gaTong Yi peziniaruChang He ha,Figure 269 You ha Figure 274 noyouniTu Ban noXing Song riFang Xiang noQian You haHou roni1Xing dakePei Zhi suru Chang He woChu kiWen Ti hanai.Dui Ying suruBen Wen notekisutonoWei Zhi You haTu Ban nosai zunoGuan Xi kara,Tu Ban gaBan Mian You haDuan noLing Yu karahamiChu shitaChang He ,mata,Ben Wen notekisutotoTu Ban woPei Zhi surupezigaYi naruChang He gaWen Ti tonaru.JIS X 4051deha,konoDian nitsuki,Yi Xia noyouniGui Ding shiteiru. 1. With the relative positioning method, the illustration is placed directly after the line in which the anchor in the main text is defined. If, as a result of the positioning, the illustration juts out of the hanmen or the column, the length of the part of the illustration inside the hanmen or the column (a), and the part outside the area (b) will be compared (see Figure 276). Since it should be avoided (if possible) that an illustration appears before its explanation in the main text, the comparison uses not a simple 1/2, but a relative weight. If concretely like in Figure 276 the relation between a and b is a >= 2b, the illustration is placed on that page (in the final stage), and the lines which overlap with the area of the illustration (including the line with the anchor) are put on the following page, they are put out (see Figure 277). Xiang Dui Wei Zhi Zhi Ding noFang Fa deha,Ben Wen notekisutoniokerurinkunoZhi Ding ga Chu Xian shitaXing noZhi Hou niTu Ban woPei Zhi surukotoninatsuteiru.Pei Zhi shitaJie Guo ,Ban Mian yaDuan noLing Yu karaTu Ban gahamiChu shitaChang He ha,Figure 276noyo uniBan Mian You haDuan noLing Yu Nei niaruBu Fen (a)to,Ling Yu karahamiChu shitaBu Fen (b)noChang sawoBi Jiao suru.Ben Wen notekisutonoShuo Ming yoriXian ninarukoto hadekirebaBi ketainode,Dan Chun ni1/2dehanaku,Bi Zhong woBian Geng shitearu .Ju Ti De niha,Figure 276noyouni,atobtonoGuan Xi gaa >= 2bnoChang He ha,Figure 277noyouni,Tu Ban hasonopezi(Tong Yi nopezi)Nei ni Pei Zhi shi,rinkunoZhi Ding gaaruXing woHan meTu Ban noLing Yu toZhong naruXing haCi no peziniYi Dong suru. Example of positioning on the same page with relative positioning specification (before the adaptation in case of a >= 2 b ) Xiang Dui Wei Zhi Zhi Ding deTong Yi peziniPei Zhi suruLi (a >= 2bnoChang He no Wei Zhi Diao Zheng Qian ) Figure 276 Example of positioning on the same page with relative positioning specification (before the adaptation in case of a >= 2b) Xiang Dui Wei Zhi Zhi Ding deTong Yi peziniPei Zhi suruLi (a >= 2bnoChang He noWei Zhi Diao Zheng Qian ) Example of positioning on the same page with relative positioning specification (after the adaptation in case of a >= 2 b ) Xiang Dui Wei Zhi Zhi Ding deTong Yi nope ziniPei Zhi suruLi (a >= 2bnoChang He noWei Zhi Diao Zheng Hou ) Figure 277 Example of positioning on the same page with relative positioning specification (after the adaptation in case of a >= 2b) Xiang Dui Wei Zhi Zhi Ding deTong Yi nopeziniPei Zhi suruLi (a >= 2bnoChang He noWei Zhi Diao Zheng Hou ) Also, in the case of a < 2b (see Figure 278), the illustration is placed on the following page, and the free area is filled with main text taken from the following page. mata,Figure 278noyounia < 2bnoChang He ha,Figure 279noyouniTu Ban woCi nopeziniYi Dong shi,sonoKong itaLing Yu niha,Ci nopezikaraBen Wen notekisutowomotsutekurukotoninaru. Example of positioning on the following page with relative positioning specification (before the adaptation in case of a < 2b ) Xiang Dui Wei Zhi Zhi Ding deCi nopeziniPei Zhi suruLi (a < 2bnoChang He noWei Zhi Diao Zheng Qian ) Figure 278 Example of positioning on the following page with relative positioning specification (before the adaptation in case of a < 2b) Xiang Dui Wei Zhi Zhi Ding deCi nopeziniPei Zhi suruLi (a < 2bnoChang He noWei Zhi Diao Zheng Qian ) Example of positioning on the following page with relative positioning specification (after the adaptation in case of a < 2b ) Xiang Dui Wei Zhi Zhi Ding deCi no peziniPei Zhi suruLi (a < 2bnoChang He noWei Zhi Diao Zheng Hou ) Figure 279 Example of positioning on the following page with relative positioning specification (after the adaptation in case of a < 2b) Xiang Dui Wei Zhi Zhi Ding deCi nopeziniPei Zhi suruLi (a < 2bnoChang He noWei Zhi Diao Zheng Hou ) Note There are many examples where the explanation of the illustration is not necessarily at a restricted, specific place, but it is within a given area. Hence, up to a certain extend it is regarded as OK to be permissive and have the anchor later. Ben Wen notekisutoniokeruTu Ban nitsuitenoShuo Ming haBi zushimoXian Ding shitaTe Ding noGe Suo dehanaku,aruFan Wei noZhong deJie Shuo shiteiruLi gaDuo i.rinku noZhi Ding gaHou roninatsutemo,aruCheng Du haXu Rong dekirutoiuKao eFang dea ru. Note It is not in every case the right approach to set the relative weight of parts outside the area and inside the area to 1/3 (1:2). Consequently, it is safe to assume that these proportions can be modified. Nevertheless, when specifying 1/ 3, many cases can be matched. Tong Yi nopeziniPei Zhi suruka,You haCi nopeziniPei Zhi surukawoJue meru Ji noBi Zhong wo1/3(1:2)tosurukotoga,subetenokesudeZheng Jie toiu kotonihanaranaidarou.shitagatsute,konoBi Lu haBian Geng dekirutoKao eteyoi.shikashi,1/3tosurukotode,kanarinokesunihaDui Ying deki rumonotoKao erukotogadekiyou. Note In the case of taking the illustration out, the free space on the page is naturally filled with text from the main text of the following page. For this purpose, processing is necessary to put text from that part of the main text on the following page. Pei Zhi suruTu Ban woCi nopeziniPei Zhi shitaChang He ha,Kong itaBu Fen nihaDang Ran ,Ci nopezikaraBen Wen notekisutowoYi Dong shi,mata,Tong Yi nopezini Pei Zhi surutameniha,sonoBu Fen niaruBen Wen notekisutowoCi nopezini Yi Dong suruChu Li gaBi Yao ninaru. 2. The same basic ideas apply also for absolute positioning. However, the portions to be compared are different than with relative positioning. Jue Dui Wei Zhi Zhi Ding noFang Fa demo,Tong Yang noKao eFang dearu.shikashi,Bi Jiao suru Liang haXiang Dui Wei Zhi Zhi Ding noFang Fa tohaYi naru. With the absolute positioning method, first the distance between the specification of the position via the anchor in the main text, and the distance to the end of the area of the hanmen or the column are calculated (see a in the left part of Figure 280). Next, as a result of the positioning of the illustration, the anchor will be moved. If the moved anchor is on the same page, the illustration will be placed on that page. Jue Dui Wei Zhi Zhi Ding noFang Fa deha,mazuBen Wen notekisutonioiterinkunoZhi Ding gaChu Xian shitaShi Dian niokeruZhi Ding noChu Xian Wei Zhi toBan Mian You haDuan noLing Yu noZui Hou madenoJu Li woJi Suan suru(Figure 280noZuo Ce noa).Ci nisonopezi noZhi Ding Wei Zhi niTu Ban woPei Zhi shitaJie Guo toshiterinkunoZhi Ding gaYi Dong shi,so noYi Dong shitarinkunoZhi Ding gaTong Yi pezinoChang He ha,sonopeziniTu Ban woPei Zhi surebayoi. If the anchor has moved to the following page, the distance between that anchor and the beginning of the area of the hanmen or the column will be calculated (see b in the right part of Figure 280). rinkunoZhi Ding gaCi nopezininatsutaChang He ha,sonorinkunoZhi Ding toBan Mian You haDuan noLing Yu noXian Tou madenoJu Li woJi Suan suru(Figure 280noYou Ce nob ). Example of positioning with absolute positioning specification (in case of a < 2 b ) Jue Dui Wei Zhi Zhi Ding niokeruPei Zhi Li 1 (Zuo haTu Ban Pei Zhi Qian ,You haPei Zhi Hou )(a < 2bnoChang He ) Figure 280 Example of positioning with absolute positioning specification (in case of a < 2b) Jue Dui Wei Zhi Zhi Ding niokeruPei Zhi Li 1 (Zuo haTu Ban Pei Zhi Qian ,You haPei Zhi Hou )(a < 2bnoChang He ) In addition, a and b are compared. If a >= 2b, the illustration is placed on the page where the anchor appeared first. In the case of a < 2b, the illustration is placed after the page where the anchor appeared first. In the example in Figure 280, a < 2b, the illustration is moved to the left page (page 13), see Figure 281. sonouede,atobwoBi Jiao shi,a >= 2bnoChang He ha,Zui Chu nirinkunoZhi Ding gaChu Xian shitapeziniTu Ban woPei Zhi shi,a < 2bnoChang He ha,Zui Chu nirinku noZhi Ding gaChu Xian shitaCi nopeziniTu Ban woPei Zhi suru.Figure 280noLi de haa < 2btonarunode,Tu Ban haZuo pezi(13pezi)noZuo Ce niYi Dong su rukotoninaru(Figure 281). Illustration positioning example 1, final position Tu Ban noPei Zhi Li 1noZui Zhong De naPei Zhi Wei Zhi Figure 281 Illustration positioning example 1, final position Tu Ban noPei Zhi Li 1noZui Zhong De naPei Zhi Wei Zhi Figure 282 shows an example where an anchor firstly appears in the 5th line of a page (page 12), and as a result of illustration placement, the anchor is moved to the second line of the left page (page 13). In this case a >= 2b, and the illustration is left on the right page (page 12). Li eba,Figure 282noyouni,You pezi(12pezi)nopeziMo ka raShu ete5Xing Mu niZui Chu nirinkunoZhi Ding gaChu Xian shi,Tu Ban woPei Zhi shitaJie Guo ,rinkunoZhi Ding gaZuo pezi(13pezi)no2Xing Mu niYi Dong shitaChang He haa >= 2btonarunode,You pezi(12pezi)niTu Ban woPei Zhi shitamamatona ru. Absolute positioning example 2 (left is before illustration positioning, right is after) Jue Dui Wei Zhi Zhi Ding niokeruPei Zhi Li 2 (Zuo haTu Ban Pei Zhi Qian ,You haPei Zhi Hou ) Figure 282 Absolute positioning example 2 (left is before illustration positioning, right is after) Jue Dui Wei Zhi Zhi Ding niokeruPei Zhi Li 2(Zuo haTu Ban Pei Zhi Qian ,You haPei Zhi Hou ) 3. In addition some more definitions related to illustration positioning are introduced below. sonoTa noTu Ban Pei Zhi nitsuitenoGui Ding woikutsukaShao Jie shiteokukotonisuru. 1. With the absolute positioning method, a stranded line before or after the illustration in the block direction can be predicted and hence avoided. In contrast, with the relative positioning method, it happens that a stranded line in the block direction is left out as a result. This is bad style, and JIS X 4051 defines a processing method for avoiding it. Jue Dui Wei Zhi Zhi Ding noFang Fa deha,Xing Song riFang Xiang noQian Hou ni1Xing daketekisutowoPei Zhi surukesuhaYu Xiang dekirunodeBi kerukotogadekiru.koreniDui shite Xiang Dui Wei Zhi Zhi Ding noFang Fa deha,Jie Guo toshiteXing Song riFang Xiang noQian Hou ni1Xing dakete kisutowoPei Zhi surukesugaFa Sheng suru.korehaTi Cai gayokunainode, Bi kerutamenoChu Li Fa woJIS X 4051dehaGui Ding shiteiru. 2. Several elements come in between e.g. paragraphs, and it is necessary to adapt the area of the hanmen size in the block direction. For this case, there are several approaches about style designed via the kihon-hanmen (character size, line spacing etc.) and different style elements: the approach of unifying the space around such elements, or the approach of maintaining (if at all possible) the position of lines specified during the design of the hanmen. JIS X 4051 defines two methods for this topic (see section SS 4.5 Block Direction Setting Process of Lines, Paragraphs etc. Xing Duan Luo nadonoXing Song riFang Xiang noPei Zhi Chu Li ). Duan Luo noJian nadoniYang "naYao Su gaRu ri,Xing Song riFang Xiang noBan Mian saizunoLing Yu Diao Zheng gaBi Yao ninaru.konoChang He ni,Ji Ben Ban Mian deShe Ding shitaTi Cai (Wen Zi sa izuyaXing Jian nado)toYi naruTi Cai tonaruYao Su nitsuite,sonoYao Su noQian Hou noKong kiLiang woJun Yi nisuruKao eFang to,dekirudakeJi Ben Ban Mian deShe Ding shita Xing noPei Zhi Wei Zhi woWei Chi suruKao eFang togaaru.JIS X 4051deha,korera2 tsunoFang Fa woGui Ding shiteiru(Xiang Xi haSS 4.5 Block Direction Setting Process of Lines, Paragraphs etc. Xing Duan Luo nadonoXing Song riFang Xiang no Pei Zhi Chu Li deJie Shuo suru). 3. When the space around an illustration is maintained and main text is inserted in the free area, it is necessary to adapt the line length to integral multiple of the characters used. Such aspects are defined in JIS X 4051 as well (see Figure 263). Tu Ban noZhou Wei niBi Yao naKong kiLiang woQue Bao shi,Ben Wen notekisutowoHui riIp mide Pei Zhi suruChang He noXing Chang ha,sokoniShi Yong suruWen Zi noZheng Shu Bei nisuruBi Yao ga ari,sonoGui Ding moXing wareteiru(Figure 263). 4. Also, if the number of surrounding characters is extremely low, it is better to keep the surroundings free. If the number of surrounding characters is 1/4 of the line length of the kihon-hanmen or 9 characters below, JIS X 4051 specifies that no main text should surround an illustration. In Figure 272 or Figure 273 the illustration is placed midway down the page using the relative positioning method, so it is necessary to unify the space above and below the illustration. JIS X 4051 also provides definitions for this aspect (see Figure 283). mata,Hui riIp mideha,Ji Duan niZi Shu gaShao naiChang He ha,Kong keteoitaFang gayoi.Hui riIp midePei Zhi suruZi Shu gaJi Ben Ban Mian deZhi Ding suru1Xing noXing Chang no 1/4Yi Xia You ha9Zi Yi Xia noChang He ha,Ben Wen notekisutowoPei Zhi shinaikotowo Gui Ding shiteiru.Figure 272You haFigure 273de,pezinoTu Zhong niXiang Dui Wei Zhi Zhi Ding noFang Fa dePei Zhi shitaChang He ,Tu Ban noShang toXia noKong kiLiang hasoroeru Bi Yao gaari,sonoDian moGui Ding shiteiru(Figure 283). Space between an illustration placed midway a page and the characters above and below it pezinoTu Zhong niPei Zhi shitaTu Ban toWen Zi tonoShang Xia noKong kiLiang Figure 283 Space between an illustration placed midway a page and the characters above and below it pe zinoTu Zhong niPei Zhi shitaTu Ban toWen Zi tonoShang Xia noKong kiLiang 5. For positioning of illustrations relying on the spread, JIS X 4051 defines a method using the absolute positioning method (see SS 4.4.5 Processing of Tables Allocated in a Spread Jian Kai kiniPei Zhi suruBiao noChu Li ).. Jian Kai kiwoDan Wei nishitaTu Ban noPei Zhi nitsuiteha,Jue Dui Wei Zhi Zhi Ding niyoruFang Fa woGui Ding shiteiru(sonoFang Fa ha,SS 4.4.5 Processing of Tables Allocated in a Spread Jian Kai kiniPei Zhi suruBiao noChu Li ). 4.4 Processing of Tables Biao noChu Li 4.4.1 Elements of Tables Biao noGou Cheng A table is set of cells, which includes numbers, facts or information, arranged in rows across and down lines for easy recognition at a glance. Biao ha,koma(Xiao Jian ,seru)Nei niShu Zi yaShi Xiang nadowoPei Zhi shi,sonokomawoZong Ji bi Heng noLie You haXing toshitePei Zhi ,Yi Lan dekiruyounishitamonodearu. Note There are descriptions in "JIS X 4051 11. Processing of tables". Biao noChu Li nitsuiteha,JIS X 4051deha"11.Biao Chu Li "niGui Ding gaaru. In JIS X 4015, there is a figure of an example of the structure of table in horizontal writing mode as follows (see Figure 284). The following descriptions will use the terminology in this figure. Biao noGou Cheng nitsuiteha,JIS X 4051deha,Heng Zu noLi toshiteCi noyounaTu woJie ge teiru(Figure 284).Yi Xia deha,kokodeYong iteiruYong Yu woShi Yong suru. Structure of a table (from JIS X 4051) Biao noGou Cheng (JIS X 4051niyoru) Figure 284 Structure of a table (from JIS X 4051) Biao noGou Cheng (JIS X 4051niyoru) Tables are used for various purposes, and there is a lot to consider with regards to the processing of tables, so, only Japanese language related issues are discussed here. nao,Biao ha,Duo kunoziyanrudeGui Ding sareteirunode,Yi Xia deha,Zhu niRi Ben Yu Zu Ban Te You noWen Ti niXian Ding shiteJie Shuo suru. 4.4.2 Direction of Tables Themselves Biao noQuan Ti noZu Fang Xiang Tables themselves can be classified according to horizontal mode and vertical mode. Biao noQuan Ti noZu Fang Xiang toshiteha,Heng Zu Ji biZong Zu gaaru. Note The text direction of each cell may change cell by cell, but the direction of the table itself is decided by the majority direction of the cells. The direction of almost all tables themselves, especially those containing numerals, are in horizontal mode and vertical mode tables are rare. However, in set in vertical writing mode, there are many vertical examples of chronological histories and chronological tables as back matter (Figure 285 and Figure 294). Biao noQuan Ti noZu Fang Xiang toha,Biao noJi Ben tosuruZu Fang Xiang dearu(Biao nioiteha,koma gotoniZu Fang Xiang woBian Geng surukotogadekiru).Biao noQuan Ti noZu Fang Xiang toshiteha,Zong Zu noShu Ji deatsutemo,Shu Zhi nadowoJie getaBiao ha,hotondoHeng Zu toshi,Zong Zu toshita Biao haShao nai.shikashi,Zong Zu noShu Ji noHou Fu nadoniJie geruNian Pu yaNian Biao nadonoBiao de haZong Zu tosuruLi haDuo i(Figure 285Ji biFigure 294). An example of table, with vertical direction Biao noQuan Ti noZu Fang Xiang gaZong Zu no Biao noLi Figure 285 An example of table, with vertical direction Biao noQuan Ti noZu Fang Xiang gaZong Zu noBiao noLi Note There are examples of tables containing cells with a different text direction from the dominant text direction of the table, but not so many. This style is used to display item names in a header row ( Figure 286). Yi Bu nokomanoZu Fang Xiang wo,Biao noQuan Ti noZu Fang Xiang toYi naruZu Fang Xiang nisuruBiao ha,Duo ku hanaiga,hetsudaLie niXiang Mu Ming woBiao Shi suruChang He nadoniLi gaaru(Figure 286 ). An example of horizontal table with vertical text cells Zu Fang Xiang noYi na rukomawoHan ndaBiao noLi Figure 286 An example of horizontal table with vertical text cells Zu Fang Xiang noYi narukomawoHan ndaBiao noLi When the direction of a table itself is horizontal, the position of the origin and the setting order of cell contents is as follows ( Figure 287): Biao noQuan Ti noZu Fang Xiang gaHeng Zu noChang He noYuan Dian noWei Zhi Ji bikomaNei Rong noPei Lie Shun Xu ha,Ci noyounisuru(Figure 287). 1. The origin is the left upper top of the table. Yuan Dian ha,Biao noQuan Ti noZuo Shang tosuru. 2. The order of cells in a line is from left to right. Xing Nei denokomanoShun Xu ha,Zuo nokomakaraYou nokomahetosuru. 3. The order of lines in a table is from top to bottom. Biao Nei denoXing noShun Xu ha,Shang noXing karaXia noXing hetosuru. 4. In the first line of Figure 287, cells from cell 1 to cell 3 are filled with cell contents, consequently, in the second line, cells from cell 4 to cell 7 are filled with cell contents, and in the third line, cell 4 is skipped and cells from cell 8 to cell 10 are filled with cell contents. Lie komaHe Cheng shitakomawoHan muBiao noChang He ,Lie komaHe Cheng shitakomaniPei Zhi suruko maNei Rong ha,Lie komaHe Cheng shitaFu Shu noXing noZui Chu noXing niXian ru.Figure 287woLi nisuruto,1Lie Mu 2Xing Mu nokomaniha,4Fan Mu nokomaNei Rong woPei Zhi suruga,3Xing Mu deha,8Fan Mu nokomaNei Rong haLie komaHe Cheng shitakomawoFei bashi,2Lie Mu niPei Zhi suru. An example of the position of the origin and the setting order of cell contents in horizontal table Heng Zu noBiao niokeruYuan Dian noWei Zhi Ji bi komaNei Rong noPei Lie Shun Xu Figure 287 An example of the position of the origin and the setting order of cell contents in horizontal table Heng Zu noBiao niokeruYuan Dian noWei Zhi Ji bikomaNei Rong noPei Lie Shun Xu When the direction of a table itself is vertical, the position of the origin and the setting order of cell contents is as follows (Figure 288). Biao noQuan Ti noZu Fang Xiang gaZong Zu noChang He noYuan Dian noWei Zhi Ji bikomaNei Rong noPei Lie Shun Xu ha,Ci noyounisuru(Figure 288). An example of the position of the origin and setting order of cell contents in vertical table Zong Zu noBiao niokeruYuan Dian noWei Zhi Ji bikomaNei Rong noPei Lie Shun Xu Figure 288 An example of the position of the origin and setting order of cell contents in vertical table Zong Zu noBiao niokeruYuan Dian noWei Zhi Ji bikomaNei Rong noPei Lie Shun Xu 1. The origin is the right upper top of the table. Yuan Dian ha,Biao noQuan Ti noYou Shang tosuru. 2. The order of cells in a line is from top to bottom. Xing Nei denokomanoShun Xu ha,Shang nokomakaraXia nokomahetosuru. 3. The order of lines in a table is from right to left. Biao Nei denoXing noShun Xu ha,You noXing karaZuo noXing hetosuru. 4. In the first line of Figure 288 cells from cell 1 to cell 3 are filled with cell contents, consequently, in the second line, cells from cell 4 to cell 7 are filled with cell contents, and in the third line, cell 4 is skipped and cells from cell 8 to cell 10 are filled with cell contents. Lie komaHe Cheng shitakomawoHan muBiao noChang He ,Lie komaHe Cheng shitakomaniPei Zhi suruko maNei Rong ha,Lie komaHe Cheng shitaFu Shu noXing noZui Chu noXing niXian ru.Figure 288woLi nisuruto,1Lie Mu 2Xing Mu nokomaniha,4Fan Mu nokomaNei Rong woPei Zhi suruga,3Xing Mu deha,8Fan Mu nokomaNei Rong haLie komaHe Cheng shitakomawoFei bashi,2Lie Mu niPei Zhi suru. The text direction in a cell content is vertical or horizontal only, and cannot be mixed. When different text directions are needed in a cell, the cell is divided into two cells. 1tsunokomaNei Rong niokeruZu Fang Xiang ha,Heng Zu You haZong Zu noizurekaYi Fang tosuru.Hun Zai shitehanaranai.Zu Fang Xiang woBian Geng shitaiChang He ha,Bie nokomanisuru. 4.4.3 An Example of Layout with a Table Biao woPei Zhi shitaLi Following is an example of a vertical writing mode book with a table (see Figure 289). The issues to be noted are as follows: Ji Ben Ban Mian noZu Fang Xiang gaZong Zu noShu Ji niBiao woPei Zhi shitaLi woCi niJie geru(Figure 289 ).konoPei Zhi saretaBiao nitsuite,Wen Ti tonaruShi Xiang nitsuiteBu Zu shiteoku. An example of a vertical writing mode book with a table. Ji Ben Ban Mian noZu Fang Xiang gaZong Zu noShu Ji niBiao woPei Zhi shitaLi Figure 289 An example of a vertical writing mode book with a table. Ji Ben Ban Mian noZu Fang Xiang gaZong Zu noShu Ji niBiao woPei Zhi shitaLi 1. The direction of the kihon-hanmen is vertical, and the table itself is predominantly in horizontal writing mode. However, some cells of the header row are cell merged and vertically set. Ji Ben Ban Mian noZu Fang Xiang haZong Zu dearuga,Biao Quan Ti noZu Fang Xiang haHeng Zu dearu.tada shi,Yi Bu nohetsudaLie haLie komaHe Cheng shite,sonokomanoZu Fang Xiang haZong Zu nishi teiru. 2. The character size of the table text is smaller than the character size of the kihon-hanmen (kihon-hanmen: nine point, table: seven point or eight point). The caption of the table is also seven point with the number emphasized with Japanese Gothic (there are cases where all the caption text is emphasized with Japanese Gothic). The note attached to the table is six point, smaller than the table text. Biao niShi Yong suruWen Zi saizuha,Ji Ben Ban Mian noWen Zi saizu(9pointo)yoriha Xiao saku7pointonishitearu(8pointotosuruLi moaru).kiyapushiyo nmoTong zi7pointodearuga,Biao Fan Hao nomiQiang Diao shitegoshitsukuTi nishitearu (kiyapushiyonQuan Ti wogoshitsukuTi tosuruLi moaru).Zhu haBiao noWen Zi sai zuyoriXiao saku6pointodearu. 3. The usage of visible lines to distinguish cells is limited. In this case, the top horizontal line is emphasized with a width of 0.25 mm., other horizontal lines are 0.12 mm. width. There are cases where the top horizontal line is 0.4 mm. or 0.12 mm. Gua Xian ha,Bi Yao naBu Fen niXian Ding shiteShi Yong shiteiru.Yi Fan Shang noGua Xian nomiQiang Diao shi teZhong Xi Gua (chiyuubosokei)toshi(konoBu Fen woLi Gua (urakei)You haBiao Gua (omotekei)tosuruLi moaru),sonoTa haBiao Gua woShi Yong shiteiru. Note In JIS X 4051, the widths of thin borders, mid borders and thick borders are described as informative. Biao Gua ,Zhong Xi Gua Ji biLi Gua noTai sanitsuiteha,JIS X 4051dehaCan Kao toshite, Ci noShu Zhi woJie geteiru. OMOTEKEI (thin border) 0.12 mm Biao Gua 0.12 mm CHUUBOSOKEI (mid border) 0.25 mm Zhong Xi Gua 0.25 mm URAKEI (thick border) 0.4 mm Li Gua 0.4 mm Note The notations of OMOTEKEI, URAKEI and CHUUBOSOKEI are inherited from the letterpress printing age, and have been used in computerized type setting. The physical shape of the border in letterpress printing is shown in Figure 290. OMOTEKEI is printed with the sharp edge and URAKEI is printed with bottom flat edge. The width of the top edge of CHUUBOSOKEI is cast between the top edge of OMOTEKEI and the bottom edge of OMOTEKEI, so CHUUBOSOKEI can be used as URAKEI when the bottom edge is used. Furthermore, in letterpress printing, the width of OMOTEKEI, CHUUBOSOKEI and URAKEI are different but the width of the bottom of the borders is the same as each other. However, there are two kinds of bottom of border, one is 1/8 of one point, the other is 1/8 of one GOU (i.e. 10.5 points), namely 1.3 point. When the GOU-KEISEN (5 border) is used, the URAKEI is thicker than the POINT-KEISEN. Biao Gua ,Li Gua Ji biZhong Xi Gua noMing Cheng ha,Huo Zi Zu Ban karanomonodearuga,konpi yutaZu Ban demoShi Yong sareteiru.Huo Zi Zu Ban niokeruBiao Gua Ji biLi Gua ha, Figure 290noyounaXing woshiteori,Xi kunatsutaBu Fen woShang nishiteShi Yong suru toBiao Gua tonari,Shang Xia woFan Dui nishiteTai iBu Fen woShang nisurutoLi Gua tonaru.so nokotokaraShang dearu"Biao "to,Shang Xia woFan Dui nishita"Li "toiuMing Cheng gaFu ite iru.Zhong Xi Gua ha,Shang Bu noXi iBu Fen wo,Biao Gua toLi Gua noZhong Jian noFu ninaruyou nishitamonode,Zhong Xi Gua moShang Xia Fan Dui nisurutoLi Gua ninaru.shitagatsute,Huo Zi Zu Ban noChang He ,Biao Gua ,Zhong Xi Gua You haLi Gua nioite,sorezoredeBiao Xian sareru Gua Xian noFu haYi naruga,Tu Tai Bu Fen haTong ziFu tonaru.nao,Tu Tai Bu Fen niha,1 pointoYou haWu Hao (=10.5pointo)no1/8([?]1.3pointo)noFu nomono gaShi Yong sareteita.Tu Tai sonomonogaGua Xian noFu tonaruLi Gua deha,Hou Zhe noFang gaQian Zhe yorihaYin Shua saretaJie Guo toshite,yayaTai kunaru. Physical OMOTEKEI and URAKEI in letterpress printing Huo Zi Zu Ban nio keruBiao Gua toLi Gua Figure 290 Physical OMOTEKEI and URAKEI in letterpress printing Huo Zi Zu Ban niokeruBiao Gua toLi Gua Note In JIS X 4051, there are descriptions about tables as follows: A table is a two dimensional layout of items separated with lines. Note: Tables without lines can be seen as using invisible lines. JIS X 4051deha,Biao wo"Fu Shu noXiang Mu woJian yasuiyouniEr Ci Yuan De niPei Zhi shi, Gua Xian deQu Qie tsutamono"toDing Yi shiteori,Bei Kao ni"Gua Xian woYong inaiBiao ha,Bu Ke Shi toiuShu Xing noGua Xian woYong iteirumonotoJie Shi suru"toShuo Ming gasareteiru . Note In a note of JIS X 4051, there is a description that the distance between KEISEN and other items (i.e. cell padding) is measured with the center of the width of KEISEN. Accordingly, by this description KEISEN is treated as if the width of KEISEN is zero. OMOTEKEI can be regarded as zero width, however, the width of URAKEI should be considered, and cell padding is measured from the edge of the KEISEN. In this document, the cell padding is measured from the edge of KEISEN. However, for OMOTEKEI, the difference between the center of KEISEN and the edge of KEISEN can be ignored. JIS X 4051noBei Kao ni"Gua Xian ha,Gua Xian noTai sanoZhong Xin madenoJu Li woZhi Ding sareta Kong kiLiang toshiteGua Xian woPei Zhi suru"tonoJi Zai gaaru.shitagatsute,konoFang Fa de Chu Li suruChang He ha,Gua Xian tokomaNei Rong tonoKong kiLiang noChu Li dehaGua Xian noFu ha"0"to iukotoninaru.koreniDui shi,Fu noaruGua Xian noDuan yoriZhi Ding saretaKong kiLiang (komaYu Bai )woQue Bao suruFang Fa moaru.konoWen Shu niokeruKong kiLiang noKao eFang ha,Hou Zhe dearuga,Biao Gua noChang He ha,dochiranoFang Fa demoDa kinaChai hanai. 4. The top column of the table is used for row header names. and the first two rows from left are used for column header names, partially merged to one row. Biao noXian Tou no1Xing Mu ha,hetsudaXing dearu.Biao noZui Zuo Duan no2Lie (Yi Bu haXing ko maHe Cheng shite1Lie )ha,hetsudaLie dearu. 5. The width of each row is calculated as follows: firstly, calculate the width of the widest cell content in the column, and add space the size of a half em of the character size of the cell to both edges of the text. Secondly, adjust for the multiples of the character size used for the table. Thirdly, if the cell contents among different rows are similar, the width of the rows are set the same (in the fourth and fifth rows from the left). Ge Lie noFu ha,Tong Yi noLie nokomaniPei Zhi suruXiang Mu nouchide,Zui moZuo You noFu no Da kinaWen Zi Lie woJi Suan shi,sonoZuo You noKong kiLiang toshitesonokomaNei Rong noWen Zi sa izunoGe Er Fen akiwoJia e,katsu,Biao niShi Yong shitaWen Zi saizunoZheng Shu Bei nina ruyouniShe Ding shitearu.mata,Tong ziyounaNei Rong gaPei Zhi sareruChang He ha,so noFu gaTong zininaruyounishitearu(Zuo karaShu ete4Lie Mu to5Lie Mu ). Note In tables with horizontal writing mode, the minimum space between the content and the KEISEN is usually a half of the basic character size of the table, and at least a fourth of the basic character size of the table. The space should not reduced to solid. Heng Zu noBiao nioite,Xiang Mu toGua Xian tonoKong kiLiang noZui Xiao ha,Yi Ban ni,sonoBiao ni Shi Yong shitaWen Zi saizunoEr Fen aki(Yu Yu ganaitokihaSi Fen aki)tosuruto yoi."0"tosurukotohaBi keru. 6. Some row headers have two lines with no line gap to maintain appropriate proportions with the cell contents. hetsudaXing noYi Bu nokomade,1Xing nisurutoLie noFu nobaransugatorenakuna runode,2Xing nishitearu.Xing Jian ha"0"nishiteiru. 7. Column header names and row header names are set with evenly distributed-character spacing, except for vertically set KANJI cells and "total" cells. "Total" cells shall be distinguished from other ordinary cells. hetsudaLie Ji bihetsudaXing nokomaniPei Zhi suruWen Zi Lie ha,Zong Zu nishitakoma Yi Wai noHan Zi nadonoXiang Mu deha,"He Ji "nokomawoChu ki,Jun Deng Ge rinishitearu ("He Ji "nokomaha,He Ji Dui Xiang noXiang Mu toQu Bie surutameni,Ta nokomatoChai wo Fu keteiru). 8. The horizontal position of names of header rows and the header column are horizontally centered. hetsudaLie Ji bihetsudaXing noZuo You noWei Zhi ha,komanoZuo You Zhong Yang niPei Zhi shite iru. 9. For cells except header rows and header columns, all numeric data is set aligned by the decimal point, or line end aligned for currency. Numeric data is centered according to the longest numeric cell, but the spacing after shall not be longer than the spacing before. hetsudaXing Ji bihetsudaLie Yi Wai nokoma(izuremoShu Zhi )deha,Xiao Shu Dian no aru2Lie noShu Zhi haXiao Shu Dian noWei Zhi wosoroe,Jin E noLie noShu Zhi haYou soroedePei Zhi shitearu.Shu Zhi nokomadeha,Zui moChang iWen Zi Lie wokomanohoboZhong Yang noWei Zhi niPei Zhi shiteiru(Hou ronoKong kiLiang haQian noKong kiLiang yorihaDa kikushinai). 10. The block direction space between KEISEN and cell contents are as follows: the space between visible KEISEN and cell content is one-half em space of the basic table character size. The space between invisible KEISEN and cell content are one-fourth em of the basic table character size. Namely, it can be said that the visible line gaps are one-half em except for the header row. In this example, there are two line cells as a header, the block direction space between KEISEN and cell contents is set with a minimum gap of one-fourth em (see Figure 289 a and b). The reason is not to make too much space between KEISEN and cell contents of other one-line cells. Gua Xian tokomaNei Rong noXing Song riFang Xiang noKong kiLiang ha,Ke Shi noGua Xian tonoJian haEr Fen aki ,Bu Ke Shi noGua Xian tonoJian haSi Fen akitoshitearu.shitagatsute,hetsudaLie Yi Wai noBu Fen ha,Jian taMu noXing Jian gaEr Fen akitomoieru.nao,konoBiao nohe tsudaXing deha,2Xing ninatsutakomagaarunode,konoBu Fen noGua Xian tonoKong kiLiang woyamuwoenaiChang He noZui Xiao noKong kiLiang dearuSi Fen akinishiteiru(Figure 289noaJi bibnoKong kiLiang ).1Xing nokomanoGua Xian tonoKong kiLiang gaamariDa kikuna ranaiyounisurutamedearu. Note It is basically recommended that the space between visible KEISEN and cell content should be one-half em and between invisible KEISEN and cell content should be one-quarter em from an aesthetic view point. However, when the table is large enough to occupy one full page, it might seem that the half em spacing is too large. In such cases, the spacing may be reduced to a quarter em, and exceptional spacing may be set every five or ten lines. Xiang Mu toBu Ke Shi noGua Xian tonoJian haSi Fen akitoshite,Jian taMu noBu Fen deha,Yi Ban niBiao noXing Jian ha,Er Fen akikuraigaTi Cai gayoitoiwareteiru.shikashi,1 peziDa ninaruyounaDa kinaBiao deha,Er Fen akinoXing Jian dehaKong kiGuo giniJian eruChang He gaaru.koushitaChang He niha,Jian taMu noXing Jian woSi Fen akikuraini surukotogaaru.tadashi,konoChang He ha,5Xing You ha10Xing nogurupuFen keshite ,gurupuJian noXing Jian woyayaDa kikutorutoJian yasui. 4.4.4 Kinds of Tables from Allocation to Page Position pezihenoPei Zhi karamitaBiao noZhong Lei There are several kinds of tables as follows: Biao nopezihenoPei Zhi toiuMian karaBiao woFen Lei suruto,Ci noyouniFen kerukotoga dekiru. 1. Tables treated as one object with captions and notes together with the table itself, where it is prohibited to divide across two or more pages or columns. kiyapushiyon,Biao noBen Ti ,Zhu woHan meteYi Ti toshiteXi i,Fu Shu nopeziYou haFu Shu noDuan niwatatsutenoFen Ge woBu Ke tosuruBiao . 1. Linked with an anchor of the base text, and moved with the anchor. The position of the table is relative (see Figure 291 and SS 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051 JIS X 4051niokeruTu Ban Pei Zhi noJi Ben De naKao eFang ). Biao toDui Ying gaaruBen Wen noXing (rinkunoZhi Ding )noChu Xian Wei Zhi woJi Zhun niPei Zhi suruBiao (SS 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051 JIS X 4051niokeruTu Ban Pei Zhi noJi Ben De naKao eFang deJie Shuo su ruYong Yu deieba,"Xiang Dui Wei Zhi Zhi Ding "niyorumono(Figure 291)). An example of relatively allocated table "Xiang Dui Wei Zhi Zhi Ding "niyori Pei Zhi shitaBiao noLi Figure 291 An example of relatively allocated table "Xiang Dui Wei Zhi Zhi Ding "niyoriPei Zhi shitaBiao noLi 2. Tables allocated with absolute position in the kihon-hanmen, except for the tables allocated with absolute position in a spread (see Figure 292). Ban Mian karanoJue Dui De naWei Zhi woPei Zhi Wei Zhi Ji Zhun toshitePei Zhi suruBiao (SS 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051 JIS X 4051niokeruTu Ban Pei Zhi noJi Ben De naKao eFang deJie Shuo suruYong Yu deieba ,"Jue Dui Wei Zhi Zhi Ding "niyorumonode,Jian Kai kiwoDan Wei tosuruLing Yu karanoJue Dui De naWei Zhi woPei Zhi Wei Zhi Ji Zhun tosurumonowoChu itamono(Figure 292) ). An example of a table allocated with absolute position "Jue Dui Wei Zhi Zhi Ding "niyoriPei Zhi shitaBiao noLi Figure 292 An example of a table allocated with absolute position "Jue Dui Wei Zhi Zhi Ding "niyoriPei Zhi shitaBiao noLi 2. Tables allocated in a spread with absolute position (see Figure 293). Jian Kai kiwoDan Wei tosuruLing Yu karanoJue Dui De naWei Zhi woPei Zhi Wei Zhi Ji Zhun toshitePei Zhi suruBiao (Figure 293). Note It is preferable to set the tables within the kihon-hanmen, even if the table is large enough to occupy a spread, however, usually these tables are too large to set within the kihon-hanmen, so there are many cases where tables spill out of the kihon-hanmen (see Figure 293). Jian Kai kiwoDan Wei toshitePei Zhi suruBiao demo,Ji Ben Ban Mian noFan Wei Nei niPei Zhi surukoto gaWang mashiiga,konoyounaLi dehaDa kinaBiao tonarukotogaDuo ku,Figure 293noyouniJi Ben Ban Mian noFan Wei Nei niShou maranaiChang He moaru. An example of a table allocated in a spread with absolute position Jian Kai kiwoDan Wei toshitePei Zhi shitaBiao noLi Figure 293 An example of a table allocated in a spread with absolute position Jian Kai kiwo Dan Wei toshitePei Zhi shitaBiao noLi 3. Tables anchored to base text and moving with the position of the anchor, can also be divided across two or more pages or columns. In JIS X 4051, this type of table is called "continuously allocated tables" (see Figure 294). Biao toDui Ying gaaruXing (rinkunoZhi Ding )noChu Xian Wei Zhi woJi Zhun niPei Zhi suruBiao dea ruga,Fu Shu nopeziYou haFu Shu noDuan niwatatsuteXing Song riFang Xiang henoFen Ge woKe to shitePei Zhi suruBiao .JIS X 4051deha,konoyounaBiao noPei Zhi wo"Lian Sok Wei Zhi Zhi Ding niyoruPei Zhi "toyondeiru(Figure 294). An example of a table continuously allocated through two pages Fen Ge woKe toshitePei Zhi suruBiao noLi Figure 294 An example of a table continuously allocated through two pages Fen Ge woKe toshitePei Zhi suruBiao noLi Note Allocation method of a is similar to illustrations. anoPei Zhi Fang Fa ha,Tu Ban toTong Yang dearu. Note Allocation method of b is similar to illustrations, except for the method of division. bnoPei Zhi Fang Fa ha,Tu Ban toSi teiruga,Fen Ge Wei Zhi noChu Li deWei igaaru. Note The writing mode of a and b may be different from the writing mode of the kihon-hanmen. However, c must be the same as the kihon-hanmen, because of the division of the table. Shang Ji noBiao noZhong Lei toZu Fang Xiang tonoGuan Xi ha,aJi bibha,Ji Ben Ban Mian noZu Fang Xiang toYi natsu teyoiga,chaXing Song riFang Xiang noFen Ge woXing utameni,Ji Ben Ban Mian toTong ziZu Fang Xiang denake rebanaranai. Note Tables of a-1 style are frequently used in horizontal writing mode books, like illustrations. The usage of a-1 style tables in vertical writing mode books has been decreasing together with the decrease of tables with ideographic numerals. Tables of a-2 style are mainly used in vertical writing mode books as horizontal writing mode tables. Tables of b style are used for large tables, however, the usages are not so frequent. Tables of c style are used for chronologies or biographical sketches in table style. Shang Ji noano1ha,Tu Ban nadotoTong Yang niHeng Zu noShu Ji niCha Ru sareruBiao deyokuLi Yong sare teiru.Zong Zu denokonoXing Shi ha,Han Shu Zi woYong itaBiao noShi Yong gaJian tsuteirukotoka ra,sonoLi haShao nai.ano2ha,Zhu niZong Zu noShu Ji niCha Ru sareruBiao (Biao Quan Ti noZu Fang Xiang haHeng Zu )deLi Yong sareteiru.bha,Da kinaBiao noChang He niLi Yong sareteiruga, sonoLi haamariDuo kunai.cha,Nian Biao Nian Pu nadowoBiao Xing Shi deJie geruChang He niLi Yong sareteiru. 4.4.5 Processing of Tables Allocated in a Spread Jian Kai kiniPei Zhi suruBiao no Chu Li When a table is allocated in a spread, it is desirable to allocate within the spread. However, sometimes it is impossible to allocate in the same spread where the table is linked to. In such cases, the spread where the table is allocated is decided as follows (see SS 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051 JIS X 4051niokeruTu Ban Pei Zhi noJi Ben De naKao eFang ): Firstly, calculate the distance between the anchor position of the base text and the last position of the spread (see Figure 295). Secondly, calculate the distance between the original position of the anchor and the position of the anchor when the table is allocated at the spread where the anchor was originally positioned, and consequently the position of the anchor is overflowed to the next spread (see Figure 296). Finally, compare these two distances, and decide whether to allocate the table to the original spread or next spread (see Figure 297). SS 4.4.4 Kinds of Tables from Allocation to Page Position pezihenoPei Zhi karamitaBiao noZhong Lei nobniJi Shu shitaJian Kai kiniPei Zhi suruChang He ,Pei Zhi noZhi Shi gaatsu taXing (rinkunoZhi Ding )toTong ziJian Kai kiniBiao (You haTu Ban )gaPei Zhi dekirebayoi. shikashi,Yi naruChang He moDuo i.konoChang He noChu Li Fang Fa moSS 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051 JIS X 4051niokeruTu Ban Pei Zhi noJi Ben De naKao eFang deJie Shuo shitayouni(tadashi,Ban Mian denaku,Jian Kai kinoLing Yu woDan Wei ni),rinkunoZhi Ding gaChu Xian shitaShi Dian niokeruZhi Ding noChu Xian Wei Zhi toJian Kai ki noLing Yu noZui Hou madenoJu Li woJi Suan shi(Figure 295),sarani,Biao (You haTu Ban ) worinkunoZhi Ding gaChu Xian shitaJian Kai kiniJia niPei Zhi shitaJie Guo ,Ci noJian Kai kinihamiChu shitaPei Zhi noZhi Shi gaatsutaXing (rinkunoZhi Ding )madenoJu Li woJi Suan shi(Figure 296),Liang Zhe noDa kisawoBi be,donoJian Kai kiniPei Zhi surukawoJue Ding suru(Figure 297). First step of the calculation of the distance of the allocation method to a spread. Jian Kai kinoLing Yu woDan Wei toshitePei Zhi suruChang He noJu Li noJi Suan 1 (Pei Zhi Qian ) Figure 295 First step of the calculation of the distance of the allocation method to a spread. Jian Kai kinoLing Yu woDan Wei toshitePei Zhi su ruChang He noJu Li noJi Suan 1(Pei Zhi Qian ) Second step of the calculation of the distance of the allocation method to a spread. Jian Kai kinoLing Yu woDan Wei toshi tePei Zhi suruChang He noJu Li noJi Suan 2 (Jia Pei Zhi Hou ) Figure 296 Second step of the calculation of the distance of the allocation method to a spread. Jian Kai kinoLing Yu woDan Wei toshitePei Zhi suruChang He noJu Li noJi Suan 2(Jia Pei Zhi Hou ) Last step of the calculation of the distance of the allocation method to a spread. Jian Kai kinoLing Yu woDan Wei toshitePei Zhi suruChang He noJu Li noJi Suan 3 (Zui Zhong Pei Zhi Hou ) Figure 297 Last step of the calculation of the distance of the allocation method to a spread. Jian Kai kinoLing Yu woDan Wei toshitePei Zhi suruChang He no Ju Li noJi Suan 3(Zui Zhong Pei Zhi Hou ) The next problem is where to divide a table. In some senses, illustrations can be divided wherever specified or at the kihon-hanmen border. On the other hand, there are some limitations and issues to consider when dividing tables as follows: Ci nidonoWei Zhi deBiao woFen Ge surukagaWen Ti tonaru.Tu Ban noFen Ge noChang He ha,aruYi Wei dokodemoyoiwakenanode,Zhi Ding niyoruka,Ban Mian Nei niRu ruFan Wei toiukotoni naru.koreniDui shiBiao noChang He ha,Fen Ge Wei Zhi niZhi Xian gaari,mataGua Xian noXi imoJue meruBi Yao gaaru.Ci noyounaShi Xiang woKao Lu shi,Fen Ge Wei Zhi woJue meru. 1. Tables are divided at the border of rows or columns, with condition that the border between the header and adjoining cells shall not be divided, also it is prohibited to divide just after captions. Lie You haXing woDan Wei niFen Ge suru.tadashi,hetsudaLie noHou roto,soreniSok ku hetsudaLie denaiLie noJian ,hetsudaXing noHou roto,soreniSok kuhetsudaXing denaiXing noJian dehaFen Ge shinai.kiyapushiyonnoZhi Hou demoFen Ge shinai. 2. When there is a visible KEISEN at the expected dividing position, the common approach is as follows: Fen Ge suruWei Zhi niGua Xian gaaru(Ke Shi tosuruGua Xian gaaru)Chang He noChu Li ha,Yi Ban niCi noyounishiteiru. 1. When the outer frame KEISENs of inline direction are visible, the top side KEISEN at the dividing position shall be invisible and the bottom side KEISEN at the dividing position shall be visible (see Figure 298). Biao noQuan Ti niokeruZi Jie meFang Xiang noWai Waku noGua Xian woKe Shi tosuruChang He ,Lie no Jian noBiao noXian Tou Bu Fen woHan muCe noFen Ge Wei Zhi noGua Xian haBu Ke Shi toshi,Biao noMo Wei woHan muCe noFen Ge Wei Zhi noGua Xian haKe Shi tosuru(Figure 298). Example one of KEISEN of a table set in a spread Jian Kai kiniPei Zhi suruBiao noGua Xian noChu Li Li 1 Figure 298 Example one of KEISEN of a table set in a spread Jian Kai kiniPei Zhi suruBiao noGua Xian noChu Li Li 1 2. When the outer frame KEISENs of inline direction are invisible, the top side KEISEN at the dividing position shall be visible and the bottom side KEISEN at the dividing position shall be invisible (see Figure 299). Biao noQuan Ti niokeruZi Jie meFang Xiang noWai Waku noGua Xian woBu Ke Shi tosuruChang He ha, Lie noJian noBiao noXian Tou Bu Fen woHan muCe noFen Ge Wei Zhi noGua Xian haKe Shi toshi,Biao no Mo Wei woHan muCe noFen Ge Wei Zhi noGua Xian haBu Ke Shi tosuru(Figure 299). Example two of KEISEN of a table set in a spread Jian Kai kiniPei Zhi suruBiao noGua Xian noChu Li Li 2 Figure 299 Example two of KEISEN of a table set in a spread Jian Kai kiniPei Zhi suruBiao noGua Xian noChu Li Li 2 3. When the tables are divided by column units, the KEISEN at the dividing position of the top part shall be invisible, and the bottom part KEISEN shall be visible. Biao noXing woDan Wei tosuruFen Ge noChang He ha,Biao noXian Tou Bu Fen woHan muCe noFen Ge Wei Zhi noGua Xian haBu Ke Shi toshi,Biao noMo Wei woHan muCe noFen Ge Wei Zhi noGua Xian haKe Shi tosuru. 4.4.6 Processing of Dividable Tables Fen Ge woKe tosuruBiao noChu Li Processing of dividable tables is as follows: Fen Ge woKe tosuruBiao noChu Li ha,Ci noyounisuru. 1. Dividable tables are set from the position of the specified anchor text position with specified line direction gap Fen Ge woKe tosuruBiao ha,Pei Zhi noZhi Shi gaatsutaXing (rinkunoZhi Ding )noZhi Hou ka ra,Shao nakutomoZhi Ding saretaKong kiLiang woQue Bao shiteKai Shi suru. Note These dividable tables are frequently started just after the page breaks. konoyounaBiao ha,Yi Ban niha,Gai pezinadodeKai Shi sarerukesugaDuo i. 2. The inline length of the table shall not hang out from the inline length of the kihon-hanmen or the column. Fen Ge woKe tosuruBiao noJi Ben Ban Mian noZi Jie meFang Xiang noFu ha,Ji Ben Ban Mian niokeruXing Chang woChao enaiyounisuru.Duo Duan Zu noChang He ha,Duan noFan Wei Nei nisuru. 3. Dividable tables are divided at the bottom of the kihon-hanmen or the column and between lines of the table. When there are other tables or illustrations are set in the page, the space for the other tables or illustrations should be kept beforehand. Ban Mian You haDuan noMo Wei (sudeniTa noTu Ban Deng gaPei Zhi sareteiruChang He ha,sonoKong kiLiang woQue Bao shitaGe Suo )de,Ling Yu Nei niRu ruBu Fen noBiao noXing noJing Jie deFen Ge suru . Note Usually, dividable tables are divided by columns of the table. This method is based on the description of JIS X 4051. However, some kinds of tables may be divided between lines of a column, in conjunction with the cell contents. Biao noXing ,tsumarikomawoDan Wei niFen Ge surutoiukotodearu.korehaJIS X 4051noGui Ding niCong tsutamonodearuga,Biao noNei Rong niyotsuteha,Bi zushimokoma woDan Wei toshitaFen Ge dehanaku,komanoZhong niFu Shu noXing gaPei Zhi sareruChang He ha, konokomaNei noXing woDan Wei toshitaFen Ge woKe tosuruChu Li moXing wareteiru. 4. Captions and header line shall not be divided in following cases: kiyapushiyonJi bihetsudaXing ha,Ci noGe Suo deFen Ge shitehanaranai. 1. Between header with two lines. Fu Shu Xing tonatsutakiyapushiyonnoXing Jian 2. Between caption and header column. kiyapushiyontohetsudaXing tonoJian 3. Between header column. hetsudaXing noZhong 4. Between header column and the first column of the content. hetsudaXing tosorenitsudukuhetsudadenaiXing tonoJian 5. The same header column shall also be set at the top of the divided tables. Noted that when the kihon-hanmen is in vertical writing mode, if the following page is odd, there is usually no header column, i.e. the divided tables on even pages have a header column (see Figure 300). hetsudaXing ha,Fen Ge shitaCi nopezinoMou Tou nimoXian Tou peziniJie getamono toTong ziNei Rong deJie geru.tadashi,Ji Ben Ban Mian noZu Fang Xiang gaZong Zu noChang He ha,Ci no pezigaQi Shu pezinoChang He ha,hetsudaXing woJie genai.tsumari,Ou Shu pe zinoXian Tou dakeJie gerutoiuFang Fa gaYi Ban De dearu(Figure 300). An example of divided tables with same header columns in vertical writing mode. Fen Ge woKe tosuruBiao nohetsudaXing noJie geFang Li (Zong Zu ) Figure 300 An example of divided tables with same header columns in vertical writing mode. Fen Ge woKe tosuruBiao nohetsudaXing noJie geFang Li (Zong Zu ) 6. When the table is divided by columns, the top KEISEN of the divided position shall be invisible, and the bottom KEISEN of the divided position shall be visible. However, there are methods where both top and bottom KEISENs are visible. Biao noXing woDan Wei tosuruFen Ge noChang He ha,Biao noXian Tou Ce noFen Ge Wei Zhi noGua Xian haBu Ke Shi toshi,Biao noMo Wei Ce noFen Ge Wei Zhi noGua Xian haKe Shi tosuru.tadashi,Liang Fang woKe Shi tosuruFang Fa moaru. 4.5 Block Direction Setting Process of Lines, Paragraphs etc. Xing Duan Luo nadonoXing Song riFang Xiang noPei Zhi Chu Li 4.5.1 Line Gap Arrangement with Ruby and Other Objects rubinadogaFu i taChang He noXing Jian noChu Li When setting lines in pages or columns, basically each line should be set by aligning with the line positions set in the kihon-hanmen Ge peziyaDuan niXing woPei Zhi shiteikuChang He ,Ji Ben Ban Mian deShe Ding shitaXing Wei Zhi nidekiru dakePei Zhi surunogaYuan Ze dearu. Also the last line of each page or each column should be set at the very end of the kihon-hanmen area or the column area. mata,1Duan Zu noBan Mian ,Duan Zu noDuan niatsute,Gai peziDeng noZhi Qian pezinadoYi Wai de ha,sonoBan Mian You haDuan noMo Wei niPei Zhi suruXing ha,Yuan Ze toshiteBan Mian You haDuan noMo Wei ni Jie shitePei Zhi suruBi Yao gaaru. The following objects should be set in the interlinear space. sokode,Ci noyounaLi deha,Xing Jian niPei Zhi suru. 1. Ruby rubi 2. Emphasis dots Quan Dian 3. Underlines and sidelines Xia Xian Ji biBang Xian 4. Interlinear reference marks Xing Jian niPei Zhi suruHe Yin The following objects might jut into the interlinear space in conjunction with character size and other factors. Ci noyounaLi deha,Wen Zi noDa kisanadoniyoriXing Jian nihamiChu shitePei Zhi suruChang He gaaru. 1. Tate-chu-yoko processed texts Zong Zhong Heng Chu Li woXing tsutaWen Zi Lie 2. Ornament characters Tian eZi 3. Warichu (inline cutting note) Ge Zhu 4. The strings some of character positions are moved to block direction. Xing Song riFang Xiang noPei Zhi Wei Zhi woWen Zi Dan Wei deBian Geng shitaWen Zi Lie 5. Strings where the character size is larger than the size specified in the kihon-hanmen (see Figure 301). Duan Luo deZhi Ding saretaWen Zi saizuyoriDa kiisaizunoWen Zi Lie (Figure 301) An example of strings some of characters' size is larger than the kihon-hanmen character size Duan Luo deZhi Ding saretaWen Zi saizuyoriDa kii saizunoWen Zi Lie noPei Zhi Li Figure 301 An example of strings some of characters' size is larger than the kihon-hanmen character size Duan Luo deZhi Ding saretaWen Zi saizuyoriDa kiisaizunoWen Zi Lie noPei Zhi Li On the other hand when characters are inserted that are smaller than the basic character size of the paragraph, to keep the line gap of the paragraph visible the interlinear space looks wider as shown below (see Figure 302). Ni ni,Ci noyouniDuan Luo deZhi Ding saretaWen Zi saizuyoriXiao saisaizunoWen Zi Lie ga Cha Ru sareruChang He ha,Ji Ben Ban Mian deShe Ding shitaXing Wei Zhi woWei Chi surutameni,Jian taMu no Xing Jian gaGuang kunaru(Figure 302). An example of inserted smaller characters than basic paragraph character size Duan Luo deZhi Ding saretaWen Zi saizuyoriXiao saisaizunoWen Zi Lie noPei Zhi Li Figure 302 An example of inserted smaller characters than basic paragraph character size Duan Luo deZhi Ding saretaWen Zi saizuyoriXiao saisaizuno Wen Zi Lie noPei Zhi Li When the following interlinear objects are set at the very top of the page or the column, these objects are set out of the hanmen or the column area (see Figure 303): nao,Xing Jian niPei Zhi suruCi noa~cwoBan Mian You haDuan noLing Yu noXian Tou Xing niPei Zhi suruChang He ha,Xian Tou Xing niJie suruBan Mian You haDuan noLing Yu noWai Ce niPei Zhi suru(Figure 303). 1. In vertical writing mode, ruby, emphasis dots and sidelines at the right side of the character. Zong Zu niokeruQin Wen Zi noYou Ce niFu kerurubi,Quan Dian Ji biBang Xian 2. In horizontal writing mode, ruby and emphasis dots above the character. Heng Zu niokeruQin Wen Zi noShang Ce niFu kerurubiJi biQuan Dian 3. In horizontal writing mode and vertical writing mode, reference marks between lines. Zong Zu Ji biHeng Zu miniokeruXing Jian niPei Zhi suruHe Yin An example of objects set out of the kihon-hanmen Ban Mian noWai Ce niPei Zhi su ruLi Figure 303 An example of objects set out of the kihon-hanmen Ban Mian noWai Ce niPei Zhi suruLi When the following objects which jut into the interlinear area are set on the very top line of the hanmen or column area, the part of the object that juts out is set outside of the hanmen or column area: sarani,Xing Jian nihamiChu shitePei Zhi suruCi noa~ewoBan Mian You haDuan noLing Yu noXian Tou Xing ni Pei Zhi suruChang He ha,hamiChu shitaBu Fen woXian Tou Xing niJie suruBan Mian You haDuan noLing Yu noWai Ce niPei Zhi suru. 1. characters processed with tate-chu-yoko Zong Zhong Heng Chu Li woXing tsutaWen Zi Lie 2. ornamented characters Tian eZi 3. warichu Ge Zhu 4. characters where each base line is changed to block direction Xing Song riFang Xiang noPei Zhi Wei Zhi woWen Zi Dan Wei deBian Geng shitaWen Zi Lie 5. characters where the size is larger than the size dictated by the kihon-hanmen Duan Luo deZhi Ding saretaWen Zi saizuyoriDa kiisaizunoWen Zi Lie Following interlinear objects are set outside the hanmen or column area, when set at the very last line of the hanmen or column area: mata,Xing Jian niPei Zhi suruCi noaJi bibwoBan Mian You haDuan noLing Yu noMo Wei Xing niPei Zhi suruChang He ha,Mo Wei Xing niJie suruBan Mian You haDuan noLing Yu noWai Ce niPei Zhi suru. 1. in vertical writing mode, ruby and sideline set left side of the base character Zong Zu niokeruQin Wen Zi noZuo Ce niFu kerurubiJi biBang Xian 2. in horizontal writing mode, underline under main text Heng Zu niokeruQin Wen Zi noXia Ce niFu keruXia Xian When the following objects which jut into the interlinear area are set for the very end line of the hanmen or column area, the part of the objects that juts out is set outside of the hanmen or column area (see Figure 304): sarani,Xing Jian nihamiChu shitePei Zhi suruCi noa~ewoBan Mian You haDuan Ling Yu noMo Wei Xing niPei Zhi suruChang He ha,hamiChu shitaBu Fen woMo Wei Xing niJie suruBan Mian You haDuan noLing Yu noWai Ce ni Pei Zhi suru(Figure 304). 1. characters processed with tate-chu-yoko Zong Zhong Heng Chu Li woXing tsutaWen Zi Lie 2. ornamented characters Tian eZi 3. warichu Ge Zhu 4. characters where each position is changed to block direction Xing Song riFang Xiang noPei Zhi Wei Zhi woWen Zi Dan Wei deBian Geng shitaWen Zi Lie 5. characters whose size is larger than the size dictated by the kihon-hanmen Duan Luo deZhi Ding saretaWen Zi saizuyoriDa kiisaizunoWen Zi Lie An example of warichu jutting from kihon-hanmen Ban Mian noWai Ce nihamiChu shi tePei Zhi suruLi Figure 304 An example of warichu jutting from kihon-hanmen Ban Mian noWai Ce nihamiChu shitePei Zhi suruLi 4.5.2 Processing of Space between Paragraphs Duan Luo Jian Chu Li The space between paragraphs is usually same as line gap specified for the paragraphs. Duan Luo toDuan Luo noJian ha,Te niZhi Ding ganaiChang He ha,sonoDuan Luo deZhi Ding sareteiruXing Jian woQue Bao surebayoi. Note JIS X 4051 determines that "the space between paragraphs where different character sizes are specified shall be the line gap specified for kihon-hanmen". JIS X 4051deha,"Yi naruWen Zi saizuyaXing Jian noDuan Luo gaLian Sok suruChang He ha,Ji Ben Ban Mian noXing Jian tosuru."toGui Ding shiteiru. Sometimes the space between paragraphs is specified. JIS X 4051 determines the space before the paragraph as "space before paragraph" and the space after the paragraph as "space after paragraph". When the "space before paragraph" or the "space after paragraph" is specified, the space will be kept between paragraphs. Thus "space before paragraph" or "space after paragraph" in the JIS X 4051 context is usually specified with absolute spacing (see Figure 305) or a number of lines (see Figure 306). Duan Luo noJian noKong kiLiang gaZhi Ding sareteiruChang He ha,sonoKong kiLiang nisuru.JIS X 4051 deha,Duan Luo noQian noKong kiLiang wo"Duan Luo Qian aki",Duan Luo noHou ronoKong kiLiang wo"Duan Luo Hou aki "toyondeiru."Duan Luo Qian aki"You ha"Duan Luo Hou aki"gaZhi Ding sareteiruChang He ha,so noKong kiLiang woDuan Luo noJian nitoru.konoJIS X 4051deiu"Duan Luo Qian aki"You ha"Duan Luo Hou aki"ha,Jue Dui De naKong kiLiang deZhi Ding suruFang Fa (Figure 305)to,Xing Shu deZhi Ding suru Fang Fa gaaru(Figure 306). Example one where the "space before paragraph" or the "space after paragraph" is specified "Duan Luo Qian aki"Ji bi"Duan Luo Hou aki"noZhi Ding gaaruChang He noChu Li 1 (Xu Wen noMo Wei pezinoLi ) Figure 305 Example one where the "space before paragraph" or the "space after paragraph" is specified "Duan Luo Qian aki"Ji bi"Duan Luo Hou aki"noZhi Ding gaaruChang He noChu Li 1(Xu Wen noMo Wei pezi noLi ) Example one where the "space before paragraph" or the "space after paragraph" is specified (quotations are inserted) "Duan Luo Qian aki" Ji bi"Duan Luo Hou aki"noZhi Ding gaaruChang He noChu Li Li 2 (Yin Yong Wen woCha Ru shitaLi ) Figure 306 Example one where the "space before paragraph" or the "space after paragraph" is specified (quotations are inserted) "Duan Luo Qian aki"Ji bi"Duan Luo Hou aki"noZhi Ding gaaruChang He noChu Li Li 2(Yin Yong Wen woCha Ru shitaLi ) Note JIS X 4051 describes "space before paragraph" and "space after paragraph" at the top or the bottom of the hanmen or column as follows (see Figure 309 Figure 310 and Figure 311 about the space specified with number of lines): "Duan Luo Qian aki"You ha"Duan Luo Hou aki"gaZhi Ding sareteiruDuan Luo gaBan Mian You haDuan noXian Tou You haMo Wei niPei Zhi sareruChang He ha,JIS X 4051deha,Ci noyouniChu Li surutonatsute iru(Xing Shu denoZhi Ding gaaruChang He noChu Li ha,Hou Shu noFigure 309,Figure 310, Figure 311). 1. When the space is specified with "space before paragraph", the last line of the paragraph is at the bottom of the hanmen or column, or there is not enough room to fill the specified space, the top of the next page or column will be used to fill the "space before paragraph" followed by the next paragraph (see Figure 307). Note that the remaining unexpected blank on the previous page or column is left as is. "Duan Luo Qian aki"noZhi Ding gaatsutaChang He ,Qian noDuan Luo noZui Zhong Xing gaBan Mian Ruo shikuhaDuan noMo Wei niJie shitePei Zhi sarerutoki,You ha,Qian noDuan Luo noZui Zhong Xing karaBan Mian Ruo shi kuhaDuan noMo Wei madenoJian ni,"Duan Luo Qian aki"gaZhi Ding sareteiruDuan Luo noXian Tou Xing woPei Zhi surudakenosupesuganaitokiha,Ci nopezi(Ban Mian )You haDuan no Xian Tou karawo"Duan Luo Qian aki"noZhi Ding noKong kiLiang toshi,sonoDuan Luo woPei Zhi suru( Figure 307).Hou Zhe noChang He ,Qian noDuan Luo noHou roha,Kong ketamamanisuru. An example of "space before paragraph" in the top of the hanmen (an example of a NAKA-TOBIRA) "Duan Luo Qian aki"noZhi Ding gaaruDuan Luo gaBan Mian Xian Tou nikitaChang He noChu Li Li (Zhong Fei noLi ) Figure 307 An example of "space before paragraph" in the top of the hanmen (an example of a NAKA-TOBIRA) "Duan Luo Qian aki"noZhi Ding gaaruDuan Luo gaBan Mian Xian Tou nikitaChang He no Chu Li Li (Zhong Fei noLi ) 2. When the last line of the paragraph with "space after paragraph" is at the bottom of the hanmen or column or there is not enough blank space to contain the specified space after the paragraph, the next paragraph starts from the top of the next hanmen or the next column. Note that the space after the previous paragraph is left as is (see Figure 308). "Duan Luo Hou aki"noZhi Ding gaatsutaChang He ,"Duan Luo Hou aki"noZhi Ding gaaruDuan Luo noZui Zhong Xing gaBan Mian Ruo shikuhaDuan noMo Wei niJie shitePei Zhi sarerutoki,You ha,"Duan Luo Hou a ki"noZhi Ding gaaruDuan Luo noZui Zhong Xing karaBan Mian Ruo shikuhaDuan noMo Wei madenoJian ni,Ci noDuan Luo noXian Tou Xing woPei Zhi surudakenosupesuganaitokiha,"Duan Luo Hou aki" noZhi Ding gaaruDuan Luo noCi noDuan Luo noXian Tou Xing ha,pezi(Ban Mian )You haDuan noXian Tou niPei Zhi suru(Figure 308).Hou Zhe noChang He ,"Duan Luo Hou aki"noZhi Ding gaaruDuan Luo noHou roha,Kong ketamamanisuru. An example of "space after paragraph" at the bottom of hanmen or column (an example of NAKA-TOBIRA) "Duan Luo Hou aki"noZhi Ding gaaruDuan Luo ga Ban Mian noMo Wei nikitaChang He noChu Li Li (Zhong Fei noLi ) Figure 308 An example of "space after paragraph" at the bottom of hanmen or column (an example of NAKA-TOBIRA) "Duan Luo Hou aki"noZhi Ding gaaruDuan Luo gaBan Mian noMo Wei nikitaChang He noChu Li Li (Zhong Fei noLi ) Note JIS X 4051 determines that when the previous paragraph is accompanied with "space after paragraph" and the next paragraph is accompanied with "space before paragraph" the size of the space between these two paragraphs is sum of the "space after paragraph" and the "space before paragraph". JIS X 4051deha,Qian noDuan Luo de"Duan Luo Hou aki"gaZhi Ding sare,Hou ronoDuan Luo de"Duan Luo Qian aki"gaZhi Ding saretaChang He noDuan Luo Jian noKong kiLiang ha,"Duan Luo Hou aki"to"Duan Luo Qian aki"to noHe Ji tosuru,tonatsuteiru. When the "space before paragraph" or the "space after paragraph" is specified with a number of lines, the space is calculated with the basic character size and line gap of the paragraph. The space accompanying the header is calculated with the character size and the line gap of the kihon-hanmen. When the space between paragraphs is specified to be one line of space, the results are as follows: Xing Shu deZhi Ding suruChang He ,sonoDuan Luo deZhi Ding sareteiruWen Zi saizuJi biXing Jian woJi Zhun niDuan Luo noJian woKong keru.Jian Chu shinoChang He ha,Ji Ben Ban Mian deShe Ding shitaWen Zi saizuJi bi Xing Jian gaJi Zhun tonaru.Duan Luo Jian noKong kiLiang wo1Xing akitoshitaChang He nitsuiteTu deShi shite oku(Figure 309,Figure 310,Figure 311). Example one of the spacing between paragraphs with number of lines (at the middle of the hanmen) Duan Luo noJian noKong kiLiang woXing Shu deZhi Ding shitaChang He no Chu Li Li 1 (Ban Mian noZhong hodo) Figure 309 Example one of the spacing between paragraphs with number of lines (at the middle of the hanmen) Duan Luo noJian noKong kiLiang woXing Shu deZhi Ding shitaChang He noChu Li Li 1(Ban Mian noZhong hodo) Example two of the spacing between paragraphs with number of lines (at the top of the hanmen) Duan Luo noJian noKong kiLiang woXing Shu deZhi Ding shitaChang He noChu Li Li 2 (Ban Mian noXian Tou ) Figure 310 Example two of the spacing between paragraphs with number of lines (at the top of the hanmen) Duan Luo noJian noKong kiLiang woXing Shu deZhi Ding shitaChang He noChu Li Li 2(Ban Mian noXian Tou ) Example two of the spacing between paragraphs with number of lines (at the bottom of the hanmen) Duan Luo noJian noKong kiLiang woXing Shu deZhi Ding shitaChang He noChu Li Li 3 (Ban Mian noMo Wei ) Figure 311 Example two of the spacing between paragraphs with number of lines (at the bottom of the hanmen) Duan Luo noJian noKong kiLiang woXing Shu deZhi Ding shita Chang He noChu Li Li 3(Ban Mian noMo Wei ) 4.5.3 Adjustment of Processing of Realm in Block Direction Xing Song riFang Xiang noLing Yu noDiao Zheng Chu Li Except for the last line before the page break or new recto, the very last line set at the bottom of a page or a column is set to be aligned to the border of the kihon-hanmen or the column area. However, sometimes exceptions arise as follows: Xing nadowoPei Zhi shiteikuChang He ,Gai peziDeng noZhi Qian nopeziwoChu ite,Ban Mian noMo Wei You haDuan noLing Yu noMo Wei niPei Zhi suruXing nadoha,Ban Mian noMo Wei You haDuan noLing Yu noMo Wei nisoroetePei Zhi surunogaYuan Ze dearu.shikashi,Ci noyounaChang He niha,Xing nado gaMo Wei nisorowanakunaru. 1. Paragraphs and other objects set using a different character size or line gap from the kihon-hanmen. If there is no adjustment, the bottom of the last line will not be aligned to the bottom of the kihon-hanmen or column area in the block direction. Examples are block headings and end notes inserted after a paragraph. Ji Ben Ban Mian deShe Ding shitaWen Zi saizuyaXing Jian tohaYi natsutasaizunoDuan Luo nadowo Pei Zhi suru.sonoJie Guo ,Te niDiao Zheng shinaiChang He ha,Ban Mian You haDuan noLing Yu niPei Zhi suruZui Zhong Xing ga,Ban Mian noMo Wei You haDuan noLing Yu noMo Wei nisorowanai.Bie Xing Jian Chu shiyaDuan Luo noJian niCha Ru sareruHou Zhu nadoga,sonoLi dearu. 2. When setting objects which are prohibited at the bottom of a kihon-hanmen or the bottom of a column, such as block headings, some blanks may appear on the previous page or in the previous column. Ban Mian You haDuan noMo Wei henoPei Zhi gaJin Zhi sareteiruYao Su (Li ebaBie Xing Jian Chu shi) gakitatameni,sorewoCi nopeziYou haCi noDuan niPei Zhi shi,sonoJie Guo ,Ban Mian You haDuan noMo Wei niKong Bai noLing Yu gaFa Sheng suru. In these cases, there are two ways to solve the issue. Hereafter, procedure (a) will be called "adjustment processing in block direction". konoChang He ,Ci noizurenisurukaPan Duan shi,Chu Li suruBi Yao gaaru.nao,kokode ha,Ci noanoDiao Zheng Chu Li wo"Xing Song riFang Xiang noLing Yu noDiao Zheng Chu Li "toyobukotonisuru. 1. Set the bottom of the line aligned to the bottom of the kihon-hanmen or the bottom of the column in the block direction, and move blanks to appropriate positions within the kihon-hanmen or the column. Ban Mian You haDuan noLing Yu niPei Zhi suruZui Zhong Xing woBan Mian You haDuan noMo Wei nisoroerutame ,Fa Sheng shitaKong Bai Fen woBan Mian You haDuan noLing Yu Nei noShi Dang naGe Suo niZhui Jia shiteDiao Zheng Chu Li woXing u. 2. Let the blanks appearing at the bottom of the hanmen or the column in block direction remain as they are. Ban Mian You haDuan noMo Wei niFa Sheng suruKong Bai noLing Yu ha,sonomamatoshiteoku. There are some issues related to the adjustment procedure in the block direction as follows: Yi Xia deha,Xing Song riFang Xiang noLing Yu noDiao Zheng Chu Li niGuan Lian shitaShi Xiang womatometeoku. First, make best efforts to reduce such cases. Some examples of how not to let objects affect the alignment to the kihon-hanmen lines of following objects are: mazu,dekirudakeXing Song riFang Xiang noLing Yu noDiao Zheng Chu Li gaBi Yao ninaranaiyounisuru kotodearu.Xing henoPei Zhi Wei Zhi ha,zurerukotomoaruga,Hou roniPei Zhi sarerumo noniYing Xiang woYu enaiyounisuruLi toshiteha,Ci gaaru. 1. Block heading: the area of the block heading is specified by an integral number of lines (see SS 4.1.6 Processing of Gyou-dori Xing Qu rinoChu Li Li ). Bie Xing Jian Chu shi:Bie Xing Jian Chu shinoXing Song riFang Xiang noPei Zhi Ling Yu woZheng Shu noXing Shu deShe Ding su ru(SS 4.1.6 Processing of Gyou-dori Xing Qu rinoChu Li Li ). Note Some mathematical formulas where the block direction width is wider than the hanmen or column character size, like fractional formulas, can be set in two ways. One is to specify the space of the area with a number of lines and when the area has some aligned space in the block direction the adjustment is done within the hanmen or within the column. Xing Song riFang Xiang noFu ga,sonoDuan Luo noWen Zi saizuyoriDa kikunaruBie Xing nisuruShu Shi (Li eba,yaguraZu tosuruFen Shu )deha,Jian Chu shitoTong Yang ni,Xing Qu rideZhi Ding suruFang Fa to,Shu Shi noXing Song riFang Xiang noQian Hou noZui Di noXing Jian (Yi Ban nisonoDuan Luo denoXing Jian )woShe Ding shi,Xing Song riFang Xiang noYu Qi senuBan Duan gaChu taChang He ha,sonoBan Mian You haDuan noZhong deDiao Zheng woXing uFang Fa gaaru.nao,yaguraZu tosuruFen Shu toha ,Shui Ping noFen Shu Gua noShang Xia niFen Mu toFen Zi woPei Zhi suruFang Fa dearu. 2. Block direction space between paragraphs: to specify the size of a space with a number of lines (see SS 4.5.2 Processing of Space between Paragraphs Duan Luo Jian Chu Li ). Duan Luo Jian noKong kiLiang :Kong kiLiang woZheng Shu noXing Shu deShe Ding suru(SS 4.5.2 Processing of Space between Paragraphs Duan Luo Jian Chu Li ). 3. Other cases such as Haiku with larger characters, where the space of the block is specified with a number of lines. sonoTa ,Jian Shang surutamenoPai Ju nadowoDa kinaWen Zi saizudeJie geruChang He nado demo,Xing Song riFang Xiang noPei Zhi Ling Yu woZheng Shu noXing Shu deShe Ding suru. Note When haiku and other short texts are quoted in a block area the inter-letter-space is sometimes set as a half em or fourth em, or by setting the length of the line and setting the text using the even inter-letter spacing method (see Figure 158). Pai Ju nadowoBie Xing deYin Yong suruChang He ,Ben Wen niBi beZi Shu noShao naiPai Ju nobaran sugatorenaiChang He moaru.sokode,Zi Jian woEr Fen akiRuo shikuhaSi Fen akini suru,You haXing Chang woYi Ding niDing me,Zi Jian woJun Deng Ge ritosuruFang Fa moXing waretei ru(Figure 158). When there is a following object and the properties of the object are different from the properties of the kihon-hanmen, set the object to align with the bottom edge of hanmen or column and adjust the space between the object and the text before. Examples are as follows: Hou roniLian Sok suruBu Fen gaaruga,Heng Zu noJiao Zhu nadonoyouniJi Ben Ban Mian deShe Ding shita Nei Rong toYi naruYao Su woBan Mian You haDuan noMo Wei niBi zuJie shitePei Zhi shi,Xing Song riFang Xiang noLing Yu noDiao Zheng Chu Li noDiao Zheng ha,sonoMo Wei niPei Zhi shitamonotoBen Wen tonoJian deXing uLi toshi teha,Ci gaaru. 1. Footnotes in horizontal writing mode (see SS 4.2.5 Processing of Footnotes in Horizontal Writing Mode Heng Zu noJiao Zhu Chu Li ). Heng Zu noJiao Zhu (SS 4.2.5 Processing of Footnotes in Horizontal Writing Mode Heng Zu noJiao Zhu Chu Li ). 2. Sidenotes in vertical writing mode (see SS 4.2.6 Processing of Sidenotes in Vertical Writing Mode Zong Zu noBang Zhu Chu Li ). Zong Zu noBang Zhu (SS 4.2.6 Processing of Sidenotes in Vertical Writing Mode Zong Zu noBang Zhu Chu Li ). When there is following text and objects and there is blank space as the result of setting text and objects with a specified amount of space, adjustment is done with the block direction space between text lines and objects. Examples are as follows: Hou roniLian Sok suruBu Fen gaari,katsu,Suo Ding noKong kiLiang dePei Zhi shiteitsutaJie Guo ,Ban Mian You haDuan noLing Yu noMo Wei niKong Bai gaFa Sheng shitaChang He de,Xing Song riFang Xiang noLing Yu noDiao Zheng Chu Li woBan Mian You haDuan noTu Zhong deXing uLi toshiteha,Ci gaaru. 1. Cases where an illustration or a table is inserted with "relative positioning and no turn around mode" in terms of JIS X 4051 (see SS 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051 JIS X 4051niokeruTu Ban Pei Zhi noJi Ben De naKao eFang ). Process should be implemented as follows: JIS X 4051deiutokoronoXiang Dui Wei Zhi Zhi Ding niyoriPei Zhi shitaTu Ban You haBiao gaHui riIp miganashideCha Ru saretaChang He (SS 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051 JIS X 4051niokeruTu Ban Pei Zhi noJi Ben De naKao eFang ).konoChang He ha,Ci noyouniDiao Zheng suru. 1. When only one illustration or table with "relative positioning and no turn around mode" is allocated at the top or the bottom of the hanmen or the column, the adjustment of the hanmen or the column is done between the illustration or the table and the main text (see Figure 312). Hui riIp miganaiXiang Dui Wei Zhi Zhi Ding niyoriPei Zhi shitaTu Ban You haBiao ga,Ban Mian You haDuan noXian Tou You haMo Wei ni1Dian dakePei Zhi sareruChang He ha,Tu Ban You haBiao toBen Wen tonoJian deLing Yu noDiao Zheng woXing u(Figure 312). Note When only one illustration or table with absolute position indication without turn around is set at the very top or the very bottom of the hanmen or the column in block direction, the process is implemented as for case 1. Jue Dui Wei Zhi Zhi Ding niyoriPei Zhi shitaTu Ban You haBiao (Hui riIp mihanashi)ga,Ban Mian You haDuan noXian Tou You haMo Wei ni1Dian dakePei Zhi sareruChang He mo1toTong Yang dearu . Example one of adjustment of allocation of a illustration with"relative positioning mode" (at the top of a hanmen) Xiang Dui Wei Zhi Zhi Ding niyoriPei Zhi shitaTu Ban noLing Yu noDiao Zheng Li 1 (Ban Mian noXian Tou ) Figure 312 Example one of adjustment of allocation of a illustration with"relative positioning mode" (at the top of a hanmen) Xiang Dui Wei Zhi Zhi Ding niyoriPei Zhi shitaTu Ban noLing Yu noDiao Zheng Li 1(Ban Mian no Xian Tou ) 2. When only one illustration or table with "relative positioning and no turn around mode" is allocated in the middle of a hanmen or a column the adjustment of the hanmen or the column is done evenly in the space before and after the illustration or table (see Figure 313). Hui riIp miganaiXiang Dui Wei Zhi Zhi Ding niyoriPei Zhi shitaTu Ban You haBiao ga,Ban Mian You haDuan noZhong hodoni1Dian dakePei Zhi sareruChang He ha,Ben Wen toTu Ban You haBiao noQian Ji biHou rodeLing Yu noDiao Zheng woJun Deng niXing u(Figure 313). Example two of adjustment of allocation of a illustration with "relative positioning mode" (at the middle of a hanmen) Xiang Dui Wei Zhi Zhi Ding niyoriPei Zhi shitaTu Ban noLing Yu noDiao Zheng Li 2 (Ban Mian noZhong hodo ) Figure 313 Example two of adjustment of allocation of a illustration with "relative positioning mode" (at the middle of a hanmen) Xiang Dui Wei Zhi Zhi Ding niyoriPei Zhi shitaTu Ban noLing Yu noDiao Zheng Li 2( Ban Mian noZhong hodo) 3. When two or more illustrations or tables are inserted, space is distributed evenly before and after main text and illustrations or tables (see Figure 41). Tu Ban ga2Dian Yi Shang Cha Ru saretaChang He ha,Ben Wen toTu Ban You haBiao noQian Ji biHou rono Fu Shu noGe Suo deDiao Zheng woJun Deng niXing u(Figure 41). Note When two or more illustrations are inserted, if the adjustment is done at more than one position, the line position of main text might be moved from the kihon-hanmen. To avoid that, one approach is to set lines after the illustration with alignment to the kihon-hanmen line position (see Figure 42). In processing like Figure 41, the size of the space before and after illustrations are very similar, however, in cases like Figure 42, the size of the space before and after one illustration are equal, but, the sizes of space before and after different illustrations might be different from each other. Tu Ban ga2Dian Yi Shang Cha Ru saretaChang He ,Fu Shu noGe Suo deDiao Zheng woJun Deng niXing uto, Ben Wen noXing noWei Zhi gaJi Ben Ban Mian deShe Ding shitaXing noWei Zhi tozurerukesumoChu tekuru.sokode,Tu Ban noHou roniBen Wen woPei Zhi suruChang He ni,Ji Ben Ban Mian de She Ding shitaXing noWei Zhi woJi Zhun niPei Zhi suruFang Fa moaru(Figure 42). Figure 41noChu Li Fang Fa ha,Tu Ban noQian Hou noKong kiLiang gaJun Yi ninaruga, Figure 42noFang Fa deha,1tsunoTu Ban noQian Ji biHou ronoKong kiLiang haJun Yi nisu ruga,Yi naruTu Ban dehaYi narukesumoChu tekuru. Note When the illustrations or tables placed with absolute positioning (without wrap-around) are set at the very top and the very bottom of the hanmen or column area, the issue mentioned in (note 1) will also arise. There are also two approaches. One is to make space before and after illustrations or tables equal, and the other is to force the line position so that it is aligned to the line position of the kihon-hanmen. Jue Dui Wei Zhi Zhi Ding niyoriPei Zhi shitaTu Ban You haBiao (Hui riIp mihanashi)ga,Ban Mian You haDuan noXian Tou Ji biMo Wei niGe 1Dian Pei Zhi suruChang He moZhu 1deShu betaWen Ti ga Chu tekuru.Tu Ban noQian Hou noKong kiLiang woJun Yi nisuruFang Fa to,Ji Ben Ban Mian deShe Ding shitaXing noWei Zhi woJi Zhun niPei Zhi suruFang Fa togaaru. 2. Cases where an endnote is inserted (see SS 4.2.4 Processing of Endnotes in Vertical Writing Mode or Horizontal Writing Mode Zong Zu You haHeng Zu noHou Zhu Chu Li ). In these cases, basically the adjustment is done between the endnote and the main text just after the endnote. However, when endnotes are only set at the very end of the hanmen or the column, the adjustment is done between the endnote and the main text before the endnote. Hou Zhu woCha Ru suruChang He (SS 4.2.4 Processing of Endnotes in Vertical Writing Mode or Horizontal Writing Mode Zong Zu You haHeng Zu noHou Zhu Chu Li ) .konoChang He ha,Yuan Ze toshiteHou Zhu tosonoHou ronikuruBen Wen noJian deXing Song riFang Xiang noLing Yu noDiao Zheng Chu Li woXing u.tadashi,Ban Mian You haDuan noMo Wei nidakeHou Zhu woPei Zhi suruChang He ha,Hou Zhu tosonoQian nikuruBen Wen noJian deXing Song riFang Xiang noLing Yu noDiao Zheng Chu Li woXing u. 3. Cases where an inserted quotation block has a smaller character size and narrower line gap than the kihon-hanmen. In these cases, the adjustment processing in block direction is basically the same as for endnotes inserted between paragraphs (see Figure 314, Figure 315). Bie Xing nishitaYin Yong Wen nadonoWen Zi saizuwoJi Ben Ban Mian deShe Ding shitaWen Zi saizuyo riXiao saku,Xing Jian moXia metaChang He .konoChang He noZi Xia geJi biXing Jian noChu Li Bing bini Xing Song riFang Xiang noLing Yu noDiao Zheng Chu Li noFang Fa ha,Duan Luo noJian niCha Ru suruHou Zhu noChu Li toJi Ben haTong zidearu(Figure 314,Figure 315). First example of a case quoted text block has smaller character size than kihon-hanmen Bie Xing nishitaYin Yong Wen noWen Zi saizuwoXiao sakushitaChang He noPei Zhi Li 1 Figure 314 First example of a case quoted text block has smaller character size than kihon-hanmen Bie Xing nishitaYin Yong Wen noWen Zi saizuwoXiao sakushitaChang He noPei Zhi Li 1 Second example of a case quoted text block has smaller character size than kihon-hanmen Bie Xing nishi taYin Yong Wen noWen Zi saizuwoXiao sakushitaChang He noPei Zhi Li 2 Figure 315 Second example of a case quoted text block has smaller character size than kihon-hanmen Bie Xing nishitaYin Yong Wen noWen Zi saizuwoXiao sakushitaChang He no Pei Zhi Li 2 When there is no place for the adjustment even if it is necessary, the blank at the very bottom of the hanmen or the column area in block direction is left as it is. One example is the blank after endnotes occupying one full page. nao,Xing Song riFang Xiang noLing Yu noDiao Zheng Chu Li gaBi Yao dearuga,Diao Zheng woXing uGe Suo ganai Chang He ha,Ban Mian You haDuan noMo Wei woKong keteoku.Li eba,Hou Zhu noFen Liang gaDuo kunari, soredakede1peziwoGou Cheng suruChang He nadodearu. There are cases that there is not enough blank to set the following object and there happen to remain blank at the bottom of the realm of the hanmen or the column. The examples to let the rest blanck as is are as follows: Hou roniLian Sok suruBu Fen gaaruga,Ban Mian You haDuan noLing Yu noMo Wei niKong Bai gaFa Sheng shitemo ,sonomamaKong keteokuLi toshiteha,Ci gaaru. 1. Cases where the heading is set at the bottom of the hanmen or column and the heading is moved to the next page or next column (see SS 4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page Xing Qu riChu Li shitaJian Chu shigapeziMo nikitaChang He noChu Li ). Jian Chu shiga,Ban Mian yaDuan noMo Wei niPei Zhi sarerutameni,Ci nopeziYou haDuan niJian Chu shiwoYi Dong suruChang He (SS 4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page Xing Qu riChu Li shitaJian Chu shigapeziMo nikitaChang He noChu Li ) 2. Cases where the size of the space before or after the paragraph is specified and the paragraph is set at the top or bottom of a hanmen or a column (see SS 4.5.2 Processing of Space between Paragraphs Duan Luo Jian Chu Li ). Duan Luo noJian noKong kiLiang gaZhi Ding sareteiruChang He nioite,sonoDuan Luo nadowoBan Mian yaDuan noXian Tou You haMo Wei niPei Zhi suruChang He (SS 4.5.2 Processing of Space between Paragraphs Duan Luo Jian Chu Li ) 3. Cases where there are no dividable positions in the first part of a dividable table and the table is set at the top of the next page or the next column and there remains some blank space at the bottom of the previous hanmen or the previous column. Also cases where a dividable table is divided and there remains some blank space at the bottom of the previous hanmen or the previous column. Fen Ge woKe tosuruBiao noXian Tou Bu Fen noFen Ge Ke Neng Bu Fen ganaku,Ci noBan Mian You haDuan no Xian Tou niPei Zhi shitaChang He noQian noBan Mian You haDuan noMo Wei .Fen Ge woKe tosuruBiao woTu Zhong deFen Ge shitaChang He no,Qian noBan Mian You haDuan noMo Wei . A. Character Classes Wen Zi kurasuYi Lan The following are lists of (non-ideographic) characters from a subset of ISO/IEC 10646 (collection number 285 "BASIC JAPANESE" and 286 "JAPANESE NON IDEOGRAPHICS EXTENSION") grouped by character class according to the classification explained in SS 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen keru . SS 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen kerudeJie Shuo shitaWen Zi kurasuni Cong i,ISO/IEC 10646nosabusetsuto(korekushiyon285"Ji Ben Ri Ben Wen Zi Ji He "Ji bikorekushiyon286"Kuo Zhang Fei Han Zi Ji He ")niHan mareruFei Han Zi noWen Zi woFen Lei shite, Yi Xia niShi su. Note General punctuation marks are script neutral in ISO/IEC 10646 and there is no "Opening Ideographic Parenthesis" specifically encoded for CJK scripts in the standard. However, because of the typographic difference among scripts with respect to base line position as well as width and glyph design, the same set of punctuation marks usually do not fit to both Latin and Japanese text. To work around this issue, many existing implementations use compatibility characters encoded separately in the standard for the purpose of round-trip integrity with the legacy encoding standards. For example, while this document lists U+0028 LEFT PARENTHESIS as a member of opening brackets (cl-01), the compatibility counterpart U+FF08 FULLWIDTH LEFT PARENTHESIS is used in the Japanese context in most Japanese text layout software. Yue Wu haGuo Ji Wen Zi Fu Hao Hua Ji He ISO/IEC 10646dehaJi Ben De niTe Ding noYong Zi Xi niYi Cun shi naiFan Yong De naJi Hao toshiteXi tsuteirutame,He Wen Zhuan Yong niFu Hao Hua saretaLi eba"He Wen Yong Shi meXiao Gua Hu "toiuyounaJi Hao haFu Hao Hua sareteinai.shikashinagara,Shi Ji noZu Ban nioiteha,Yong Zi Xi niyotsute,Zi Fu ,Zi Xing dezain,Ji biBing biXian no Wei Zhi nitsuiteWei igaarunode,Tong zihitosoroinoYue Wu ha,Tong Chang Ou Wen toHe Wen no Shuang Fang niShi Yong surukotohadekinai.konoWen Ti niDui Chu surutame,Duo kunoShi Ji noChu Li Xi deha,sonoTa noWen Zi kodoGui Ge tonoWang Fu Bao Quan noHu Huan Xing woWei Chi suruMu De de Gui Ge toshiteBie nikodoHua sareteiruHu Huan Yong noWen Zi kodowoShi Yong shiteiru.Li eba,konoWen Shu deha"U+0028(LEFT PARENTHESIS,Shi meXiao Gua Hu )"woShi meGua Hu Lei (cl-01)noYi tsuniFen Lei shiteiruga,Duo kunoHe Wen Zu Ban sohutoueadeha,He Wen niShi Yong suruChang He haDui Ying suruHu Huan Yong noWen Zi kododearu"U+FF08(FULLWIDTH LEFT PARENTHESIS)"woShi Yong shiteiru.nao,"Tong Yong Ming Cheng "ha,JIS X 0213no" Ri Ben Yu Tong Yong Ming Cheng (Can Kao )"dearu. A.1 Opening brackets (cl-01) Shi meGua Hu Lei (cl-01) Character UCS Name UCSMing Cheng Common name Tong Yong Ming Cheng Remarks Bei Kao Zi Xing UCS Zuo shinguruYin Yong Fu ,Zuo used in ' 2018 LEFT SINGLE shingurukuoteshi horizontal QUOTATION MARK yonmaku composition Heng Zu deShi Yong Zuo daburuYin Yong Fu ,Zuo da used in " 201C LEFT DOUBLE burukuoteshiyon horizontal QUOTATION MARK maku composition Heng Zu deShi Yong ( 0028 LEFT PARENTHESIS Shi meXiao Gua Hu ,Shi meWan Gua Hu [ 3014 LEFT TORTOISE Shi mekitsukou(Gui Jia ) SHELL BRACKET Gua Hu [ 005B LEFT SQUARE Shi meDa Gua Hu ,Shi meJiao Gua BRACKET Hu { 007B LEFT CURLY Shi meZhong Gua Hu ,Shi meBo Gua BRACKET Hu < 3008 LEFT ANGLE Shi meShan Gua Hu BRACKET << 300A LEFT DOUBLE Shi meEr Zhong Shan Gua Hu ANGLE BRACKET [ 300C LEFT CORNER Shi mekagiGua Hu BRACKET { 300E LEFT WHITE Shi meEr Zhong kagiGua Hu CORNER BRACKET LEFT BLACK [( 3010 LENTICULAR Shi mesumiFu kiGua Hu BRACKET [?] 2985 LEFT WHITE Shi meEr Zhong paren,Shi PARENTHESIS meEr Zhong Gua Hu LEFT WHITE Shi meEr Zhong kitsukou(Gui (( 3018 TORTOISE SHELL Jia )Gua Hu BRACKET LEFT WHITE Shi mesumiFu kiGua Hu (Bai [[ 3016 LENTICULAR ) BRACKET LEFT-POINTING Shi meEr Zhong Shan Gua Hu Yin Yong Ji << 00AB DOUBLE ANGLE Hao ,Shi megiyume QUOTATION MARK REVERSED DOUBLE used in vertical `` 301D PRIME QUOTATION Shi medaburuminiyuto composition Zong Zu MARK deShi Yong A.2 Closing brackets (cl-02) Zhong wariGua Hu Lei (cl-02) Character UCS Name UCSMing Cheng Common name Tong Yong Ming Cheng Remarks Bei Kao Zi Xing UCS You shinguruYin Yong Fu ,You used in ' 2019 RIGHT SINGLE shingurukuoteshi horizontal QUOTATION MARK yonmaku composition Heng Zu deShi Yong You daburuYin Yong Fu ,You da used in " 201D RIGHT DOUBLE burukuoteshiyon horizontal QUOTATION MARK maku composition Heng Zu deShi Yong ) 0029 RIGHT Zhong wariXiao Gua Hu ,Zhong wari PARENTHESIS Wan Gua Hu ] 3015 RIGHT TORTOISE Zhong warikitsukou(Gui Jia SHELL BRACKET )Gua Hu ] 005D RIGHT SQUARE Zhong wariDa Gua Hu ,Zhong wari BRACKET Jiao Gua Hu } 007D RIGHT CURLY Zhong wariZhong Gua Hu ,Zhong wari BRACKET Bo Gua Hu > 3009 RIGHT ANGLE Zhong wariShan Gua Hu BRACKET >> 300B RIGHT DOUBLE Zhong wariEr Zhong Shan Gua Hu ANGLE BRACKET ] 300D RIGHT CORNER Zhong warikagiGua Hu BRACKET } 300F RIGHT WHITE Zhong wariEr Zhong kagiGua Hu CORNER BRACKET RIGHT BLACK )] 3011 LENTICULAR Zhong warisumiFu kiGua Hu BRACKET [?] 2986 RIGHT WHITE Zhong wariEr Zhong paren, PARENTHESIS Zhong wariEr Zhong Gua Hu RIGHT WHITE Zhong wariEr Zhong kitsukou( )) 3019 TORTOISE SHELL Gui Jia )Gua Hu BRACKET RIGHT WHITE Zhong warisumiFu kiGua Hu ( ]] 3017 LENTICULAR Bai ) BRACKET RIGHT-POINTING Zhong wariEr Zhong Shan Gua Hu Yin Yong >> 00BB DOUBLE ANGLE Ji Hao ,Zhong warigiyume QUOTATION MARK LOW DOUBLE PRIME Zhong waridaburuminiyu used in vertical ,, 301F QUOTATION MARK to composition Zong Zu deShi Yong A.3 Hyphens (cl-03) haihunLei (cl-03) Character UCS Name UCSMing Cheng Common name Tong Yong Remarks Bei Kao Zi Xing UCS Ming Cheng - 2010 HYPHEN haihun(Si Fen ) quarter em width Zi Fu haSi Fen Jiao ~ 301C WAVE DASH Bo datsushiyu [?] 30A0 KATAKANA-HIRAGANA Er Zhong haihun,Er half-width Zi Fu ha DOUBLE HYPHEN Fen Er Zhong datsushiyu Ban Jiao - 2013 EN DASH Er Fen dashi,datsu half-width Zi Fu ha shiyu(Er Fen ) Ban Jiao A.4 Dividing punctuation marks (cl-04) Qu Qie riYue Wu (cl-04) Character Zi UCS Name UCSMing Cheng Common name Tong Yong Remarks Bei Xing UCS Ming Cheng Kao ! 0021 EXCLAMATION MARK Gan Tan Fu ? 003F QUESTION MARK Yi Wen Fu !! 203C DOUBLE EXCLAMATION Gan Tan Fu Er tsu MARK ?? 2047 DOUBLE QUESTION MARK Yi Wen Fu Er tsu ?! 2048 QUESTION EXCLAMATION Yi Wen Fu Gan Tan Fu MARK !? 2049 EXCLAMATION QUESTION Gan Tan Fu Yi Wen Fu MARK A.5 Middle dots (cl-05) Zhong Dian Lei (cl-05) Character UCS Name UCSMing Cheng Common name Remarks Bei Kao Zi Xing UCS Tong Yong Ming Cheng 30FB KATAKANA Zhong Dian MIDDLE DOT : 003A COLON koron ; 003B SEMICOLON semikoron used in horizontal composition Heng Zu deShi Yong A.6 Full stops (cl-06) Ju Dian Lei (cl-06) Character UCS Name UCSMing Cheng Common name Remarks Bei Kao Zi Xing UCS Tong Yong Ming Cheng . 3002 IDEOGRAPHIC Ju Dian FULL STOP . 002E FULL STOP piriodo used in horizontal composition Heng Zu deShi Yong A.7 Commas (cl-07) Du Dian Lei (cl-07) Character UCS Name UCSMing Common name Remarks Bei Kao Zi Xing UCS Cheng Tong Yong Ming Cheng , 3001 IDEOGRAPHIC Du Dian COMMA , 002C COMMA konma used in horizontal composition Heng Zu deShi Yong A.8 Inseparable characters (cl-08) Fen Li Jin Zhi Wen Zi (cl-08) Common Character UCS Name UCSMing Cheng name Remarks Bei Kao Zi Xing UCS Tong Yong Ming Cheng Some systems implement U+2015 datsushi HORIZONTAL BAR very similar -- 2014 EM DASH yu(Quan behavior to U+2014 EM DASH Chu Li Jiao ) Xi niyotsuteha,U+2015 (HORIZONTAL BAR)nimo,Tong Yang noZhen ruWu iwoShi Zhuang shi teirumonomoaru ... 2026 HORIZONTAL San Dian ri ELLIPSIS da .. 2025 TWO DOT LEADER Er Dian ri da VERTICAL KANA used in vertical composition + 3033 REPEAT MARK kunoZi U+3035 follows this Zong Zu deShi Yong UPPER HALF Dian Shang konoWen Zi noHou roniU+3035gaPei Zhi sare ru VERTICAL KANA used in vertical composition REPEAT WITH kunoZi U+3035 follows this Zong Zu deShi Yong + 3034 VOICED SOUND Dian Shang ( konoWen Zi noHou roniU+3035gaPei Zhi sare MARK UPPER Zhuo Dian ) ru HALF VERTICAL KANA kunoZi used in vertical composition Zong 3035 REPEAT MARK Dian Xia Zu deShi Yong LOWER HALF A.9 Iteration marks (cl-09) Zao Fan shiJi Hao (cl-09) Character UCS Name UCSMing Cheng Common name Tong Yong Remarks Zi Xing UCS Ming Cheng Bei Kao " 30FD KATAKANA ITERATION MARK Pian Jia Ming Zao Fan shiJi Hao " 30FE KATAKANA VOICED ITERATION Pian Jia Ming Zao Fan shiJi Hao MARK (Zhuo Dian ) " 309D HIRAGANA ITERATION MARK Ping Jia Ming Zao Fan shiJi Hao " 309E HIRAGANA VOICED ITERATION Ping Jia Ming Zao Fan shiJi Hao MARK (Zhuo Dian ) " 3005 IDEOGRAPHIC ITERATION Zao Fan shiJi Hao MARK [?] 303B VERTICAL IDEOGRAPHIC Er noZi Dian ,yusuri ITERATION MARK Dian A.10 Prolonged sound mark (cl-10) Chang Yin Ji Hao (cl-10) Character UCS Name UCSMing Cheng Common name Tong Remarks Zi Xing UCS Yong Ming Cheng Bei Kao 30FC KATAKANA-HIRAGANA PROLONGED Chang Yin Ji Hao SOUND MARK A.11 Small kana (cl-11) Xiao Shu kinoJia Ming (cl-11) Character UCS Common Remarks Zi Xing UCS Name UCSMing Cheng name Tong Yong Bei Kao Ming Cheng a 3041 HIRAGANA LETTER SMALL A Xiao Shu kiPing Jia Ming a i 3043 HIRAGANA LETTER SMALL I Xiao Shu kiPing Jia Ming i u 3045 HIRAGANA LETTER SMALL U Xiao Shu kiPing Jia Ming u e 3047 HIRAGANA LETTER SMALL E Xiao Shu kiPing Jia Ming e o 3049 HIRAGANA LETTER SMALL O Xiao Shu kiPing Jia Ming o a 30A1 KATAKANA LETTER SMALL A Xiao Shu kiPian Jia Ming a i 30A3 KATAKANA LETTER SMALL I Xiao Shu kiPian Jia Ming i u 30A5 KATAKANA LETTER SMALL U Xiao Shu kiPian Jia Ming u e 30A7 KATAKANA LETTER SMALL E Xiao Shu kiPian Jia Ming e o 30A9 KATAKANA LETTER SMALL O Xiao Shu kiPian Jia Ming o tsu 3063 HIRAGANA LETTER SMALL TU Xiao Shu kiPing Jia Ming tsu ya 3083 HIRAGANA LETTER SMALL YA Xiao Shu kiPing Jia Ming ya yu 3085 HIRAGANA LETTER SMALL YU Xiao Shu kiPing Jia Ming yu yo 3087 HIRAGANA LETTER SMALL YO Xiao Shu kiPing Jia Ming yo wa 308E HIRAGANA LETTER SMALL WA Xiao Shu kiPing Jia Ming wa [?] 3095 HIRAGANA LETTER SMALL KA Xiao Shu kiPing Jia Ming ka [?] 3096 HIRAGANA LETTER SMALL KE Xiao Shu kiPing Jia Ming ke tsu 30C3 KATAKANA LETTER SMALL TU Xiao Shu kiPian Jia Ming tsu ya 30E3 KATAKANA LETTER SMALL YA Xiao Shu kiPian Jia Ming ya yu 30E5 KATAKANA LETTER SMALL YU Xiao Shu kiPian Jia Ming yu yo 30E7 KATAKANA LETTER SMALL YO Xiao Shu kiPian Jia Ming yo wa 30EE KATAKANA LETTER SMALL WA Xiao Shu kiPian Jia Ming wa ka 30F5 KATAKANA LETTER SMALL KA Xiao Shu kiPian Jia Ming ka ke 30F6 KATAKANA LETTER SMALL KE Xiao Shu kiPian Jia Ming ke [?] 31F0 KATAKANA LETTER SMALL KU Xiao Shu kiPian Jia Ming ku [?] 31F1 KATAKANA LETTER SMALL SI Xiao Shu kiPian Jia Ming shi [?] 31F2 KATAKANA LETTER SMALL SU Xiao Shu kiPian Jia Ming su [?] 31F3 KATAKANA LETTER SMALL TO Xiao Shu kiPian Jia Ming to [?] 31F4 KATAKANA LETTER SMALL NU Xiao Shu kiPian Jia Ming nu [?] 31F5 KATAKANA LETTER SMALL HA Xiao Shu kiPian Jia Ming ha [?] 31F6 KATAKANA LETTER SMALL HI Xiao Shu kiPian Jia Ming hi [?] 31F7 KATAKANA LETTER SMALL HU Xiao Shu kiPian Jia Ming hu [?] 31F8 KATAKANA LETTER SMALL HE Xiao Shu kiPian Jia Ming he [?] 31F9 KATAKANA LETTER SMALL HO Xiao Shu kiPian Jia Ming ho [?] 31FA KATAKANA LETTER SMALL MU Xiao Shu kiPian Jia Ming mu [?] 31FB KATAKANA LETTER SMALL RA Xiao Shu kiPian Jia Ming ra [?] 31FC KATAKANA LETTER SMALL RI Xiao Shu kiPian Jia Ming ri [?] 31FD KATAKANA LETTER SMALL RU Xiao Shu kiPian Jia Ming ru [?] 31FE KATAKANA LETTER SMALL RE Xiao Shu kiPian Jia Ming re 31FF KATAKANA LETTER SMALL RO Xiao Shu kiPian Jia Ming ro <31F7, COMBINING KATAKANA-HIRAGANA Dian Fu kiPian Jia SEMI-VOICED SOUND MARK> Ming hu A.12 Prefixed abbreviations (cl-12) Qian Zhi Sheng Lue Ji Hao (cl-12) Character Zi Xing UCS UCS Name UCSMing Cheng Common name Tong Yong Ming Cheng Remarks Bei Kao Y= 00A5 YEN SIGN Yuan Ji Hao $ 0024 DOLLAR SIGN doruJi Hao PS 00A3 POUND SIGN pondoJi Hao # 0023 NUMBER SIGN Fan Hao Ji Hao ,Jing geta EUR 20AC EURO SIGN yuroJi Hao 2116 NUMERO SIGN Quan Jiao NO A.13 Postfixed abbreviations (cl-13) Hou Zhi Sheng Lue Ji Hao (cl-13) Character UCS Name UCSMing Common name Tong Yong Remarks Bei Kao Zi Xing UCS Cheng Ming Cheng deg 00B0 DEGREE Du proportionally-spaced pu SIGN roposhiyonaru ' 2032 PRIME Fen proportionally-spaced pu roposhiyonaru '' 2033 DOUBLE Miao proportionally-spaced pu PRIME roposhiyonaru 2103 DEGREE seShi Du Ji Hao CELSIUS /C 00A2 CENT SIGN sentoJi Hao % 0025 PERCENT pasento SIGN %0 2030 PER MILLE pamiru SIGN HP 33CB SQUARE HP HP,hosupawa (Ma Li ) 2113 SCRIPT ritsutoru SMALL L are 3303 SQUARE Quan Jiao aru AARU calorie 330D SQUARE Quan Jiao karori KARORII kilo 3314 SQUARE Quan Jiao kiro KIRO gram 3318 SQUARE Quan Jiao guramu GURAMU centi 3322 SQUARE Quan Jiao senchi SENTI cent 3323 SQUARE Quan Jiao sento SENTO dollar 3326 SQUARE Quan Jiao doru DORU ton 3327 SQUARE TON Quan Jiao ton percent 332B SQUARE Quan Jiao pasento PAASENTO hectare 3336 SQUARE Quan Jiao hekutaru HEKUTAARU page 333B SQUARE Quan Jiao pezi PEEZI milli 3349 SQUARE Quan Jiao miri MIRI millibar 334A SQUARE Quan Jiao miribaru MIRIBAARU meter 334D SQUARE Quan Jiao metoru MEETORU liter 3351 SQUARE Quan Jiao ritsutoru RITTORU watt 3357 SQUARE Quan Jiao watsuto WATTO mg 338E SQUARE MG Quan Jiao MG kg 338F SQUARE KG Quan Jiao KG mm 339C SQUARE MM Quan Jiao MM cm 339D SQUARE CM Quan Jiao CM km 339E SQUARE KM Quan Jiao KM m^2 33A1 SQUARE M Quan Jiao M2 SQUARED cc 33C4 SQUARE CC Quan Jiao CC A.14 Full-width ideographic space (cl-14) He Zi Jian Ge (cl-14) Character Zi UCS Name UCSMing Cheng Common name Tong Yong Ming Remarks Bei Xing UCS Cheng Kao 3000 IDEOGRAPHIC SPACE A.15 Hiragana (cl-15) Ping Jia Ming (cl-15) Character UCS Common Remarks Zi Xing UCS Name UCSMing Cheng name Tong Yong Bei Kao Ming Cheng a 3042 HIRAGANA LETTER A Ping Jia Ming a i 3044 HIRAGANA LETTER I Ping Jia Ming i u 3046 HIRAGANA LETTER U Ping Jia Ming u e 3048 HIRAGANA LETTER E Ping Jia Ming e o 304A HIRAGANA LETTER O Ping Jia Ming o ka 304B HIRAGANA LETTER KA Ping Jia Ming ka ga 304C HIRAGANA LETTER GA Zhuo Dian Fu ki Ping Jia Ming ka ki 304D HIRAGANA LETTER KI Ping Jia Ming ki gi 304E HIRAGANA LETTER GI Zhuo Dian Fu ki Ping Jia Ming ki ku 304F HIRAGANA LETTER KU Ping Jia Ming ku gu 3050 HIRAGANA LETTER GU Zhuo Dian Fu ki Ping Jia Ming ku ke 3051 HIRAGANA LETTER KE Ping Jia Ming ke ge 3052 HIRAGANA LETTER GE Zhuo Dian Fu ki Ping Jia Ming ke ko 3053 HIRAGANA LETTER KO Ping Jia Ming ko go 3054 HIRAGANA LETTER GO Zhuo Dian Fu ki Ping Jia Ming ko sa 3055 HIRAGANA LETTER SA Ping Jia Ming sa za 3056 HIRAGANA LETTER ZA Zhuo Dian Fu ki Ping Jia Ming sa shi 3057 HIRAGANA LETTER SI Ping Jia Ming shi zi 3058 HIRAGANA LETTER ZI Zhuo Dian Fu ki Ping Jia Ming shi su 3059 HIRAGANA LETTER SU Ping Jia Ming su zu 305A HIRAGANA LETTER ZU Zhuo Dian Fu ki Ping Jia Ming su se 305B HIRAGANA LETTER SE Ping Jia Ming se ze 305C HIRAGANA LETTER ZE Zhuo Dian Fu ki Ping Jia Ming se so 305D HIRAGANA LETTER SO Ping Jia Ming so zo 305E HIRAGANA LETTER ZO Zhuo Dian Fu ki Ping Jia Ming so ta 305F HIRAGANA LETTER TA Ping Jia Ming ta da 3060 HIRAGANA LETTER DA Zhuo Dian Fu ki Ping Jia Ming ta chi 3061 HIRAGANA LETTER TI Ping Jia Ming chi di 3062 HIRAGANA LETTER DI Zhuo Dian Fu ki Ping Jia Ming chi tsu 3064 HIRAGANA LETTER TU Ping Jia Ming tsu du 3065 HIRAGANA LETTER DU Zhuo Dian Fu ki Ping Jia Ming tsu te 3066 HIRAGANA LETTER TE Ping Jia Ming te de 3067 HIRAGANA LETTER DE Zhuo Dian Fu ki Ping Jia Ming te to 3068 HIRAGANA LETTER TO Ping Jia Ming to do 3069 HIRAGANA LETTER DO Zhuo Dian Fu ki Ping Jia Ming to na 306A HIRAGANA LETTER NA Ping Jia Ming na ni 306B HIRAGANA LETTER NI Ping Jia Ming ni nu 306C HIRAGANA LETTER NU Ping Jia Ming nu ne 306D HIRAGANA LETTER NE Ping Jia Ming ne no 306E HIRAGANA LETTER NO Ping Jia Ming no ha 306F HIRAGANA LETTER HA Ping Jia Ming ha ba 3070 HIRAGANA LETTER BA Zhuo Dian Fu ki Ping Jia Ming ha Ban Zhuo Dian Fu pa 3071 HIRAGANA LETTER PA kiPing Jia Ming ha hi 3072 HIRAGANA LETTER HI Ping Jia Ming hi bi 3073 HIRAGANA LETTER BI Zhuo Dian Fu ki Ping Jia Ming hi Ban Zhuo Dian Fu pi 3074 HIRAGANA LETTER PI kiPing Jia Ming hi hu 3075 HIRAGANA LETTER HU Ping Jia Ming hu bu 3076 HIRAGANA LETTER BU Zhuo Dian Fu ki Ping Jia Ming hu Ban Zhuo Dian Fu pu 3077 HIRAGANA LETTER PU kiPing Jia Ming hu he 3078 HIRAGANA LETTER HE Ping Jia Ming he be 3079 HIRAGANA LETTER BE Zhuo Dian Fu ki Ping Jia Ming he Ban Zhuo Dian Fu pe 307A HIRAGANA LETTER PE kiPing Jia Ming he ho 307B HIRAGANA LETTER HO Ping Jia Ming ho bo 307C HIRAGANA LETTER BO Zhuo Dian Fu ki Ping Jia Ming ho Ban Zhuo Dian Fu po 307D HIRAGANA LETTER PO kiPing Jia Ming ho ma 307E HIRAGANA LETTER MA Ping Jia Ming ma mi 307F HIRAGANA LETTER MI Ping Jia Ming mi mu 3080 HIRAGANA LETTER MU Ping Jia Ming mu me 3081 HIRAGANA LETTER ME Ping Jia Ming me mo 3082 HIRAGANA LETTER MO Ping Jia Ming mo ya 3084 HIRAGANA LETTER YA Ping Jia Ming ya yu 3086 HIRAGANA LETTER YU Ping Jia Ming yu yo 3088 HIRAGANA LETTER YO Ping Jia Ming yo ra 3089 HIRAGANA LETTER RA Ping Jia Ming ra ri 308A HIRAGANA LETTER RI Ping Jia Ming ri ru 308B HIRAGANA LETTER RU Ping Jia Ming ru re 308C HIRAGANA LETTER RE Ping Jia Ming re ro 308D HIRAGANA LETTER RO Ping Jia Ming ro wa 308F HIRAGANA LETTER WA Ping Jia Ming wa wi 3090 HIRAGANA LETTER WI Ping Jia Ming wi we 3091 HIRAGANA LETTER WE Ping Jia Ming we wo 3092 HIRAGANA LETTER WO Ping Jia Ming wo n 3093 HIRAGANA LETTER N Ping Jia Ming n vu 3094 HIRAGANA LETTER VU Zhuo Dian Fu ki Ping Jia Ming u <304B, KATAKANA-HIRAGANA SEMI-VOICED kiPing Jia Ming SOUND MARK> ka <304D, KATAKANA-HIRAGANA SEMI-VOICED kiPing Jia Ming SOUND MARK> ki <304F, KATAKANA-HIRAGANA SEMI-VOICED kiPing Jia Ming SOUND MARK> ku <3051, KATAKANA-HIRAGANA SEMI-VOICED kiPing Jia Ming SOUND MARK> ke <3053, KATAKANA-HIRAGANA SEMI-VOICED kiPing Jia Ming SOUND MARK> ko A.16 Katakana (cl-16) Pian Jia Ming (cl-16) Character UCS Common Remarks Zi Xing UCS Name UCSMing Cheng name Tong Yong Bei Kao Ming Cheng a 30A2 KATAKANA LETTER A Pian Jia Ming a i 30A4 KATAKANA LETTER I Pian Jia Ming i u 30A6 KATAKANA LETTER U Pian Jia Ming u e 30A8 KATAKANA LETTER E Pian Jia Ming e o 30AA KATAKANA LETTER O Pian Jia Ming o ka 30AB KATAKANA LETTER KA Pian Jia Ming ka ga 30AC KATAKANA LETTER GA Zhuo Dian Fu ki Pian Jia Ming ka ki 30AD KATAKANA LETTER KI Pian Jia Ming ki gi 30AE KATAKANA LETTER GI Zhuo Dian Fu ki Pian Jia Ming ki ku 30AF KATAKANA LETTER KU Pian Jia Ming ku gu 30B0 KATAKANA LETTER GU Zhuo Dian Fu ki Pian Jia Ming ku ke 30B1 KATAKANA LETTER KE Pian Jia Ming ke ge 30B2 KATAKANA LETTER GE Zhuo Dian Fu ki Pian Jia Ming ke ko 30B3 KATAKANA LETTER KO Pian Jia Ming ko go 30B4 KATAKANA LETTER GO Zhuo Dian Fu ki Pian Jia Ming ko sa 30B5 KATAKANA LETTER SA Pian Jia Ming sa za 30B6 KATAKANA LETTER ZA Zhuo Dian Fu ki Pian Jia Ming sa shi 30B7 KATAKANA LETTER SI Pian Jia Ming shi zi 30B8 KATAKANA LETTER ZI Zhuo Dian Fu ki Pian Jia Ming shi su 30B9 KATAKANA LETTER SU Pian Jia Ming su zu 30BA KATAKANA LETTER ZU Zhuo Dian Fu ki Pian Jia Ming su se 30BB KATAKANA LETTER SE Pian Jia Ming se ze 30BC KATAKANA LETTER ZE Zhuo Dian Fu ki Pian Jia Ming se so 30BD KATAKANA LETTER SO Pian Jia Ming so zo 30BE KATAKANA LETTER ZO Zhuo Dian Fu ki Pian Jia Ming so ta 30BF KATAKANA LETTER TA Pian Jia Ming ta da 30C0 KATAKANA LETTER DA Zhuo Dian Fu ki Pian Jia Ming ta chi 30C1 KATAKANA LETTER TI Pian Jia Ming chi di 30C2 KATAKANA LETTER DI Zhuo Dian Fu ki Pian Jia Ming chi tsu 30C4 KATAKANA LETTER TU Pian Jia Ming tsu du 30C5 KATAKANA LETTER DU Zhuo Dian Fu ki Pian Jia Ming tsu te 30C6 KATAKANA LETTER TE Pian Jia Ming te de 30C7 KATAKANA LETTER DE Zhuo Dian Fu ki Pian Jia Ming te to 30C8 KATAKANA LETTER TO Pian Jia Ming to do 30C9 KATAKANA LETTER DO Zhuo Dian Fu ki Pian Jia Ming to na 30CA KATAKANA LETTER NA Pian Jia Ming na ni 30CB KATAKANA LETTER NI Pian Jia Ming ni nu 30CC KATAKANA LETTER NU Pian Jia Ming nu ne 30CD KATAKANA LETTER NE Pian Jia Ming ne no 30CE KATAKANA LETTER NO Pian Jia Ming no ha 30CF KATAKANA LETTER HA Pian Jia Ming ha ba 30D0 KATAKANA LETTER BA Zhuo Dian Fu ki Pian Jia Ming ha Ban Zhuo Dian Fu pa 30D1 KATAKANA LETTER PA kiPian Jia Ming ha hi 30D2 KATAKANA LETTER HI Pian Jia Ming hi bi 30D3 KATAKANA LETTER BI Zhuo Dian Fu ki Pian Jia Ming hi Ban Zhuo Dian Fu pi 30D4 KATAKANA LETTER PI kiPian Jia Ming hi hu 30D5 KATAKANA LETTER HU Pian Jia Ming hu bu 30D6 KATAKANA LETTER BU Zhuo Dian Fu ki Pian Jia Ming hu Ban Zhuo Dian Fu pu 30D7 KATAKANA LETTER PU kiPian Jia Ming hu he 30D8 KATAKANA LETTER HE Pian Jia Ming he be 30D9 KATAKANA LETTER BE Zhuo Dian Fu ki Pian Jia Ming he Ban Zhuo Dian Fu pe 30DA KATAKANA LETTER PE kiPian Jia Ming he ho 30DB KATAKANA LETTER HO Pian Jia Ming ho bo 30DC KATAKANA LETTER BO Zhuo Dian Fu ki Pian Jia Ming ho Ban Zhuo Dian Fu po 30DD KATAKANA LETTER PO kiPian Jia Ming ho ma 30DE KATAKANA LETTER MA Pian Jia Ming ma mi 30DF KATAKANA LETTER MI Pian Jia Ming mi mu 30E0 KATAKANA LETTER MU Pian Jia Ming mu me 30E1 KATAKANA LETTER ME Pian Jia Ming me mo 30E2 KATAKANA LETTER MO Pian Jia Ming mo ya 30E4 KATAKANA LETTER YA Pian Jia Ming ya yu 30E6 KATAKANA LETTER YU Pian Jia Ming yu yo 30E8 KATAKANA LETTER YO Pian Jia Ming yo ra 30E9 KATAKANA LETTER RA Pian Jia Ming ra ri 30EA KATAKANA LETTER RI Pian Jia Ming ri ru 30EB KATAKANA LETTER RU Pian Jia Ming ru re 30EC KATAKANA LETTER RE Pian Jia Ming re ro 30ED KATAKANA LETTER RO Pian Jia Ming ro wa 30EF KATAKANA LETTER WA Pian Jia Ming wa wi 30F0 KATAKANA LETTER WI Pian Jia Ming wi we 30F1 KATAKANA LETTER WE Pian Jia Ming we wo 30F2 KATAKANA LETTER WO Pian Jia Ming wo n 30F3 KATAKANA LETTER N Pian Jia Ming n vu 30F4 KATAKANA LETTER VU Zhuo Dian Fu ki Pian Jia Ming u <30AB, KATAKANA-HIRAGANA SEMI-VOICED kiPian Jia Ming SOUND MARK> ka <30AD, KATAKANA-HIRAGANA SEMI-VOICED kiPian Jia Ming SOUND MARK> ki <30AF, KATAKANA-HIRAGANA SEMI-VOICED kiPian Jia Ming SOUND MARK> ku <30B1, KATAKANA-HIRAGANA SEMI-VOICED kiPian Jia Ming SOUND MARK> ke <30B3, KATAKANA-HIRAGANA SEMI-VOICED kiPian Jia Ming SOUND MARK> ko <30BB, KATAKANA-HIRAGANA SEMI-VOICED kiPian Jia Ming SOUND MARK> se <30C4, KATAKANA-HIRAGANA SEMI-VOICED kiPian Jia Ming SOUND MARK> tsu <30C8, KATAKANA-HIRAGANA SEMI-VOICED kiPian Jia Ming SOUND MARK> to va 30F7 KATAKANA LETTER VA Zhuo Dian Fu ki wa vi 30F8 KATAKANA LETTER VI Zhuo Dian Fu ki wi ve 30F9 KATAKANA LETTER VE Zhuo Dian Fu ki we vo 30FA KATAKANA LETTER VO Zhuo Dian Fu ki wo A.17 Math symbols (cl-17) Deng Hao Lei (cl-17) Character UCS Name UCSMing Cheng Common name Tong Yong Remarks Zi Xing UCS Ming Cheng Bei Kao = 003D EQUALS SIGN Deng Hao [?] 2260 NOT EQUAL TO Deng Hao Fou Ding [?] 2252 APPROXIMATELY EQUAL TO OR hotondoDeng shii THE IMAGE OF [?] 2243 ASYMPTOTICALLY EQUAL TO Jian Jin De niDeng shii, homotopu [?] 2245 APPROXIMATELY EQUAL TO Tong Xing [?] 2248 ALMOST EQUAL TO Jin Si De niDeng shii, Tong Xiang [?] 2261 IDENTICAL TO Chang niDeng shii,He Tong [?] 2262 NOT IDENTICAL TO He Tong Fou Ding < 003C LESS-THAN SIGN Bu Deng Hao (yoriXiao ) > 003E GREATER-THAN SIGN Bu Deng Hao (yoriDa ) <= 2266 LESS-THAN OVER EQUAL TO yoriXiao saikaYou ha Deng shii >= 2267 GREATER-THAN OVER EQUAL TO yoriDa kiikaYou ha Deng shii [?] 226A MUCH LESS-THAN Fei Chang niXiao sai [?] 226B MUCH GREATER-THAN Fei Chang niDa kii [?] 2276 LESS-THAN OR GREATER-THAN Xiao saikaDa kii [?] 2277 GREATER-THAN OR LESS-THAN Da kiikaXiao sai [?] 22DA LESS-THAN EQUAL TO OR Xiao saikaDeng shiika GREATER-THAN Da kii [?] 22DB GREATER-THAN EQUAL TO OR Da kiikaDeng shiika LESS-THAN Xiao sai [?] 2227 LOGICAL AND Ji bi(He Jie ) [?] 2228 LOGICAL OR You ha(Li Jie ) [?] 2305 PROJECTIVE She Ying De Guan Xi [?] 2306 PERSPECTIVE Bei Jing De Guan Xi [?] 2282 SUBSET OF Zhen Bu Fen Ji He [?] 2283 SUPERSET OF Zhen Bu Fen Ji He (Ni Fang Xiang ) [?] 2284 NOT A SUBSET OF Bu Fen Ji He noFou Ding [?] 2285 NOT A SUPERSET OF Bu Fen Ji He noFou Ding ( Ni Fang Xiang ) [?] 2286 SUBSET OF OR EQUAL TO Bu Fen Ji He [?] 2287 SUPERSET OF OR EQUAL TO Bu Fen Ji He (Ni Fang Xiang ) [?] 228A SUBSET OF WITH NOT EQUAL Zhen Bu Fen Ji He 2 TO [?] 228B SUPERSET OF WITH NOT EQUAL Zhen Bu Fen Ji He 2(Ni Fang TO Xiang ) [?] 2208 ELEMENT OF Shu suru [?] 220B CONTAINS AS MEMBER Yuan toshiteHan mu [?] 2209 NOT AN ELEMENT OF Yao Su noFou Ding ,Yuan no Fou Ding [?] 222A UNION He Bing Ji He [?] 2229 INTERSECTION Gong Tong Ji He [?] 2225 PARALLEL TO Ping Xing [?] 2226 NOT PARALLEL TO Ping Xing noFou Ding = 21D2 RIGHTWARDS DOUBLE ARROW naraba(Han Yi ) = 21D4 LEFT RIGHT DOUBLE ARROW Tong Zhi - 2194 LEFT RIGHT ARROW Tong Deng [?] 223D REVERSED TILDE (lazy S) Xiang Si [?] 221D PROPORTIONAL TO Bi Li [?] 22A5 UP TACK Chui Zhi [?] 2295 CIRCLED PLUS Zhi He [?] 2297 CIRCLED TIMES tensoruJi A.18 Math operators (cl-18) Yan Suan Ji Hao (cl-18) Character Zi UCS Name UCSMing Cheng Common name Tong Yong Ming Remarks Bei Xing UCS Cheng Kao + 002B PLUS SIGN Zheng Fu Hao ,Jia Suan Ji Hao - 2212 MINUS SIGN Fu Fu Hao ,Jian Suan Ji Hao x 00D7 MULTIPLICATION Cheng Suan Ji Hao SIGN / 00F7 DIVISION SIGN Chu Suan Ji Hao +- 00B1 PLUS-MINUS SIGN Zheng You haFu Fu Hao [?] 2213 MINUS-OR-PLUS Fu You haZheng Fu Hao SIGN A.19 Ideographic characters (cl-19) Han Zi Deng (Han Zi Yi Wai noLi )(cl-19) In addition to CJK Ideographs, ideographic characters (cl-19) also includes some handful of other symbols. The following is the list of all non-ideographic characters assigned to this character class. Han Zi Deng (cl-19)noWen Zi kurasuniha,"CJK Ideographs"noTa ni,ikutsukanoJi Hao Lei gaHan mareru.Ci ha,konoWen Zi kurasuniHan mareruFei Han Zi noWen Zi Ji Hao nori sutodearu. Character UCS Name UCSMing Cheng Common name Tong Yong Remarks Zi Xing UCS Ming Cheng Bei Kao & 0026 AMPERSAND anpasando * 002A ASTERISK Xing Yin ,asuterisu ku / 002F SOLIDUS Xie Xian 0 0030 DIGIT ZERO 0 1 0031 DIGIT ONE 1 2 0032 DIGIT TWO 2 3 0033 DIGIT THREE 3 4 0034 DIGIT FOUR 4 5 0035 DIGIT FIVE 5 6 0036 DIGIT SIX 6 7 0037 DIGIT SEVEN 7 8 0038 DIGIT EIGHT 8 9 0039 DIGIT NINE 9 @ 0040 COMMERCIAL AT Dan Jia Ji Hao ,atsuto maku A 0041 LATIN CAPITAL LETTER A ratenDa Wen Zi A B 0042 LATIN CAPITAL LETTER B ratenDa Wen Zi B C 0043 LATIN CAPITAL LETTER C ratenDa Wen Zi C D 0044 LATIN CAPITAL LETTER D ratenDa Wen Zi D E 0045 LATIN CAPITAL LETTER E ratenDa Wen Zi E F 0046 LATIN CAPITAL LETTER F ratenDa Wen Zi F G 0047 LATIN CAPITAL LETTER G ratenDa Wen Zi G H 0048 LATIN CAPITAL LETTER H ratenDa Wen Zi H I 0049 LATIN CAPITAL LETTER I ratenDa Wen Zi I J 004A LATIN CAPITAL LETTER J ratenDa Wen Zi J K 004B LATIN CAPITAL LETTER K ratenDa Wen Zi K L 004C LATIN CAPITAL LETTER L ratenDa Wen Zi L M 004D LATIN CAPITAL LETTER M ratenDa Wen Zi M N 004E LATIN CAPITAL LETTER N ratenDa Wen Zi N O 004F LATIN CAPITAL LETTER O ratenDa Wen Zi O P 0050 LATIN CAPITAL LETTER P ratenDa Wen Zi P Q 0051 LATIN CAPITAL LETTER Q ratenDa Wen Zi Q R 0052 LATIN CAPITAL LETTER R ratenDa Wen Zi R S 0053 LATIN CAPITAL LETTER S ratenDa Wen Zi S T 0054 LATIN CAPITAL LETTER T ratenDa Wen Zi T U 0055 LATIN CAPITAL LETTER U ratenDa Wen Zi U V 0056 LATIN CAPITAL LETTER V ratenDa Wen Zi V W 0057 LATIN CAPITAL LETTER W ratenDa Wen Zi W X 0058 LATIN CAPITAL LETTER X ratenDa Wen Zi X Y 0059 LATIN CAPITAL LETTER Y ratenDa Wen Zi Y Z 005A LATIN CAPITAL LETTER Z ratenDa Wen Zi Z \ 005C REVERSE SOLIDUS Ni Xie Xian a 0061 LATIN SMALL LETTER A ratenXiao Wen Zi A b 0062 LATIN SMALL LETTER B ratenXiao Wen Zi B c 0063 LATIN SMALL LETTER C ratenXiao Wen Zi C d 0064 LATIN SMALL LETTER D ratenXiao Wen Zi D e 0065 LATIN SMALL LETTER E ratenXiao Wen Zi E f 0066 LATIN SMALL LETTER F ratenXiao Wen Zi F g 0067 LATIN SMALL LETTER G ratenXiao Wen Zi G h 0068 LATIN SMALL LETTER H ratenXiao Wen Zi H i 0069 LATIN SMALL LETTER I ratenXiao Wen Zi I j 006A LATIN SMALL LETTER J ratenXiao Wen Zi J k 006B LATIN SMALL LETTER K ratenXiao Wen Zi K l 006C LATIN SMALL LETTER L ratenXiao Wen Zi L m 006D LATIN SMALL LETTER M ratenXiao Wen Zi M n 006E LATIN SMALL LETTER N ratenXiao Wen Zi N o 006F LATIN SMALL LETTER O ratenXiao Wen Zi O p 0070 LATIN SMALL LETTER P ratenXiao Wen Zi P q 0071 LATIN SMALL LETTER Q ratenXiao Wen Zi Q r 0072 LATIN SMALL LETTER R ratenXiao Wen Zi R s 0073 LATIN SMALL LETTER S ratenXiao Wen Zi S t 0074 LATIN SMALL LETTER T ratenXiao Wen Zi T u 0075 LATIN SMALL LETTER U ratenXiao Wen Zi U v 0076 LATIN SMALL LETTER V ratenXiao Wen Zi V w 0077 LATIN SMALL LETTER W ratenXiao Wen Zi W x 0078 LATIN SMALL LETTER X ratenXiao Wen Zi X y 0079 LATIN SMALL LETTER Y ratenXiao Wen Zi Y z 007A LATIN SMALL LETTER Z ratenXiao Wen Zi Z | 007C VERTICAL LINE Zong Xian SS 00A7 SECTION SIGN Jie Ji Hao (c) 00A9 COPYRIGHT SIGN Zhu Zuo Quan Biao Shi Ji Hao (r) 00AE REGISTERED SIGN Deng Lu Shang Biao Ji Hao P 00B6 PILCROW SIGN Duan Luo Ji Hao 1/4 00BC VULGAR FRACTION ONE QUARTER 4Fen no1 1/2 00BD VULGAR FRACTION ONE HALF 2Fen no1 3/4 00BE VULGAR FRACTION THREE 4Fen no3 QUARTERS A 0391 GREEK CAPITAL LETTER ALPHA girishiaDa Wen Zi ALPHA B 0392 GREEK CAPITAL LETTER BETA girishiaDa Wen Zi BETA G 0393 GREEK CAPITAL LETTER GAMMA girishiaDa Wen Zi GAMMA D 0394 GREEK CAPITAL LETTER DELTA girishiaDa Wen Zi DELTA E 0395 GREEK CAPITAL LETTER EPSILON girishiaDa Wen Zi EPSILON Z 0396 GREEK CAPITAL LETTER ZETA girishiaDa Wen Zi ZETA E 0397 GREEK CAPITAL LETTER ETA girishiaDa Wen Zi ETA Th 0398 GREEK CAPITAL LETTER THETA girishiaDa Wen Zi THETA I 0399 GREEK CAPITAL LETTER IOTA girishiaDa Wen Zi IOTA K 039A GREEK CAPITAL LETTER KAPPA girishiaDa Wen Zi KAPPA L 039B GREEK CAPITAL LETTER LAMDA girishiaDa Wen Zi LAMBDA M 039C GREEK CAPITAL LETTER MU girishiaDa Wen Zi MU N 039D GREEK CAPITAL LETTER NU girishiaDa Wen Zi NU Ks 039E GREEK CAPITAL LETTER XI girishiaDa Wen Zi XI O 039F GREEK CAPITAL LETTER OMICRON girishiaDa Wen Zi OMICRON P 03A0 GREEK CAPITAL LETTER PI girishiaDa Wen Zi PI R 03A1 GREEK CAPITAL LETTER RHO girishiaDa Wen Zi RHO S 03A3 GREEK CAPITAL LETTER SIGMA girishiaDa Wen Zi SIGMA T 03A4 GREEK CAPITAL LETTER TAU girishiaDa Wen Zi TAU U 03A5 GREEK CAPITAL LETTER UPSILON girishiaDa Wen Zi UPSILON Ph 03A6 GREEK CAPITAL LETTER PHI girishiaDa Wen Zi PHI Kh 03A7 GREEK CAPITAL LETTER CHI girishiaDa Wen Zi CHI Ps 03A8 GREEK CAPITAL LETTER PSI girishiaDa Wen Zi PSI O 03A9 GREEK CAPITAL LETTER OMEGA girishiaDa Wen Zi OMEGA a 03B1 GREEK SMALL LETTER ALPHA girishiaXiao Wen Zi ALPHA b 03B2 GREEK SMALL LETTER BETA girishiaXiao Wen Zi BETA g 03B3 GREEK SMALL LETTER GAMMA girishiaXiao Wen Zi GAMMA d 03B4 GREEK SMALL LETTER DELTA girishiaXiao Wen Zi DELTA e 03B5 GREEK SMALL LETTER EPSILON girishiaXiao Wen Zi EPSILON z 03B6 GREEK SMALL LETTER ZETA girishiaXiao Wen Zi ZETA e 03B7 GREEK SMALL LETTER ETA girishiaXiao Wen Zi ETA th 03B8 GREEK SMALL LETTER THETA girishiaXiao Wen Zi THETA i 03B9 GREEK SMALL LETTER IOTA girishiaXiao Wen Zi IOTA k 03BA GREEK SMALL LETTER KAPPA girishiaXiao Wen Zi KAPPA l 03BB GREEK SMALL LETTER LAMDA girishiaXiao Wen Zi LAMBDA m 03BC GREEK SMALL LETTER MU girishiaXiao Wen Zi MU n 03BD GREEK SMALL LETTER NU girishiaXiao Wen Zi NU x 03BE GREEK SMALL LETTER XI girishiaXiao Wen Zi XI o 03BF GREEK SMALL LETTER OMICRON girishiaXiao Wen Zi OMICRON p 03C0 GREEK SMALL LETTER PI girishiaXiao Wen Zi PI r 03C1 GREEK SMALL LETTER RHO girishiaXiao Wen Zi RHO s 03C2 GREEK SMALL LETTER FINAL girishiaXiao Wen Zi hu SIGMA ainaruSIGMA s 03C3 GREEK SMALL LETTER SIGMA girishiaXiao Wen Zi SIGMA t 03C4 GREEK SMALL LETTER TAU girishiaXiao Wen Zi TAU u 03C5 GREEK SMALL LETTER UPSILON girishiaXiao Wen Zi UPSILON ph 03C6 GREEK SMALL LETTER PHI girishiaXiao Wen Zi PHI kh 03C7 GREEK SMALL LETTER CHI girishiaXiao Wen Zi CHI ps 03C8 GREEK SMALL LETTER PSI girishiaXiao Wen Zi PSI o 03C9 GREEK SMALL LETTER OMEGA girishiaXiao Wen Zi OMEGA Io 0401 CYRILLIC CAPITAL LETTER IO kiriruDa Wen Zi IO A 0410 CYRILLIC CAPITAL LETTER A kiriruDa Wen Zi A B 0411 CYRILLIC CAPITAL LETTER BE kiriruDa Wen Zi BE V 0412 CYRILLIC CAPITAL LETTER VE kiriruDa Wen Zi VE G 0413 CYRILLIC CAPITAL LETTER GHE kiriruDa Wen Zi GHE D 0414 CYRILLIC CAPITAL LETTER DE kiriruDa Wen Zi DE E 0415 CYRILLIC CAPITAL LETTER IE kiriruDa Wen Zi IE Zh 0416 CYRILLIC CAPITAL LETTER ZHE kiriruDa Wen Zi ZHE Z 0417 CYRILLIC CAPITAL LETTER ZE kiriruDa Wen Zi ZE I 0418 CYRILLIC CAPITAL LETTER I kiriruDa Wen Zi I I 0419 CYRILLIC CAPITAL LETTER kiriruDa Wen Zi SHORT I SHORT I K 041A CYRILLIC CAPITAL LETTER KA kiriruDa Wen Zi KA L 041B CYRILLIC CAPITAL LETTER EL kiriruDa Wen Zi EL M 041C CYRILLIC CAPITAL LETTER EM kiriruDa Wen Zi EM N 041D CYRILLIC CAPITAL LETTER EN kiriruDa Wen Zi EN O 041E CYRILLIC CAPITAL LETTER O kiriruDa Wen Zi O P 041F CYRILLIC CAPITAL LETTER PE kiriruDa Wen Zi PE R 0420 CYRILLIC CAPITAL LETTER ER kiriruDa Wen Zi ER S 0421 CYRILLIC CAPITAL LETTER ES kiriruDa Wen Zi ES T 0422 CYRILLIC CAPITAL LETTER TE kiriruDa Wen Zi TE U 0423 CYRILLIC CAPITAL LETTER U kiriruDa Wen Zi U F 0424 CYRILLIC CAPITAL LETTER EF kiriruDa Wen Zi EF Kh 0425 CYRILLIC CAPITAL LETTER HA kiriruDa Wen Zi HA Ts 0426 CYRILLIC CAPITAL LETTER TSE kiriruDa Wen Zi TSE Ch 0427 CYRILLIC CAPITAL LETTER CHE kiriruDa Wen Zi CHE Sh 0428 CYRILLIC CAPITAL LETTER SHA kiriruDa Wen Zi SHA Shch 0429 CYRILLIC CAPITAL LETTER kiriruDa Wen Zi SHCHA SHCHA ' 042A CYRILLIC CAPITAL LETTER HARD kiriruDa Wen Zi SIGN HARD SIGN Y 042B CYRILLIC CAPITAL LETTER YERU kiriruDa Wen Zi YERU ' 042C CYRILLIC CAPITAL LETTER SOFT kiriruDa Wen Zi SIGN SOFT SIGN E 042D CYRILLIC CAPITAL LETTER E kiriruDa Wen Zi E Iu 042E CYRILLIC CAPITAL LETTER YU kiriruDa Wen Zi YU Ia 042F CYRILLIC CAPITAL LETTER YA kiriruDa Wen Zi YA a 0430 CYRILLIC SMALL LETTER A kiriruXiao Wen Zi A b 0431 CYRILLIC SMALL LETTER BE kiriruXiao Wen Zi BE v 0432 CYRILLIC SMALL LETTER VE kiriruXiao Wen Zi VE g 0433 CYRILLIC SMALL LETTER GHE kiriruXiao Wen Zi GHE d 0434 CYRILLIC SMALL LETTER DE kiriruXiao Wen Zi DE e 0435 CYRILLIC SMALL LETTER IE kiriruXiao Wen Zi IE zh 0436 CYRILLIC SMALL LETTER ZHE kiriruXiao Wen Zi ZHE z 0437 CYRILLIC SMALL LETTER ZE kiriruXiao Wen Zi ZE i 0438 CYRILLIC SMALL LETTER I kiriruXiao Wen Zi I i 0439 CYRILLIC SMALL LETTER SHORT kiriruXiao Wen Zi I SHORT I k 043A CYRILLIC SMALL LETTER KA kiriruXiao Wen Zi KA l 043B CYRILLIC SMALL LETTER EL kiriruXiao Wen Zi EL m 043C CYRILLIC SMALL LETTER EM kiriruXiao Wen Zi EM n 043D CYRILLIC SMALL LETTER EN kiriruXiao Wen Zi EN o 043E CYRILLIC SMALL LETTER O kiriruXiao Wen Zi O p 043F CYRILLIC SMALL LETTER PE kiriruXiao Wen Zi PE r 0440 CYRILLIC SMALL LETTER ER kiriruXiao Wen Zi ER s 0441 CYRILLIC SMALL LETTER ES kiriruXiao Wen Zi ES t 0442 CYRILLIC SMALL LETTER TE kiriruXiao Wen Zi TE u 0443 CYRILLIC SMALL LETTER U kiriruXiao Wen Zi U f 0444 CYRILLIC SMALL LETTER EF kiriruXiao Wen Zi EF kh 0445 CYRILLIC SMALL LETTER HA kiriruXiao Wen Zi HA ts 0446 CYRILLIC SMALL LETTER TSE kiriruXiao Wen Zi TSE ch 0447 CYRILLIC SMALL LETTER CHE kiriruXiao Wen Zi CHE sh 0448 CYRILLIC SMALL LETTER SHA kiriruXiao Wen Zi SHA shch 0449 CYRILLIC SMALL LETTER SHCHA kiriruXiao Wen Zi SHCHA ' 044A CYRILLIC SMALL LETTER HARD kiriruXiao Wen Zi SIGN HARD SIGN y 044B CYRILLIC SMALL LETTER YERU kiriruXiao Wen Zi YERU ' 044C CYRILLIC SMALL LETTER SOFT kiriruXiao Wen Zi SIGN SOFT SIGN e 044D CYRILLIC SMALL LETTER E kiriruXiao Wen Zi E iu 044E CYRILLIC SMALL LETTER YU kiriruXiao Wen Zi YU ia 044F CYRILLIC SMALL LETTER YA kiriruXiao Wen Zi YA io 0451 CYRILLIC SMALL LETTER IO kiriruXiao Wen Zi IO || 2016 DOUBLE VERTICAL LINE Shuang Zhu + 2020 DAGGER daga ++ 2021 DOUBLE DAGGER daburudaga * 2022 BULLET biyuretsuto * 203B REFERENCE MARK Mi Yin *** 2042 ASTERISM asuterizumu [?] 2051 TWO ASTERISKS ALIGNED daburuasute VERTICALLY TEL 2121 TELEPHONE SIGN Quan Jiao TEL 1/3 2153 VULGAR FRACTION ONE THIRD 3Fen no1 2/3 2154 VULGAR FRACTION TWO THIRDS 3Fen no2 1/5 2155 VULGAR FRACTION ONE FIFTH 5Fen no1 I 2160 ROMAN NUMERAL ONE romaShu Zi 1 II 2161 ROMAN NUMERAL TWO romaShu Zi 2 III 2162 ROMAN NUMERAL THREE romaShu Zi 3 IV 2163 ROMAN NUMERAL FOUR romaShu Zi 4 V 2164 ROMAN NUMERAL FIVE romaShu Zi 5 VI 2165 ROMAN NUMERAL SIX romaShu Zi 6 VII 2166 ROMAN NUMERAL SEVEN romaShu Zi 7 VIII 2167 ROMAN NUMERAL EIGHT romaShu Zi 8 IX 2168 ROMAN NUMERAL NINE romaShu Zi 9 X 2169 ROMAN NUMERAL TEN romaShu Zi 10 XI 216A ROMAN NUMERAL ELEVEN romaShu Zi 11 XII 216B ROMAN NUMERAL TWELVE romaShu Zi 12 XII 216B ROMAN NUMERAL TWELVE romaShu Zi 12 i 2170 SMALL ROMAN NUMERAL ONE romaShu Zi 1Xiao Wen Zi ii 2171 SMALL ROMAN NUMERAL TWO romaShu Zi 2Xiao Wen Zi iii 2172 SMALL ROMAN NUMERAL THREE romaShu Zi 3Xiao Wen Zi iv 2173 SMALL ROMAN NUMERAL FOUR romaShu Zi 4Xiao Wen Zi v 2174 SMALL ROMAN NUMERAL FIVE romaShu Zi 5Xiao Wen Zi vi 2175 SMALL ROMAN NUMERAL SIX romaShu Zi 6Xiao Wen Zi vii 2176 SMALL ROMAN NUMERAL SEVEN romaShu Zi 7Xiao Wen Zi viii 2177 SMALL ROMAN NUMERAL EIGHT romaShu Zi 8Xiao Wen Zi ix 2178 SMALL ROMAN NUMERAL NINE romaShu Zi 9Xiao Wen Zi x 2179 SMALL ROMAN NUMERAL TEN romaShu Zi 10Xiao Wen Zi xi 217A SMALL ROMAN NUMERAL ELEVEN romaShu Zi 11Xiao Wen Zi xii 217B SMALL ROMAN NUMERAL TWELVE romaShu Zi 12Xiao Wen Zi - 2190 LEFTWARDS ARROW Zuo Xiang Shi Yin | 2191 UPWARDS ARROW Shang Xiang Shi Yin - 2192 RIGHTWARDS ARROW You Xiang Shi Yin | 2193 DOWNWARDS ARROW Xia Xiang Shi Yin - 2194 LEFT RIGHT ARROW Tong Deng \ 2196 NORTH WEST ARROW Zuo Shang Xiang Shi Yin / 2197 NORTH EAST ARROW You Shang Xiang Shi Yin \ 2198 SOUTH EAST ARROW You Xia Xiang Shi Yin / 2199 SOUTH WEST ARROW Zuo Xia Xiang Shi Yin = 21C4 RIGHTWARDS ARROW OVER You Shi Yin Zuo Shi Yin LEFTWARDS ARROW - 21E6 LEFTWARDS WHITE ARROW Zuo Xiang Bai Shi Yin | 21E7 UPWARDS WHITE ARROW Shang Xiang Bai Shi Yin - 21E8 RIGHTWARDS WHITE ARROW You Xiang Bai Shi Yin | 21E9 DOWNWARDS WHITE ARROW Xia Xiang Bai Shi Yin [?] 221A SQUARE ROOT Gen Hao [?] 221E INFINITY Wu Xian Da [?] 221F RIGHT ANGLE huakutoriaru, Zhi Jiao [?] 222B INTEGRAL Ji Fen Ji Hao [?] 222C DOUBLE INTEGRAL 2Zhong Ji Fen Ji Hao [?] 2234 THEREFORE yueni [?] 2235 BECAUSE nazenaraba [?] 2296 CIRCLED MINUS Wan Fu kimainasu [?] 22BF RIGHT TRIANGLE Zhi Jiao San Jiao [?] 2318 PLACE OF INTEREST SIGN komandoJi Hao [?] 23CE RETURN SYMBOL ritanJi Hao 2423 OPEN BOX Kong Bai Ji Hao 1 2460 CIRCLED DIGIT ONE Wan 1 2 2461 CIRCLED DIGIT TWO Wan 2 3 2462 CIRCLED DIGIT THREE Wan 3 4 2463 CIRCLED DIGIT FOUR Wan 4 5 2464 CIRCLED DIGIT FIVE Wan 5 6 2465 CIRCLED DIGIT SIX Wan 6 7 2466 CIRCLED DIGIT SEVEN Wan 7 8 2467 CIRCLED DIGIT EIGHT Wan 8 9 2468 CIRCLED DIGIT NINE Wan 9 10 2469 CIRCLED NUMBER TEN Wan 10 11 246A CIRCLED NUMBER ELEVEN Wan 11 12 246B CIRCLED NUMBER TWELVE Wan 12 13 246C CIRCLED NUMBER THIRTEEN Wan 13 14 246D CIRCLED NUMBER FOURTEEN Wan 14 15 246E CIRCLED NUMBER FIFTEEN Wan 15 16 246F CIRCLED NUMBER SIXTEEN Wan 16 17 2470 CIRCLED NUMBER SEVENTEEN Wan 17 18 2471 CIRCLED NUMBER EIGHTEEN Wan 18 19 2472 CIRCLED NUMBER NINETEEN Wan 19 20 2473 CIRCLED NUMBER TWENTY Wan 20 a 24D0 CIRCLED LATIN SMALL LETTER A Wan AXiao Wen Zi b 24D1 CIRCLED LATIN SMALL LETTER B Wan BXiao Wen Zi c 24D2 CIRCLED LATIN SMALL LETTER C Wan CXiao Wen Zi d 24D3 CIRCLED LATIN SMALL LETTER D Wan DXiao Wen Zi e 24D4 CIRCLED LATIN SMALL LETTER E Wan EXiao Wen Zi f 24D5 CIRCLED LATIN SMALL LETTER F Wan FXiao Wen Zi g 24D6 CIRCLED LATIN SMALL LETTER G Wan GXiao Wen Zi h 24D7 CIRCLED LATIN SMALL LETTER H Wan HXiao Wen Zi i 24D8 CIRCLED LATIN SMALL LETTER I Wan IXiao Wen Zi j 24D9 CIRCLED LATIN SMALL LETTER J Wan JXiao Wen Zi k 24DA CIRCLED LATIN SMALL LETTER K Wan KXiao Wen Zi l 24DB CIRCLED LATIN SMALL LETTER L Wan LXiao Wen Zi m 24DC CIRCLED LATIN SMALL LETTER M Wan MXiao Wen Zi n 24DD CIRCLED LATIN SMALL LETTER N Wan NXiao Wen Zi o 24DE CIRCLED LATIN SMALL LETTER O Wan OXiao Wen Zi p 24DF CIRCLED LATIN SMALL LETTER P Wan PXiao Wen Zi q 24E0 CIRCLED LATIN SMALL LETTER Q Wan QXiao Wen Zi r 24E1 CIRCLED LATIN SMALL LETTER R Wan RXiao Wen Zi s 24E2 CIRCLED LATIN SMALL LETTER S Wan SXiao Wen Zi t 24E3 CIRCLED LATIN SMALL LETTER T Wan TXiao Wen Zi u 24E4 CIRCLED LATIN SMALL LETTER U Wan UXiao Wen Zi v 24E5 CIRCLED LATIN SMALL LETTER V Wan VXiao Wen Zi w 24E6 CIRCLED LATIN SMALL LETTER W Wan WXiao Wen Zi x 24E7 CIRCLED LATIN SMALL LETTER X Wan XXiao Wen Zi y 24E8 CIRCLED LATIN SMALL LETTER Y Wan YXiao Wen Zi z 24E9 CIRCLED LATIN SMALL LETTER Z Wan ZXiao Wen Zi [?] 24EB NEGATIVE CIRCLED NUMBER Hei Wan 11 ELEVEN [?] 24EC NEGATIVE CIRCLED NUMBER Hei Wan 12 TWELVE [?] 24ED NEGATIVE CIRCLED NUMBER Hei Wan 13 THIRTEEN [?] 24EE NEGATIVE CIRCLED NUMBER Hei Wan 14 FOURTEEN [?] 24EF NEGATIVE CIRCLED NUMBER Hei Wan 15 FIFTEEN [?] 24F0 NEGATIVE CIRCLED NUMBER Hei Wan 16 SIXTEEN [?] 24F1 NEGATIVE CIRCLED NUMBER Hei Wan 17 SEVENTEEN [?] 24F2 NEGATIVE CIRCLED NUMBER Hei Wan 18 EIGHTEEN [?] 24F3 NEGATIVE CIRCLED NUMBER Hei Wan 19 NINETEEN [?] 24F4 NEGATIVE CIRCLED NUMBER Hei Wan 20 TWENTY [?] 24F5 DOUBLE CIRCLED DIGIT ONE Er Zhong Wan 1 [?] 24F6 DOUBLE CIRCLED DIGIT TWO Er Zhong Wan 2 [?] 24F7 DOUBLE CIRCLED DIGIT THREE Er Zhong Wan 3 [?] 24F8 DOUBLE CIRCLED DIGIT FOUR Er Zhong Wan 4 [?] 24F9 DOUBLE CIRCLED DIGIT FIVE Er Zhong Wan 5 [?] 24FA DOUBLE CIRCLED DIGIT SIX Er Zhong Wan 6 [?] 24FB DOUBLE CIRCLED DIGIT SEVEN Er Zhong Wan 7 [?] 24FC DOUBLE CIRCLED DIGIT EIGHT Er Zhong Wan 8 [?] 24FD DOUBLE CIRCLED DIGIT NINE Er Zhong Wan 9 [?] 24FE DOUBLE CIRCLED NUMBER TEN Er Zhong Wan 10 # 25A0 BLACK SQUARE Hei Si Jiao # 25A1 WHITE SQUARE Si Jiao # 25B1 WHITE PARALLELOGRAM Ping Xing Si Bian Xing ^ 25B2 BLACK UP-POINTING TRIANGLE Hei San Jiao ^ 25B3 WHITE UP-POINTING TRIANGLE San Jiao > 25B6 BLACK RIGHT-POINTING You Xiang Hei San Jiao TRIANGLE > 25B7 WHITE RIGHT-POINTING You Xiang San Jiao TRIANGLE V 25BC BLACK DOWN-POINTING TRIANGLE Ni Hei San Jiao V 25BD WHITE DOWN-POINTING TRIANGLE Ni San Jiao < 25C0 BLACK LEFT-POINTING TRIANGLE Zuo Xiang Hei San Jiao < 25C1 WHITE LEFT-POINTING TRIANGLE Zuo Xiang San Jiao * 25C6 BLACK DIAMOND Hei hishiXing * 25C7 WHITE DIAMOND hishiXing * 25C9 FISHEYE She noMu * 25CB WHITE CIRCLE Wan Yin ,Bai Wan * 25CE BULLSEYE Er Zhong Wan * 25CF BLACK CIRCLE Hei Wan * 25D0 CIRCLE WITH LEFT HALF BLACK Zuo Ban Hei Wan * 25D1 CIRCLE WITH RIGHT HALF BLACK You Ban Hei Wan * 25D2 CIRCLE WITH LOWER HALF BLACK Xia Ban Hei Wan * 25D3 CIRCLE WITH UPPER HALF BLACK Shang Ban Hei Wan * 25E6 WHITE BULLET Bai biyuretsuto O 25EF LARGE CIRCLE Da kinaWan 2600 BLACK SUN WITH RAYS Qing maku 2601 CLOUD Tan maku 2602 UMBRELLA Yu maku 2603 SNOWMAN Xue maku 2605 BLACK STAR Hei Xing 2606 WHITE STAR Bai Xing 260E BLACK TELEPHONE Dian Hua maku [?] 2616 WHITE SHOGI PIECE Bai Jiang Qi Ju [?] 2617 BLACK SHOGI PIECE Hei Jiang Qi Ju 261E WHITE RIGHT POINTING INDEX Zhi Shi maku 2640 FEMALE SIGN Ci Ji Hao 2642 MALE SIGN Xiong Ji Hao 2660 BLACK SPADE SUIT supedo 2661 WHITE HEART SUIT hato(Bai ) 2662 WHITE DIAMOND SUIT daiya(Bai ) 2663 BLACK CLUB SUIT kurabu 2664 WHITE SPADE SUIT supedo(Bai ) 2665 BLACK HEART SUIT hato 2666 BLACK DIAMOND SUIT daiya 2667 WHITE CLUB SUIT kurabu(Bai ) 2668 HOT SPRINGS Wen Quan maku 2669 QUARTER NOTE Si Fen Yin Fu 266A EIGHTH NOTE Yin Fu 266B BEAMED EIGHTH NOTES Lian kou(Hang )Fu ki Ba Fen Yin Fu 266C BEAMED SIXTEENTH NOTES Lian kou(Hang )Fu ki Shi Liu Fen Yin Fu 266D MUSIC FLAT SIGN huratsuto 266E MUSIC NATURAL SIGN nachiyuraru # 266F MUSIC SHARP SIGN shiyapu 2713 CHECK MARK chietsukumaku 2756 BLACK DIAMOND MINUS WHITE X Si tsuLing 2776 DINGBAT NEGATIVE CIRCLED Hei Wan 1 DIGIT ONE 2777 DINGBAT NEGATIVE CIRCLED Hei Wan 2 DIGIT TWO 2778 DINGBAT NEGATIVE CIRCLED Hei Wan 3 DIGIT THREE 2779 DINGBAT NEGATIVE CIRCLED Hei Wan 4 DIGIT FOUR 277A DINGBAT NEGATIVE CIRCLED Hei Wan 5 DIGIT FIVE 277B DINGBAT NEGATIVE CIRCLED Hei Wan 6 DIGIT SIX 277C DINGBAT NEGATIVE CIRCLED Hei Wan 7 DIGIT SEVEN 277D DINGBAT NEGATIVE CIRCLED Hei Wan 8 DIGIT EIGHT 277E DINGBAT NEGATIVE CIRCLED Hei Wan 9 DIGIT NINE 277F DINGBAT NEGATIVE CIRCLED Hei Wan 10 NUMBER TEN 2934 ARROW POINTING RIGHTWARDS Qu gariShi Yin Shang garu THEN CURVING UPWARDS 2935 ARROW POINTING RIGHTWARDS Qu gariShi Yin Xia garu THEN CURVING DOWNWARDS 29BF CIRCLED BULLET Wan Zhong Hei 29FA DOUBLE PLUS 2purasu 29FB TRIPLE PLUS 3purasu " 3003 DITTO MARK Tong zikuJi Hao / 3006 IDEOGRAPHIC CLOSING MARK shime 0 3007 IDEOGRAPHIC NUMBER ZERO Han Shu Zi zero(rei ) @ 3012 POSTAL MARK You Bian Ji Hao X 3013 GETA MARK getaJi Hao @ 3020 POSTAL MARK FACE You Bian maku [?] 303C MASU MARK masuJi Hao [?] 303D PART ALTERNATION MARK Ge Ji Hao ,iori( An )Dian [?] 309F HIRAGANA DIGRAPH YORI yori 30FF KATAKANA DIGRAPH KOTO koto (Zhu) 3231 PARENTHESIZED IDEOGRAPH Quan Jiao Gua Hu Fu kiZhu STOCK (You) 3232 PARENTHESIZED IDEOGRAPH HAVE Quan Jiao Gua Hu Fu kiYou (Dai) 3239 PARENTHESIZED IDEOGRAPH Quan Jiao Gua Hu Fu kiDai REPRESENT 21 3251 CIRCLED NUMBER TWENTY ONE Wan 21 22 3252 CIRCLED NUMBER TWENTY TWO Wan 22 23 3253 CIRCLED NUMBER TWENTY THREE Wan 23 24 3254 CIRCLED NUMBER TWENTY FOUR Wan 24 25 3255 CIRCLED NUMBER TWENTY FIVE Wan 25 26 3256 CIRCLED NUMBER TWENTY SIX Wan 26 27 3257 CIRCLED NUMBER TWENTY SEVEN Wan 27 28 3258 CIRCLED NUMBER TWENTY EIGHT Wan 28 29 3259 CIRCLED NUMBER TWENTY NINE Wan 29 30 325A CIRCLED NUMBER THIRTY Wan 30 31 325B CIRCLED NUMBER THIRTY ONE Wan 31 32 325C CIRCLED NUMBER THIRTY TWO Wan 32 33 325D CIRCLED NUMBER THIRTY THREE Wan 33 34 325E CIRCLED NUMBER THIRTY FOUR Wan 34 35 325F CIRCLED NUMBER THIRTY FIVE Wan 35 (Shang) 32A4 CIRCLED IDEOGRAPH HIGH Wan Fu kiShang (Zhong) 32A5 CIRCLED IDEOGRAPH CENTRE Wan Fu kiZhong (Xia) 32A6 CIRCLED IDEOGRAPH LOW Wan Fu kiXia (Zuo) 32A7 CIRCLED IDEOGRAPH LEFT Wan Fu kiZuo (You) 32A8 CIRCLED IDEOGRAPH RIGHT Wan Fu kiYou 36 32B1 CIRCLED NUMBER THIRTY SIX Wan 36 37 32B2 CIRCLED NUMBER THIRTY SEVEN Wan 37 38 32B3 CIRCLED NUMBER THIRTY EIGHT Wan 38 39 32B4 CIRCLED NUMBER THIRTY NINE Wan 39 40 32B5 CIRCLED NUMBER FORTY Wan 40 41 32B6 CIRCLED NUMBER FORTY ONE Wan 41 42 32B7 CIRCLED NUMBER FORTY TWO Wan 42 43 32B8 CIRCLED NUMBER FORTY THREE Wan 43 44 32B9 CIRCLED NUMBER FORTY FOUR Wan 44 45 32BA CIRCLED NUMBER FORTY FIVE Wan 45 46 32BB CIRCLED NUMBER FORTY SIX Wan 46 47 32BC CIRCLED NUMBER FORTY SEVEN Wan 47 48 32BD CIRCLED NUMBER FORTY EIGHT Wan 48 49 32BE CIRCLED NUMBER FORTY NINE Wan 49 50 32BF CIRCLED NUMBER FIFTY Wan 50 a 32D0 CIRCLED KATAKANA A Wan a i 32D1 CIRCLED KATAKANA I Wan i u 32D2 CIRCLED KATAKANA U Wan u u 32D3 CIRCLED KATAKANA E Wan e o 32D4 CIRCLED KATAKANA O Wan o ka 32D5 CIRCLED KATAKANA KA Wan ka ki 32D6 CIRCLED KATAKANA KI Wan ki ku 32D7 CIRCLED KATAKANA KU Wan ku ke 32D8 CIRCLED KATAKANA KE Wan ke ko 32D9 CIRCLED KATAKANA KO Wan ko sa 32DA CIRCLED KATAKANA SA Wan sa si 32DB CIRCLED KATAKANA SI Wan shi su 32DC CIRCLED KATAKANA SU Wan su se 32DD CIRCLED KATAKANA SE Wan se so 32DE CIRCLED KATAKANA SO Wan so ta 32DF CIRCLED KATAKANA TA Wan ta ti 32E0 CIRCLED KATAKANA TI Wan chi tu 32E1 CIRCLED KATAKANA TU Wan tsu te 32E2 CIRCLED KATAKANA TE Wan te to 32E3 CIRCLED KATAKANA TO Wan to ni 32E5 CIRCLED KATAKANA NI Wan ni ha 32E9 CIRCLED KATAKANA HA Wan ha he 32EC CIRCLED KATAKANA HE Wan he ho 32ED CIRCLED KATAKANA HO Wan ho ro 32FA CIRCLED KATAKANA RO Wan ro Heisei 337B SQUARE ERA NAME HEISEI Quan Jiao Yuan Hao Ping Cheng Syouwa 337C SQUARE ERA NAME SYOUWA Quan Jiao Yuan Hao Zhao He Taisyou 337D SQUARE ERA NAME TAISYOU Quan Jiao Yuan Hao Da Zheng Meiji 337E SQUARE ERA NAME MEIZI Quan Jiao Yuan Hao Ming Zhi K.K. 33CD SQUARE KK Quan Jiao KK Tong 4EDD CJK UNIFIED IDEOGRAPH-4EDD Tong Shang Ji Hao A.20 Characters as reference marks (cl-20) He Yin Zhong noWen Zi (cl-20) Any character may participate in reference marks. donoWen Zi moHe Yin Zhong noWen Zi toshiteShi ukotogadekiru. A.21 Ornamented character complexes (cl-21) Qin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21) Any character may participate in ornamented character complex. donoWen Zi moTian eZi Fu kinoQin Wen Zi Qun Zhong noWen Zi toshiteShi ukotogadekiru. A.22 Simple-ruby character complexes (cl-22) Qin Wen Zi Qun Zhong noWen Zi (Shou Yu ru biYi Wai norubiFu ki)(cl-22) Any character may participate in simple-ruby character complex. donoWen Zi moShou Yu rubiYi Wai norubiFu kinoQin Wen Zi Qun noWen Zi toshiteShi ukotogadeki ru. A.23 Jukugo-ruby character complexes (cl-23) Qin Wen Zi Qun Zhong noWen Zi (Shou Yu ru biFu ki)(cl-23) Any character may participate in jukugo-ruby character complex. donoWen Zi moShou Yu rubinorubiFu kinoQin Wen Zi Qun noWen Zi toshiteShi ukotogadekiru. A.24 Grouped numerals (cl-24) Lian Shu Zi Zhong noWen Zi (cl-24) Character UCS Name UCS Common name Remarks Bei Kao Zi Xing UCS Ming Cheng Tong Yong Ming Cheng 0020 SPACE quarter em width Wei Qu rinoKong Bai Zi Fu haSi Fen Jiao quarter em width or half-width , 002C COMMA konma Wei Qu rinokonma Zi Fu haSi Fen Jiao You haBan Jiao decimal point . 002E FULL piriodo quarter em width or half-width STOP Xiao Shu Dian Zi Fu haSi Fen Jiao You haBan Jiao 0 0030 DIGIT 0 half-width Zi Fu haBan Jiao ZERO 1 0031 DIGIT 1 half-width Zi Fu haBan Jiao ONE 2 0032 DIGIT 2 half-width Zi Fu haBan Jiao TWO 3 0033 DIGIT 3 half-width Zi Fu haBan Jiao THREE 4 0034 DIGIT 4 half-width Zi Fu haBan Jiao FOUR 5 0035 DIGIT 5 half-width Zi Fu haBan Jiao FIVE 6 0036 DIGIT 6 half-width Zi Fu haBan Jiao SIX 7 0037 DIGIT 7 half-width Zi Fu haBan Jiao SEVEN 8 0038 DIGIT 8 half-width Zi Fu haBan Jiao EIGHT 9 0039 DIGIT 9 half-width Zi Fu haBan Jiao NINE A.25 Unit symbols (cl-25) Dan Wei Ji Hao Zhong noWen Zi (cl-25) Character UCS Name UCSMing Cheng Common name Remarks Bei Kao Zi Xing UCS Tong Yong Ming Cheng quarter em width Wei Qu rinoKong 0020 SPACE Bai Zi Fu haSi Fen Jiao ( 0028 LEFT Shi meXiao Gua Hu , PARENTHESIS Shi meWan Gua Hu RIGHT Zhong wariXiao Gua Hu ) 0029 PARENTHESIS ,Zhong wariWan Gua Hu one third em width, / 002F SOLIDUS Xie Xian half-width or proportional Zi Fu haSan Fen Jiao , Ban Jiao You hapuroposhiyonaru 1 0031 DIGIT ONE 1 half-width or proportional Ban Jiao You hapuroposhiyonaru 2 0032 DIGIT TWO 2 half-width or proportional Ban Jiao You hapuroposhiyonaru 3 0033 DIGIT THREE 3 half-width or proportional Ban Jiao You hapuroposhiyonaru 4 0034 DIGIT FOUR 4 half-width or proportional Ban Jiao You hapuroposhiyonaru LATIN ratenDa Wen Zi proportionally-spaced puropo A 0041 CAPITAL A shiyonaru LETTER A LATIN ratenDa Wen Zi proportionally-spaced puropo B 0042 CAPITAL B shiyonaru LETTER B LATIN ratenDa Wen Zi proportionally-spaced puropo C 0043 CAPITAL C shiyonaru LETTER C LATIN ratenDa Wen Zi D 0044 CAPITAL D puroposhiyonaru LETTER D LATIN ratenDa Wen Zi proportionally-spaced puropo E 0045 CAPITAL E shiyonaru LETTER E LATIN ratenDa Wen Zi proportionally-spaced puropo F 0046 CAPITAL F shiyonaru LETTER F LATIN ratenDa Wen Zi proportionally-spaced puropo G 0047 CAPITAL G shiyonaru LETTER G LATIN ratenDa Wen Zi proportionally-spaced puropo H 0048 CAPITAL H shiyonaru LETTER H LATIN ratenDa Wen Zi I 0049 CAPITAL I puroposhiyonaru LETTER I LATIN ratenDa Wen Zi proportionally-spaced puropo J 004A CAPITAL J shiyonaru LETTER J LATIN ratenDa Wen Zi K 004B CAPITAL K puroposhiyonaru LETTER K LATIN ratenDa Wen Zi proportionally-spaced puropo L 004C CAPITAL L shiyonaru LETTER L LATIN ratenDa Wen Zi proportionally-spaced puropo M 004D CAPITAL M shiyonaru LETTER M LATIN ratenDa Wen Zi proportionally-spaced puropo N 004E CAPITAL N shiyonaru LETTER N LATIN ratenDa Wen Zi proportionally-spaced puropo O 004F CAPITAL O shiyonaru LETTER O LATIN ratenDa Wen Zi proportionally-spaced puropo P 0050 CAPITAL P shiyonaru LETTER P LATIN ratenDa Wen Zi proportionally-spaced puropo Q 0051 CAPITAL Q shiyonaru LETTER Q LATIN ratenDa Wen Zi proportionally-spaced puropo R 0052 CAPITAL R shiyonaru LETTER R LATIN ratenDa Wen Zi proportionally-spaced puropo S 0053 CAPITAL S shiyonaru LETTER S LATIN ratenDa Wen Zi proportionally-spaced puropo T 0054 CAPITAL T shiyonaru LETTER T LATIN ratenDa Wen Zi proportionally-spaced puropo U 0055 CAPITAL U shiyonaru LETTER U LATIN ratenDa Wen Zi proportionally-spaced puropo V 0056 CAPITAL V shiyonaru LETTER V LATIN ratenDa Wen Zi proportionally-spaced puropo W 0057 CAPITAL W shiyonaru LETTER W LATIN ratenDa Wen Zi proportionally-spaced puropo X 0058 CAPITAL X shiyonaru LETTER X LATIN ratenDa Wen Zi proportionally-spaced puropo Y 0059 CAPITAL Y shiyonaru LETTER Y LATIN ratenDa Wen Zi proportionally-spaced puropo Z 005A CAPITAL Z shiyonaru LETTER Z a 0061 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER A A shiyonaru b 0062 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER B B shiyonaru c 0063 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER C C shiyonaru d 0064 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER D D shiyonaru e 0065 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER E E shiyonaru f 0066 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER F F shiyonaru g 0067 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER G G shiyonaru h 0068 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER H H shiyonaru i 0069 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER I I shiyonaru j 006A LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER J J shiyonaru k 006B LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER K K shiyonaru l 006C LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER L L shiyonaru m 006D LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER M M shiyonaru n 006E LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER N N shiyonaru o 006F LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER O O shiyonaru p 0070 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER P P shiyonaru q 0071 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER Q Q shiyonaru r 0072 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER R R shiyonaru s 0073 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER S S shiyonaru t 0074 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER T T shiyonaru u 0075 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER U U shiyonaru v 0076 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER V V shiyonaru w 0077 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER W W shiyonaru x 0078 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER X X shiyonaru y 0079 LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER Y Y shiyonaru z 007A LATIN SMALL ratenXiao Wen Zi proportionally-spaced puropo LETTER Z Z shiyonaru GREEK girishiaDa Wen proportionally-spaced puropo O 03A9 CAPITAL Zi OMEGA shiyonaru LETTER OMEGA m 03BC GREEK SMALL girishiaXiao Wen proportionally-spaced puropo LETTER MU Zi MU shiyonaru 2127 INVERTED OHM mo proportionally-spaced puropo SIGN shiyonaru A 212B ANGSTROM ongusutoro proportionally-spaced puropo SIGN mu shiyonaru - 2212 MINUS SIGN Fu Fu Hao ,Jian Suan Ji Hao 30FB KATAKANA Zhong Dian half-width Zi Fu haBan Jiao MIDDLE DOT A.26 Western word space (cl-26) Ou Wen Jian Ge (cl-26) Character Zi Xing UCS UCS Name UCSMing Cheng Common name Tong Yong Ming Cheng Remarks Bei Kao 0020 SPACE A.27 Western characters (cl-27) Ou Wen Yong Wen Zi (cl-27) Character UCS Name UCSMing Cheng Common name Tong Remarks Bei Kao Zi Xing UCS Yong Ming Cheng ! 0021 EXCLAMATION Gan Tan Fu proportionally-spaced MARK puroposhiyonaru Yin Yong Fu ,kuo proportionally-spaced " 0022 QUOTATION MARK teshiyonma puroposhiyonaru ku # 0023 NUMBER SIGN Fan Hao Ji Hao ,Jing ge proportionally-spaced ta puroposhiyonaru $ 0024 DOLLAR SIGN doruJi Hao proportionally-spaced puroposhiyonaru % 0025 PERCENT SIGN pasento proportionally-spaced puroposhiyonaru & 0026 AMPERSAND anpasando proportionally-spaced puroposhiyonaru ' 0027 APOSTROPHE aposutorohui proportionally-spaced puroposhiyonaru ( 0028 LEFT Shi meXiao Gua Hu ,Shi proportionally-spaced PARENTHESIS meWan Gua Hu puroposhiyonaru ) 0029 RIGHT Zhong wariXiao Gua Hu , proportionally-spaced PARENTHESIS Zhong wariWan Gua Hu puroposhiyonaru * 002A ASTERISK Xing Yin ,asuteri proportionally-spaced suku puroposhiyonaru + 002B PLUS SIGN Zheng Fu Hao ,Jia Suan Ji proportionally-spaced Hao puroposhiyonaru , 002C COMMA konma proportionally-spaced puroposhiyonaru - 002D HYPHEN-MINUS haihunmaina proportionally-spaced su puroposhiyonaru . 002E FULL STOP piriodo proportionally-spaced puroposhiyonaru / 002F SOLIDUS Xie Xian proportionally-spaced puroposhiyonaru 0 0030 DIGIT ZERO 0 proportionally-spaced puroposhiyonaru 1 0031 DIGIT ONE 1 proportionally-spaced puroposhiyonaru 2 0032 DIGIT TWO 2 proportionally-spaced puroposhiyonaru 3 0033 DIGIT THREE 3 proportionally-spaced puroposhiyonaru 4 0034 DIGIT FOUR 4 proportionally-spaced puroposhiyonaru 5 0035 DIGIT FIVE 5 proportionally-spaced puroposhiyonaru 6 0036 DIGIT SIX 6 proportionally-spaced puroposhiyonaru 7 0037 DIGIT SEVEN 7 proportionally-spaced puroposhiyonaru 8 0038 DIGIT EIGHT 8 proportionally-spaced puroposhiyonaru 9 0039 DIGIT NINE 9 proportionally-spaced puroposhiyonaru : 003A COLON koron proportionally-spaced puroposhiyonaru ; 003B SEMICOLON semikoron proportionally-spaced puroposhiyonaru < 003C LESS-THAN SIGN Bu Deng Hao (yoriXiao proportionally-spaced ) puroposhiyonaru = 003D EQUALS SIGN Deng Hao proportionally-spaced puroposhiyonaru > 003E GREATER-THAN Bu Deng Hao (yoriDa proportionally-spaced SIGN ) puroposhiyonaru ? 003F QUESTION MARK Yi Wen Fu proportionally-spaced puroposhiyonaru @ 0040 COMMERCIAL AT Dan Jia Ji Hao ,atsu proportionally-spaced tomaku puroposhiyonaru A 0041 LATIN CAPITAL ratenDa Wen Zi A proportionally-spaced LETTER A puroposhiyonaru B 0042 LATIN CAPITAL ratenDa Wen Zi B proportionally-spaced LETTER B puroposhiyonaru C 0043 LATIN CAPITAL ratenDa Wen Zi C proportionally-spaced LETTER C puroposhiyonaru D 0044 LATIN CAPITAL ratenDa Wen Zi D proportionally-spaced LETTER D puroposhiyonaru E 0045 LATIN CAPITAL ratenDa Wen Zi E proportionally-spaced LETTER E puroposhiyonaru F 0046 LATIN CAPITAL ratenDa Wen Zi F proportionally-spaced LETTER F puroposhiyonaru G 0047 LATIN CAPITAL ratenDa Wen Zi G proportionally-spaced LETTER G puroposhiyonaru H 0048 LATIN CAPITAL ratenDa Wen Zi H proportionally-spaced LETTER H puroposhiyonaru I 0049 LATIN CAPITAL ratenDa Wen Zi I proportionally-spaced LETTER I puroposhiyonaru J 004A LATIN CAPITAL ratenDa Wen Zi J proportionally-spaced LETTER J puroposhiyonaru K 004B LATIN CAPITAL ratenDa Wen Zi K proportionally-spaced LETTER K puroposhiyonaru L 004C LATIN CAPITAL ratenDa Wen Zi L proportionally-spaced LETTER L puroposhiyonaru M 004D LATIN CAPITAL ratenDa Wen Zi M proportionally-spaced LETTER M puroposhiyonaru N 004E LATIN CAPITAL ratenDa Wen Zi N proportionally-spaced LETTER N puroposhiyonaru O 004F LATIN CAPITAL ratenDa Wen Zi O proportionally-spaced LETTER O puroposhiyonaru P 0050 LATIN CAPITAL ratenDa Wen Zi P proportionally-spaced LETTER P puroposhiyonaru Q 0051 LATIN CAPITAL ratenDa Wen Zi Q proportionally-spaced LETTER Q puroposhiyonaru R 0052 LATIN CAPITAL ratenDa Wen Zi R proportionally-spaced LETTER R puroposhiyonaru S 0053 LATIN CAPITAL ratenDa Wen Zi S proportionally-spaced LETTER S puroposhiyonaru T 0054 LATIN CAPITAL ratenDa Wen Zi T proportionally-spaced LETTER T puroposhiyonaru U 0055 LATIN CAPITAL ratenDa Wen Zi U proportionally-spaced LETTER U puroposhiyonaru V 0056 LATIN CAPITAL ratenDa Wen Zi V proportionally-spaced LETTER V puroposhiyonaru W 0057 LATIN CAPITAL ratenDa Wen Zi W proportionally-spaced LETTER W puroposhiyonaru X 0058 LATIN CAPITAL ratenDa Wen Zi X proportionally-spaced LETTER X puroposhiyonaru Y 0059 LATIN CAPITAL ratenDa Wen Zi Y proportionally-spaced LETTER Y puroposhiyonaru Z 005A LATIN CAPITAL ratenDa Wen Zi Z proportionally-spaced LETTER Z puroposhiyonaru [ 005B LEFT SQUARE Shi meDa Gua Hu ,Shi proportionally-spaced BRACKET meJiao Gua Hu puroposhiyonaru \ 005C REVERSE SOLIDUS Ni Xie Xian proportionally-spaced puroposhiyonaru ] 005D RIGHT SQUARE Zhong wariDa Gua Hu , proportionally-spaced BRACKET Zhong wariJiao Gua Hu puroposhiyonaru akusanshiruko ^ 005E CIRCUMFLEX nhuretsukusu, proportionally-spaced ACCENT sakamuhuretsu puroposhiyonaru kusuakusento _ 005F LOW LINE andarain proportionally-spaced puroposhiyonaru akusangura proportionally-spaced ` 0060 GRAVE ACCENT bu,gurebua puroposhiyonaru kusento a 0061 LATIN SMALL ratenXiao Wen Zi A proportionally-spaced LETTER A puroposhiyonaru b 0062 LATIN SMALL ratenXiao Wen Zi B proportionally-spaced LETTER B puroposhiyonaru c 0063 LATIN SMALL ratenXiao Wen Zi C proportionally-spaced LETTER C puroposhiyonaru d 0064 LATIN SMALL ratenXiao Wen Zi D proportionally-spaced LETTER D puroposhiyonaru e 0065 LATIN SMALL ratenXiao Wen Zi E proportionally-spaced LETTER E puroposhiyonaru f 0066 LATIN SMALL ratenXiao Wen Zi F proportionally-spaced LETTER F puroposhiyonaru g 0067 LATIN SMALL ratenXiao Wen Zi G proportionally-spaced LETTER G puroposhiyonaru h 0068 LATIN SMALL ratenXiao Wen Zi H proportionally-spaced LETTER H puroposhiyonaru i 0069 LATIN SMALL ratenXiao Wen Zi I proportionally-spaced LETTER I puroposhiyonaru j 006A LATIN SMALL ratenXiao Wen Zi J proportionally-spaced LETTER J puroposhiyonaru k 006B LATIN SMALL ratenXiao Wen Zi K proportionally-spaced LETTER K puroposhiyonaru l 006C LATIN SMALL ratenXiao Wen Zi L proportionally-spaced LETTER L puroposhiyonaru m 006D LATIN SMALL ratenXiao Wen Zi M proportionally-spaced LETTER M puroposhiyonaru n 006E LATIN SMALL ratenXiao Wen Zi N proportionally-spaced LETTER N puroposhiyonaru o 006F LATIN SMALL ratenXiao Wen Zi O proportionally-spaced LETTER O puroposhiyonaru p 0070 LATIN SMALL ratenXiao Wen Zi P proportionally-spaced LETTER P puroposhiyonaru q 0071 LATIN SMALL ratenXiao Wen Zi Q proportionally-spaced LETTER Q puroposhiyonaru r 0072 LATIN SMALL ratenXiao Wen Zi R proportionally-spaced LETTER R puroposhiyonaru s 0073 LATIN SMALL ratenXiao Wen Zi S proportionally-spaced LETTER S puroposhiyonaru t 0074 LATIN SMALL ratenXiao Wen Zi T proportionally-spaced LETTER T puroposhiyonaru u 0075 LATIN SMALL ratenXiao Wen Zi U proportionally-spaced LETTER U puroposhiyonaru v 0076 LATIN SMALL ratenXiao Wen Zi V proportionally-spaced LETTER V puroposhiyonaru w 0077 LATIN SMALL ratenXiao Wen Zi W proportionally-spaced LETTER W puroposhiyonaru x 0078 LATIN SMALL ratenXiao Wen Zi X proportionally-spaced LETTER X puroposhiyonaru y 0079 LATIN SMALL ratenXiao Wen Zi Y proportionally-spaced LETTER Y puroposhiyonaru z 007A LATIN SMALL ratenXiao Wen Zi Z proportionally-spaced LETTER Z puroposhiyonaru { 007B LEFT CURLY Shi meZhong Gua Hu ,Shi proportionally-spaced BRACKET meBo Gua Hu puroposhiyonaru | 007C VERTICAL LINE Zong Xian proportionally-spaced puroposhiyonaru } 007D RIGHT CURLY Zhong wariDa Gua Hu , proportionally-spaced BRACKET Zhong wariJiao Gua Hu puroposhiyonaru ~ 007E TILDE chirudo proportionally-spaced puroposhiyonaru 00A0 NO-BREAK SPACE noburekusu proportionally-spaced pesu puroposhiyonaru INVERTED proportionally-spaced ! 00A1 EXCLAMATION Ni Gan Tan Fu puroposhiyonaru MARK C/ 00A2 CENT SIGN sentoJi Hao proportionally-spaced puroposhiyonaru PS 00A3 POUND SIGN pondoJi Hao proportionally-spaced puroposhiyonaru $? 00A4 CURRENCY SIGN Bu Te Ding Tong Huo Ji Hao proportionally-spaced puroposhiyonaru Y= 00A5 YEN SIGN Yuan Ji Hao proportionally-spaced puroposhiyonaru | 00A6 BROKEN BAR Po Duan Xian proportionally-spaced puroposhiyonaru SS 00A7 SECTION SIGN Jie Ji Hao proportionally-spaced puroposhiyonaru " 00A8 DIAERESIS umurauto,da proportionally-spaced iereshisu puroposhiyonaru (c) 00A9 COPYRIGHT SIGN Zhu Zuo Quan Biao Shi Ji Hao proportionally-spaced puroposhiyonaru FEMININE proportionally-spaced a 00AA ORDINAL Nu Xing Xu Shu Biao Shi puroposhiyonaru INDICATOR LEFT-POINTING Shi meEr Zhong Shan Gua Hu proportionally-spaced << 00AB DOUBLE ANGLE Yin Yong Ji Hao ,Shi me puroposhiyonaru QUOTATION MARK giyume ! 00AC NOT SIGN Fou Ding proportionally-spaced puroposhiyonaru 00AD SOFT HYPHEN sohutohaihun proportionally-spaced puroposhiyonaru (r) 00AE REGISTERED SIGN Deng Lu Shang Biao Ji Hao proportionally-spaced puroposhiyonaru - 00AF MACRON makuron proportionally-spaced puroposhiyonaru deg 00B0 DEGREE SIGN Du proportionally-spaced puroposhiyonaru +- 00B1 PLUS-MINUS SIGN Zheng You haFu Fu Hao proportionally-spaced puroposhiyonaru 2 00B2 SUPERSCRIPT TWO Shang Fu ki2 proportionally-spaced puroposhiyonaru 3 00B3 SUPERSCRIPT Shang Fu ki3 proportionally-spaced THREE puroposhiyonaru akusantegiyu ' 00B4 ACUTE ACCENT ,puraimuJi Hao proportionally-spaced ,akiyutoa puroposhiyonaru kusento P 00B6 PILCROW SIGN Duan Luo Ji Hao proportionally-spaced puroposhiyonaru * 00B7 MIDDLE DOT Zhong Dian (raten) proportionally-spaced puroposhiyonaru , 00B8 CEDILLA sedeira proportionally-spaced puroposhiyonaru 1 00B9 SUPERSCRIPT ONE Shang Fu ki1 proportionally-spaced puroposhiyonaru MASCULINE proportionally-spaced o 00BA ORDINAL Nan Xing Xu Shu Biao Shi puroposhiyonaru INDICATOR RIGHT-POINTING Zhong wariEr Zhong Shan Gua proportionally-spaced >> 00BB DOUBLE ANGLE Hu Yin Yong Ji Hao ,Zhong puroposhiyonaru QUOTATION MARK warigiyume 1/4 00BC VULGAR FRACTION 4Fen no1 proportionally-spaced ONE QUARTER puroposhiyonaru 1/2 00BD VULGAR FRACTION 2Fen no1 proportionally-spaced ONE HALF puroposhiyonaru 3/4 00BE VULGAR FRACTION 4Fen no3 proportionally-spaced THREE QUARTERS puroposhiyonaru ? 00BF INVERTED Ni Yi Wen Fu proportionally-spaced QUESTION MARK puroposhiyonaru LATIN CAPITAL gurebuakuse proportionally-spaced A 00C0 LETTER A WITH ntoFu kiA puroposhiyonaru GRAVE LATIN CAPITAL akiyutoaku proportionally-spaced A 00C1 LETTER A WITH sentoFu kiA puroposhiyonaru ACUTE LATIN CAPITAL sakamuhuretsu proportionally-spaced A 00C2 LETTER A WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiA LATIN CAPITAL proportionally-spaced A 00C3 LETTER A WITH chirudoFu kiA puroposhiyonaru TILDE LATIN CAPITAL daiereshisuFu proportionally-spaced A 00C4 LETTER A WITH kiA puroposhiyonaru DIAERESIS LATIN CAPITAL proportionally-spaced A 00C5 LETTER A WITH Shang ringuFu kiA puroposhiyonaru RING ABOVE AE 00C6 LATIN CAPITAL AE proportionally-spaced LETTER AE (ash) puroposhiyonaru LATIN CAPITAL proportionally-spaced C 00C7 LETTER C WITH sedeiraFu kiC puroposhiyonaru CEDILLA LATIN CAPITAL gurebuakuse proportionally-spaced E 00C8 LETTER E WITH ntoFu kiE puroposhiyonaru GRAVE LATIN CAPITAL akiyutoaku proportionally-spaced E 00C9 LETTER E WITH sentoFu kiE puroposhiyonaru ACUTE LATIN CAPITAL sakamuhuretsu proportionally-spaced E 00CA LETTER E WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiE LATIN CAPITAL daiereshisuFu proportionally-spaced E 00CB LETTER E WITH kiE puroposhiyonaru DIAERESIS LATIN CAPITAL gurebuakuse proportionally-spaced I 00CC LETTER I WITH ntoFu kiI puroposhiyonaru GRAVE LATIN CAPITAL akiyutoaku proportionally-spaced I 00CD LETTER I WITH sentoFu kiI puroposhiyonaru ACUTE LATIN CAPITAL sakamuhuretsu proportionally-spaced I 00CE LETTER I WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiI LATIN CAPITAL daiereshisuFu proportionally-spaced I 00CF LETTER I WITH kiI puroposhiyonaru DIAERESIS LATIN CAPITAL aisurandoYu proportionally-spaced D 00D0 LETTER ETH ETH puroposhiyonaru (Icelandic) LATIN CAPITAL proportionally-spaced N 00D1 LETTER N WITH chirudoFu kiN puroposhiyonaru TILDE LATIN CAPITAL gurebuakuse proportionally-spaced O 00D2 LETTER O WITH ntoFu kiO puroposhiyonaru GRAVE LATIN CAPITAL akiyutoaku proportionally-spaced O 00D3 LETTER O WITH sentoFu kiO puroposhiyonaru ACUTE LATIN CAPITAL sakamuhuretsu proportionally-spaced O 00D4 LETTER O WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiO LATIN CAPITAL proportionally-spaced O 00D5 LETTER O WITH chirudoFu kiO puroposhiyonaru TILDE LATIN CAPITAL daiereshisuFu proportionally-spaced O 00D6 LETTER O WITH kiO puroposhiyonaru DIAERESIS x 00D7 MULTIPLICATION Cheng Suan Ji Hao proportionally-spaced SIGN puroposhiyonaru LATIN CAPITAL sutorokuFu ki proportionally-spaced O 00D8 LETTER O WITH O puroposhiyonaru STROKE LATIN CAPITAL gurebuakuse proportionally-spaced U 00D9 LETTER U WITH ntoFu kiU puroposhiyonaru GRAVE LATIN CAPITAL akiyutoaku proportionally-spaced U 00DA LETTER U WITH sentoFu kiU puroposhiyonaru ACUTE LATIN CAPITAL sakamuhuretsu proportionally-spaced U 00DB LETTER U WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiU LATIN CAPITAL daiereshisuFu proportionally-spaced U 00DC LETTER U WITH kiU puroposhiyonaru DIAERESIS LATIN CAPITAL akiyutoaku proportionally-spaced Y 00DD LETTER Y WITH sentoFu kiY puroposhiyonaru ACUTE LATIN CAPITAL aisurandoYu proportionally-spaced Th 00DE LETTER THORN THORN puroposhiyonaru (Icelandic) LATIN SMALL doitsuYu esutsu proportionally-spaced ss 00DF LETTER SHARP S etsuto puroposhiyonaru (German) LATIN SMALL gurebuakuse proportionally-spaced a 00E0 LETTER A WITH ntoFu kiAXiao Wen puroposhiyonaru GRAVE Zi LATIN SMALL akiyutoaku proportionally-spaced a 00E1 LETTER A WITH sentoFu kiAXiao puroposhiyonaru ACUTE Wen Zi LATIN SMALL sakamuhuretsu proportionally-spaced a 00E2 LETTER A WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiAXiao Wen Zi LATIN SMALL chirudoFu kiAXiao proportionally-spaced a 00E3 LETTER A WITH Wen Zi puroposhiyonaru TILDE LATIN SMALL daiereshisuFu proportionally-spaced a 00E4 LETTER A WITH kiAXiao Wen Zi puroposhiyonaru DIAERESIS LATIN SMALL Shang ringuFu kiA proportionally-spaced a 00E5 LETTER A WITH Xiao Wen Zi puroposhiyonaru RING ABOVE ae 00E6 LATIN SMALL AEXiao Wen Zi proportionally-spaced LETTER AE (ash) puroposhiyonaru COMBINING GRAVE Zi puroposhiyonaru ACCENT> LATIN SMALL sedeiraFu kiC proportionally-spaced c 00E7 LETTER C WITH Xiao Wen Zi puroposhiyonaru CEDILLA LATIN SMALL gurebuakuse proportionally-spaced e 00E8 LETTER E WITH ntoFu kiEXiao Wen puroposhiyonaru GRAVE Zi LATIN SMALL akiyutoaku proportionally-spaced e 00E9 LETTER E WITH sentoFu kiEXiao puroposhiyonaru ACUTE Wen Zi LATIN SMALL sakamuhuretsu proportionally-spaced e 00EA LETTER E WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiEXiao Wen Zi LATIN SMALL daiereshisuFu proportionally-spaced e 00EB LETTER E WITH kiEXiao Wen Zi puroposhiyonaru DIAERESIS LATIN SMALL gurebuakuse proportionally-spaced i 00EC LETTER I WITH ntoFu kiIXiao Wen puroposhiyonaru GRAVE Zi LATIN SMALL akiyutoaku proportionally-spaced i 00ED LETTER I WITH sentoFu kiIXiao puroposhiyonaru ACUTE Wen Zi LATIN SMALL sakamuhuretsu proportionally-spaced i 00EE LETTER I WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiIXiao Wen Zi LATIN SMALL daiereshisuFu proportionally-spaced i 00EF LETTER I WITH kiIXiao Wen Zi puroposhiyonaru DIAERESIS LATIN SMALL aisurandoYu proportionally-spaced d 00F0 LETTER ETH ETHXiao Wen Zi puroposhiyonaru (Icelandic) LATIN SMALL chirudoFu kiNXiao proportionally-spaced n 00F1 LETTER N WITH Wen Zi puroposhiyonaru TILDE LATIN SMALL gurebuakuse proportionally-spaced o 00F2 LETTER O WITH ntoFu kiOXiao Wen puroposhiyonaru GRAVE Zi LATIN SMALL akiyutoaku proportionally-spaced o 00F3 LETTER O WITH sentoFu kiOXiao puroposhiyonaru ACUTE Wen Zi LATIN SMALL sakamuhuretsu proportionally-spaced o 00F4 LETTER O WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiOXiao Wen Zi LATIN SMALL chirudoFu kiOXiao proportionally-spaced o 00F5 LETTER O WITH Wen Zi puroposhiyonaru TILDE LATIN SMALL daiereshisuFu proportionally-spaced o 00F6 LETTER O WITH kiOXiao Wen Zi puroposhiyonaru DIAERESIS / 00F7 DIVISION SIGN Chu Suan Ji Hao proportionally-spaced puroposhiyonaru LATIN SMALL sutorokuFu ki proportionally-spaced o 00F8 LETTER O WITH OXiao Wen Zi puroposhiyonaru STROKE LATIN SMALL gurebuakuse proportionally-spaced u 00F9 LETTER U WITH ntoFu kiUXiao Wen puroposhiyonaru GRAVE Zi LATIN SMALL akiyutoaku proportionally-spaced u 00FA LETTER U WITH sentoFu kiUXiao puroposhiyonaru ACUTE Wen Zi LATIN SMALL sakamuhuretsu proportionally-spaced u 00FB LETTER U WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiUXiao Wen Zi LATIN SMALL daiereshisuFu proportionally-spaced u 00FC LETTER U WITH kiUXiao Wen Zi puroposhiyonaru DIAERESIS LATIN SMALL akiyutoaku proportionally-spaced y 00FD LETTER Y WITH sentoFu kiYXiao puroposhiyonaru ACUTE Wen Zi LATIN SMALL aisurandoYu proportionally-spaced th 00FE LETTER THORN THORNXiao Wen Zi puroposhiyonaru (Icelandic) LATIN SMALL daiereshisuFu proportionally-spaced y 00FF LETTER Y WITH kiYXiao Wen Zi puroposhiyonaru DIAERESIS LATIN CAPITAL proportionally-spaced A 0100 LETTER A WITH makuronFu kiA puroposhiyonaru MACRON LATIN SMALL makuronFu kiA proportionally-spaced a 0101 LETTER A WITH Xiao Wen Zi puroposhiyonaru MACRON LATIN CAPITAL proportionally-spaced A 0102 LETTER A WITH buribuFu kiA puroposhiyonaru BREVE LATIN SMALL buribuFu kiA proportionally-spaced a 0103 LETTER A WITH Xiao Wen Zi puroposhiyonaru BREVE LATIN CAPITAL proportionally-spaced A 0104 LETTER A WITH ogonekuFu kiA puroposhiyonaru OGONEK LATIN SMALL ogonekuFu kiA proportionally-spaced a 0105 LETTER A WITH Xiao Wen Zi puroposhiyonaru OGONEK LATIN CAPITAL akiyutoaku proportionally-spaced C 0106 LETTER C WITH sentoFu kiC puroposhiyonaru ACUTE LATIN SMALL akiyutoaku proportionally-spaced c 0107 LETTER C WITH sentoFu kiCXiao puroposhiyonaru ACUTE Wen Zi LATIN CAPITAL sakamuhuretsu proportionally-spaced C 0108 LETTER C WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiC LATIN SMALL sakamuhuretsu proportionally-spaced c 0109 LETTER C WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiCXiao Wen Zi LATIN CAPITAL proportionally-spaced C 010C LETTER C WITH kiyaronFu kiC puroposhiyonaru CARON LATIN SMALL kiyaronFu kiC proportionally-spaced c 010D LETTER C WITH Xiao Wen Zi puroposhiyonaru CARON LATIN CAPITAL proportionally-spaced D 010E LETTER D WITH kiyaronFu kiD puroposhiyonaru CARON LATIN SMALL kiyaronFu kiD proportionally-spaced d 010F LETTER D WITH Xiao Wen Zi puroposhiyonaru CARON LATIN SMALL sutorokuFu ki proportionally-spaced d 0111 LETTER D WITH DXiao Wen Zi puroposhiyonaru STROKE LATIN CAPITAL proportionally-spaced E 0112 LETTER E WITH makuronFu kiE puroposhiyonaru MACRON LATIN SMALL makuronFu kiE proportionally-spaced e 0113 LETTER E WITH Xiao Wen Zi puroposhiyonaru MACRON LATIN CAPITAL proportionally-spaced E 0118 LETTER E WITH ogonekuFu kiE puroposhiyonaru OGONEK LATIN SMALL ogonekuFu kiE proportionally-spaced e 0119 LETTER E WITH Xiao Wen Zi puroposhiyonaru OGONEK LATIN CAPITAL proportionally-spaced E 011A LETTER E WITH kiyaronFu kiE puroposhiyonaru CARON LATIN SMALL kiyaronFu kiE proportionally-spaced e 011B LETTER E WITH Xiao Wen Zi puroposhiyonaru CARON LATIN CAPITAL sakamuhuretsu proportionally-spaced G 011C LETTER G WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiG LATIN SMALL sakamuhuretsu proportionally-spaced g 011D LETTER G WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiGXiao Wen Zi LATIN CAPITAL sakamuhuretsu proportionally-spaced H 0124 LETTER H WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiH LATIN SMALL sakamuhuretsu proportionally-spaced h 0125 LETTER H WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiHXiao Wen Zi LATIN SMALL sutorokuFu ki proportionally-spaced h 0127 LETTER H WITH HXiao Wen Zi ,Wu Sheng puroposhiyonaru STROKE Yan Tou Mo Ca Yin LATIN CAPITAL proportionally-spaced I 012A LETTER I WITH makuronFu kiI puroposhiyonaru MACRON LATIN SMALL makuronFu kiI proportionally-spaced i 012B LETTER I WITH Xiao Wen Zi puroposhiyonaru MACRON LATIN CAPITAL sakamuhuretsu proportionally-spaced J 0134 LETTER J WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiJ LATIN SMALL sakamuhuretsu proportionally-spaced j 0135 LETTER J WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiJXiao Wen Zi LATIN CAPITAL akiyutoaku proportionally-spaced L 0139 LETTER L WITH sentoFu kiL puroposhiyonaru ACUTE LATIN SMALL akiyutoaku proportionally-spaced l 013A LETTER L WITH sentoFu kiLXiao puroposhiyonaru ACUTE Wen Zi LATIN CAPITAL proportionally-spaced L 013D LETTER L WITH kiyaronFu kiL puroposhiyonaru CARON LATIN SMALL kiyaronFu kiL proportionally-spaced l 013E LETTER L WITH Xiao Wen Zi puroposhiyonaru CARON LATIN CAPITAL sutorokuFu ki proportionally-spaced L 0141 LETTER L WITH L puroposhiyonaru STROKE LATIN SMALL sutorokuFu ki proportionally-spaced l 0142 LETTER L WITH LXiao Wen Zi puroposhiyonaru STROKE LATIN CAPITAL akiyutoaku proportionally-spaced N 0143 LETTER N WITH sentoFu kiN puroposhiyonaru ACUTE LATIN SMALL akiyutoaku proportionally-spaced n 0144 LETTER N WITH sentoFu kiNXiao puroposhiyonaru ACUTE Wen Zi LATIN CAPITAL proportionally-spaced N 0147 LETTER N WITH kiyaronFu kiN puroposhiyonaru CARON LATIN SMALL kiyaronFu kiN proportionally-spaced n 0148 LETTER N WITH Xiao Wen Zi puroposhiyonaru CARON LATIN SMALL ENGXiao Wen Zi ,You proportionally-spaced NG 014B LETTER ENG Sheng Ruan Kou Gai Bi Yin puroposhiyonaru (Sami) LATIN CAPITAL proportionally-spaced O 014C LETTER O WITH makuronFu kiO puroposhiyonaru MACRON LATIN SMALL makuronFu kiO proportionally-spaced o 014D LETTER O WITH Xiao Wen Zi puroposhiyonaru MACRON LATIN CAPITAL daburuakiyu proportionally-spaced O 0150 LETTER O WITH toakusentoFu puroposhiyonaru DOUBLE ACUTE kiO LATIN SMALL daburuakiyu proportionally-spaced o 0151 LETTER O WITH toakusentoFu puroposhiyonaru DOUBLE ACUTE kiOXiao Wen Zi LATIN CAPITAL rigachiyaOEDa Wen proportionally-spaced OE 0152 LIGATURE OE Zi ,Yuan Chun Qian She Guang puroposhiyonaru Mu Yin LATIN SMALL rigachiyaOEXiao Wen proportionally-spaced oe 0153 LIGATURE OE Zi ,Yuan Chun Qian She Guang puroposhiyonaru Zhong Duan Mu Yin LATIN CAPITAL akiyutoaku proportionally-spaced R 0154 LETTER R WITH sentoFu kiR puroposhiyonaru ACUTE LATIN SMALL akiyutoaku proportionally-spaced r 0155 LETTER R WITH sentoFu kiRXiao puroposhiyonaru ACUTE Wen Zi LATIN CAPITAL proportionally-spaced R 0158 LETTER R WITH kiyaronFu kiR puroposhiyonaru CARON LATIN SMALL kiyaronFu kiR proportionally-spaced r 0159 LETTER R WITH Xiao Wen Zi puroposhiyonaru CARON LATIN CAPITAL akiyutoaku proportionally-spaced S 015A LETTER S WITH sentoFu kiS puroposhiyonaru ACUTE LATIN SMALL akiyutoaku proportionally-spaced s 015B LETTER S WITH sentoFu kiSXiao puroposhiyonaru ACUTE Wen Zi LATIN CAPITAL sakamuhuretsu proportionally-spaced S 015C LETTER S WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiS LATIN SMALL sakamuhuretsu proportionally-spaced s 015D LETTER S WITH kusuakusento puroposhiyonaru CIRCUMFLEX Fu kiSXiao Wen Zi LATIN CAPITAL proportionally-spaced S 015E LETTER S WITH sedeiraFu kiS puroposhiyonaru CEDILLA LATIN SMALL sedeiraFu kiS proportionally-spaced s 015F LETTER S WITH Xiao Wen Zi puroposhiyonaru CEDILLA LATIN CAPITAL proportionally-spaced S 0160 LETTER S WITH kiyaronFu kiS puroposhiyonaru CARON LATIN SMALL kiyaronFu kiS proportionally-spaced s 0161 LETTER S WITH Xiao Wen Zi puroposhiyonaru CARON LATIN CAPITAL proportionally-spaced T 0162 LETTER T WITH sedeiraFu kiT puroposhiyonaru CEDILLA LATIN SMALL sedeiraFu kiT proportionally-spaced t 0163 LETTER T WITH Xiao Wen Zi puroposhiyonaru CEDILLA LATIN CAPITAL proportionally-spaced T 0164 LETTER T WITH kiyaronFu kiT puroposhiyonaru CARON LATIN SMALL kiyaronFu kiT proportionally-spaced t 0165 LETTER T WITH Xiao Wen Zi puroposhiyonaru CARON LATIN CAPITAL proportionally-spaced U 016A LETTER U WITH makuronFu kiU puroposhiyonaru MACRON LATIN SMALL makuronFu kiU proportionally-spaced u 016B LETTER U WITH Xiao Wen Zi puroposhiyonaru MACRON LATIN CAPITAL proportionally-spaced U 016C LETTER U WITH buribuFu kiU puroposhiyonaru BREVE LATIN SMALL buribuFu kiU proportionally-spaced u 016D LETTER U WITH Xiao Wen Zi puroposhiyonaru BREVE LATIN CAPITAL proportionally-spaced U 016E LETTER U WITH Shang ringuFu kiU puroposhiyonaru RING ABOVE LATIN SMALL Shang ringuFu kiU proportionally-spaced u 016F LETTER U WITH Xiao Wen Zi puroposhiyonaru RING ABOVE LATIN CAPITAL daburuakiyu proportionally-spaced U 0170 LETTER U WITH toakusentoFu puroposhiyonaru DOUBLE ACUTE kiU LATIN SMALL daburuakiyu proportionally-spaced u 0171 LETTER U WITH toakusentoFu puroposhiyonaru DOUBLE ACUTE kiUXiao Wen Zi LATIN CAPITAL akiyutoaku proportionally-spaced Z 0179 LETTER Z WITH sentoFu kiZ puroposhiyonaru ACUTE LATIN SMALL akiyutoaku proportionally-spaced z 017A LETTER Z WITH sentoFu kiZXiao puroposhiyonaru ACUTE Wen Zi LATIN CAPITAL proportionally-spaced Z 017B LETTER Z WITH Shang dotsutoFu kiZ puroposhiyonaru DOT ABOVE LATIN SMALL Shang dotsutoFu kiZ proportionally-spaced z 017C LETTER Z WITH Xiao Wen Zi puroposhiyonaru DOT ABOVE LATIN CAPITAL proportionally-spaced Z 017D LETTER Z WITH kiyaronFu kiZ puroposhiyonaru CARON LATIN SMALL kiyaronFu kiZ proportionally-spaced z 017E LETTER Z WITH Xiao Wen Zi puroposhiyonaru CARON LATIN CAPITAL hutsukuFu kiGDa proportionally-spaced G 0193 LETTER G WITH Wen Zi ,You Sheng Kou Gai puroposhiyonaru HOOK Chui Nei Po Yin |= 01C2 LATIN LETTER Ying Kou Gai Chi Jing Xi Zhao proportionally-spaced ALVEOLAR CLICK Yin puroposhiyonaru LATIN CAPITAL proportionally-spaced A 01CD LETTER A WITH kiyaronFu kiA puroposhiyonaru CARON LATIN SMALL kiyaronFu kiA proportionally-spaced a 01CE LETTER A WITH Xiao Wen Zi puroposhiyonaru CARON LATIN SMALL kiyaronFu kiI proportionally-spaced i 01D0 LETTER I WITH Xiao Wen Zi puroposhiyonaru CARON LATIN CAPITAL proportionally-spaced O 01D1 LETTER O WITH kiyaronFu kiO puroposhiyonaru CARON LATIN SMALL kiyaronFu kiO proportionally-spaced o 01D2 LETTER O WITH Xiao Wen Zi puroposhiyonaru CARON LATIN SMALL kiyaronFu kiU proportionally-spaced u 01D4 LETTER U WITH Xiao Wen Zi puroposhiyonaru CARON LATIN SMALL makurontodai u 01D6 LETTER U WITH ereshisuFu kiU proportionally-spaced DIAERESIS AND Xiao Wen Zi puroposhiyonaru MACRON LATIN SMALL akiyutoaku u 01D8 LETTER U WITH sentotodaie proportionally-spaced DIAERESIS AND reshisuFu kiUXiao puroposhiyonaru ACUTE Wen Zi LATIN SMALL kiyarontodai u 01DA LETTER U WITH ereshisuFu kiU proportionally-spaced DIAERESIS AND Xiao Wen Zi puroposhiyonaru CARON LATIN SMALL gurebuakuse u 01DC LETTER U WITH ntotodaiere proportionally-spaced DIAERESIS AND shisuFu kiUXiao Wen puroposhiyonaru GRAVE Zi LATIN CAPITAL gurebuakuse proportionally-spaced N 01F8 LETTER N WITH ntoFu kiN puroposhiyonaru GRAVE LATIN SMALL gurebuakuse proportionally-spaced n 01F9 LETTER N WITH ntoFu kiNXiao Wen puroposhiyonaru GRAVE Zi LATIN SMALL akiyutoaku proportionally-spaced ae 01FD LETTER AE WITH sentoFu kiAEXiao puroposhiyonaru ACUTE (ash) Wen Zi LATIN SMALL tandoAXiao Wen proportionally-spaced a 0250 LETTER TURNED A Zi ,Fei Yuan Chun Zhong She puroposhiyonaru Xia menoGuang Mu Yin LATIN SMALL sukuriputoAXiao proportionally-spaced a 0251 LETTER ALPHA Wen Zi ,Fei Yuan Chun Hou puroposhiyonaru She Guang Mu Yin LATIN SMALL tandoALPHA proportionally-spaced a 0252 LETTER TURNED Xiao Wen Zi ,Yuan Chun Hou puroposhiyonaru ALPHA She Guang Mu Yin LATIN SMALL hutsukuFu kiBXiao proportionally-spaced b 0253 LETTER B WITH Wen Zi ,You Sheng Liang Chun puroposhiyonaru HOOK Nei Po Yin LATIN SMALL opunOXiao Wen proportionally-spaced o 0254 LETTER OPEN O Zi ,Yuan Chun Hou She Guang puroposhiyonaru Zhong Duan Mu Yin COMBINING GRAVE nOXiao Wen Zi puroposhiyonaru ACCENT> COMBINING ACUTE punOXiao Wen Zi puroposhiyonaru ACCENT> LATIN SMALL karuFu kiCXiao proportionally-spaced c 0255 LETTER C WITH Wen Zi ,Chi Jing Ying puroposhiyonaru CURL Kou Gai Mo Ca Yin LATIN SMALL teruFu kiDXiao proportionally-spaced d 0256 LETTER D WITH Wen Zi ,You Sheng sori puroposhiyonaru TAIL She Po Lie Yin LATIN SMALL hutsukuFu kiDXiao proportionally-spaced d 0257 LETTER D WITH Wen Zi ,You Sheng Chi Jing puroposhiyonaru HOOK Nei Po Yin LATIN SMALL ribasudoEXiao proportionally-spaced e 0258 LETTER REVERSED Wen Zi ,Fei Yuan Chun Zhong puroposhiyonaru E She Xia Zhong Duan Mu Yin LATIN SMALL SCHWAXiao Wen Zi , proportionally-spaced @ 0259 LETTER SCHWA Fei Yuan Chun Zhong She Zhong Yang puroposhiyonaru Mu Yin COMBINING GRAVE Xiao Wen Zi puroposhiyonaru ACCENT> COMBINING ACUTE SCHWAXiao Wen Zi puroposhiyonaru ACCENT> LATIN SMALL hutsukuFu ki proportionally-spaced @ 025A LETTER SCHWA SCHWA puroposhiyonaru WITH HOOK WITH HOOK, ntotohutsukuFu puroposhiyonaru COMBINING GRAVE kiSCHWAXiao Wen Zi ACCENT> WITH HOOK, Fu kiSCHWAXiao Wen puroposhiyonaru COMBINING ACUTE Zi ACCENT> LATIN SMALL ribasudoo e 025C LETTER REVERSED punEXiao Wen Zi , proportionally-spaced OPEN E Fei Yuan Chun Zhong She Guang puroposhiyonaru Zhong Duan Mu Yin kurozudoriba LATIN SMALL sudoopun proportionally-spaced e 025E LETTER CLOSED EXiao Wen Zi ,Yuan Chun puroposhiyonaru REVERSED OPEN E Zhong She Guang Zhong Duan Mu Yin LATIN SMALL sutorokuFu ki j 025F LETTER DOTLESS dotsutonashiJXiao proportionally-spaced J WITH STROKE Wen Zi ,You Sheng Ying Kou puroposhiyonaru Gai Po Lie Yin LATIN SMALL hutsukuFu kiGXiao proportionally-spaced g 0260 LETTER G WITH Wen Zi ,You Sheng Ruan Kou puroposhiyonaru HOOK Gai Nei Po Yin LATIN SMALL sukuriputoGXiao proportionally-spaced g 0261 LETTER SCRIPT G Wen Zi ,You Sheng Ruan Kou puroposhiyonaru Gai Po Lie Yin LATIN SMALL bebiganma, proportionally-spaced u 0264 LETTER RAMS Fei Yuan Chun Hou She Xia Zhong puroposhiyonaru HORN Duan Mu Yin LATIN SMALL tandoHXiao Wen proportionally-spaced Y 0265 LETTER TURNED H Zi ,You Sheng Liang Chun puroposhiyonaru Ying Kou Gai Jie Jin Yin LATIN SMALL hutsukuFu kiHXiao proportionally-spaced h 0266 LETTER H WITH Wen Zi ,You Sheng Sheng Men puroposhiyonaru HOOK Mo Ca Yin LATIN SMALL hutsukuFu kiHENG h 0267 LETTER HENG Xiao Wen Zi ,Wu Sheng Hou proportionally-spaced WITH HOOK Bu Chi Jing Ruan Kou Gai Mo puroposhiyonaru Ca Yin LATIN SMALL sutorokuFu ki proportionally-spaced i 0268 LETTER I WITH IXiao Wen Zi ,Fei Yuan puroposhiyonaru STROKE Chun Zhong She Xia Mu Yin LATIN SMALL berutoFu kiLXiao proportionally-spaced l 026C LETTER L WITH Wen Zi ,Wu Sheng Chi Jing puroposhiyonaru BELT Ce Mian Mo Ca Yin LATIN SMALL retorohuretsuku l 026D LETTER L WITH suhutsukuFu kiL proportionally-spaced RETROFLEX HOOK Xiao Wen Zi ,You Sheng so puroposhiyonaru riShe Ce Mian Jie Jin Yin LATIN SMALL LEZHXiao Wen Zi ,You proportionally-spaced lZ 026E LETTER LEZH Sheng Chi Jing Ce Mian Mo Ca puroposhiyonaru Yin LATIN SMALL tandoMXiao Wen proportionally-spaced W 026F LETTER TURNED M Zi ,Fei Yuan Chun Hou She puroposhiyonaru Xia Mu Yin LATIN SMALL ronguretsuguFu W 0270 LETTER TURNED M kitandoMXiao proportionally-spaced WITH LONG LEG Wen Zi ,You Sheng Ruan Kou puroposhiyonaru Gai Jie Jin Yin LATIN SMALL hutsukuFu kiMXiao proportionally-spaced m 0271 LETTER M WITH Wen Zi ,You Sheng Chun Chi puroposhiyonaru HOOK Bi Yin LATIN SMALL Zuo hutsukuFu kiN proportionally-spaced n 0272 LETTER N WITH Xiao Wen Zi ,You Sheng Ying puroposhiyonaru LEFT HOOK Kou Gai Bi Yin LATIN SMALL retorohuretsuku n 0273 LETTER N WITH suhutsukuFu kiN proportionally-spaced RETROFLEX HOOK Xiao Wen Zi ,You Sheng so puroposhiyonaru riShe Bi Yin LATIN SMALL baFu kiOXiao Wen proportionally-spaced o 0275 LETTER BARRED O Zi ,Yuan Chun Zhong She Xia puroposhiyonaru Zhong Duan Mu Yin LATIN SMALL tandoRXiao Wen proportionally-spaced r 0279 LETTER TURNED R Zi ,Wu Sheng Chi Jing Jie puroposhiyonaru Jin Yin LATIN SMALL ronguretsuguFu r 027A LETTER TURNED R kitandoRXiao proportionally-spaced WITH LONG LEG Wen Zi ,Chi Jing Ce Mian puroposhiyonaru Dan kiYin LATIN SMALL hutsukuFu kita r 027B LETTER TURNED R ndoRXiao Wen Zi , proportionally-spaced WITH HOOK You Sheng soriShe Jie Jin puroposhiyonaru Yin LATIN SMALL teruFu kiRXiao proportionally-spaced r 027D LETTER R WITH Wen Zi ,You Sheng sori puroposhiyonaru TAIL She Dan kiYin LATIN SMALL huitsushiyuhutsu r 027E LETTER R WITH kuFu kiRXiao Wen Zi proportionally-spaced FISHHOOK ,You Sheng Chi Jing Dan ki puroposhiyonaru Yin LATIN LETTER inbatetsudo R 0281 SMALL CAPITAL Rsumorukiya proportionally-spaced INVERTED R pitaru,You Sheng Kou puroposhiyonaru Gai Chui Mo Ca Yin LATIN SMALL hutsukuFu kiSXiao proportionally-spaced s 0282 LETTER S WITH Wen Zi ,Wu Sheng sori puroposhiyonaru HOOK She Mo Ca Yin LATIN SMALL ESHXiao Wen Zi ,Wu proportionally-spaced S 0283 LETTER ESH Sheng Hou Bu Chi Jing Mo Ca puroposhiyonaru Yin LATIN SMALL hutsukutosutoro LETTER DOTLESS kuFu kidotsuto proportionally-spaced j 0284 J WITH STROKE nashiJXiao Wen Zi , puroposhiyonaru AND HOOK You Sheng Ying Kou Gai Nei Po Yin LATIN SMALL retorohuretsuku t 0288 LETTER T WITH suhutsukuFu kiT proportionally-spaced RETROFLEX HOOK Xiao Wen Zi ,Wu Sheng so puroposhiyonaru riShe Po Lie Yin LATIN SMALL baFu kiUXiao Wen proportionally-spaced u 0289 LETTER U BAR Zi ,Yuan Chun Zhong She Xia puroposhiyonaru Mu Yin LATIN SMALL UPSILONXiao Wen Zi proportionally-spaced U 028A LETTER UPSILON ,Yuan Chun Hou She Guang me puroposhiyonaru noXia Mu Yin LATIN SMALL hutsukuFu kiVXiao proportionally-spaced v 028B LETTER V WITH Wen Zi ,You Sheng Chun Chi puroposhiyonaru HOOK Jie Jin Yin LATIN SMALL tandoVXiao Wen proportionally-spaced ^ 028C LETTER TURNED V Zi ,Fei Yuan Chun Hou She puroposhiyonaru Guang Zhong Duan Mu Yin V, COMBINING doVXiao Wen Zi puroposhiyonaru GRAVE ACCENT> V, COMBINING ndoVXiao Wen Zi puroposhiyonaru ACUTE ACCENT> LATIN SMALL tandoWXiao Wen proportionally-spaced w 028D LETTER TURNED W Zi ,Wu Sheng Liang Chun puroposhiyonaru Ruan Kou Gai Mo Ca Yin LATIN SMALL tandoYXiao Wen proportionally-spaced y 028E LETTER TURNED Y Zi ,You Sheng Ying Kou Gai puroposhiyonaru Ce Mian Jie Jin Yin LATIN SMALL retorohuretsuku z 0290 LETTER Z WITH suhutsukuFu kiZ proportionally-spaced RETROFLEX HOOK Xiao Wen Zi ,You Sheng so puroposhiyonaru riShe Mo Ca Yin LATIN SMALL karuFu kiZXiao proportionally-spaced z 0291 LETTER Z WITH Wen Zi ,Chi Jing Ying puroposhiyonaru CURL Kou Gai Mo Ca Yin LATIN SMALL EZHXiao Wen Zi ,You proportionally-spaced Z 0292 LETTER EZH Sheng Hou Bu Chi Jing Mo Ca puroposhiyonaru Yin LATIN LETTER gurotsutarusuto proportionally-spaced ? 0294 GLOTTAL STOP tsupu,Wu Sheng Sheng Men puroposhiyonaru Po Lie Yin LATIN LETTER ribasudoguro ? 0295 PHARYNGEAL tsutarusutotsupu proportionally-spaced VOICED ,You Sheng Yan Tou Mo Ca puroposhiyonaru FRICATIVE Yin @ 0298 LATIN LETTER Liang Chun Xi Zhao Yin proportionally-spaced BILABIAL CLICK puroposhiyonaru LATIN SMALL kurosudoteru j 029D LETTER J WITH Fu kiJXiao Wen Zi , proportionally-spaced CROSSED-TAIL You Sheng Ying Kou Gai Mo Ca puroposhiyonaru Yin LATIN LETTER sutorokuFu ki ? 02A1 GLOTTAL STOP gurotsutarusuto proportionally-spaced WITH STROKE tsupu,Yan Tou Gai Po puroposhiyonaru Lie Yin LATIN LETTER sutorokuFu ki REVERSED ribasudoguro proportionally-spaced ? 02A2 GLOTTAL STOP tsutarusutotsupu puroposhiyonaru WITH STROKE ,You Sheng Yan Tou Gai Mo Ca Yin CARON (Mandarin proportionally-spaced V 02C7 Chinese third kiyaron puroposhiyonaru tone) ' 02C8 MODIFIER LETTER Xiao Zong Xian ,Di Yi Qiang proportionally-spaced VERTICAL LINE Shi puroposhiyonaru MODIFIER LETTER Xia Xiao Zong Xian ,Di Er proportionally-spaced , 02CC LOW VERTICAL Qiang Shi puroposhiyonaru LINE MODIFIER LETTER proportionally-spaced : 02D0 TRIANGULAR Chang puroposhiyonaru COLON MODIFIER LETTER proportionally-spaced . 02D1 HALF TRIANGULAR Ban Chang puroposhiyonaru COLON V 02D8 BREVE buribu proportionally-spaced puroposhiyonaru DOT ABOVE . 02D9 (Mandarin Shang dotsuto proportionally-spaced Chinese light puroposhiyonaru tone) , 02DB OGONEK ogoneku proportionally-spaced puroposhiyonaru " 02DD DOUBLE ACUTE daburuakiyu proportionally-spaced ACCENT toakusento puroposhiyonaru R 02DE MODIFIER LETTER rnoYin Se proportionally-spaced RHOTIC HOOK puroposhiyonaru MODIFIER LETTER proportionally-spaced 02E5 EXTRA-HIGH TONE Sheng Diao Ji Hao Chao Gao puroposhiyonaru BAR BAR, MODIFIER Sheng Diao Ji Hao Xia Jiang Diao puroposhiyonaru LETTER EXTRA-LOW TONE BAR> 02E6 MODIFIER LETTER Sheng Diao Ji Hao Gao proportionally-spaced HIGH TONE BAR puroposhiyonaru 02E7 MODIFIER LETTER Sheng Diao Ji Hao Zhong proportionally-spaced MID TONE BAR puroposhiyonaru 02E8 MODIFIER LETTER Sheng Diao Ji Hao Di proportionally-spaced LOW TONE BAR puroposhiyonaru MODIFIER LETTER proportionally-spaced 02E9 EXTRA-LOW TONE Sheng Diao Ji Hao Chao Di puroposhiyonaru BAR BAR, MODIFIER Sheng Diao Ji Hao Shang Sheng Diao puroposhiyonaru LETTER EXTRA-HIGH TONE BAR> COMBINING GRAVE gurebuakuse proportionally-spaced 0300 ACCENT (Varia) nto(He Cheng Ke Neng puroposhiyonaru ),Sheng Diao Di COMBINING ACUTE akiyutoaku proportionally-spaced 0301 ACCENT (Oxia, sento(He Cheng Ke puroposhiyonaru Tonos) Neng ),Sheng Diao Gao COMBINING sakamuhuretsu 0302 CIRCUMFLEX kusuakusento proportionally-spaced ACCENT (He Cheng Ke Neng ), puroposhiyonaru Sheng Diao Xia Jiang Diao 0303 COMBINING TILDE chirudo(He Cheng Ke proportionally-spaced Neng ),Bi Yin Hua puroposhiyonaru 0304 COMBINING makuron(He Cheng proportionally-spaced MACRON Ke Neng ),Sheng Diao Zhong puroposhiyonaru 0306 COMBINING BREVE buribu(He Cheng proportionally-spaced (Vrachy) Ke Neng ),Chao Duan puroposhiyonaru COMBINING daiereshisu( proportionally-spaced 0308 DIAERESIS He Cheng Ke Neng ),Zhong puroposhiyonaru (Dialytika) She Mu Yin Hua COMBINING daburuakiyu 030B DOUBLE ACUTE toakusento( proportionally-spaced ACCENT He Cheng Ke Neng ),Sheng puroposhiyonaru Diao Chao Gao kiyaron(He Cheng proportionally-spaced 030C COMBINING CARON Ke Neng ),Sheng Diao Shang puroposhiyonaru Sheng Diao COMBINING daburugurebu 030F DOUBLE GRAVE akusento(He proportionally-spaced ACCENT Cheng Ke Neng ),Sheng Diao puroposhiyonaru Chao Di COMBINING LEFT Xia rehutotatsuku proportionally-spaced 0318 TACK BELOW (He Cheng Ke Neng ), puroposhiyonaru Qian Fang She Gen Xing COMBINING RIGHT Xia raitotatsuku proportionally-spaced 0319 TACK BELOW (He Cheng Ke Neng ), puroposhiyonaru Hou Fang She Gen Xing Shang rehutoangu 031A COMBINING LEFT ru(He Cheng Ke Neng ) proportionally-spaced ANGLE ABOVE ,Kai Fang gaWen koe puroposhiyonaru nai Xia rehutohahu 031C COMBINING LEFT ringu(He Cheng Ke proportionally-spaced HALF RING BELOW Neng ),yoriYuan Chun puroposhiyonaru Xing noRuo i COMBINING UP Xia atsuputatsuku proportionally-spaced 031D TACK BELOW (He Cheng Ke Neng ), puroposhiyonaru Gao She no COMBINING DOWN Xia dauntatsuku proportionally-spaced 031E TACK BELOW (He Cheng Ke Neng ), puroposhiyonaru Di She no COMBINING PLUS Xia purasu(He Cheng proportionally-spaced 031F SIGN BELOW Ke Neng ),Qian Ji ri puroposhiyonaru no COMBINING MINUS Xia mainasu(He proportionally-spaced 0320 SIGN BELOW Cheng Ke Neng ),Hou ro puroposhiyonaru Ji rino COMBINING Xia daiereshisu proportionally-spaced 0324 DIAERESIS BELOW (He Cheng Ke Neng ), puroposhiyonaru kasureYin 0325 COMBINING RING Xia ringu(He Cheng proportionally-spaced BELOW Ke Neng ),Wu Sheng puroposhiyonaru COMBINING Xia Zong Xian (He Cheng Ke proportionally-spaced 0329 VERTICAL LINE Neng ),Yin Jie Zhu Yin puroposhiyonaru BELOW De 032A COMBINING Xia buritsuzi(He proportionally-spaced BRIDGE BELOW Cheng Ke Neng ),Chi puroposhiyonaru 032C COMBINING CARON Xia kiyaron(He proportionally-spaced BELOW Cheng Ke Neng ),You Sheng puroposhiyonaru COMBINING Xia inbatetsu 032F INVERTED BREVE doburibu(He proportionally-spaced BELOW Cheng Ke Neng ),Yin Jie puroposhiyonaru Fu Yin De COMBINING TILDE Xia chirudo(He Cheng proportionally-spaced 0330 BELOW Ke Neng ),kishimi puroposhiyonaru Yin chirudoobare 0334 COMBINING TILDE i(He Cheng Ke Neng ) proportionally-spaced OVERLAY ,Ruan Kou Gai Hua aru puroposhiyonaru ihaYan Tou Hua Xia raitohahu 0339 COMBINING RIGHT ringu(He Cheng Ke proportionally-spaced HALF RING BELOW Neng ),yoriYuan Chun puroposhiyonaru Xing noQiang i COMBINING Xia inbatetsu 033A INVERTED BRIDGE doburitsuzi(He proportionally-spaced BELOW Cheng Ke Neng ),She Xian puroposhiyonaru De COMBINING Xia sukuea(He proportionally-spaced 033B SQUARE BELOW Cheng Ke Neng ),She Duan puroposhiyonaru De COMBINING Xia shigaru(He proportionally-spaced 033C SEAGULL BELOW Cheng Ke Neng ),She Xian puroposhiyonaru Duan Chun Yin COMBINING X Shang X(He Cheng Ke Neng proportionally-spaced 033D ABOVE ),Zhong Duan Zhong She Mu puroposhiyonaru Yin Hua daburuinba COMBINING tetsudoburibu proportionally-spaced 0361 DOUBLE INVERTED (He Cheng Ke Neng ), puroposhiyonaru BREVE Po Ca Yin You haEr Zhong Diao Yin Ji Hao A 0391 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER ALPHA ALPHA puroposhiyonaru B 0392 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER BETA BETA puroposhiyonaru G 0393 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER GAMMA GAMMA puroposhiyonaru D 0394 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER DELTA DELTA puroposhiyonaru E 0395 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER EPSILON EPSILON puroposhiyonaru Z 0396 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER ZETA ZETA puroposhiyonaru E 0397 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER ETA ETA puroposhiyonaru Th 0398 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER THETA THETA puroposhiyonaru I 0399 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER IOTA IOTA puroposhiyonaru K 039A GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER KAPPA KAPPA puroposhiyonaru L 039B GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER LAMDA LAMBDA puroposhiyonaru M 039C GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER MU MU puroposhiyonaru N 039D GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER NU NU puroposhiyonaru Ks 039E GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER XI XI puroposhiyonaru O 039F GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER OMICRON OMICRON puroposhiyonaru P 03A0 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER PI PI puroposhiyonaru R 03A1 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER RHO RHO puroposhiyonaru S 03A3 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER SIGMA SIGMA puroposhiyonaru T 03A4 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER TAU TAU puroposhiyonaru U 03A5 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER UPSILON UPSILON puroposhiyonaru Ph 03A6 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER PHI PHI puroposhiyonaru Kh 03A7 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER CHI CHI puroposhiyonaru Ps 03A8 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER PSI PSI puroposhiyonaru O 03A9 GREEK CAPITAL girishiaDa Wen Zi proportionally-spaced LETTER OMEGA OMEGA puroposhiyonaru a 03B1 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER ALPHA ALPHA puroposhiyonaru b 03B2 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER BETA BETA puroposhiyonaru g 03B3 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER GAMMA GAMMA puroposhiyonaru d 03B4 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER DELTA DELTA puroposhiyonaru e 03B5 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER EPSILON EPSILON puroposhiyonaru z 03B6 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER ZETA ZETA puroposhiyonaru e 03B7 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER ETA ETA puroposhiyonaru th 03B8 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER THETA THETA puroposhiyonaru i 03B9 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER IOTA IOTA puroposhiyonaru k 03BA GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER KAPPA KAPPA puroposhiyonaru l 03BB GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER LAMDA LAMBDA puroposhiyonaru m 03BC GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER MU MU puroposhiyonaru n 03BD GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER NU NU puroposhiyonaru x 03BE GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER XI XI puroposhiyonaru o 03BF GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER OMICRON OMICRON puroposhiyonaru p 03C0 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER PI PI puroposhiyonaru r 03C1 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER RHO RHO puroposhiyonaru GREEK SMALL girishiaXiao Wen Zi proportionally-spaced s 03C2 LETTER FINAL huainaru puroposhiyonaru SIGMA SIGMA s 03C3 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER SIGMA SIGMA puroposhiyonaru t 03C4 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER TAU TAU puroposhiyonaru u 03C5 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER UPSILON UPSILON puroposhiyonaru ph 03C6 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER PHI PHI puroposhiyonaru kh 03C7 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER CHI CHI puroposhiyonaru ps 03C8 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER PSI PSI puroposhiyonaru o 03C9 GREEK SMALL girishiaXiao Wen Zi proportionally-spaced LETTER OMEGA OMEGA puroposhiyonaru CYRILLIC kiriruDa Wen Zi proportionally-spaced Io 0401 CAPITAL LETTER IO puroposhiyonaru IO CYRILLIC kiriruDa Wen Zi proportionally-spaced A 0410 CAPITAL LETTER A puroposhiyonaru A CYRILLIC kiriruDa Wen Zi proportionally-spaced B 0411 CAPITAL LETTER BE puroposhiyonaru BE CYRILLIC kiriruDa Wen Zi proportionally-spaced V 0412 CAPITAL LETTER VE puroposhiyonaru VE CYRILLIC kiriruDa Wen Zi proportionally-spaced G 0413 CAPITAL LETTER GHE puroposhiyonaru GHE CYRILLIC kiriruDa Wen Zi proportionally-spaced D 0414 CAPITAL LETTER DE puroposhiyonaru DE CYRILLIC kiriruDa Wen Zi proportionally-spaced E 0415 CAPITAL LETTER IE puroposhiyonaru IE CYRILLIC kiriruDa Wen Zi proportionally-spaced Zh 0416 CAPITAL LETTER ZHE puroposhiyonaru ZHE CYRILLIC kiriruDa Wen Zi proportionally-spaced Z 0417 CAPITAL LETTER ZE puroposhiyonaru ZE CYRILLIC kiriruDa Wen Zi proportionally-spaced I 0418 CAPITAL LETTER I puroposhiyonaru I CYRILLIC kiriruDa Wen Zi proportionally-spaced I 0419 CAPITAL LETTER SHORT I puroposhiyonaru SHORT I CYRILLIC kiriruDa Wen Zi proportionally-spaced K 041A CAPITAL LETTER KA puroposhiyonaru KA CYRILLIC kiriruDa Wen Zi proportionally-spaced L 041B CAPITAL LETTER EL puroposhiyonaru EL CYRILLIC kiriruDa Wen Zi proportionally-spaced M 041C CAPITAL LETTER EM puroposhiyonaru EM CYRILLIC kiriruDa Wen Zi proportionally-spaced N 041D CAPITAL LETTER EN puroposhiyonaru EN CYRILLIC kiriruDa Wen Zi proportionally-spaced O 041E CAPITAL LETTER O puroposhiyonaru O CYRILLIC kiriruDa Wen Zi proportionally-spaced P 041F CAPITAL LETTER PE puroposhiyonaru PE CYRILLIC kiriruDa Wen Zi proportionally-spaced R 0420 CAPITAL LETTER ER puroposhiyonaru ER CYRILLIC kiriruDa Wen Zi proportionally-spaced S 0421 CAPITAL LETTER ES puroposhiyonaru ES CYRILLIC kiriruDa Wen Zi proportionally-spaced T 0422 CAPITAL LETTER TE puroposhiyonaru TE CYRILLIC kiriruDa Wen Zi proportionally-spaced U 0423 CAPITAL LETTER U puroposhiyonaru U CYRILLIC kiriruDa Wen Zi proportionally-spaced F 0424 CAPITAL LETTER EF puroposhiyonaru EF CYRILLIC kiriruDa Wen Zi proportionally-spaced Kh 0425 CAPITAL LETTER HA puroposhiyonaru HA CYRILLIC kiriruDa Wen Zi proportionally-spaced Ts 0426 CAPITAL LETTER TSE puroposhiyonaru TSE CYRILLIC kiriruDa Wen Zi proportionally-spaced Ch 0427 CAPITAL LETTER CHE puroposhiyonaru CHE CYRILLIC kiriruDa Wen Zi proportionally-spaced Sh 0428 CAPITAL LETTER SHA puroposhiyonaru SHA CYRILLIC kiriruDa Wen Zi proportionally-spaced Shch 0429 CAPITAL LETTER SHCHA puroposhiyonaru SHCHA CYRILLIC kiriruDa Wen Zi proportionally-spaced ' 042A CAPITAL LETTER HARD SIGN puroposhiyonaru HARD SIGN CYRILLIC kiriruDa Wen Zi proportionally-spaced Y 042B CAPITAL LETTER YERU puroposhiyonaru YERU CYRILLIC kiriruDa Wen Zi proportionally-spaced ' 042C CAPITAL LETTER SOFT SIGN puroposhiyonaru SOFT SIGN CYRILLIC kiriruDa Wen Zi proportionally-spaced E 042D CAPITAL LETTER E puroposhiyonaru E CYRILLIC kiriruDa Wen Zi proportionally-spaced Iu 042E CAPITAL LETTER YU puroposhiyonaru YU CYRILLIC kiriruDa Wen Zi proportionally-spaced Ia 042F CAPITAL LETTER YA puroposhiyonaru YA a 0430 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER A A puroposhiyonaru b 0431 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER BE BE puroposhiyonaru v 0432 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER VE VE puroposhiyonaru g 0433 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER GHE GHE puroposhiyonaru d 0434 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER DE DE puroposhiyonaru e 0435 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER IE IE puroposhiyonaru zh 0436 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER ZHE ZHE puroposhiyonaru z 0437 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER ZE ZE puroposhiyonaru i 0438 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER I I puroposhiyonaru i 0439 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER SHORT I SHORT I puroposhiyonaru k 043A CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER KA KA puroposhiyonaru l 043B CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER EL EL puroposhiyonaru m 043C CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER EM EM puroposhiyonaru n 043D CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER EN EN puroposhiyonaru o 043E CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER O O puroposhiyonaru p 043F CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER PE PE puroposhiyonaru r 0440 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER ER ER puroposhiyonaru s 0441 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER ES ES puroposhiyonaru t 0442 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER TE TE puroposhiyonaru u 0443 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER U U puroposhiyonaru f 0444 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER EF EF puroposhiyonaru kh 0445 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER HA HA puroposhiyonaru ts 0446 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER TSE TSE puroposhiyonaru ch 0447 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER CHE CHE puroposhiyonaru sh 0448 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER SHA SHA puroposhiyonaru shch 0449 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER SHCHA SHCHA puroposhiyonaru CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced ' 044A LETTER HARD HARD SIGN puroposhiyonaru SIGN y 044B CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER YERU YERU puroposhiyonaru CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced ' 044C LETTER SOFT SOFT SIGN puroposhiyonaru SIGN e 044D CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER E E puroposhiyonaru iu 044E CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER YU YU puroposhiyonaru ia 044F CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER YA YA puroposhiyonaru io 0451 CYRILLIC SMALL kiriruXiao Wen Zi proportionally-spaced LETTER IO IO puroposhiyonaru LATIN CAPITAL akiyutoaku proportionally-spaced M 1E3E LETTER M WITH sentoFu kiM puroposhiyonaru ACUTE LATIN SMALL akiyutoaku proportionally-spaced m 1E3F LETTER M WITH sentoFu kiMXiao puroposhiyonaru ACUTE Wen Zi GREEK SMALL gurebuakuse proportionally-spaced a 1F70 LETTER ALPHA ntoFu kisukuri puroposhiyonaru WITH VARIA putoAXiao Wen Zi GREEK SMALL akiyutoaku proportionally-spaced a 1F71 LETTER ALPHA sentoFu kisuku puroposhiyonaru WITH OXIA riputoAXiao Wen Zi GREEK SMALL gurebuakuse proportionally-spaced e 1F72 LETTER EPSILON ntoFu ki puroposhiyonaru WITH VARIA EPSILONXiao Wen Zi GREEK SMALL akiyutoaku proportionally-spaced e 1F73 LETTER EPSILON sentoFu ki puroposhiyonaru WITH OXIA EPSILONXiao Wen Zi - 2010 HYPHEN haihun proportionally-spaced puroposhiyonaru - 2013 EN DASH Er Fen dashi,da proportionally-spaced tsushiyu(Er Fen ) puroposhiyonaru -- 2014 EM DASH datsushiyu proportionally-spaced puroposhiyonaru || 2016 DOUBLE VERTICAL Shuang Zhu proportionally-spaced LINE puroposhiyonaru Zuo shinguruYin Yong ' 2018 LEFT SINGLE Fu ,Zuo shinguru proportionally-spaced QUOTATION MARK kuoteshiyo puroposhiyonaru nmaku You shinguruYin Yong ' 2019 RIGHT SINGLE Fu ,You shinguru proportionally-spaced QUOTATION MARK kuoteshiyo puroposhiyonaru nmaku Zuo daburuYin Yong Fu " 201C LEFT DOUBLE ,Zuo daburukuo proportionally-spaced QUOTATION MARK teshiyonma puroposhiyonaru ku You daburuYin Yong Fu " 201D RIGHT DOUBLE ,You daburukuo proportionally-spaced QUOTATION MARK teshiyonma puroposhiyonaru ku + 2020 DAGGER daga proportionally-spaced puroposhiyonaru ++ 2021 DOUBLE DAGGER daburudaga proportionally-spaced puroposhiyonaru * 2022 BULLET biyuretsuto proportionally-spaced puroposhiyonaru .. 2025 TWO DOT LEADER Er Dian rida proportionally-spaced puroposhiyonaru ... 2026 HORIZONTAL San Dian rida proportionally-spaced ELLIPSIS puroposhiyonaru %0 2030 PER MILLE SIGN pamiru proportionally-spaced puroposhiyonaru ' 2032 PRIME Fen proportionally-spaced puroposhiyonaru '' 2033 DOUBLE PRIME Miao proportionally-spaced puroposhiyonaru - 203E OVERLINE obarain proportionally-spaced ,Lun Li Fou Ding Ji Hao puroposhiyonaru _ 203F UNDERTIE Lian Jie shiteiru proportionally-spaced (Enotikon) puroposhiyonaru *** 2042 ASTERISM asuterizumu proportionally-spaced puroposhiyonaru TWO ASTERISKS proportionally-spaced [?] 2051 ALIGNED daburuasute puroposhiyonaru VERTICALLY EUR 20AC EURO SIGN yuroJi Hao proportionally-spaced puroposhiyonaru 210F PLANCK CONSTANT eichiba proportionally-spaced OVER TWO PI puroposhiyonaru 2127 INVERTED OHM mo proportionally-spaced SIGN puroposhiyonaru A 212B ANGSTROM SIGN ongusutoro proportionally-spaced mu puroposhiyonaru 2135 ALEF SYMBOL arehu proportionally-spaced puroposhiyonaru 1/3 2153 VULGAR FRACTION 3Fen no1 proportionally-spaced ONE THIRD puroposhiyonaru 2/3 2154 VULGAR FRACTION 3Fen no2 proportionally-spaced TWO THIRDS puroposhiyonaru 1/5 2155 VULGAR FRACTION 5Fen no1 proportionally-spaced ONE FIFTH puroposhiyonaru - 2190 LEFTWARDS ARROW Zuo Xiang Shi Yin proportionally-spaced puroposhiyonaru | 2191 UPWARDS ARROW Shang Xiang Shi Yin proportionally-spaced puroposhiyonaru - 2192 RIGHTWARDS You Xiang Shi Yin proportionally-spaced ARROW puroposhiyonaru | 2193 DOWNWARDS ARROW Xia Xiang Shi Yin proportionally-spaced puroposhiyonaru - 2194 LEFT RIGHT Tong Deng proportionally-spaced ARROW puroposhiyonaru \ 2196 NORTH WEST Zuo Shang Xiang Shi Yin proportionally-spaced ARROW puroposhiyonaru / 2197 NORTH EAST You Shang Xiang Shi Yin proportionally-spaced ARROW puroposhiyonaru \ 2198 SOUTH EAST You Xia Xiang Shi Yin proportionally-spaced ARROW puroposhiyonaru / 2199 SOUTH WEST Zuo Xia Xiang Shi Yin proportionally-spaced ARROW puroposhiyonaru RIGHTWARDS proportionally-spaced = 21C4 ARROW OVER You Shi Yin Zuo Shi Yin puroposhiyonaru LEFTWARDS ARROW = 21D2 RIGHTWARDS naraba(Han Yi ) proportionally-spaced DOUBLE ARROW puroposhiyonaru = 21D4 LEFT RIGHT Tong Zhi proportionally-spaced DOUBLE ARROW puroposhiyonaru - 21E6 LEFTWARDS WHITE Zuo Xiang Bai Shi Yin proportionally-spaced ARROW puroposhiyonaru | 21E7 UPWARDS WHITE Shang Xiang Bai Shi Yin proportionally-spaced ARROW puroposhiyonaru - 21E8 RIGHTWARDS You Xiang Bai Shi Yin proportionally-spaced WHITE ARROW puroposhiyonaru | 21E9 DOWNWARDS WHITE Xia Xiang Bai Shi Yin proportionally-spaced ARROW puroposhiyonaru [?] 2200 FOR ALL subeteno(Pu Tong proportionally-spaced Xian Ding Zi ) puroposhiyonaru [?] 2202 PARTIAL deru,raundo proportionally-spaced DIFFERENTIAL dei puroposhiyonaru [?] 2203 THERE EXISTS Cun Zai suru(Cun Zai proportionally-spaced Xian Ding Zi ) puroposhiyonaru [?] 2205 EMPTY SET Kong Ji He proportionally-spaced puroposhiyonaru [?] 2207 NABLA nabura proportionally-spaced puroposhiyonaru [?] 2208 ELEMENT OF Shu suru proportionally-spaced puroposhiyonaru [?] 2209 NOT AN ELEMENT Yao Su noFou Ding ,Yuan proportionally-spaced OF noFou Ding puroposhiyonaru [?] 220B CONTAINS AS Yuan toshiteHan mu proportionally-spaced MEMBER puroposhiyonaru - 2212 MINUS SIGN Fu Fu Hao ,Jian Suan Ji proportionally-spaced Hao puroposhiyonaru [?] 2213 MINUS-OR-PLUS Fu You haZheng Fu Hao proportionally-spaced SIGN puroposhiyonaru [?] 221A SQUARE ROOT Gen Hao proportionally-spaced puroposhiyonaru [?] 221D PROPORTIONAL TO Bi Li proportionally-spaced puroposhiyonaru [?] 221E INFINITY Wu Xian Da proportionally-spaced puroposhiyonaru [?] 221F RIGHT ANGLE huakutoriaru proportionally-spaced ,Zhi Jiao puroposhiyonaru [?] 2220 ANGLE Jiao proportionally-spaced puroposhiyonaru [?] 2225 PARALLEL TO Ping Xing proportionally-spaced puroposhiyonaru [?] 2226 NOT PARALLEL TO Ping Xing noFou Ding proportionally-spaced puroposhiyonaru [?] 2227 LOGICAL AND Ji bi(He Jie ) proportionally-spaced puroposhiyonaru [?] 2228 LOGICAL OR You ha(Li Jie ) proportionally-spaced puroposhiyonaru [?] 2229 INTERSECTION Gong Tong Ji He proportionally-spaced puroposhiyonaru [?] 222A UNION He Bing Ji He proportionally-spaced puroposhiyonaru [?] 222B INTEGRAL Ji Fen Ji Hao proportionally-spaced puroposhiyonaru [?] 222C DOUBLE INTEGRAL 2Zhong Ji Fen Ji Hao proportionally-spaced puroposhiyonaru [?] 222E CONTOUR Jing Lu Ji Fen Ji Hao proportionally-spaced INTEGRAL puroposhiyonaru [?] 2234 THEREFORE yueni proportionally-spaced puroposhiyonaru [?] 2235 BECAUSE nazenaraba proportionally-spaced puroposhiyonaru [?] 223D REVERSED TILDE Xiang Si proportionally-spaced (lazy S) puroposhiyonaru [?] 2243 ASYMPTOTICALLY Jian Jin De niDeng shii proportionally-spaced EQUAL TO ,homotopu puroposhiyonaru [?] 2245 APPROXIMATELY Tong Xing proportionally-spaced EQUAL TO puroposhiyonaru [?] 2248 ALMOST EQUAL TO Jin Si De niDeng shii proportionally-spaced ,Tong Xiang puroposhiyonaru APPROXIMATELY proportionally-spaced [?] 2252 EQUAL TO OR THE hotondoDeng shii puroposhiyonaru IMAGE OF [?] 2260 NOT EQUAL TO Deng Hao Fou Ding proportionally-spaced puroposhiyonaru [?] 2261 IDENTICAL TO Chang niDeng shii,He proportionally-spaced Tong puroposhiyonaru [?] 2262 NOT IDENTICAL He Tong Fou Ding proportionally-spaced TO puroposhiyonaru <= 2266 LESS-THAN OVER yoriXiao saikaYou proportionally-spaced EQUAL TO haDeng shii puroposhiyonaru >= 2267 GREATER-THAN yoriDa kiikaYou proportionally-spaced OVER EQUAL TO haDeng shii puroposhiyonaru [?] 226A MUCH LESS-THAN Fei Chang niXiao sai proportionally-spaced puroposhiyonaru [?] 226B MUCH Fei Chang niDa kii proportionally-spaced GREATER-THAN puroposhiyonaru [?] 2276 LESS-THAN OR Xiao saikaDa kii proportionally-spaced GREATER-THAN puroposhiyonaru [?] 2277 GREATER-THAN OR Da kiikaXiao sai proportionally-spaced LESS-THAN puroposhiyonaru [?] 2282 SUBSET OF Zhen Bu Fen Ji He proportionally-spaced puroposhiyonaru [?] 2283 SUPERSET OF Zhen Bu Fen Ji He (Ni proportionally-spaced Fang Xiang ) puroposhiyonaru [?] 2284 NOT A SUBSET OF Bu Fen Ji He noFou Ding proportionally-spaced puroposhiyonaru [?] 2285 NOT A SUPERSET Bu Fen Ji He noFou Ding proportionally-spaced OF (Ni Fang Xiang ) puroposhiyonaru [?] 2286 SUBSET OF OR Bu Fen Ji He proportionally-spaced EQUAL TO puroposhiyonaru [?] 2287 SUPERSET OF OR Bu Fen Ji He (Ni Fang proportionally-spaced EQUAL TO Xiang ) puroposhiyonaru [?] 228A SUBSET OF WITH Zhen Bu Fen Ji He 2 proportionally-spaced NOT EQUAL TO puroposhiyonaru SUPERSET OF Zhen Bu Fen Ji He 2( proportionally-spaced [?] 228B WITH NOT EQUAL Ni Fang Xiang ) puroposhiyonaru TO [?] 2295 CIRCLED PLUS Zhi He proportionally-spaced puroposhiyonaru [?] 2296 CIRCLED MINUS Wan Fu kimainasu proportionally-spaced puroposhiyonaru [?] 2297 CIRCLED TIMES tensoruJi proportionally-spaced puroposhiyonaru [?] 22A5 UP TACK Chui Zhi proportionally-spaced puroposhiyonaru LESS-THAN EQUAL Xiao saikaDeng shii proportionally-spaced [?] 22DA TO OR kaDa kii puroposhiyonaru GREATER-THAN GREATER-THAN Da kiikaDeng shii proportionally-spaced [?] 22DB EQUAL TO OR kaXiao sai puroposhiyonaru LESS-THAN [?] 2305 PROJECTIVE She Ying De Guan Xi proportionally-spaced puroposhiyonaru [?] 2306 PERSPECTIVE Bei Jing De Guan Xi proportionally-spaced puroposhiyonaru [?] 2312 ARC Hu proportionally-spaced puroposhiyonaru [?] 2318 PLACE OF komandoJi Hao proportionally-spaced INTEREST SIGN puroposhiyonaru [?] 23CE RETURN SYMBOL ritanJi Hao proportionally-spaced puroposhiyonaru 2423 OPEN BOX Kong Bai Ji Hao proportionally-spaced puroposhiyonaru 1 2460 CIRCLED DIGIT Wan 1 proportionally-spaced ONE puroposhiyonaru 2 2461 CIRCLED DIGIT Wan 2 proportionally-spaced TWO puroposhiyonaru 3 2462 CIRCLED DIGIT Wan 3 proportionally-spaced THREE puroposhiyonaru 4 2463 CIRCLED DIGIT Wan 4 proportionally-spaced FOUR puroposhiyonaru 5 2464 CIRCLED DIGIT Wan 5 proportionally-spaced FIVE puroposhiyonaru 6 2465 CIRCLED DIGIT Wan 6 proportionally-spaced SIX puroposhiyonaru 7 2466 CIRCLED DIGIT Wan 7 proportionally-spaced SEVEN puroposhiyonaru 8 2467 CIRCLED DIGIT Wan 8 proportionally-spaced EIGHT puroposhiyonaru 9 2468 CIRCLED DIGIT Wan 9 proportionally-spaced NINE puroposhiyonaru 10 2469 CIRCLED NUMBER Wan 10 proportionally-spaced TEN puroposhiyonaru 11 246A CIRCLED NUMBER Wan 11 proportionally-spaced ELEVEN puroposhiyonaru 12 246B CIRCLED NUMBER Wan 12 proportionally-spaced TWELVE puroposhiyonaru 13 246C CIRCLED NUMBER Wan 13 proportionally-spaced THIRTEEN puroposhiyonaru 14 246D CIRCLED NUMBER Wan 14 proportionally-spaced FOURTEEN puroposhiyonaru 15 246E CIRCLED NUMBER Wan 15 proportionally-spaced FIFTEEN puroposhiyonaru 16 246F CIRCLED NUMBER Wan 16 proportionally-spaced SIXTEEN puroposhiyonaru 17 2470 CIRCLED NUMBER Wan 17 proportionally-spaced SEVENTEEN puroposhiyonaru 18 2471 CIRCLED NUMBER Wan 18 proportionally-spaced EIGHTEEN puroposhiyonaru 19 2472 CIRCLED NUMBER Wan 19 proportionally-spaced NINETEEN puroposhiyonaru 20 2473 CIRCLED NUMBER Wan 20 proportionally-spaced TWENTY puroposhiyonaru a 24D0 CIRCLED LATIN Wan AXiao Wen Zi proportionally-spaced SMALL LETTER A puroposhiyonaru b 24D1 CIRCLED LATIN Wan BXiao Wen Zi proportionally-spaced SMALL LETTER B puroposhiyonaru c 24D2 CIRCLED LATIN Wan AXiao Wen Zi proportionally-spaced SMALL LETTER C puroposhiyonaru d 24D3 CIRCLED LATIN Wan CXiao Wen Zi proportionally-spaced SMALL LETTER D puroposhiyonaru e 24D4 CIRCLED LATIN Wan EXiao Wen Zi proportionally-spaced SMALL LETTER E puroposhiyonaru f 24D5 CIRCLED LATIN Wan FXiao Wen Zi proportionally-spaced SMALL LETTER F puroposhiyonaru g 24D6 CIRCLED LATIN Wan GXiao Wen Zi proportionally-spaced SMALL LETTER G puroposhiyonaru h 24D7 CIRCLED LATIN Wan HXiao Wen Zi proportionally-spaced SMALL LETTER H puroposhiyonaru i 24D8 CIRCLED LATIN Wan IXiao Wen Zi proportionally-spaced SMALL LETTER I puroposhiyonaru j 24D9 CIRCLED LATIN Wan JXiao Wen Zi proportionally-spaced SMALL LETTER J puroposhiyonaru k 24DA CIRCLED LATIN Wan KXiao Wen Zi proportionally-spaced SMALL LETTER K puroposhiyonaru l 24DB CIRCLED LATIN Wan LXiao Wen Zi proportionally-spaced SMALL LETTER L puroposhiyonaru m 24DC CIRCLED LATIN Wan MXiao Wen Zi proportionally-spaced SMALL LETTER M puroposhiyonaru n 24DD CIRCLED LATIN Wan NXiao Wen Zi proportionally-spaced SMALL LETTER N puroposhiyonaru o 24DE CIRCLED LATIN Wan OXiao Wen Zi proportionally-spaced SMALL LETTER O puroposhiyonaru p 24DF CIRCLED LATIN Wan PXiao Wen Zi proportionally-spaced SMALL LETTER P puroposhiyonaru q 24E0 CIRCLED LATIN Wan QXiao Wen Zi proportionally-spaced SMALL LETTER Q puroposhiyonaru r 24E1 CIRCLED LATIN Wan RXiao Wen Zi proportionally-spaced SMALL LETTER R puroposhiyonaru s 24E2 CIRCLED LATIN Wan SXiao Wen Zi proportionally-spaced SMALL LETTER S puroposhiyonaru t 24E3 CIRCLED LATIN Wan TXiao Wen Zi proportionally-spaced SMALL LETTER T puroposhiyonaru u 24E4 CIRCLED LATIN Wan UXiao Wen Zi proportionally-spaced SMALL LETTER U puroposhiyonaru v 24E5 CIRCLED LATIN Wan VXiao Wen Zi proportionally-spaced SMALL LETTER V puroposhiyonaru w 24E6 CIRCLED LATIN Wan WXiao Wen Zi proportionally-spaced SMALL LETTER W puroposhiyonaru x 24E7 CIRCLED LATIN Wan XXiao Wen Zi proportionally-spaced SMALL LETTER X puroposhiyonaru y 24E8 CIRCLED LATIN Wan YXiao Wen Zi proportionally-spaced SMALL LETTER Y puroposhiyonaru z 24E9 CIRCLED LATIN Wan ZXiao Wen Zi proportionally-spaced SMALL LETTER Z puroposhiyonaru NEGATIVE proportionally-spaced [?] 24EB CIRCLED NUMBER Hei Wan 11 puroposhiyonaru ELEVEN NEGATIVE proportionally-spaced [?] 24EC CIRCLED NUMBER Hei Wan 12 puroposhiyonaru TWELVE NEGATIVE proportionally-spaced [?] 24ED CIRCLED NUMBER Hei Wan 13 puroposhiyonaru THIRTEEN NEGATIVE proportionally-spaced [?] 24EE CIRCLED NUMBER Hei Wan 14 puroposhiyonaru FOURTEEN NEGATIVE proportionally-spaced [?] 24EF CIRCLED NUMBER Hei Wan 15 puroposhiyonaru FIFTEEN NEGATIVE proportionally-spaced [?] 24F0 CIRCLED NUMBER Hei Wan 16 puroposhiyonaru SIXTEEN NEGATIVE proportionally-spaced [?] 24F1 CIRCLED NUMBER Hei Wan 17 puroposhiyonaru SEVENTEEN NEGATIVE proportionally-spaced [?] 24F2 CIRCLED NUMBER Hei Wan 18 puroposhiyonaru EIGHTEEN NEGATIVE proportionally-spaced [?] 24F3 CIRCLED NUMBER Hei Wan 19 puroposhiyonaru NINETEEN NEGATIVE proportionally-spaced [?] 24F4 CIRCLED NUMBER Hei Wan 20 puroposhiyonaru TWENTY [?] 24F5 DOUBLE CIRCLED Er Zhong Wan 1 proportionally-spaced DIGIT ONE puroposhiyonaru [?] 24F6 DOUBLE CIRCLED Er Zhong Wan 2 proportionally-spaced DIGIT TWO puroposhiyonaru [?] 24F7 DOUBLE CIRCLED Er Zhong Wan 3 proportionally-spaced DIGIT THREE puroposhiyonaru [?] 24F8 DOUBLE CIRCLED Er Zhong Wan 4 proportionally-spaced DIGIT FOUR puroposhiyonaru [?] 24F9 DOUBLE CIRCLED Er Zhong Wan 5 proportionally-spaced DIGIT FIVE puroposhiyonaru [?] 24FA DOUBLE CIRCLED Er Zhong Wan 6 proportionally-spaced DIGIT SIX puroposhiyonaru [?] 24FB DOUBLE CIRCLED Er Zhong Wan 7 proportionally-spaced DIGIT SEVEN puroposhiyonaru [?] 24FC DOUBLE CIRCLED Er Zhong Wan 8 proportionally-spaced DIGIT EIGHT puroposhiyonaru [?] 24FD DOUBLE CIRCLED Er Zhong Wan 9 proportionally-spaced DIGIT NINE puroposhiyonaru [?] 24FE DOUBLE CIRCLED Er Zhong Wan 10 proportionally-spaced NUMBER TEN puroposhiyonaru # 25A0 BLACK SQUARE Hei Si Jiao proportionally-spaced puroposhiyonaru # 25A1 WHITE SQUARE Si Jiao proportionally-spaced puroposhiyonaru # 25B1 WHITE Ping Xing Si Bian Xing proportionally-spaced PARALLELOGRAM puroposhiyonaru BLACK proportionally-spaced ^ 25B2 UP-POINTING Hei San Jiao puroposhiyonaru TRIANGLE WHITE proportionally-spaced ^ 25B3 UP-POINTING San Jiao puroposhiyonaru TRIANGLE BLACK proportionally-spaced > 25B6 RIGHT-POINTING You Xiang Hei San Jiao puroposhiyonaru TRIANGLE WHITE proportionally-spaced > 25B7 RIGHT-POINTING You Xiang San Jiao puroposhiyonaru TRIANGLE BLACK proportionally-spaced V 25BC DOWN-POINTING Ni Hei San Jiao puroposhiyonaru TRIANGLE WHITE proportionally-spaced V 25BD DOWN-POINTING Ni San Jiao puroposhiyonaru TRIANGLE BLACK proportionally-spaced < 25C0 LEFT-POINTING Zuo Xiang Hei San Jiao puroposhiyonaru TRIANGLE WHITE proportionally-spaced < 25C1 LEFT-POINTING Zuo Xiang San Jiao puroposhiyonaru TRIANGLE * 25C6 BLACK DIAMOND Hei hishiXing proportionally-spaced puroposhiyonaru * 25C7 WHITE DIAMOND hishiXing proportionally-spaced puroposhiyonaru * 25CB WHITE CIRCLE Wan Yin ,Bai Wan proportionally-spaced puroposhiyonaru * 25CE BULLSEYE Er Zhong Wan proportionally-spaced puroposhiyonaru * 25CF BLACK CIRCLE Hei Wan proportionally-spaced puroposhiyonaru * 25D0 CIRCLE WITH Zuo Ban Hei Wan proportionally-spaced LEFT HALF BLACK puroposhiyonaru CIRCLE WITH proportionally-spaced * 25D1 RIGHT HALF You Ban Hei Wan puroposhiyonaru BLACK CIRCLE WITH proportionally-spaced * 25D2 LOWER HALF Xia Ban Hei Wan puroposhiyonaru BLACK CIRCLE WITH proportionally-spaced * 25D3 UPPER HALF Shang Ban Hei Wan puroposhiyonaru BLACK * 25E6 WHITE BULLET Bai biyuretsuto proportionally-spaced puroposhiyonaru O 25EF LARGE CIRCLE Da kinaWan proportionally-spaced puroposhiyonaru 2600 BLACK SUN WITH Qing maku proportionally-spaced RAYS puroposhiyonaru 2601 CLOUD Tan maku proportionally-spaced puroposhiyonaru 2602 UMBRELLA Yu maku proportionally-spaced puroposhiyonaru 2603 SNOWMAN Xue maku proportionally-spaced puroposhiyonaru 2605 BLACK STAR Hei Xing proportionally-spaced puroposhiyonaru 2606 WHITE STAR Bai Xing proportionally-spaced puroposhiyonaru 260E BLACK TELEPHONE Dian Hua maku proportionally-spaced puroposhiyonaru 261E WHITE RIGHT Zhi Shi maku proportionally-spaced POINTING INDEX puroposhiyonaru 2640 FEMALE SIGN Ci Ji Hao proportionally-spaced puroposhiyonaru 2642 MALE SIGN Xiong Ji Hao proportionally-spaced puroposhiyonaru 2660 BLACK SPADE supedo proportionally-spaced SUIT puroposhiyonaru 2661 WHITE HEART hato(Bai ) proportionally-spaced SUIT puroposhiyonaru 2662 WHITE DIAMOND daiya(Bai ) proportionally-spaced SUIT puroposhiyonaru 2663 BLACK CLUB SUIT kurabu proportionally-spaced puroposhiyonaru 2664 WHITE SPADE supedo(Bai ) proportionally-spaced SUIT puroposhiyonaru 2665 BLACK HEART hato proportionally-spaced SUIT puroposhiyonaru 2666 BLACK DIAMOND daiya proportionally-spaced SUIT puroposhiyonaru 2667 WHITE CLUB SUIT kurabu(Bai ) proportionally-spaced puroposhiyonaru 2669 QUARTER NOTE Si Fen Yin Fu proportionally-spaced puroposhiyonaru 266A EIGHTH NOTE Yin Fu proportionally-spaced puroposhiyonaru 266B BEAMED EIGHTH Lian kou(Hang )Fu proportionally-spaced NOTES kiBa Fen Yin Fu puroposhiyonaru 266C BEAMED Lian kou(Hang )Fu proportionally-spaced SIXTEENTH NOTES kiShi Liu Fen Yin Fu puroposhiyonaru 266D MUSIC FLAT SIGN huratsuto proportionally-spaced puroposhiyonaru 266E MUSIC NATURAL nachiyuraru proportionally-spaced SIGN puroposhiyonaru # 266F MUSIC SHARP shiyapu proportionally-spaced SIGN puroposhiyonaru 2713 CHECK MARK chietsukumaku proportionally-spaced puroposhiyonaru 2756 BLACK DIAMOND Si tsuLing proportionally-spaced MINUS WHITE X puroposhiyonaru DINGBAT 2776 NEGATIVE Hei Wan 1 proportionally-spaced CIRCLED DIGIT puroposhiyonaru ONE DINGBAT 2777 NEGATIVE Hei Wan 2 proportionally-spaced CIRCLED DIGIT puroposhiyonaru TWO DINGBAT 2778 NEGATIVE Hei Wan 3 proportionally-spaced CIRCLED DIGIT puroposhiyonaru THREE DINGBAT 2779 NEGATIVE Hei Wan 4 proportionally-spaced CIRCLED DIGIT puroposhiyonaru FOUR DINGBAT 277A NEGATIVE Hei Wan 5 proportionally-spaced CIRCLED DIGIT puroposhiyonaru FIVE DINGBAT 277B NEGATIVE Hei Wan 6 proportionally-spaced CIRCLED DIGIT puroposhiyonaru SIX DINGBAT 277C NEGATIVE Hei Wan 7 proportionally-spaced CIRCLED DIGIT puroposhiyonaru SEVEN DINGBAT 277D NEGATIVE Hei Wan 8 proportionally-spaced CIRCLED DIGIT puroposhiyonaru EIGHT DINGBAT 277E NEGATIVE Hei Wan 9 proportionally-spaced CIRCLED DIGIT puroposhiyonaru NINE DINGBAT 277F NEGATIVE Hei Wan 10 proportionally-spaced CIRCLED NUMBER puroposhiyonaru TEN ARROW POINTING Qu gariShi Yin Shang ga proportionally-spaced 2934 RIGHTWARDS THEN ru puroposhiyonaru CURVING UPWARDS ARROW POINTING 2935 RIGHTWARDS THEN Qu gariShi Yin Xia ga proportionally-spaced CURVING ru puroposhiyonaru DOWNWARDS 29FA DOUBLE PLUS 2purasu proportionally-spaced puroposhiyonaru 29FB TRIPLE PLUS 3purasu proportionally-spaced puroposhiyonaru 21 3251 CIRCLED NUMBER Wan 21 proportionally-spaced TWENTY ONE puroposhiyonaru 22 3252 CIRCLED NUMBER Wan 22 proportionally-spaced TWENTY TWO puroposhiyonaru 23 3253 CIRCLED NUMBER Wan 23 proportionally-spaced TWENTY THREE puroposhiyonaru 24 3254 CIRCLED NUMBER Wan 24 proportionally-spaced TWENTY FOUR puroposhiyonaru 25 3255 CIRCLED NUMBER Wan 25 proportionally-spaced TWENTY FIVE puroposhiyonaru 26 3256 CIRCLED NUMBER Wan 26 proportionally-spaced TWENTY SIX puroposhiyonaru 27 3257 CIRCLED NUMBER Wan 27 proportionally-spaced TWENTY SEVEN puroposhiyonaru 28 3258 CIRCLED NUMBER Wan 28 proportionally-spaced TWENTY EIGHT puroposhiyonaru 29 3259 CIRCLED NUMBER Wan 29 proportionally-spaced TWENTY NINE puroposhiyonaru 30 325A CIRCLED NUMBER Wan 30 proportionally-spaced THIRTY puroposhiyonaru 31 325B CIRCLED NUMBER Wan 31 proportionally-spaced THIRTY ONE puroposhiyonaru 32 325C CIRCLED NUMBER Wan 32 proportionally-spaced THIRTY TWO puroposhiyonaru 33 325D CIRCLED NUMBER Wan 33 proportionally-spaced THIRTY THREE puroposhiyonaru 34 325E CIRCLED NUMBER Wan 34 proportionally-spaced THIRTY FOUR puroposhiyonaru 35 325F CIRCLED NUMBER Wan 35 proportionally-spaced THIRTY FIVE puroposhiyonaru 36 32B1 CIRCLED NUMBER Wan 36 proportionally-spaced THIRTY SIX puroposhiyonaru 37 32B2 CIRCLED NUMBER Wan 37 proportionally-spaced THIRTY SEVEN puroposhiyonaru 38 32B3 CIRCLED NUMBER Wan 38 proportionally-spaced THIRTY EIGHT puroposhiyonaru 39 32B4 CIRCLED NUMBER Wan 39 proportionally-spaced THIRTY NINE puroposhiyonaru 40 32B5 CIRCLED NUMBER Wan 40 proportionally-spaced FORTY puroposhiyonaru 41 32B6 CIRCLED NUMBER Wan 41 proportionally-spaced FORTY ONE puroposhiyonaru 42 32B7 CIRCLED NUMBER Wan 42 proportionally-spaced FORTY TWO puroposhiyonaru 43 32B8 CIRCLED NUMBER Wan 43 proportionally-spaced FORTY THREE puroposhiyonaru 44 32B9 CIRCLED NUMBER Wan 44 proportionally-spaced FORTY FOUR puroposhiyonaru 45 32BA CIRCLED NUMBER Wan 45 proportionally-spaced FORTY FIVE puroposhiyonaru 46 32BB CIRCLED NUMBER Wan 46 proportionally-spaced FORTY SIX puroposhiyonaru 47 32BC CIRCLED NUMBER Wan 47 proportionally-spaced FORTY SEVEN puroposhiyonaru 48 32BD CIRCLED NUMBER Wan 48 proportionally-spaced FORTY EIGHT puroposhiyonaru 49 32BE CIRCLED NUMBER Wan 49 proportionally-spaced FORTY NINE puroposhiyonaru 50 32BF CIRCLED NUMBER Wan 50 proportionally-spaced FIFTY puroposhiyonaru A.28 Warichu opening brackets (cl-28) Ge Zhu Shi meGua Hu Lei (cl-28) Character UCS Name UCSMing Cheng Common name Tong Yong Ming Remarks Zi Xing UCS Cheng Bei Kao ( 0028 LEFT PARENTHESIS Shi meXiao Gua Hu ,Shi meWan Gua Hu [ 3014 LEFT TORTOISE SHELL Shi mekitsukou(Gui Jia BRACKET )Gua Hu [ 005B LEFT SQUARE BRACKET Shi meDa Gua Hu ,Shi meJiao Gua Hu A.29 Warichu closing brackets (cl-29) Ge Zhu Zhong wariGua Hu Lei (cl-29) Character UCS Name UCSMing Cheng Common name Tong Yong Ming Remarks Zi Xing UCS Cheng Bei Kao ) 0029 RIGHT PARENTHESIS Zhong wariXiao Gua Hu ,Zhong wa riWan Gua Hu ] 3015 RIGHT TORTOISE SHELL Zhong warikitsukou(Gui BRACKET Jia )Gua Hu ] 005D RIGHT SQUARE BRACKET Zhong wariDa Gua Hu ,Zhong wa riJiao Gua Hu A.30 Characters in tate-chu-yoko (cl-30) Zong Zhong Heng Zhong noWen Zi (cl-30) Any character may participate in tate-chu-yoko composition. donoWen Zi moZong Zhong Heng noWen Zi toshiteShi ukotogadekiru. B. Spacing between Characters Wen Zi Jian noKong kiLiang The amount of spacing between two adjacent characters of given character classes explained in SS 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen keru is determined by Table 1. For methods to determine the amounts of spacing reduction and addition by line adjustments, see SS D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo and SS E. Opportunities for Inter-character Space Expansion during Line Adjustment Xing noDiao Zheng Chu Li de Kong keruChu Li ga Ke Neng naGe Suo . SS 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen kerudeJie Shuo shita,sorezoreno Wen Zi kurasuniHan mareruWen Zi Ji Hao gaBing ndaChang He noWen Zi Jian noKong kiLiang ha,Biao 1noyo unisuru.nao,Xing noDiao Zheng Chu Li noJi niJie meteyoiGe Suo You haKong keteyoiGe Suo to ,sonoKong kiLiang noDiao Zheng noFan Wei nadoha,SS D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo Ji biSS E. Opportunities for Inter-character Space Expansion during Line Adjustment Xing noDiao Zheng Chu Li de Kong keruChu Li ga Ke Neng naGe Suo niShi su. See "Table 1 Spacing between characters" (PDF). "Biao 1 Wen Zi Jian noKong kiLiang "(PDFBan )woCan Zhao . B.1 Legend of Table 1 Biao 1noJian Fang 1. The left-most column, labeled "before", lists preceding character classes, and the top row, labeled "after", lists trailing character classes. Each cell indicates the amount of spacing between two characters of the corresponding character classes at the intersection of a given row and column. "before"(Biao noZuo Duan )toShi shitaLan ni,Qian niPei Zhi suruWen Zi kurasuwoShi shi, "after"(Biao noShang Duan )toShi shitaLan ni,Hou roniPei Zhi suruWen Zi kurasuwoShi su. sorezoregaJiao Chai suruXiao Jian (koma)niKong kiLiang woShi su. 2. The last row, labeled "line head", lists amounts of spacing added between the line head and a character of the corresponding character class in each column. Likewise, the last column, labeled "line end", lists amounts of spacing added between a character of the corresponding character class in each row and the line end. "line head"noLan (Heng Fang Xiang noXing )niha,sorezorenoWen Zi kurasuwoXing Tou niPei Zhi suruChang He noQian noKong kiLiang woShi shi,"line end"(Zong Fang Xiang noLie )noLan niha, sorezorenoWen Zi kurasuwoXing Mo niPei Zhi suruChang He noHou ronoKong kiLiang woShi su. 3. The following notations in cells are used to indicate the amount of spacing or other related information. Biao nosorezorenoXiao Jian ni,Wen Zi Jian noKong kiLiang nadowo,Ci noJi Hao deShi su. 1. blank: Set solid between two adjacent characters (it can be that the preceding character is actually the line head or the trailing character is actually the line end). Wu Yin :Wen Zi Jian (Xing Tou noChang He ha,sonoWen Zi noQian ,Xing Mo noChang He ha,sono Wen Zi noHou ro)wobetaZu nisuru. 2. x mark: The combination is not allowed due to line breaking rules or other restrictions. xYin :Xing Tou Jin Ze ,Xing Mo Jin Ze ,sonoTa niyori,konoyounaPei Zhi woJin Zhi su ru. 3. 1/2 be: Insert half em spacing, where the em here indicates the size of the preceding character. 1/2 be:Wen Zi Jian woEr Fen akinisuru.tadashi,Er Fen ha,Qian niPei Zhi suru Wen Zi saizunoEr Fen tosuru. 4. 1/2 af: Insert half em spacing, where the em here indicates the size of the trailing character. 1/2 af:Wen Zi Jian woEr Fen akinisuru.tadashi,Er Fen ha,Hou roniPei Zhi su ruWen Zi saizunoEr Fen tosuru. Note The reason for the distinction between the two instances of half em spacing ("be" stands for "before" and "af" stands for "after") is necessary because there are cases where a line is composed with different sizes of characters, as shown in Figure 316 where it is necessary to disambiguate which em size we are referring to. Likewise, other instances of the notation "be" or "af" in this appendix are for the same disambiguation. kokode,Er Fen noJi Zhun woQian (be)You haHou ro(af)tosurunoha,Figure 316noyouniXing Zhong niYi naruWen Zi saizunoWen Zi woPei Zhi suruChang He gaari, konoJi noJi Zhun woShi sutamedearu.Yi Xia no"be"You ha"af"toShi sunomoTong Yang dearu. Referent for em in half em spacing. Er Fen akinoChang He noEr Fen noJi Zhun Figure 316 Referent for em in half em spacing. Er Fen akino Chang He noEr Fen noJi Zhun 5. 1/2 be hang: Identical to "1/2 be" in the amount of spacing. Ruby text can be extended up to the size of the ruby character over this "1/2 be hang" spacing as long as it is not reduced due to line adjustments. When it is reduced, ruby text can be extended up to the size of the reduced spacing and shall not be extended over the other character. 1/2 be hang:"1/2 be"(Wen Zi Jian woEr Fen aki)tosuru.konoEr Fen aki niha,rubiWen Zi woZui Da derubiWen Zi noWen Zi saizumadeGua ketePei Zhi shite yoi.tadashi,konoEr Fen akigaXing noDiao Zheng Chu Li deJie merareteiruChang He ,rubiWen Zi woGua keteyoinoha,sonoJie merareta(Diao Zheng sareta)Kong ki Liang madetoshi,rubiWen Zi woWen Zi Jian noKong kiLiang Yi Shang nihamiChu shite,Gua kete hanaranai. 6. 1/2 af hang: Identical to "1/2 af" in the amount of spacing. Ruby text can be extended up to the size of the ruby character over this "1/2 af hang" spacing as long as it is not reduced due to line adjustments. When it is reduced, ruby text can be extended up to the size of the reduced spacing and shall not be extended over the other character. 1/2 af hang:"1/2 af"(Wen Zi Jian woEr Fen aki)tosuru.konoEr Fen aki niha,rubiWen Zi woZui Da derubiWen Zi noWen Zi saizumadeGua ketePei Zhi shite yoi.tadashi,konoEr Fen akigaXing noDiao Zheng Chu Li deJie merareteiruChang He ,rubiWen Zi woGua keteyoinoha,sonoJie merareta(Diao Zheng sareta)Kong ki Liang madetoshi,rubiWen Zi woWen Zi Jian noKong kiLiang Yi Shang nihamiChu shite,Gua kete hanaranai. 7. 1/4 be: Insert a quarter em spacing, where the em here indicates the size of the preceding character. 1/4 be:Wen Zi Jian woSi Fen akinisuru.tadashi,Si Fen ha,Qian niPei Zhi suru Wen Zi saizunoSi Fen tosuru. 8. 1/4 af: Insert a quarter em spacing, where the em here indicates the size of the trailing character. 1/4 af:Wen Zi Jian woSi Fen akinisuru.tadashi,Si Fen ha,Hou roniPei Zhi su ruWen Zi saizunoSi Fen tosuru. 9. 1/4 be hang: Identical to "1/4 be" in the amount of spacing. Ruby text can be extended up to half the size of the ruby character over this "1/4 be hang" spacing as long as it is not reduced due to line adjustments. When it is reduced, ruby text can be extended up to the size of the reduced spacing and shall not be extended over the other character. 1/4 be hang:"1/4 be"(Wen Zi Jian woSi Fen aki)tosuru.konoSi Fen aki niha,rubiWen Zi woZui Da derubiWen Zi noWen Zi saizunoEr Fen madeGua ketePei Zhi shiteyoi.tadashi,konoSi Fen akigaXing noDiao Zheng Chu Li deJie meraretei ruChang He ,rubiWen Zi woGua keteyoinoha,sonoJie merareta(Diao Zheng sareta )Kong kiLiang madetoshi,rubiWen Zi woWen Zi Jian noKong kiLiang Yi Shang nihamiChu shite, Gua ketehanaranai. 10. 1/4 af hang: Identical to "1/4 af" in the amount of spacing. Ruby text can be extended up to half the size of the ruby character over this "1/4 af hang" spacing as long as it is not reduced due to line adjustments. When it is reduced, ruby text can be extended up to the size of the reduced spacing and shall not be extended over the other character. 1/4 af hang:"1/4 af"(Wen Zi Jian woSi Fen aki)tosuru.konoSi Fen aki niha,rubiWen Zi woZui Da derubiWen Zi noWen Zi saizunoEr Fen madeGua ketePei Zhi shiteyoi.tadashi,konoSi Fen akigaXing noDiao Zheng Chu Li deJie meraretei ruChang He ,rubiWen Zi woGua keteyoinoha,sonoJie merareta(Diao Zheng sareta )Kong kiLiang madetoshi,rubiWen Zi woWen Zi Jian noKong kiLiang Yi Shang nihamiChu shite, Gua ketehanaranai. 11. ruby hang: Set solid. Ruby text can be extended up to the size of the ruby character over the other character (see also 7 of SS B.2 Notes Zhu Ji ). ruby hang:betaZu nioite,rubiWen Zi woZui Da derubiWen Zi noWen Zi sai zumadeGua ketePei Zhi shiteyoi(SS B.2 Notes Zhu Ji no7moCan Zhao ). B.2 Notes Zhu Ji 1. When opening brackets (cl-01) are followed by a simple-ruby character complex (cl-22) or jukugo-ruby character complex (cl-23), the preferred approach is to allow the ruby text to be extended up to the size of the ruby character over the opening brackets (cl-01). One alternative approach is to not allow ruby text to be extended over opening brackets, and another is to allow it to be extended up to half the size of the ruby character. Qian niPei Zhi suruShi meGua Hu Lei (cl-01)noHou roniQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubi Yi Wai norubiFu ki)(cl-22)You haQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)( cl-23)gaLian Sok suruChang He ha,rubiWen Zi woZui Da derubiWen Zi noWen Zi saizumade Gua ketePei Zhi shiteyoi.tadashi,Ti Cai woZhong Shi suruChang He ha,Qian noShi meGua Hu Lei (cl-01)nirubiWen Zi haGua kenai,You harubiWen Zi woZui Da derubiWen Zi noWen Zi saizuno1/2madeGua ketePei Zhi suru,toiuFang Fa moaru. 2. The preferred spacing between closing brackets (cl-02) and the line end is a half em. The alternative is to set solid (JIS X 4051 adopts solid setting method, see SS 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji bi Zhong Dian Lei no Pei Zhi Fang Fa ). Xing Mo niPei Zhi suruZhong wariGua Hu Lei (cl-02)noHou roha,Yuan Ze toshiteEr Fen akito suru.tadashi,betaZu tosuruFang Fa moaru(JIS X 4051dehabetaZu toshite iru,SS 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei , Du Dian Lei Ji bi Zhong Dian Lei no Pei Zhi Fang Fa Can Zhao ). 3. Character spacing between two consecutive middle dots (cl-05) shall be the sum of a quarter em of the preceding middle dots and a quarter em of the trailing middle dots. Qian niPei Zhi suruZhong Dian Lei (cl-05)noWen Zi saizunoSi Fen aki+Hou roniPei Zhi suru Zhong Dian Lei (cl-05)noWen Zi saizunoSi Fen akitosuru. 4. The preferred spacing between middle dots (cl-05) and the line end is a quarter em. The alternative is to set solid (JIS X 4051 adopts solid setting method, see SS 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji bi Zhong Dian Lei no Pei Zhi Fang Fa ). Xing Mo niPei Zhi suruZhong Dian Lei (cl-05)noHou roha,Yuan Ze toshiteSi Fen akitosuru. tadashi,betaZu tosuruFang Fa moaru(JIS X 4051dehabetaZu toshiteiru, SS 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji bi Zhong Dian Lei no Pei Zhi Fang Fa Can Zhao ). 5. In this document, character spacing between a full stop (cl-06) or comma (cl-07) and a following middle dot (cl-05) is the sum of the half em spacing of the full stop or comma and the quarter em spacing of the middle dot. On the other hand, JIS X 4051 classifies commas (cl-07) as a subset of closing brackets (cl-02) , and, therefore, where a comma (cl-07) is followed by a middle dot (cl-05) in JIS X 4051 the character spacing between them is just the quarter em spacing of the following middle dot (cl-05). Qian niPei Zhi suruJu Dian Lei (cl-06)You haDu Dian Lei (cl-07)noWen Zi saizunoEr Fen aki+Hou roniPei Zhi suruZhong Dian Lei (cl-05)noWen Zi saizunoSi Fen akitosuru. nao,JIS X 4051deha,Du Dian Lei (cl-07)haZhong wariGua Hu Lei (cl-02)niHan mareteirunode,Du Dian Lei (cl-07)noHou roniZhong Dian Lei (cl-05)woPei Zhi suru Chang He ha,Zhong Dian Lei (cl-05)noWen Zi saizunoSi Fen akitoshiteiru. 6. The preferred spacing between full stops (cl-06) or commas (cl-07) and the line end is a half em. The alternative is to set solid (JIS X 4051 specifies that the spacing after full stop (cl-06) is a half em and the spacing after comma (cl-07) is solid, see SS 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji bi Zhong Dian Lei no Pei Zhi Fang Fa ). Xing Mo niPei Zhi suruJu Dian Lei (cl-06)You haDu Dian Lei (cl-07)noHou roha,Yuan Ze to shiteEr Fen akitosuru.tadashi,betaZu tosuruFang Fa moaru(JIS X 4051de haJu Dian Lei (cl-06)noHou rohaEr Fen aki,Du Dian Lei (cl-07)noHou rohabetaZu toshiteiru,SS 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End Xing Mo niPei Zhi suruZhong wariGua Hu Lei ,Ju Dian Lei ,Du Dian Lei Ji bi Zhong Dian Lei no Pei Zhi Fang Fa Can Zhao ). 7. When a simple-ruby character complex (cl-22) or jukugo-ruby character complex (cl-23) is adjacent to katakana (cl-16), the preferred approach is to allow the ruby text to be extended up to the size of the ruby character over the katakana. However, if it is required to conform to JIS X 4051, ruby text shall not be extended over the katakana because katakana characters belong to the ideographic character class in JIS X 4051. Qin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki)(cl-22)You haQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23)noQian You haHou roniPian Jia Ming (cl-16),Chang Yin Ji Hao (cl-10)You haXiao Shu kinoJia Ming (cl-11)woPei Zhi suruChang He ,rubiWen Zi woZui Da derubiWen Zi noWen Zi saizumadeGua ketePei Zhi shiteyoi.tadashi,JIS X 4051deha,Pian Jia Ming ha,Han Zi Deng (cl-19)noWen Zi kurasuniHan meteirunode, Pian Jia Ming nirubiWen Zi woGua kerukotohaJin Zhi sareteiru. There are alternative methods, one of which is to allow ruby text to be extended up to the size of the ruby character over any character including ideographic (cl-19) as well as hiragana (cl-15) and katakana (cl-16) characters, and another is NOT to allow ruby text to be extended over any character from hiragana (cl-15), katakana (cl-16) and ideographic characters (cl-19). nao,Ping Jia Ming (cl-15),Pian Jia Ming (cl-16)dakedenaku,Han Zi Deng (cl-19) woHan mete,subeterubiWen Zi woZui Da derubiWen Zi noWen Zi saizuno1/2madeGua ke tePei Zhi shiteyoi,tosuruFang Fa ya,Ping Jia Ming (cl-15),Pian Jia Ming (cl-16)Ji biHan Zi Deng (cl-19)nosubetenirubiWen Zi woGua kenai,tosuruChu Li Fang Fa moa ru. 8. Ruby text can be extended up to the size of the ruby character over the full-width ideographic space (cl-14). The preferred approach is to apply the same for the full-width line head indent at the beginning of a paragraph. The alternative approach is not to allow ruby text to be extended over the line head indent. He Zi Jian Ge (cl-14)niha,rubiWen Zi woZui Da derubiWen Zi noWen Zi saizumadeGua ketePei Zhi shiteyoi.Duan Luo noXian Tou Xing noZi Xia gewoQuan Jiao akinisuruChang He nimo, konoBu Fen nirubiWen Zi woZui Da derubiWen Zi noWen Zi saizumadeGua ketePei Zhi shite yoi.tadashi,Duan Luo noXian Tou Xing noZi Xia gewoQuan Jiao akinisuruBu Fen nirubiGua ke woJin Zhi suruChu Li Fang Fa moaru. 9. When two adjacent characters belong to the same ornamented character complex (cl-21) run, set them according to the method explained in SS 3.7.1 Superscripts and Superscripts Tian eZi Chu Li . When two adjacent characters belong to two distinct ornamented character complex runs, set them solid. Hou ronoWen Zi gaQian noQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)toTong Yi noQin Wen Zi Qun noQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)noChang He ha,SS 3.7.1 Superscripts and Superscripts Tian eZi Chu Li deJie Shuo shitaFang Fa dePei Zhi suru .Hou ronoWen Zi gaQian noQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)tohaBie no Qin Wen Zi Qun noQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)noChang He ,sonoZi Jian habetaZu tosuru. 10. When two adjacent characters belong to the same simple-ruby character complex (cl-22) run, set them according to the method explained in SS 3.3.5 Positioning of Mono-ruby with Respect to Base Characters monorubinoQin Wen Zi niDui suruPei Zhi Wei Zhi or SS 3.3.6 Positioning of Group-ruby with Respect to Base Characters guru purubinoQin Wen Zi niDui suruPei Zhi Wei Zhi . When two adjacent characters belong to two distinct simple-ruby character complex runs, set them solid. Hou ronoWen Zi ga,Qian noQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki)( cl-22)toTong Yi noQin Wen Zi Qun noQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki )(cl-22)noChang He ha,SS 3.3.5 Positioning of Mono-ruby with Respect to Base Characters monorubinoQin Wen Zi niDui suruPei Zhi Wei Zhi You ha SS 3.3.6 Positioning of Group-ruby with Respect to Base Characters gurupurubinoQin Wen Zi niDui suruPei Zhi Wei Zhi deJie Shuo shitaFang Fa dePei Zhi suru.Hou ronoWen Zi gaQian noQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki)(cl-22) tohaBie noQin Wen Zi Qun noQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki)( cl-22)noChang He ,sonoZi Jian habetaZu tosuru. 11. When two adjacent characters belong to the same jukugo-ruby character complex (cl-23) run, set them according to the method explained in SS 3.3.7 Positioning of Jukugo-ruby with Respect to Base Characters Shou Yu rubinoQin Wen Zi niDui suruPei Zhi Wei Zhi . When two adjacent characters belong to two distinct simple-ruby character complex runs, set them solid. Hou ronoWen Zi gaQian noQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23)toTong Yi no Qin Wen Zi Qun noQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23)noChang He ha, SS 3.3.7 Positioning of Jukugo-ruby with Respect to Base Characters Shou Yu rubinoQin Wen Zi niDui suruPei Zhi Wei Zhi deJie Shuo shitaFang Fa dePei Zhi su ru.Hou ronoWen Zi gaQian noQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23)toha Bie noQin Wen Zi Qun noQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23)noChang He ,so noZi Jian habetaZu tosuru. 12. Character spacing between a preceding unit symbol (cl-25) and a trailing middle dot (cl-05) shall be a quarter em of the trailing character. Note that KATAKANA MIDDLE DOT "" can be used either as a unit symbol (cl-25) or as a middle dot. When it is used as a unit symbol (cl-25), both preceding and trailing spacing of KATAKANA MIDDLE DOT "" shall be zero. Qian niPei Zhi suruDan Wei Ji Hao Zhong noWen Zi (cl-25)toHou roniPei Zhi suruZhong Dian Lei ( cl-05)noZi Jian ha,Hou roniPei Zhi suruZhong Dian Lei (cl-05)noWen Zi saizunoSi Fen akidearu.tadashi,Zhong Dian [] (KATAKANA MIDDLE DOT)ha,Dan Wei Ji Hao Zhong noWen Zi (cl-25)toshitemoShi Yong suru.konoChang He nitsuiteha,Zhong Dian [] (KATAKANA MIDDLE DOT)noQian Ji biHou rohabetaZu tosuru. 13. There shall be no visible space occupied by Western word space (cl-26) at the line head and that of warichu (inline cutting note), the line end and that of warichu (inline cutting note). If the condition is changed for the same text, restore the default visible space for Western word space (cl-26). Xing Tou ,Ge Zhu Xing Tou ,Xing Mo Ji biGe Zhu Xing Mo noOu Wen Jian Ge (cl-26)ha,Kong kiLiang wo0 tosuru.tadashi,konoBu Fen gaYi Dong shi,koretohaYi naruPei Zhi ninatsutaChang He ha,Ou Wen Jian Ge (cl-26)noKong kiLiang woQue Bao suru. 14. In principle iteration marks (cl-09) should be placed neither at the line head nor at the head of an inline cutting note. When it happens with IDEOGRAPHIC ITERATION MARK """, there are three ways to deal with this situation. Xing Tou You haGe Zhu Xing Tou niZao Fan shiJi Hao (cl-09)woPei Zhi surukotohaYuan Ze toshiteJin Zhi dearu.tadashi,Zao Fan shiJi Hao (cl-09)nouchi,Xing Tou niPei Zhi sareruZao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK)nitsuiteha,Ci no3tsunoChu Li Fang Fa gaaru. 1. Follow the principle by applying some sort of line adjustment. In this case, IDEOGRAPHIC ITERATION MARK """ remains in iteration marks (cl-09). Yuan Ze Tong riXing Tou You haGe Zhu Xing Tou niPei Zhi surukotohaJin Zhi shi,nanrakanoXing noDiao Zheng Chu Li woXing u.Zao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK) woZao Fan shiJi Hao (cl-09)niHan metamamatosuru. 2. Allow IDEOGRAPHIC ITERATION MARK """ to be placed either at the line head or at the head of an inline cutting note. In this case, the character shall be treated as part of the ideographic characters (cl-19) class. Xing Tou You haGe Zhu Xing Tou niPei Zhi surukotowoXu Rong suru.konoChang He ha,Zao Fan shi Ji Hao ["] (IDEOGRAPHIC ITERATION MARK)woHan Zi Deng (cl-19)niHan me ru. 3. Replace IDEOGRAPHIC ITERATION MARK """ with the corresponding character. Xing Tou You haGe Zhu Xing Tou niPei Zhi suruZao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK)woYuan noHan Zi niBian Geng suru. line end: line head: Guo Guo Xing Mo :Guo Xing Tou :" - Xing Mo :Guo Xing Tou :Guo line end: line head: Ren Ren Xing Mo :Ren Xing Tou :" - Xing Mo :Ren Xing Tou :Ren 15. In principle, a prolonged sound mark (cl-10) should be placed neither at the head of a line nor that of an inline cutting note. If it were allowed, the character shall be treated as part of the katakana (cl-16) class. Xing Tou You haGe Zhu Xing Tou niChang Yin Ji Hao (cl-10)woPei Zhi surukotoha,Yuan Ze toshiteJin Zhi dearu.tadashi,Chang Yin Ji Hao (cl-10)woXing Tou You haGe Zhu Xing Tou niPei Zhi suruko towoXu Rong suruChu Li Fang Fa moari,Shu Ji nadodemoyokuCai Yong sareteiru.kono Chang He ,Chang Yin Ji Hao (cl-10)ha,Pian Jia Ming (cl-16)niHan maseru. 16. In principle, small kana (cl-11) should be placed neither at the head of a line nor that of an inline cutting note in principle. If it were to be allowed, HIRAGANA LETTER SMALL * shall be treated as part of the hiragana (cl-15) class, and KATAKANA LETTER SMALL * as part of the katakana (cl-16) class. Xing Tou You haGe Zhu Xing Tou niXiao Shu kinoJia Ming (cl-11)woPei Zhi surukotoha,Yuan Ze toshi teJin Zhi dearu.tadashi,Xiao Shu kinoJia Ming (cl-11)woXing Tou You haGe Zhu Xing Tou niPei Zhi surukotowoXu Rong suruChu Li Fang Fa moari,Shu Ji nadodemoyokuCai Yong saretei ru.konoChang He ,Ping Jia Ming no"Xiao Shu kinoJia Ming "haPing Jia Ming (cl-15),Pian Jia Ming no" Xiao Shu kinoJia Ming "haPian Jia Ming (cl-16)niHan maseru. 17. The preferred character spacing between the line head and opening opening brackets (cl-01) is zero. An alternative way is not to remove a conditional half em spacing accompanying the characters (see SS 3.1.5 Positioning of Opening Brackets at Line Head Xing Tou no Shi meGua Hu Lei no Pei Zhi Fang Fa including methods of positioning of opening brackets at the beginning of paragraphs). Xing Tou niPei Zhi suruShi meGua Hu Lei (cl-01)noQian habetaZu dearu.tadashi,Xing Tou niPei Zhi suruShi meGua Hu Lei (cl-01)noQian woEr Fen akitosuruFang Shi moaru(Gai Xing noXing Tou niPei Zhi suruShi meGua Hu Lei (cl-01)noPei Zhi Fa woHan me,SS 3.1.5 Positioning of Opening Brackets at Line Head Xing Tou no Shi meGua Hu Lei no Pei Zhi Fang Fa Can Zhao ). C. Possibilities for Line-breaking between Characters Wen Zi Jian denoFen Ge noKe Fou Line break opportunities between two adjacent characters of given character classes explained in SS 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen keru shall be determined by Table 2. SS 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen kerudeJie Shuo shita,sorezoreno Wen Zi kurasuniHan mareruWen Zi Ji Hao gaBing ndaChang He ,sonoWen Zi Jian de2Xing niFen Ge shite yoikadoukaha,Biao 2noyounisuru. See "Table 2 Possibility of separation between characters" (PDF). "Biao 2 Wen Zi Jian denoFen Ge noKe Fou "(PDFBan )woCan Zhao . C.1 Legend of Table 2 Biao 2noJian Fang 1. The left-most column, labeled "before", lists preceding character classes, and the top row, labeled "after", lists trailing character classes. Each cell indicates the type of line break opportunity between two adjacent characters of the corresponding character classes at a given row and column. before"(Biao noZuo Duan )toShi shitaLan ni,Qian niPei Zhi suruWen Zi kurasuwoShi shi, "after"(Biao noShang Duan )toShi shitaLan ni,Hou roniPei Zhi suruWen Zi kurasuwoShi su. sorezoregaJiao Chai suruXiao Jian (koma)ni,2Xing niFen Ge shiteyoikadoukawoShi su . 2. The type of line break opportunity is indicated in each cell in the table using the following notation. Biao nosorezorenoXiao Jian ni,2Xing niFen Ge shiteyoikadoukawoCi noJi Hao deShi su. 1. blank: A line is allow to end between the two characters (breakable). Kong Lan :sonoWen Zi Jian de2Xing niFen Ge shiteyoi(Fen Ge Ke ). 2. not: A line is not allowed to end between the two characters (unbreakable). not:sonoWen Zi Jian de2Xing niFen Ge shitehanaranai(Fen Ge Bu Ke ). 3. x mark: the combination is not allowed due to line breaking rules or other restrictions. x:Xing Tou Jin Ze ,Xing Mo Jin Ze ,sonoTa niyori,konoyounaPei Zhi woJin Zhi suru . C.2 Notes Zhu Ji 1. If IDEOGRAPHIC ITERATION MARK """ is allowed to appear at the line head or that of inline cutting note, the character shall be treated as a member of the ideographic character (cl-19) class. (For how it behaves in combination with other character classes, see the cells for ideographic characters (cl-19).) Zao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK)woXing Tou You haGe Zhu Xing Tou niPei Zhi surukotowoXu Rong suruChang He ,Zao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK)haHan Zi Deng (cl-19)noWen Zi kurasuniHan meru(sonoXi ihaHan Zi Deng ( cl-19)noLan woCan Zhao ). 2. If a prolonged sound mark (cl-10) is allowed to appear at the head of a line or that of inline cutting note, the character shall be treated as a member of the katakana (cl-16) class. (For how it behaves in combination with other character classes, see the cells for katakana (cl-16).) Chang Yin Ji Hao (cl-10)woXing Tou You haGe Zhu Xing Tou niPei Zhi surukotowoXu Rong suruChang He , sorehaPian Jia Ming (cl-16)noWen Zi kurasuniHan meru(sonoXi ihaPian Jia Ming ( cl-16)noLan woCan Zhao ). 3. If small kana (cl-11) are allowed to appear at the head of a line or that of inline cutting note, the character shall be treated as a member of the hiragana (cl-15) or katakana (cl-16) classes accordingly, depending on the script type of the character. (For how it behaves in combination with other character classes, see the cells for hiragana (cl-15) or katakana (cl-16).) Xiao Shu kinoJia Ming (cl-11)woXing Tou You haGe Zhu Xing Tou niPei Zhi surukotowoXu Rong suruChang He ,Xiao Shu kinoPing Jia Ming haPing Jia Ming (cl-15)noWen Zi kurasuniHan me,Xiao Shu kinoPian Jia Ming haPian Jia Ming (cl-16)noWen Zi kurasuniHan meru(sonoXi ihaPing Jia Ming ( cl-15)You haPian Jia Ming (cl-16)noLan woCan Zhao ). 4. For the default one em spacing after dividing punctuation marks (cl-04) at the end of a sentence, full-width ideographic space (cl-14) can be used. See SS 3.1.6 Positioning of Dividing Punctuation Marks (Question Mark and Exclamation Mark) and Hyphens Qu Qie riYue Wu Ji bihaihunLei noPei Zhi Fang Fa for more detail on how to deal with this case. Wen Mo niPei Zhi suruQu Qie riYue Wu (cl-04)noHou roha,Quan Jiao akitosuru.sonoChang He ,Qu Qie riYue Wu (cl-04)noHou roniHe Zi Jian Ge (cl-14)woPei Zhi shiteChu Li su ruFang Fa gaaru.konoChang He noWen Ti Dian ha,SS 3.1.6 Positioning of Dividing Punctuation Marks (Question Mark and Exclamation Mark) and Hyphens Qu Qie riYue Wu Ji bihaihunLei noPei Zhi Fang Fa Can Zhao . 5. There is no line break opportunity between following couple of consecutive inseparable characters (cl-08) as follows: Hou roniPei Zhi suruFen Li Jin Zhi Wen Zi (cl-08)noWen Zi Ji biQian niPei Zhi suruFen Li Jin Zhi Wen Zi (cl-08)gaCi niShi suZu He sedeLian Sok shitaChang He ha,Fen Ge Bu Ke tosuru. + EM DASH "--", EM DASH "--" Qian nidatsushiyu(Quan Jiao )[--] (EM DASH)to,Hou ronidatsushiyu(Quan Jiao ) [--] (EM DASH) + HORIZONTAL ELLIPSIS "...", HORIZONTAL ELLIPSIS "..." Qian niSan Dian rida[...] (HORIZONTAL ELLIPSIS)to,Hou roniSan Dian rida [...] (HORIZONTAL ELLIPSIS) + TWO DOT LEADER "..", TWO DOT LEADER ".." Qian niEr Dian rida[..] (TWO DOT LEADER)to,Hou roniEr Dian rida[..] (TWO DOT LEADER) + VERTICAL KANA REPEAT MARK UPPER HALF "+", VERTICAL KANA REPEAT MARK LOWER HALF "" Qian nikunoZi Dian Shang [+] (VERTICAL KANA REPEAT MARK UPPER HALF)to, Hou ronikunoZi Dian Xia [] (VERTICAL KANA REPEAT MARK LOWER HALF) + VERTICAL KANA REPEAT WITH VOICED SOUND MARK UPPER HALF "+", VERTICAL KANA REPEAT MARK LOWER HALF "" Qian nikunoZi Dian Shang (Zhuo Dian )[+] (VERTICAL KANA REPEAT WITH VOICED SOUND MARK UPPER HALF)to,Hou ronikunoZi Dian Xia [] (VERTICAL KANA REPEAT MARK LOWER HALF) When the combination of preceding inseparable characters (cl-08) and the trailing inseparable characters (cl-08) is different each other, the two characters are separable. For example, when two EM DASH "--" appears consecutively, these two characters are inseparable, and consecutive EM DASH "--" and HORIZONTAL ELLIPSIS "..." are separable. Hou roniPei Zhi suruFen Li Jin Zhi Wen Zi (cl-08)noWen Zi Ji biQian niPei Zhi suruFen Li Jin Zhi Wen Zi (cl-08)gaShang Ji tohaYi naruZu He senoChang He ha,Fen Ge Ke tosuru.Li eba ,datsushiyu(Quan Jiao )[--] (EM DASH)noHou ronidatsushiyu(Quan Jiao )[--] (EM DASH)gaLian Sok suruChang He ,sonoZi Jian dehaFen Ge Bu Ke dearu.datsushiyu(Quan Jiao ) [--] (EM DASH)noHou roniSan Dian rida[...] (HORIZONTAL ELLIPSIS)gaLian Sok su ruChang He ,sonoZi Jian dehaFen Ge Ke dearu. 6. There is no line break opportunity between two consecutive characters belonging to the same ornamented character complex (cl-21). If two consecutive characters belong to different ornamented character complexes (cl-21), a line break opportunity exists between them. Hou roniPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)noWen Zi ga,Qian niPei Zhi suru"Qin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)toTong Yi noQin Wen Zi Qun noWen Zi noChang He ha,Fen Ge Bu Ke tosuru.Hou roniPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)noWen Zi ga,Qian niPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)tohaBie noQin Wen Zi Qun noWen Zi noChang He ha,Fen Ge Ke tosuru. 7. There is no line break opportunity between two consecutive characters belonging to the same simple-ruby character complex (cl-22). If two consecutive characters belong to different simple-ruby character complexes (cl-22), a line break opportunity exists between them. Hou roniPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki)(cl-22) noWen Zi ga,Qian niPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki) (cl-22)toTong Yi noQin Wen Zi Qun noWen Zi noChang He ha,Fen Ge Bu Ke tosuru.Hou roniPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki)(cl-22)noWen Zi ga ,Qian niPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki)(cl-22) tohaBie noQin Wen Zi Qun noWen Zi noChang He ha,Fen Ge Ke tosuru. 8. A line break opportunity exists between two consecutive base characters belonging to different jukugo-ruby character complexes (cl-23). There is also a line break opportunity between two consecutive base characters belonging to the same jukugo-ruby character complex (cl-23) and between two runs of ruby text accompanying the corresponding base characters. However, a base character and the accompanying ruby text shall be indivisible, hence there is no line break opportunity between any two consecutive ruby characters in a run of ruby text accompanying a base character. Hou roniPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23)noWen Zi ga, Qian niPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23)tohaBie noQin Wen Zi Qun noWen Zi noChang He ,sonoQin Wen Zi Qun Jian dehaFen Ge Ke tosuru.mata,Tong ziQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23)deatsutemo,1Zi noQin Wen Zi toso noQin Wen Zi niDui Ying sururubiWen Zi noguruputo,Bie noQin Wen Zi tosonoQin Wen Zi ni Dui Ying sururubiWen Zi nogurupunoJian demoFen Ge Ke tosuru.tadashi,1Zi noQin Wen Zi tosonoQin Wen Zi niDui Ying sururubiWen Zi nogurupunitsuitehaYi Ti toshiteXi i,izurenoJian demoFen Ge Bu Ke tosuru. 9. There is no line break opportunity between preceding grouped numerals (cl-24) and trailing postfixed abbreviations (cl-13). The alternative approach is to allow a line to break before trailing PERCENT SIGN "%", in which case PERCENT SIGN "%" shall be treated as a member of the ideographic character (cl-19) class. Qian niPei Zhi suruLian Shu Zi Zhong noWen Zi (cl-24)toHou roniPei Zhi suruHou Zhi Sheng Lue Ji Hao ( cl-13)noZi Jian deha,Fen Ge Bu Ke dearu.tadashi,pasentoJi Hao [%] (PERCENT SIGN)nitsuiteha,Qian niPei Zhi suruLian Shu Zi Zhong noWen Zi (cl-24)tono Zi Jian deFen Ge woXu Rong suruFang Fa moaru.konoChang He ,pasentoJi Hao [%] (PERCENT SIGN)ha,Han Zi Deng (cl-19)noWen Zi kurasuniHan meru. 10. There are two approaches: one is to allow a line to break between preceding grouped numerals (cl-24) and trailing Western characters (cl-27), and the other is not to. Qian niPei Zhi suruLian Shu Zi Zhong noWen Zi (cl-24)toHou roniPei Zhi suruOu Wen Yong Wen Zi ( cl-27)tonoZi Jian deha,Fen Ge Ke tosuruFang Fa to,Fen Ge Bu Ke tosuruFang Fa togaa ru. 11. A line break opportunity generally exists between preceding Western characters (cl-27) and trailing postfixed abbreviations (cl-13), unless the preceding Western character (cl-27) is used as a symbol of a quantity or a European numeral, in which case a line break is not allowed between them. Qian niPei Zhi suruOu Wen Yong Wen Zi (cl-27)noHou roniHou Zhi Sheng Lue Ji Hao (cl-13)woPei Zhi suruChang He ha,Yi Ban niFen Ge Ke dearu.shikashi,Qian niPei Zhi suruOu Wen Yong Wen Zi (cl-27)gaLiang woShi suJi Hao (Liang Ji Hao )You haarabiaShu Zi noChang He haFen Ge Bu Ke tosuru. 12. There is no line break opportunity between two consecutive Western characters (cl-27). In order to break a line in the middle of a Western word, it needs to be divided into two syllables first. Then a line can be broken between the two by adding HYPHEN "-" at the line end. Qian niPei Zhi suruOu Wen Yong Wen Zi (cl-27)toHou roniPei Zhi suruOu Wen Yong Wen Zi (cl-27 )tonoZi Jian deha,Fen Ge Bu Ke dearu.tadashi,Ou Wen Yong Wen Zi (cl-27)deGou Cheng suruDan Yu woYin Jie niCong iFen Ge shi,Xing Mo nihaihun[-] (HYPHEN)woFu keruko tode,Fen Ge gaKe Neng ninaru. 13. There is no line break opportunity between two consecutive characters belonging to the same set of characters in tate-chu-yoko (cl-30). If two consecutive characters belong to different sets of characters in tate-chu-yoko (cl-30), there a line break opportunity exists between them. Hou roniPei Zhi suru"Zong Zhong Heng Zhong noWen Zi (cl-30)noWen Zi ga,Qian niPei Zhi suruZong Zhong Heng Zhong noWen Zi (cl-30)toTong Yi noZong Zhong Heng nogurupuniShu suruChang He ha,Fen Ge Bu Ke tosuru.Hou roniPei Zhi suruZong Zhong Heng Zhong noWen Zi (cl-30)noWen Zi ga,Qian niPei Zhi suruZong Zhong Heng Zhong noWen Zi (cl-30)tohaBie nogurupuniShu suruZong Zhong Heng noChang He ha ,Fen Ge Ke tosuru. C.3 Addendum Bu Ji As noted in SS B. Spacing between Characters Wen Zi Jian noKong kiLiang and SS C.2 Notes Zhu Ji , there are several conventions for line-start prohibition , line-end prohibition and unbreakable character rules. The following lists four levels of convention. Note that breaking a line after opening brackets (cl-01) and before closing brackets (cl-02), full stops (cl-06) or commas (cl-07) is prohibited at all levels. Likewise, those rules common to all levels are not listed below. SS B. Spacing between Characters Wen Zi Jian noKong kiLiang ,SS C.2 Notes Zhu Ji nado deJie Shuo shiteiruyouni,Xing Tou Jin Ze ,Xing Mo Jin Ze Ji biFen Ge Jin Zhi nitsuiteha,Fu Shu noKao eFang gaaru.sokode,koreraworeberuniFen keteShi suto,Yi Xia noyounina ru.nao,donnareberudemo,Shi meGua Hu Lei (cl-01)tosonoHou roniPei Zhi suruWen Zi tonoZi Jian ,You haZhong wariGua Hu Lei (cl-02),Ju Dian Lei (cl-06)Ruo shikuhaDu Dian Lei (cl-07)to,sonoQian niPei Zhi suruWen Zi tonoZi Jian de2Xing niFen Ge surukotowoXu Rong su rukotohanai.konoyounisubetenoreberuniGong Tong suruShi Xiang ha,Yi Xia dehaShi shi teinai. 1. Very loose (Newspapers) reberu1(Xin Wen nado) Breaking a line is allowed before or after the following character classes even though Table 2 prohibits it. Ci noWen Zi kurasunoQian You haHou roniPei Zhi suruWen Zi nadotonoZi Jian de2Xing niFen Ge su rukotogaBiao 2deJin Zhi tosareteitemo,sonoZi Jian de2Xing niFen Ge surukotowoXu Rong suru. + Hyphens (cl-03) haihunLei (cl-03) + Dividing punctuation marks (cl-04) Qu Qie riYue Wu (cl-04) + Middle dots (cl-05) Zhong Dian Lei (cl-05) + Inseparable characters (cl-08) of the same kind Tong Yi noZhong Lei noFen Li Jin Zhi Wen Zi (cl-08) + Iteration marks (cl-09) Zao Fan shiJi Hao (cl-09) + Prolonged sound mark (cl-10) Chang Yin Ji Hao (cl-10) + Small kana (cl-11) Xiao Shu kinoJia Ming (cl-11) + Prefixed abbreviations (cl-12) Qian Zhi Sheng Lue Ji Hao (cl-12) + Postfixed abbreviations (cl-13) Hou Zhi Sheng Lue Ji Hao (cl-13) 2. Loose (Magazines) reberu2(Za Zhi nado) Breaking a line is allowed before or after the following character classes (or characters) even though Table 2 prohibits it. Ci noWen Zi kurasu(You haWen Zi )noQian You haHou roniPei Zhi suruWen Zi nadotonoZi Jian de2Xing niFen Ge surukotogaBiao 2deJin Zhi tosareteitemo,sonoZi Jian de2Xing niFen Ge surukotowoXu Rong suru. + Hyphens (cl-03) haihunLei (cl-03) + KATAKANA MIDDLE DOT "" Zhong Dian Lei (cl-05)noZhong Dian [] (KATAKANA MIDDLE DOT) + Between two consecutive HORIZONTAL ELLIPSIS "..." and between two consecutive TWO DOT LEADER ".." Fen Li Jin Zhi Wen Zi (cl-08)noSan Dian rida[...] (HORIZONTAL ELLIPSIS)to San Dian rida[...] (HORIZONTAL ELLIPSIS)noZi Jian ,Ji biEr Dian rida[..] (TWO DOT LEADER)toEr Dian rida[..] (TWO DOT LEADER)noZi Jian + IDEOGRAPHIC ITERATION MARK """ Zao Fan shiJi Hao (cl-09)noZao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK) + Prolonged sound mark (cl-10) Chang Yin Ji Hao (cl-10) + Small kana (cl-11) Xiao Shu kinoJia Ming (cl-11) + PERCENT SIGN "%" Hou Zhi Sheng Lue Ji Hao (cl-13)nopasento[%] (PERCENT SIGN) 3. Strict (Default, general publications) reberu3(dehuoruto,Yi Ban noShu Ji ) Breaking a line is allowed before or after the following character classes (or characters) even though Table 2 prohibits it. Ci noWen Zi kurasu(You haWen Zi )noQian You haHou roniPei Zhi suruWen Zi nadotonoZi Jian de2Xing niFen Ge surukotogaBiao 2deJin Zhi tosareteitemo,sonoZi Jian de2Xing niFen Ge surukotowoXu Rong suru. + IDEOGRAPHIC ITERATION MARK """ Zao Fan shiJi Hao (cl-09)noZao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK) + Prolonged sound mark (cl-10) Chang Yin Ji Hao (cl-10) + Small kana (cl-11) Xiao Shu kinoJia Ming (cl-11) 4. Very strict (General publications) reberu4(Yi Ban noShu Ji ) Breaking a line is not allowed for any place where Table 2 prohibits it (no alternate rule explained in SS C.2 Notes Zhu Ji is applied.). Biao 2deJin Zhi tosareteirusubetenoZi Jian de2Xing niFen Ge surukotowoJin Zhi suru( SS C.2 Notes Zhu Ji deShuo Ming shiteiruXu Rong hashinai). The difference between the strict and the very strict rules described above is as follows. The very strict line-breaking rule is the convention that attaches greater importance to the line-start prohibition and unbreakable character rules, and therefore it is more likely to lead to the need for line adjustment processing. In comparison, the strict line-breaking rule is the convention that weakens line-start prohibition in order to avoid line adjustment as much as possible to make it easier to achieve solid setting. In other words, the very strict rule is for the best appearance at the line head, while the strict rule is best to avoid inter-character spacing adjustment. reberu4ha,Xing Tou noPei Zhi You haFen Ge Jin Zhi woZhong Shi suruFang Shi dearu.sonoJie Guo , Xing noDiao Zheng Chu Li gaXing wareruChang He gadetekuruga,soremoyamuwoDe naitoKao e ruFang Shi dearu.koreniDui shi,reberu3ha,betaZu woYuan Ze tosuruRi Ben Yu Zu Ban deha,Xing noDiao Zheng Chu Li deZi Jian woJie metari,Kong ketarisurukotohayamuwoDe na iChu Li deari,dekirebaBi ketai.sokode,aruCheng Du ,Xing Tou Pei Zhi gaXu sa rerumonohaXu soutoiuKao eFang niyorumonodearu.itsutemireba,rebe ru4haXing Tou noTi Cai Zhong Shi Fang Shi ,reberu3haZi Jian noDiao Zheng Hui Bi Fang Shi toieyou. D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo The following tables indicate if an opportunity exists for inter-character spacing reduction during line adjustment between two adjacent characters of given character classes as explained in SS 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen keru . (For more detail on line adjustment, see SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li .) In the process of line adjustment by inter-character spacing reduction, the first place to look (the first stage of inter-character spacing reduction in priority order) is for Western word spaces (cl-26), each of which is reducible equally, to leave a minimum of a quarter em spacing (or a one fifth em spacing) with respect to the corresponding character size. The tables are for the second and subsequent stages of inter-character spacing reduction in priority order, assuming the first stage of the reduction for Western word spaces (cl-26) is already done. The default unadjusted spacing between two adjacent characters of given character classes shall be determined according to SS B. Spacing between Characters Wen Zi Jian noKong kiLiang . Xing noDiao Zheng Chu Li deJie meruChu Li (Zhui Ip miChu Li )gaKe Neng naGe Suo kadoukawo,SS 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen kerudeJie Shuo shita,sorezorenoWen Zi kurasuniHan mareruWen Zi Ji Hao nitsuite,Biao nishiteShi su(Xing noDiao Zheng Chu Li nitsuiteha,SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li woCan Zhao ).Xing noDiao Zheng Chu Li deJie meruChu Li woXing u Chang He ,You Xian De niZui Chu niXing uChu Li (You Xian Shun Wei noDi 1Duan Jie noChu Li )haOu Wen Jian Ge ( cl-26)deari,Ou Wen Jian Ge (cl-26)woZui Xiao deSi Fen aki(You haWu Fen aki)made Wen Zi saizuBi deJun Deng niJie meruChu Li woXing u.Yi Xia noBiao deha,sorezorenoWen Zi ku rasugaLian Sok suruChang He noZi Jian nitsuite,Ou Wen Jian Ge (cl-26)noChu Li woXing tsutaHou de Xing uChu Li ,tsumari,You Xian Shun Wei noDi 2Duan Jie Yi Jiang noChu Li nitsuiteShi su.nao,sore zoreGe Suo noYuan Ze De naKong kiLiang ha,SS B. Spacing between Characters Wen Zi Jian no Kong kiLiang niShi su. There are several conventions for line adjustment, especially when it is to be achieved by inter-character spacing reduction. Table 3 follows the method adopted by this document, Table 4 supplies an alternative way specified by JIS X 4051, and Table 5, taking partially different approaches from the previous two, represents yet another method which can be seen in books or other publications. Xing noDiao Zheng Chu Li ,Te niJie meruChu Li deha,Fu Shu noChu Li Fang Fa gaarunode,konoWen Shu deZhu niJie Shuo shiteiruFang Fa woBiao 3,JIS X 4051noGui Ding niCong tsutaFang Fa woBiao 4,sore ratohaYi Bu gaYi narumonode,Shu Ji nadodeCai Yong sareteiruFang Fa woBiao 5niShi su. See "Table 3 Opportunity of inter-character spacing reduction" (PDF). "Biao 3 Xing noDiao Zheng Chu Li deJie meruChu Li gaKe Neng naGe Suo "(PDFBan )woCan Zhao . See "Table 4 Opportunity of inter-character spacing reduction (the method specified by JIS X 4051)" (PDF). "Biao 4 Xing noDiao Zheng Chu Li deJie meruChu Li gaKe Neng naGe Suo (JIS X 4051noGui Ding niCong tsutaLi )"(PDFBan )woCan Zhao . See "Table 5 Opportunity of inter-character spacing reduction (the method adopted by books)" (PDF). "Biao 5 Xing noDiao Zheng Chu Li deJie meruChu Li gaKe Neng naGe Suo (Shu Ji nadodeXing wareteiruLi ) "(PDFBan )woCan Zhao . D.1 Legend of Tables 3, 4 and 5 Biao 3,Biao 4Ji biBiao 5noJian Fang 1. The left-most column, labeled "before", lists preceding character classes, and the top row, labeled "after", lists trailing character classes. Each cell indicates the type of opportunities of inter-character spacing reduction between two adjacent characters of the corresponding character classes at a given row and column. "before"(Biao noZuo Duan )toShi shitaLan ni,Qian niPei Zhi suruWen Zi kurasuwoShi shi, "after"(Biao noShang Duan )toShi shitaLan ni,Hou roniPei Zhi suruWen Zi kurasuwoShi su. sorezoregaJiao Chai suruXiao Jian (koma)niJie meruChu Li gaKe Neng kadoukawoShi su. 2. The cells in the row "line head" or the column "line end" should read if there exists opportunity for spacing reduction at line head or line end respectively. Tables 3, 4 and 5 all prohibit spacing reduction at line head. While Table 4 prohibits spacing reduction at line end too, Tables 3 and 5 allow it for several character classes at line end. "line head"noLan (Heng Fang Xiang noXing )niha,sorezorenoWen Zi kurasuwoXing Tou niPei Zhi suruChang He ,"line end"(Zong Fang Xiang noLie )noLan niha,sorezorenoWen Zi kura suwoXing Mo niPei Zhi suruChang He niJie meruChu Li gaKe Neng kadoukawoShi su.nao,Xing Tou nitsuiteha,Biao 3,Biao 4Ji biBiao 5tomoni,Jie meruChu Li noDui Xiang Ge Suo toshitei nai(Jie meChu Li Fou ).Xing Mo nitsuiteha,Biao 4dehaJie meruChu Li noDui Xiang Ge Suo to shiteinai(Jie meChu Li Fou ).shikashi,Biao 3Ji biBiao 5deha,Xing Mo noYi Bu noGe Suo deKe Neng (Jie meChu Li Ke )ninatsuteiru. 3. The type of opportunity for spacing reduction is indicated in each cell in the tables using the following notation. Biao nosorezorenoXiao Jian ni,Jie meruChu Li noKe Fou nadowo,Ci noJi Hao deShi su. 1. Cells with a white background: No opportunity for spacing reduction because the two characters are set solid and there is no adjustable spacing between them, or because it is prohibited by rule to reduce the inter-character spacing for the given combination. Xiao Jian noDi Se gaBai nomono(#):Zi Jian gabetaZu nadoniyoriJie meruChu Li wo shinai,You haKong kiLiang gaatsutemo,Jie meruChu Li noDui Xiang toshinaiGe Suo ( Jie meChu Li Fou noGe Suo )woShi su. 1. Blank: No opportunity for spacing reduction because the given combination of characters is set solid (or there is no spacing before or after the given character at line head or at line end respectively). Wu Yin :Yuan Ze De naWen Zi Jian (Xing Tou noChang He ha,sonoWen Zi noQian ,Xing Mo no Chang He ha,sonoWen Zi noHou ro)gabetaZu nanode,Jie meruChu Li noDui Xiang ninaranai. 2. x mark:The combination is not allowed due to line breaking rules or other restrictions. xYin :Xing Tou Jin Ze ,Xing Mo Jin Ze ,sonoTa niyori,konoyounaPei Zhi woJin Zhi suru. 3. 1/2: The amount of inter-character spacing shall be a half em, and this spacing shall not be reduced (no opportunity of inter-character spacing reduction). 1/2:Zi Jian haEr Fen akitosuruga,Jie meruChu Li noDui Xiang toshinaiGe Suo (Jie meChu Li Fou noGe Suo )woShi su. 4. 1/4: The amount of inter-character spacing shall be a quarter em, and this spacing shall not be reduced (no opportunity of inter-character spacing reduction). 1/4:Zi Jian haSi Fen akitosuruga,Jie meruChu Li noDui Xiang toshinaiGe Suo (Jie meChu Li Fou noGe Suo )woShi su. 2. Cells with a colored or gray background: An opportunity for inter-character spacing reduction exists. Xiao Jian noDi Se gaSe You hagurenomono:Jie meruChu Li noDui Xiang toshiteyoiGe Suo (Jie meChu Li Ke noGe Suo )woShi su. 1. Priority order in spacing reduction: The second highest and subsequent priorities of inter-character spacing reduction are indicated by the given background colors of the cells. The cells with the colors in the left are higher in priority than ones in the right. Space reduction shall be processed in this order. Jie meruJi noYou Xian Shun Wei :Jie meruChu Li woXing uJi noDi 2Duan Jie Yi Jiang noYou Xian Shun Wei wo,Zuo Ce noGao imonokara,You Ce noDi imonoheto,Ci noXiao Jian noDi Se deShi su.konoShun Wei de,Jie meruChu Li woXing u. Priority order in spacing reduction. Jie meruJi noYou Xian Shun Wei Figure 317 Priority order in spacing reduction. Jie meruJi noYou Xian Shun Wei 2. Amount of spacing reducible: the amount of spacing to be reduced is indicated using the following notation. Jie meruChu Li gaKe Neng naLiang :Jie meruChu Li gaKe Neng naLiang woCi noJi Hao deShi su. 1. 1/2-0: A half em spacing by default, which is reducible equally, with respect to the corresponding character size, with no minimum spacing required (set solid). 1/2-0:Er Fen akiwoZui Xiao debetaZu madeWen Zi saizuBi deJun Deng ni Jie meruChu Li gaKe Neng . 2. 1/2-1/4: A half em spacing by default, which is reducible equally, with respect to the corresponding character size, to leave a minimum of a quarter em spacing. 1/2-1/4:Er Fen akiwoZui Xiao deSi Fen akimadeWen Zi saizuBi deJun Deng niJie meruChu Li gaKe Neng . 3. 1/2=0: A half em spacing by default, which can be removed to set solid (it is not allowed to leave any intermediate size of spacing between zero to a half em, such as a quarter em spacing). 1/2=0:Er Fen akiwobetaZu nisuruChu Li gaKe Neng (Si Fen akinado noEr Fen akikarabetaZu madenoZhong Jian De naakinisuruChu Li hade kinai). 4. 1/4-0: A quarter em spacing by default, which is reducible equally, with respect to the corresponding character size, with no minimum spacing required (set solid). 1/4-0:Si Fen akiwoZui Xiao debetaZu madeWen Zi saizuBi deJun Deng ni Jie meruChu Li gaKe Neng . 5. 1/4-1/8: A quarter em spacing by default, which is reducible equally, with respect to the corresponding character size, to leave a minimum of a one eighth em spacing. 1/4-1/8:Si Fen akiwoZui Xiao deBa Fen akimadeWen Zi saizuBi deJun Deng niJie meruChu Li gaKe Neng . Note that JIS X 4051 specifies to not leave any spacing after the closing brackets (cl-02) or commas (cl-07) at the line end. Therefore, Table 4 also indicates that there is no opportunity for spacing reduction after closing brackets (cl-02) and commas (cl-07) at the line end. Likewise, because middle dots (cl-05) at the line end are supposed to have no spacing, Table 4 indicates there is no opportunity for spacing reduction for middle dots (cl-05) at the line end. On the other hand, while JIS X 4051 specifies to pad with a half em spacing after full stops (cl-06) at the line end, which is not allowed to reduce this spacing for line adjustment, Table 3 and 5 allow the removal of the default half em spacing after closing brackets (cl-02), full stops (cl-06) and commas (cl-07) at the line end for line adjustment. Table 3 further allows the removal of the default quarter em spacing padding before and after middle dots (cl-05) at the line end for line adjustment, while Table 5 does not. nao,JIS X 4051deha,Zhong wariGua Hu Lei (cl-02)You haDu Dian Lei (cl-07)woXing Mo niPei Zhi suruChang He ha,soreranoHou rowobetaZu tosurukotoninatsuteiru.shitaga tsute,Biao 4noZhong wariGua Hu Lei (cl-02)Ji biDu Dian Lei (cl-07)noXing Mo nitsuiteha, izuremo"Jie meChu Li Fou "tonaru.mata,Zhong Dian Lei (cl-05)woXing Mo niPei Zhi suruChang He mo,soreranoHou rowobetaZu tosurukotoninatsuteori,Biao 4noZhong Dian Lei (cl-05) noXing Mo nitsuiteha,"Jie meChu Li Fou "tonaru.nao,Ju Dian Lei (cl-06)woXing Mo niPei Zhi suruChang He ,JIS X 4051deha,sonoHou rowoEr Fen akitosuru.shikashi,konoJu Dian Lei (cl-06)noHou roha,JIS X 4051deha,Jie meruDiao Zheng niShi Yong surukotohaRen me rareteinai.koreniDui shite,Biao 3Ji biBiao 5deha,Xing Mo niPei Zhi suruZhong wariGua Hu Lei (cl-02),Ju Dian Lei (cl-06)Ji biDu Dian Lei (cl-07)noHou roha,Yuan Ze toshiteEr Fen akitoshi,kokowobetaZu nisuruDiao Zheng Fang Fa woKe toshiteiru.mata,Biao 3deha, Xing Mo niPei Zhi suruZhong Dian Lei (cl-05)noQian Ji biHou roha,Yuan Ze toshiteSi Fen akitoshi, Zhong Dian Lei (cl-05)noQian Ji biHou ronoSi Fen akiwobetaZu nisuruDiao Zheng Fang Fa woKe toshite iru.Biao 5deha,Xing Mo niPei Zhi suruZhong Dian Lei (cl-05)noQian Ji biHou roha,Si Fen aki toshiteiruga,Zhong Dian Lei (cl-05)noQian Ji biHou ronoakiwoJie meruDiao Zheng niShi Yong suru kotohaRen meteinai. D.2 Notes Zhu Ji 1. The default unadjusted spacing when a middle dot (cl-05) is followed by a middle dot (cl-05), is the sum of the conditional quarter em space accompanying the preceding middle dot (cl-05) and the conditional quarter em space accompanying the trailing middle dot (cl-05). Tables 3 and 4 allow these two instances of quarter em space to be reduced, to leave no space as a minimum. The priority order in space reduction is the fourth in Table 3, and it is the second priority in Table 4. Qian niPei Zhi suruWen Zi kurasugaZhong Dian Lei (cl-05)deHou roniPei Zhi suruWen Zi kurasu gaZhong Dian Lei (cl-05)noChang He noYuan Ze De naakiha,Qian niPei Zhi suruZhong Dian Lei ( cl-05)noWen Zi saizunoSi Fen aki+Hou roniPei Zhi suruZhong Dian Lei (cl-05)noWen Zi saizunoSi Fen akidearu.Biao 3Ji biBiao 4deha,kono2tsunoSi Fen akiwobeta Zu madeJie meruDiao Zheng gaKe Neng dearu.Biao 3noYou Xian Shun Wei haDi 4Duan Jie ,Biao 4noYou Xian Shun Wei haDi 2Duan Jie dearu. 2. The default unadjusted space when a full stop (cl-06) is followed by a middle dot (cl-05), is the sum of the conditional half em space accompanying the preceding full stop (cl-06) and the conditional quarter em space accompanying the trailing middle dot (cl-05). Tables 3 and 4 allow the quarter em space accompanying the trailing middle dot (cl-05) to be reduced, to leave no space as a minimum. The priority order in space reduction is the fourth in Table 3, and it is the second priority in Table 4. Qian niPei Zhi suruWen Zi kurasugaJu Dian Lei (cl-06)deHou roniPei Zhi suruWen Zi kurasu gaZhong Dian Lei (cl-05)noChang He noYuan Ze De naakiha,Qian niPei Zhi suruJu Dian Lei ( cl-06)noWen Zi saizunoEr Fen aki+Hou roniPei Zhi suruZhong Dian Lei (cl-05)noWen Zi saizunoSi Fen akidearu.Biao 3Ji biBiao 4deha,Hou roniPei Zhi suruZhong Dian Lei ( cl-05)noSi Fen akiwobetaZu madeJie meruDiao Zheng gaKe Neng dearu.Biao 3noYou Xian Shun Wei haDi 4Duan Jie ,Biao 4noYou Xian Shun Wei haDi 2Duan Jie dearu. 3. The default unadjusted space when a comma (cl-07) is followed by a middle dot (cl-05), is the sum of the conditional half em space accompanying the preceding comma (cl-07) and the conditional quarter em space accompanying the trailing middle dot (cl-05) (in Table 4, the conditional half space accompanying preceding comma (cl-07) and the conditional quarter space accompanying trailing middle dot (cl-05) can be reduced to solid setting). Table 5 allows the conditional half em space accompanying preceding comma (cl-07) to be reduced to a quarter space as a minimum. The priority order in space reduction for the conditional space accompanying middle dots (cl-05) is the fourth in Table 3 and the second in Table 4. The priority order in space reduction for the conditional space accompanying comma (cl-07) is the fifth in Table 3 and the third in Table 5. Qian niPei Zhi suruWen Zi kurasugaDu Dian Lei (cl-07)deHou roniPei Zhi suruWen Zi kurasu gaZhong Dian Lei (cl-05)noChang He noYuan Ze De naakiha,Qian niPei Zhi suruDu Dian Lei ( cl-07)noWen Zi saizunoEr Fen aki+Hou roniPei Zhi suruZhong Dian Lei (cl-05)noWen Zi saizunoSi Fen akidearu(Biao 4dehaHou roniPei Zhi suruZhong Dian Lei (cl-05)no Wen Zi saizunoSi Fen aki).Biao 3deha,Qian niPei Zhi suruDu Dian Lei (cl-07)noEr Fen akiJi biHou roniPei Zhi suruZhong Dian Lei (cl-05)noSi Fen akiwobetaZu madeJie me ruDiao Zheng gaKe Neng dearu.Biao 4deha,Hou roniPei Zhi suruZhong Dian Lei (cl-05)noSi Fen akiwobetaZu madeJie meruDiao Zheng gaKe Neng dearu.Biao 5deha,Qian niPei Zhi suruDu Dian Lei (cl-07)noEr Fen akiwoSi Fen akimadeJie meruDiao Zheng gaKe Neng dearu.Zhong Dian Lei (cl-05)noDiao Zheng noYou Xian Shun Wei ha,Biao 3haDi 4Duan Jie ,Biao 4haDi 2Duan Jie dearu.Du Dian Lei (cl-07)noDiao Zheng noYou Xian Shun Wei ha,Biao 3haDi 5Duan Jie ,Biao 5haDi 3Duan Jie dearu . 4. There is no opportunity for space reduction for a Western word space (cl-26) at the line head and at the line end since there is supposed to be no visible space. The same applies to the Western word space (cl-26) at the line head or the line end of warichu (inline cutting note). If the condition is changed for the same text, restore the default visible space for Western word space (cl-26). Xing Tou You haXing Mo noOu Wen Jian Ge (cl-26)ha,Kong kiLiang wo0tosurunode,Jie meruChu Li noDui Xiang ninaranai.Ge Zhu noXing Tou You haXing Mo niOu Wen Jian Ge (cl-26)woPei Zhi su ruChang He moTong Yang dearu.tadashi,konoBu Fen gaYi Dong shi,koretohaYi naruPei Zhi ninatsutaChang He ha,Ou Wen Jian Ge (cl-26)noKong kiLiang woQue Bao suru. 5. Table 3, and only Table 3, allows the preceding and trailing conditional quarter em space accompanying middle dots (cl-05) to be reduced to leave no space. The priority order is the third. Biao 3niXian ruga,Xing Mo niPei Zhi suruZhong Dian Lei (cl-05)noQian Ji biHou ronoSi Fen aki woYi Xu nibetaZu nisuruChu Li gaKe Neng dearu.You Xian Shun Wei haDi 3Duan Jie dearu. E. Opportunities for Inter-character Space Expansion during Line Adjustment Xing noDiao Zheng Chu Li de Kong keruChu Li ga Ke Neng naGe Suo The following table indicates if an opportunity exists for inter-character spacing expansion during line adjustment between two adjacent characters of given character classes as explained in SS 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen keru . (For more detail on line adjustment, see SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li .) In the process of line adjustment by inter-character spacing expansion, the first place to look (the first stage of inter-character spacing expansion in priority order) is for Western word spaces (cl-26), each of which is expandable equally, to take up and maximum of a half em space with respect to the corresponding character size. The tables are for the second and subsequent stages of inter-character spacing expansion in priority order, assuming the first stage of the expansion for Western word spaces (cl-26) is already done. The default unadjusted space between two adjacent characters of given character classes shall be determined according to SS B. Spacing between Characters Wen Zi Jian noKong kiLiang . Xing noDiao Zheng Chu Li deKong keruChu Li (Zhui Chu shiChu Li )gaKe Neng naGe Suo kadoukawo,SS 3.9.2 Grouping of Characters and Symbols depending on their Positioning Wen Zi Ji Hao woZhen ruWu iFang niyoriFen kerudeJie Shuo shita,sorezorenoWen Zi kurasuniHan mareruWen Zi Ji Hao nitsuite,Biao 6toshiteShi su(Xing noDiao Zheng Chu Li nitsuiteha, SS 3.8 Line Adjustment Xing noDiao Zheng Chu Li woCan Zhao ).Xing noDiao Zheng Chu Li deKong keruChu Li woXing uChang He ,You Xian De niZui Chu niXing uChu Li (You Xian Shun Wei noDi 1Duan Jie noChu Li )haOu Wen Jian Ge (cl-26)deari,Ou Wen Jian Ge (cl-26)woZui Da deEr Fen akimadeWen Zi saizuBi deJun Deng niKong keruChu Li woXing u.Yi Xia noBiao deha,sorezorenoWen Zi kurasugaLian Sok su ruChang He noZi Jian nitsuite,Ou Wen Jian Ge (cl-26)noChu Li woXing tsutaHou deXing uChu Li ,tsu mari,You Xian Shun Wei noDi 2Duan Jie Yi Jiang noChu Li nitsuiteShi su.nao,sorezoreGe Suo noYuan Ze De naKong kiLiang ha,SS B. Spacing between Characters Wen Zi Jian noKong kiLiang niShi su . See "Table 6 Opportunity of inter-character spacing expansion" (PDF). "Biao 6 Xing noDiao Zheng Chu Li deKong keruChu Li gaKe Neng naGe Suo "(PDFBan )woCan Zhao . E.1 Legend of Table 6 Biao 6noJian Fang 1. The left-most column, labeled "before", lists preceding character classes, and the top row, labeled "after", lists trailing character classes. Each cell indicates the type of opportunities for inter-character spacing expansion between two adjacent characters of the corresponding character classes at a given row and column. Note that there are no cells involving "line head" or "line end" because there is no opportunity for inter-character spacing expansion before any character at the line head or after any character at the line end. "before"(Biao noZuo Duan )toShi shitaLan ni,Qian niPei Zhi suruWen Zi kurasuwoShi shi, "after"(Biao noShang Duan )toShi shitaLan ni,Hou roniPei Zhi suruWen Zi kurasuwoShi su. sorezoregaJiao Chai suruXiao Jian (koma)niKong keruChu Li gaKe Neng kadoukawoShi su. nao,Xing Tou niPei Zhi suruWen Zi noQian ,Ji biXing Mo niPei Zhi suruWen Zi noHou roha,Kong keruChu Li noDui Xiang Ge Suo tohashinainode,konoBiao karaha,Xing Tou Ji biXing Mo noLan haSheng ita. 2. The type of opportunity for space expansion is indicated in each cell in the table using the following notation. Biao nosorezorenoXiao Jian ni,Kong keruChu Li noKe Fou nadowo,Ci noJi Hao deShi su. 1. Cells with a white background: No opportunity for space expansion. Xiao Jian noDi Se gaBai nomono(#):Kong keruChu Li noDui Xiang toshinaiGe Suo (Kong ke Chu Li Fou noGe Suo )woShi su. 1. Blank: Inter-character spacing expansion is not allowed because there is no line break opportunity between the given combination of characters. Wu Yin :Fen Ge Bu Ke tosuruGe Suo deari,Kong keruChu Li noDui Xiang toshinai Ge Suo (Kong keChu Li Fou noGe Suo )woShi su. 2. x mark: The combination is not allowed due to line breaking rules or other restrictions. xYin :Xing Tou Jin Ze ,Xing Mo Jin Ze ,sonoTa niyori,konoyounaPei Zhi woJin Zhi suru. 2. Cells with a colored or gray background: An opportunity exists for inter-character spacing expansion. Xiao Jian noDi Se gaSe You hagurenomono:Kong keruChu Li noDui Xiang toshiteyoiGe Suo (Kong keChu Li Ke noGe Suo )woShi su. 1. Priority order in space expansion: The second highest and subsequent priorities of inter-character spacing expansion are indicated by the given background colors of the cells. The cells with the colors in the left are higher in priority than ones in the right. Space expansion shall be processed in this order. When the 4th step is needed, evenly add space to equalize the spacing of 1st, 2nd, 3rd and 4th steps. Kong keruJi noYou Xian Shun Wei :Kong keruChu Li woXing uJi noDi 2Duan Jie Yi Jiang noYou Xian Shun Wei wo,Zuo Ce noGao imonokara,You Ce noDi imonoheto,Ci noXiao Jian noDi Se deShi su.konoShun Wei de,Kong keruChu Li woXing u.Di 4Duan Jie noChu Li woXing uChang He ha,Di 1Duan Jie karaDi 3Duan Jie madedeChu Li shitaKong kiLiang niZhui Jia shite,You Xian Shun Wei noDi 1Duan Jie karaDi 4Duan Jie madenoGe Suo woJun Deng niKong keru. Priority order in space expansion. Kong keruJi noYou Xian Shun Wei Figure 318 Priority order in space expansion. Kong keruJi no You Xian Shun Wei 2. Amount of space expandable: The amount of space to be expanded is indicated using the following notation. Kong keruChu Li gaKe Neng naLiang :Kong keruChu Li gaKe Neng naLiang woCi noJi Hao deShi su. 1. 1/4-1/2: A quarter em space by default, which is expandable equally, with respect to the corresponding character size, to take up to a maximum of a half em space. However if Table 5 of SS D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo is adopted as the method of inter-character spacing reduction for line adjustment, this quarter em space shall not be expanded. 1/4-1/2:Zi Jian noSi Fen akiwo,Zui Da deEr Fen akimade(You haSan Fen akimade)Wen Zi saizuBi deJun Deng niKong keruChu Li gaKe Neng .ta dashi,Xing noDiao Zheng Chu Li noJie meruDiao Zheng nioite,SS D. Opportunities for Inter-character Space Reduction during Line Adjustment Xing noDiao Zheng Chu Li de Jie meruChu Li ga Ke Neng naGe Suo noBiao 5noChu Li Fang Fa nishitaChang He ha,konoGe Suo haKong keru Chu Li noDui Xiang Ge Suo toshinai. 2. 1/4: No inter-character spacing by default, which is expandable equally, with respect to the corresponding character size, to take up to a maximum of a quarter em space. 1/4:Zi Jian noakihabetaZu gaYuan Ze dearuga,Zui Da deSi Fen aki madeWen Zi saizuBi deJun Deng niKong keruChu Li gaKe Neng . 3. blank: Expandable equally with respect to the corresponding character size, only after no other expandable inter-character spacing is left. Wu Yin :Yi Shang deDiao Zheng dekinaiChang He niWen Zi saizuBi deJun Deng niKong keruChu Li gaKe Neng . E.2 Notes Zhu Ji 1. If the IDEOGRAPHIC ITERATION MARK """ is allowed to appear at the head of a line or that of inline cutting note, the character shall be treated as a member of the ideographic character (cl-19) class. (For how it behaves in combination with other character classes, see the cells for ideographic characters (cl-19).) Zao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK)woXing Tou You haGe Zhu Xing Tou niPei Zhi surukotowoXu Rong suruChang He ,Zao Fan shiJi Hao ["] (IDEOGRAPHIC ITERATION MARK)haHan Zi Deng (cl-19)noWen Zi kurasuniHan meru(sonoXi ihaHan Zi Deng ( cl-19)noLan woCan Zhao ). 2. If a prolonged sound mark (cl-10) is allowed to appear at the line head or that of inline cutting note, the character shall be treated as a member of the katakana (cl-16) class. (For how it behaves in combination with other character classes, see the cells for katakana (cl-16).) Chang Yin Ji Hao (cl-10)woXing Tou You haGe Zhu Xing Tou niPei Zhi surukotowoXu Rong suruChang He , sorehaPian Jia Ming (cl-16)noWen Zi kurasuniHan meru(sonoXi ihaPian Jia Ming ( cl-16)noLan woCan Zhao ). 3. If small kana (cl-11) are allowed to appear at the head of a line or that of inline cutting note, the character shall be treated as a member of the hiragana (cl-15) or katakana (cl-16) class accordingly, depending on the script type of the character. (For how it behaves in combination with other character classes, see the cells for hiragana (cl-15) or katakana (cl-16).) Xiao Shu kinoJia Ming (cl-11)woXing Tou You haGe Zhu Xing Tou niPei Zhi surukotowoXu Rong suruChang He ,Xiao Shu kinoPing Jia Ming haPing Jia Ming (cl-15)noWen Zi kurasuniHan me,Xiao Shu kinoPian Jia Ming haPian Jia Ming (cl-16)noWen Zi kurasuniHan meru(sonoXi ihaPing Jia Ming ( cl-15)You haPian Jia Ming (cl-16)noLan woCan Zhao ). 4. A third order opportunity exists for inter-character spacing expansion, to take up to a maximum of a quarter em space, with respect to the corresponding character size, between two consecutive inseparable characters (cl-08) which are of different kinds. Hou roniPei Zhi suruFen Li Jin Zhi Wen Zi (cl-08)noWen Zi ga,Qian niPei Zhi suruFen Li Jin Zhi Wen Zi (cl-08)tohaBie noZhong Lei noWen Zi noChang He ,You Xian Shun Wei gaDi 3Duan Jie noZui Da de Si Fen akimadeWen Zi saizuBi deJun Deng niKong keruChu Li haKe tosuru. 5. A third order opportunity exists for inter-character spacing expansion, to take up to a maximum of a quarter em space, with respect to the corresponding character size, between the two consecutive characters which belong to different ornamented character complexes (cl-21) Hou roniPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)noWen Zi ga,Qian niPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Tian eZi Fu ki)(cl-21)tohaBie noQin Wen Zi Qun noWen Zi noChang He ,You Xian Shun Wei gaDi 3Duan Jie noZui Da deSi Fen akimadeWen Zi saizuBi de Jun Deng niKong keruChu Li haKe tosuru.soreYi Wai ha,Kong keChu Li Fou tosuru. 6. A third order opportunity exists for inter-character spacing expansion, to take up to a maximum of a quarter em space, with respect to the corresponding character size, if the two consecutive characters belong to different simple-ruby character complexes (cl-22). If not, inter-character spacing expansion is not allowed. Hou roniPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki)(cl-22) noWen Zi ga,Qian niPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiYi Wai norubiFu ki) (cl-22)tohaBie noQin Wen Zi Qun noWen Zi noChang He ,You Xian Shun Wei gaDi 3Duan Jie noZui Da de Si Fen akimadeWen Zi saizuBi deJun Deng niKong keruChu Li haKe tosuru.soreYi Wai ha ,Kong keChu Li Fou tosuru. 7. A third order opportunity exists for inter-character spacing expansion, to take up to a maximum of a quarter em space, with respect to the corresponding character size, if the two consecutive base characters belonging to different jukugo-ruby character complexes (cl-23). If not, inter-character spacing expansion is not allowed. Hou roniPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23)noWen Zi ga, Qian niPei Zhi suruQin Wen Zi Qun Zhong noWen Zi (Shou Yu rubiFu ki)(cl-23)tohaBie noQin Wen Zi Qun noWen Zi noChang He ,You Xian Shun Wei gaDi 3Duan Jie noZui Da deSi Fen akimadeWen Zi saizu Bi deJun Deng niKong keruChu Li haKe tosuru.soreYi Wai ha,Kong keChu Li Fou tosuru. 8. There is no opportunity for inter-character spacing expansion between a preceding grouped numeral (cl-24) and a trailing postfixed abbreviation (cl-13), unless the alternative approach is chosen which allows a line to break between a preceding grouped numeral (cl-24) and the trailing PERCENT SIGN "%", where PERCENT SIGN "%" shall be treated as a member of the ideographic character (cl-19) class, in front of which inter-character spacing is expandable. Qian niPei Zhi suruLian Shu Zi Zhong noWen Zi (cl-24)toHou roniPei Zhi suruHou Zhi Sheng Lue Ji Hao ( cl-13)noZi Jian ha,Kong keruDiao Zheng niShi Yong dekinai.tadashi,pasentoJi Hao [%] (PERCENT SIGN)nitsuiteha,Qian niPei Zhi suruLian Shu Zi Zhong noWen Zi (cl-24 )tonoZi Jian de2Xing niFen Ge surukotowoXu Rong suruFang Fa moaru.konoChang He ha,pa sentoJi Hao [%] (PERCENT SIGN)ha,Han Zi Deng (cl-19)noWen Zi kurasuni Han merunode,Kong keruDiao Zheng gaKe Neng naGe Suo ninaru. 9. There is an alternative way to give a third order opportunity for inter-character spacing expansion, to take up to a maximum of a quarter em space, with respect to the corresponding character size, between a preceding grouped numeral (cl-24) and a trailing Western character (cl-27). Qian niPei Zhi suruLian Shu Zi Zhong noWen Zi (cl-24)toHou roniPei Zhi suruOu Wen Yong Wen Zi ( cl-27)tonoZi Jian deYou Xian Shun Wei gaDi 3Duan Jie noZui Da deSi Fen akimadeWen Zi saizu Bi deJun Deng niKong keruChu Li haKe tosuruFang Fa moaru. 10. A third order opportunity exists for inter-character spacing expansion between a preceding Western character (cl-27) and a trailing postfixed abbreviation (cl-13), unless the preceding Western character (cl-27) is used as a symbol of a quantity or a European numeral, in which case no inter-character spacing expansion is allowed between them. Qian niPei Zhi suruOu Wen Yong Wen Zi (cl-27)toHou roniPei Zhi suruHou Zhi Sheng Lue Ji Hao ( cl-13)noZi Jian ha,Kong keruDiao Zheng gaKe Neng naGe Suo dearu(You Xian Shun Wei haDi 3Duan Jie ).shikashi,Qian niPei Zhi suruOu Wen Yong Wen Zi (cl-27)gaLiang woShi suJi Hao (Liang Ji Hao )You haarabiaShu Zi noChang He ha,Kong keruDiao Zheng Ge Suo toshitehanaranai. 11. There is an alternative way to give a fourth order opportunity for inter-character spacing expansion with respect to the corresponding character size, between two consecutive Western characters (cl-27). Qian niPei Zhi suruOu Wen Yong Wen Zi (cl-27)toHou roniPei Zhi suruOu Wen Yong Wen Zi (cl-27 )tonoZi Jian deYou Xian Shun Wei gaDi 4Duan Jie noWen Zi saizuBi deJun Deng niKong keruChu Li haKe tosuruFang Fa moaru. 12. A third order opportunity exists for the inter-character spacing expansion, to take up to a maximum of a quarter em space, with respect to the corresponding character size, if two consecutive characters belong to different runs of characters in tate-chu-yoko (cl-30). If not, inter-character spacing expansion is not allowed. Hou roniPei Zhi suruZong Zhong Heng Zhong noWen Zi (cl-30)noWen Zi ga,Qian niPei Zhi suruZong Zhong Heng Zhong noWen Zi (cl-30)tohaBie nogurupuniShu suruZong Zhong Heng noChang He ,You Xian Shun Wei ga Di 3Duan Jie noZui Da deSi Fen akimadeWen Zi saizuBi deJun Deng niKong keruChu Li haKe tosu ru.soreYi Wai ha,Kong keChu Li Fou tosuru. F. Positioning of Jukugo-ruby Shou Yu rubinoPei Zhi Fang Fa Positioning of ruby characters is explained in SS 3.3 Ruby and Emphasis Dots rubitoQuan Dian Chu Li , including that of jukugo-ruby, however it is limited to the basic principles. This appendix provides supplementary notes on jukugo-ruby distribution in terms of the structure of a kanji compound word (jukugo) and the type of script of the characters adjacent to the kanji compound word. All explanations hereafter in this appendix assume we are going to compose ruby characters with 'katatsuki' distribution (top-alignment in vertical writing mode). Shou Yu rubiwoHan merubinoPei Zhi Fang Fa ha,SS 3.3 Ruby and Emphasis Dots rubitoQuan Dian Chu Li deJie Shuo shiteiru.shikashi,Shou Yu rubinoPei Zhi Fang Fa nitsuiteha,sokodeha Yuan Ze shikaShi shiteinai.sokode,Yi Xia dehaShou Yu rubinitsuite,Shou Yu noGou Cheng , saranisonoShou Yu noQian Hou nikuruWen Zi noZhong Lei woKao Lu shitePei Zhi suruFang Fa nitsuiteBu Zu shiteoku.nao,kokodeha,Zong Zu niokeruJian Fu kirubinoPei Zhi Fang Fa woQian Ti ni shiteJie Shuo suru. F.1 Principles of Jukugo-Ruby Distribution: Part 1 Shou Yu rubinoPei Zhi Fang Fa noYuan Ze sono1 The following are principles of jukugo-ruby distribution, taking account of the structure of a kanji compound word and the type of script of the adjacent characters surrounding the compound word. Shou Yu noGou Cheng ,saranisonoShou Yu noQian Hou nikuruWen Zi noZhong Lei woKao Lu shitePei Zhi suruShou Yu rubinoYuan Ze toshiteha,Ci noyounaShi Xiang gaJu gerareru. 1. Because the purpose of ruby annotation, including jukugo-ruby, is to supply the reading of each base kanji character, attach each run of ruby text which represents the reading to the corresponding base kanji character. Shou Yu rubideatsutemo,sorewoGou Cheng surusorezorenoHan Zi Deng (cl-19)noDu mi Fang woShi sumonodearukara,sorezorenoHan Zi Deng (cl-19)tosonoDu miwoShi su rubitowodekirudakeDui Ying saseru. If each run of ruby characters representing the reading of a given base ideographic character (cl-19) participating in a kanji compound word is less than or equal to two, attach each ruby text to the corresponding base ideographic character (cl-19) (see Fig. F.1). The following figures supply a pair of examples of the same text per line, with and without character frames displayed. Ruby characters and base characters in the same color indicate that they correspond to each other. Those ideographic characters (cl-19) which are not part of the jukugo-ruby, and which, therefore, ruby characters are not allowed to overhang, are presented in yet different colors. Shou Yu rubiwoGou Cheng surusorezorenoHan Zi Deng (cl-19)noDu miFang woShi surubiga, sorezore2Zi Yi Xia deareba,sorezorenoHan Zi Deng (cl-19)nirubiwoDui Ying sa seru(Figure 319).nao,Wen Zi noWai Waku woShi shitaYi Xia noTu deha,Qin Wen Zi noHan Zi Deng (cl-19)tosoreniDui Ying sururubiWen Zi tonoDui Ying Guan Xi woTong Yi noTi Cai deShi su.Shou Yu rubidehanai,rubiwoGua ketehanaranaiBie noHan Zi Deng (cl-19 )mo,Bie noTi Cai deShi su. Jukugo-ruby distribution 1. Shou Yu rubinoPei Zhi Li 1 Figure 319 Jukugo-ruby distribution 1. Shou Yu rubinoPei Zhi Li 1 2. Because the intention when using jukugo-ruby is to handle the kanji compound word (jukugo) as one object, a run of ruby text for a base ideographic character (cl-19) is allowed to overhang the adjacent base character participating to the same compound word, up to a maximum of one em in the ruby character size (alternatively, the maximum size for the ruby overhang can be one and a half em, but the explanation hereafter assumes the maximum overhang to be one em in the ruby size.). Shou Yu rubiha,Shou Yu toshitenomatomariwoKao Lu surunode,Shou Yu Nei noTa noHan Zi Deng (cl-19)niZui Da derubiWen Zi saizudeQuan Jiao (You ha1.5Bei )madeGua katsute yoi.(Yi Xia deha,Zui Da derubiWen Zi saizudeQuan Jiao madetosuruFang Fa woJie Shuo suru.) 3. When the number of ruby characters is so great that the length of the ruby text is longer than that of the base characters forming the kanji compound word, the decision to what extent the ruby text can overhang the adjacent characters, if allowed, shall be made according to the methods explained in SS 3.3.8 Adjustments of Ruby with Length Longer than that of the Base Characters rubigaQin Wen Zi yorihamiChu shitaChang He noChu Li . The explanation hereafter adopts one of the methods that prohibits any ruby text to overhang ideographic characters (cl-19) but allows ruby to overhang the characters of a certain character class such as hiragana (cl-15) or katakana (cl-16), up to a maximum of one em in the ruby character size. Shou Yu rubiniFu kurubinoZi Shu gaDuo ku,Qin Wen Zi Qun kararubiWen Zi gahamiChu shita Chang He ,Qian Hou noWen Zi nadonidokomadeGua katsuteyoikahaSS 3.3.8 Adjustments of Ruby with Length Longer than that of the Base Characters rubi gaQin Wen Zi yorihamiChu shitaChang He noChu Li noBen Wen deJie Shuo shitaFang Fa toTong zidearu .Yi Xia deha,Han Zi Deng (cl-19)nihaGua ketehanaranaiga,Ping Jia Ming (cl-15 )yaPian Jia Ming (cl-16)nadonihaZui Da derubiWen Zi saizunoQuan Jiao maderubiWen Zi woGua ketemoyoi,tosuruFang Fa woQian Ti niJie Shuo suru. F.2 Principles of Jukugo-Ruby Distribution: Part 2 Shou Yu rubinoPei Zhi Fang Fa noYuan Ze sono2 In letterpress printing, ruby text was composed according to "principles part one" in the previous section, but on a case by case basis. Therefore, ruby texts were often composed differently for the same kanji compound word in the same situation. In some cases they differed according to the person in charge of the composition. In this section, one consistent method of ruby composition is presented as "principles part two", which is established with reference to those adopted in books and other publications. Huo Zi Zu Ban noChang He ha,Qian Xiang no"Yuan Ze sono1"niyori,kesubaikesuderubinoPei Zhi woJue meteita.shitagatsute,Tong ziShou Yu ,Tong ziZhuang Kuang demoPei Zhi Fang Fa gaYi naruChang He modeteita.Dan Dang Zhe niyoriYi natsutaPei Zhi Fang Fa ninaruChang He moatsuta.sokode ,kokodeha,Yuan Ze 2toshite,Shu Ji Deng deXing wareteiruFang Fa woCan Kao nishite,1tsuno Pei Zhi Fang Fa woShi su. 1. As long as jukugo-ruby can fit the kanji compound word by allowing ruby characters to overhang an adjacent base character that is part of the same compound word or those characters adjacent to the compound word which are of a certain character class such as hiragana (cl-15), inter-character spacing between base characters in the kanji compound word and that between the kanji compound word and the adjacent characters, should not be expanded. Tong Yi noShou Yu rubiNei noTa noHan Zi Deng (cl-19)You haQin Wen Zi Qun noQian Hou noPing Jia Ming ( cl-15)nadonirubiWen Zi woGua kerukotowoYou Xian shi,Qin Wen Zi noZi Jian You haQin Wen Zi Qun noQian Hou noZi Jian ha,dekirudakeKong kenaiyounisuru. 2. When a base character is accompanied by three or more ruby characters, decide the positioning of the ruby characters in the following order. Qin Wen Zi 1Zi niDui shite3Zi Yi Shang norubiWen Zi gaFu kuChang He ha,Ci noShun Xu deChu Li wo Xing u. 1. Let a run of ruby text for a given base character overhang either or both of the adjacent base characters up to a maximum of one em in the ruby character size. The first choice should be the succeeding base character. For example, suppose we have a kanji compound word consisting of three ideographic characters, each of which is accompanied by three, two and one ruby characters respectively. In this case, let the third character for the first base character overhang the second base character, by letting the second ruby character for the second base character overhang the third base character (see Figure 320). In cases where there is no possible arrangement of ruby characters that follows the first choice, let them overhang the preceding base characters as in the following illustrations. Figure 321 shows examples where the succeeding base characters overhang, while Figure 322 are examples where the preceding base characters overhang since there is no arrangement of ruby characters to take the succeeding ones. Tong Yi noShou Yu rubiNei noTa noQin Wen Zi niZui Da derubiWen Zi saizudeQuan Jiao made rubiWen Zi woGua keru.konoChang He ,Hou ronoQin Wen Zi heGua kerukotowoYou Xian su ru.nao,Qin Wen Zi ga3Wen Zi de,Shang noQin Wen Zi kara3Zi ,2Zi ,1Zi norubi gaFu kuChang He deatsutemo,2Fan Mu noXia no1Zi wo3Fan Mu noQin Wen Zi niGua ke,sa rani1Fan Mu nohamiChu shiwo2Fan Mu noQin Wen Zi niGua keruyounisuru(Figure 320).Hou ronoQin Wen Zi niGua kerukotogadekinaiChang He ha,Qian noQin Wen Zi ni Gua keru.ikutsukanoLi woTu niShi su.Figure 321haHou ronoQin Wen Zi niGua ketaLi ,Figure 322haHou ronoQin Wen Zi niGua kerukotogadekinainode, Qian noQin Wen Zi niGua ketaLi dearu. Jukugo-ruby distribution 2. Shou Yu rubinoPei Zhi Li 2 Figure 320 Jukugo-ruby distribution 2. Shou Yu rubinoPei Zhi Li 2 Jukugo-ruby distribution 3 (ruby characters to overhang the succeeding base characters). Shou Yu rubinoPei Zhi Li 3 (Hou ronoQin Wen Zi nirubiWen Zi woGua ketaLi ) Figure 321 Jukugo-ruby distribution 3 (ruby characters to overhang the succeeding base characters). Shou Yu rubinoPei Zhi Li 3(Hou ronoQin Wen Zi nirubiWen Zi woGua ketaLi ) Jukugo-ruby distribution 4 (ruby characters to overhang the preceding base characters). Shou Yu rubinoPei Zhi Li 4 (Qian noQin Wen Zi nirubiWen Zi wo Gua ketaLi ) Figure 322 Jukugo-ruby distribution 4 (ruby characters to overhang the preceding base characters). Shou Yu ru binoPei Zhi Li 4(Qian noQin Wen Zi nirubiWen Zi woGua ketaLi ) 2. When there is no possible arrangement of ruby characters even by allowing them to overhang the base characters participating to the same kanji compound word, at maximum by one em in ruby character size, then look at the adjacent characters in the main text surrounding the kanji compound word if they are of such character classes which ruby characters are allowed to overhang as in hiragana (cl-15). If they are, allow ruby characters to overhang these characters. The same principle applies here as to the choice of the adjacent (base or non-base) character to be the succeeding one in priority. For example, suppose we have a kanji compound word consisting of two ideographic characters, each of which is accompanied by three and two ruby characters respectively. In this case, let the third ruby character for the first base character overhang the second base character, by letting the second ruby character for the second base character overhang the succeeding non-base character of hiragana (cl-15) class or the like (see Figure 323). The following are some examples. Figure 324 shows examples of ruby characters that overhang the succeeding non-base characters and Figure 325 are examples of ruby characters that overhang the preceding non-base characters since there is no possible arrangement to allow ruby characters to take the succeeding ones. The last illustration shows examples of ruby characters that overhang both of the non-base characters adjacent to the kanji compound word (see Figure 326). Tong Yi noShou Yu rubiNei noTa noQin Wen Zi niZui Da derubiWen Zi saizudeQuan Jiao made rubiWen Zi woGua kerukotodeChu Li dekinaiChang He ,Shou Yu rubinoQian Ji biHou ro noLiang Fang garubiWen Zi woGua keteyoiPing Jia Ming (cl-15)nadonotokiha,rubi Wen Zi woQin Wen Zi noQian Hou nihamiChu saseru.konoChang He mo,Hou rohenohamiChu shiwoYou Xian suru.nao,Qin Wen Zi ga2Wen Zi de,Shang noQin Wen Zi kara3Zi ,2Zi no rubigaFu kuChang He deatsutemo,1Fan Mu noXia no1Zi wo2Fan Mu noQin Wen Zi niGua ke ,sarani2Fan Mu norubiwohamiChu sase,Shou Yu rubinoHou ronoPing Jia Ming ( cl-15)nadonirubiwoGua keruyounisuru(Figure 323).ikutsukano Li woTu niShi su.Figure 324haHou ronihamiChu shitaLi ,Figure 325haHou ronihamiChu sukotogadekinainodeQian nidakehamiChu shitaLi ,Figure 326haHou roJi biQian noLiang Fang nihamiChu shitaLi dearu(Figure 326). Jukugo-ruby distribution 5. Shou Yu rubinoPei Zhi Li 5 Figure 323 Jukugo-ruby distribution 5. Shou Yu rubinoPei Zhi Li 5 Jukugo-ruby distribution 6 (examples of ruby characters to overhang the succeeding non-base characters). Shou Yu rubinoPei Zhi Li 6 (Hou ronoWen Zi nirubiWen Zi woGua ketaLi ) Figure 324 Jukugo-ruby distribution 6 (examples of ruby characters to overhang the succeeding non-base characters). Shou Yu rubinoPei Zhi Li 6(Hou ronoWen Zi nirubiWen Zi woGua ketaLi ) Jukugo-ruby distribution 7 (examples of ruby characters to overhang the preceding non-base characters). Shou Yu rubinoPei Zhi Li 7 (Qian noWen Zi nirubiWen Zi woGua ketaLi ) Figure 325 Jukugo-ruby distribution 7 (examples of ruby characters to overhang the preceding non-base characters). Shou Yu rubinoPei Zhi Li 7(Qian noWen Zi nirubiWen Zi woGua ketaLi ) Jukugo-ruby distribution 8 (examples of ruby characters to overhang both of non-base characters). Shou Yu rubinoPei Zhi Li 8 (Qian Hou noWen Zi nirubiWen Zi woGua keta Li ) Figure 326 Jukugo-ruby distribution 8 (examples of ruby characters to overhang both of non-base characters). Shou Yu rubi noPei Zhi Li 8(Qian Hou noWen Zi nirubiWen Zi woGua ketaLi ) 3. If the succeeding character in the main text adjacent to the kanji compound word accompanied by ruby characters is of a character class which does not allow ruby to overhang, as with ideographic characters (cl-19), then look at the preceding character and allow ruby to overhang the character if it is of a character class that allows it. If the examples shown in Figure 323 or Figure 324 had ideographic characters (cl-19) next to the kanji compound word accompanied by ruby characters, let ruby characters overhang the preceding character in all cases but two examples with "Ju Hou " and "Gu Dai Zi " (see Figure 327). Qin Wen Zi Qun noHou rogaHan Zi Deng (cl-19)de,Qin Wen Zi Qun noHou ronoWen Zi nirubi Wen Zi woGua kerukotogadekinaiChang He ,Qian noWen Zi niGua kerukotogaKe Neng na tokiha,Qian noWen Zi niGua keru.Figure 323You haFigure 324noChang He de, Shou Yu rubinoHou roniHan Zi Deng (cl-19)woPei Zhi shiteirutokiha,"Ju Hou ", "Gu Dai Zi "noLi woChu ite,Qian noWen Zi nirubiWen Zi woGua keruyounisuru( Figure 327). Jukugo-ruby distribution 9 (examples of ruby characters to overhang the preceding non-base characters). Shou Yu rubinoPei Zhi Li 9 (Qian noWen Zi nirubiWen Zi woGua ketaLi ) Figure 327 Jukugo-ruby distribution 9 (examples of ruby characters to overhang the preceding non-base characters). Shou Yu rubinoPei Zhi Li 9(Qian noWen Zi ni rubiWen Zi woGua ketaLi ) 4. When both of the preceding and succeeding characters adjacent to the kanji compound word accompanied by ruby characters are of character classes which do not allow ruby to overhang, or there are too many ruby characters and it is impossible to fit them in using the approaches described above, the last thing to consider is to fit them in by expanding the inter-character spacing of the kanji compound word. There could be various methods, depending on what priorities are chosen, and in fact many different ways have been adopted. The following section will explain one of these methods. Qin Wen Zi Qun noQian Ruo shikuhaHou rogaHan Zi Deng (cl-19)de,rubiwoGua kerukoto gadekinai,You harubiWen Zi noZi Shu gaDuo ku,Yi Shang noFang Fa deChu Li dekina iChang He ha,Qin Wen Zi noZi Jian woKong keruChu Li woZu miHe waseteXing u.konoChu Li Fang Fa ha,He woZhong Shi surukadeYang "naFang Fa gaKao erare,mata,Yang "na Fang Fa deChu Li sareteiru.sokode,konoChu Li nitsuiteha,1tsunoFang Fa wo Ci Xiang deJie Shuo suru. To sum up the aforementioned, first try to let ruby characters overhang other base characters associated with the same kanji compound word, then look for adjacent non-base characters to see if they allow ruby to overhang. Finally when both approaches still cannot settle the positioning of the ruby characters, combine the method of expanding inter-character spacing of the compound word with the previous two. Yi Shang womatomeruto,mazu,Tong Yi noShou Yu rubiNei noTa noQin Wen Zi nirubiwoGua ke,so noFang Fa dakedeChu Li dekinaiChang He ha,Qin Wen Zi Qun noQian Hou norubiwoGua kerukotogaKe Neng naWen Zi nadonirubiwoGua ke,sarani,soredemoChu Li dekinaiChang He ha,Qin Wen Zi noZi Jian woKong keruChu Li woZu miHe waseterubinoPei Zhi Wei Zhi woJue meru,tonaru. F.3 Principles of Jukugo-Ruby Distribution with Inter-Character Space Expansion Shou Yu rubinoQin Wen Zi noZi Jian woKong keruChu Li noYuan Ze Principles for a method of jukugo-ruby distribution which allows inter-character spacing to expand, are as follows. Shou Yu rubinoQin Wen Zi noZi Jian woKong keruChu Li nitsuite,1tsunoFang Fa noYuan Ze woShi suto, Ci noyouninaru. 1. Try first to let ruby characters overhang other base characters associated with the same kanji compound word. If ruby still does not fit, then look for adjacent non-base characters that allow ruby to overhang. Lastly when both approaches still cannot settle the positioning of the ruby characters, combine the method of expanding inter-character spacing of the compound word with the previous two. Tong Yi noShou Yu rubiNei noTa noQin Wen Zi nirubiwoGua keru,sarani,Qin Wen Zi Qun noQian Hou noWen Zi nadonirubiwoGua keruChu Li woXing i,koreranoFang Fa demoPei Zhi dekina iChang He ,koreranoFang Fa niZhui Jia shite,Zi Jian woKong keruChu Li woXing u. 2. Inter-character spacing can be expanded only for those base characters which are accompanied by more than two ruby characters. Zi Jian woKong keruDui Xiang ha,1Zi 1Zi noQin Wen Zi niDui Ying sururubiga1Zi You ha2Zi nomo nowoChu ki,1Zi 1Zi noQin Wen Zi niDui Ying sururubiWen Zi ga2Zi woChao eruQin Wen Zi tosu ru. 3. The total amount of inter-character spacing should be determined as follows. Zi Jian woKong keruKong kiLiang noHe Ji ha,Ci noyouninaru. Total inter-character spacing = (the sum of the length of those ruby characters forced out from the corresponding base character) - (the sum of the length of those ruby characters which overhang other base characters) - (the sum of the length of those ruby characters which overhang other non-base characters). Kong kiLiang noHe Ji =rubiWen Zi ga2Zi woChao eruQin Wen Zi karanohamiChu shinoHe Ji -Tong Yi noShou Yu rubiNei noTa noQin Wen Zi nirubiwoGua keruLiang noHe Ji -Qin Wen Zi Qun noQian Hou noWen Zi nadonirubiwoGua keruLiang noHe Ji 4. Distribute the amount of space across those base characters accompanied by more than two ruby characters in accordance with the number of ruby characters (or the length of ruby characters when set solid). Kong kiLiang noHe Ji worubiWen Zi ga2Zi woChao eruQin Wen Zi niFu kurubiWen Zi noZi Shu (be taZu toshitarubiWen Zi Lie noQuan Chang )niYing zite,Dui Xiang noQin Wen Zi niPei Fen suru. 5. For each base character, expand the preceding and succeeding inter-character spacing equally by half of the assigned space. Note that, depending on the position of the base character, it could be the expansion of inter-character spacing between two base characters, or it could be the expansion between the base character and a non-base character. sorezorenoQin Wen Zi deha,Pei Fen saretaKong kiLiang wo2Deng Fen shi,sonoQin Wen Zi noQian Ji biHou rowoJun Deng niKong keru.Tong Yi noShou Yu Nei noQin Wen Zi Jian noZi Jian tonaruChang He to, Qin Wen Zi Qun noQian You haHou rotosonoQian Hou niPei Zhi suruWen Zi nadotonoZi Jian tonaruChang He gaaru. 6. In a special case where a jukugo-ruby character complex is at the line-head and the base character and the ruby character at the line-head are supposed to be aligned, expand only the succeeding inter-character spacing of the base character by all of the assigned space. Similarly, when a jukugo-ruby character complex is at the line-end and the base character and the ruby character at the line-end are supposed to be aligned, expand the preceding inter-character spacing of the base character by all of the assigned space. Shou Yu rubiwoXing Tou niPei Zhi shi,katsu,Xing Tou nioiteQin Wen Zi noXian Tou torubiWen Zi Lie noXian Tou wosoroeruFang Shi nisuruChang He ha,Qin Wen Zi noHou rowoPei Fen saretaKong ki Liang dakeKong keru.Shou Yu rubiwoXing Mo woPei Zhi shi,katsu,Xing Mo nioiteQin Wen Zi no Mo Wei torubiWen Zi Lie noMo Wei wosoroeruFang Shi nisuruChang He ha,Qin Wen Zi noQian woPei Fen saretaKong kiLiang dakeKong keru. F.4 Examples of Jukugo-Ruby Distribution with Inter-Character Space Expansion Shou Yu rubinoQin Wen Zi noZi Jian woKong keruChu Li Li The following are examples of jukugo-ruby distribution in accordance with the principles mentioned in the previous section. Yi Xia deha,Qian Xiang noYuan Ze niCong tsutaShou Yu rubinoQin Wen Zi noZi Jian woKong keruChu Li Li woShi su. The jukugo-ruby shown in Figure 328 requires expansion of inter-character spacing by one ruby character. Expand the preceding and succeeding inter-character spacing for the base character "Jun " accompanied by three ruby characters by a quarter em each in base character size. Figure 328noLi ha,rubi1Zi Fen woChu Li suruBi Yao gaaru.rubiWen Zi no3Zi gaDui Ying suru"Jun "noQian Hou woQin Wen Zi saizunoSi Fen akinisuru. Jukugo-ruby distribution with inter-character spacing expansion 1. Zi Jian woKong ketaShou Yu rubinoPei Zhi Li 1 Figure 328 Jukugo-ruby distribution with inter-character spacing expansion 1. Zi Jian woKong ketaShou Yu rubinoPei Zhi Li 1 The jukugo-ruby shown in Figure 329 requires expansion of inter-character spacing by one ruby character. Expand the preceding and the succeeding inter-character spacing for the base character "Hou " accompanied by four ruby characters by a quarter em each in base character size. Figure 329noLi ha,rubi1Zi Fen woChu Li suruBi Yao gaaru.rubiWen Zi no4Zi gaDui Ying suru"Hou "noQian Hou woQin Wen Zi saizunoSi Fen akinisuru. Jukugo-ruby distribution with inter-character spacing expansion 2. Zi Jian woKong ketaShou Yu rubinoPei Zhi Li 2 Figure 329 Jukugo-ruby distribution with inter-character spacing expansion 2. Zi Jian woKong ketaShou Yu rubinoPei Zhi Li 2 Figure 330 are examples with the same jukugo-ruby as in Figure 328 and Figure 329 except their positions in the lines are at the line-head or at the line-end, where the base character and the ruby character at the line-head or at the line-end are both aligned. Figure 330noLi ha,Figure 328Ji biFigure 329noLi woXing Tou You haXing Mo niPei Zhi shi ,Qin Wen Zi torubiWen Zi noXian Tou You haMo Wei wosoroeruPei Zhi Fang Fa nishitaLi dearu. Jukugo-ruby distribution with inter-character spacing expansion 3 (examples at the line-head and at the line-end). Zi Jian woKong ketaShou Yu rubi noPei Zhi Li 3 (Xing Tou toXing Mo noPei Zhi Li ) Figure 330 Jukugo-ruby distribution with inter-character spacing expansion 3 (examples at the line-head and at the line-end). Zi Jian woKong ketaShou Yu rubinoPei Zhi Li 3(Xing Tou toXing Mo noPei Zhi Li ) Examples shown in Figure 331 are those with two base characters accompanied by six ruby characters. Distribution of ruby varies depending on the position of ideographic characters (cl-19) and whether it is adjacent to the kanji compound word. Figure 331noLi ha,2Zi noQin Wen Zi ni6Zi norubiWen Zi gaFu kuLi dearu.Qin Wen Zi Qun noQian You haHou roniHan Zi Deng (cl-19)gadonoyouniPei Zhi sarerukade,rubinoPei Zhi Wei Zhi haBian watsutekuru. Jukugo-ruby distribution with inter-character spacing expansion 4. Zi Jian woKong ketaShou Yu rubinoPei Zhi Li 4 Figure 331 Jukugo-ruby distribution with inter-character spacing expansion 4. Zi Jian woKong ketaShou Yu rubinoPei Zhi Li 4 Examples shown in Figure 332 are those with three base characters accompanied by eight ruby characters. Distribution of ruby varies depending on the position of ideographic characters (cl-19) and whether it is adjacent to the kanji compound word. Figure 332noLi ha,3Zi noQin Wen Zi ni8Zi norubiWen Zi gaFu kuLi dearu.Qin Wen Zi Qun noQian You haHou roniHan Zi Deng (cl-19)gadonoyouniPei Zhi sarerukade,rubinoPei Zhi Wei Zhi haBian watsutekuru. Jukugo-ruby distribution with inter-character spacing expansion 5. Zi Jian woKong ketaShou Yu rubinoPei Zhi Li 5 Figure 332 Jukugo-ruby distribution with inter-character spacing expansion 5. Zi Jian woKong ketaShou Yu rubinoPei Zhi Li 5 Examples shown in Figure 333 are those with three base characters accompanied by nine ruby characters. Distribution of ruby varies depending on the position of ideographic characters (cl-19) and whether it is adjacent to the kanji compound word. Figure 333noLi ha,3Zi noQin Wen Zi ni9Zi norubiWen Zi gaFu kuLi dearu.Qin Wen Zi Qun noQian You haHou roniHan Zi Deng (cl-19)gadonoyouniPei Zhi sarerukade,rubinoPei Zhi Wei Zhi haBian watsutekuru. Jukugo-ruby distribution with inter-character spacing expansion 6. Zi Jian woKong ketaShou Yu rubinoPei Zhi Li 6 Figure 333 Jukugo-ruby distribution with inter-character spacing expansion 6. Zi Jian woKong ketaShou Yu rubinoPei Zhi Li 6 G. Terminology Yong Yu Ji The definitions with (JIS Z 8125) and (JIS X 4051) at the end are those adopted for the corresponding terms by JIS Z 8125 ("Graphic arts - Glossary - Digital printing terms") and JIS X 4051 ("Formatting rules for Japanese documents") respectively. Shuo Ming noZui Hou ni"(JIS Z 8125)"toShi shitamonoha,JIS Z 8125(Yin Shua Yong Yu -- de zitaruYin Shua ),"(JIS X 4051)"toShi shitamonoha,JIS X 4051(Ri Ben Yu Wen Shu noZu Ban Fang Fa )noDing Yi dearu. Terminology Yong Yu Japanese Transliteration (Ying Yu ) Yong Yu (Ri yomi Definition Ding Yi Ben Yu ) Appendices, supplements, glossary of terms, index and/or bibliography, and so on, appended at the end of back matter Hou Fu atozuke a book. atoduke Shu Ji noJuan Mo niFu kerareruFu Lu ,Bu Yi ,Yu Hui Jie Shuo ,Suo Yin ,Wen Xian nado. A character to be annotated by ruby, ornament characters, or emphasis oya moji dots. base character Qin Wen Zi oyamozi rubi,Tian eZi You haQuan Dian gaFu ke raretatoki,sonoDui Xiang tonaru Wen Zi . A virtual line on which almost all glyphs in Western fonts are designed to be aligned. (JIS Z 8125) base line Bing biXian narabi sen narabisen Ou Wen huontonadonioite, huontoZhong noDuo kunogurihuga sonoShang desorou,Ji Ben De naJia Xiang noXian .(JIS Z 8125) A list of works and papers related to the subjects in sanko bunken the text. (JIS Z 8125) bibliography Can Kao Wen Xian sankoubunke n Ben Wen noNei Rong niGuan Xi noShen iTa no Zhu Shu ,Lun Wen woJi shitamono.( JIS Z 8125) An empty page. blank page Bai pezi shiro peji shiropezi He moBiao Shi shinaipezi. To print a picture or a tint to run off the edge of a trimmed page. (JIS Z tachikiri 8125) bleed Cai Qie ri tachikiri Xie Zhen ,Ping Wang nadowoDuan Cai Wei Zhi i tsupaimadeYin Shua surukoto.( JIS Z 8125) The direction lines progress, one after the Xing Song riFang gyo okuri hoko other. (JIS Z 8125) block direction Xiang giyouokuriho ukou 1tsunoXing gaCi noXing hetoSok kuFang Xiang .(JIS Z 8125) A kind of heading styles. The heading is set as an betsugyomidashi independent line from basic block heading Bie Xing Jian Chu betsugiyoumida text. (JIS Z 8125) shi shi Ben Wen tohaBie noXing niPei Zhi shitaJian Chu shi.(JIS Z 8125) A kind of font style. Similer to bold in western futoji typograpy. bold Tai Zi hutozi ueitowoDa kiku(Zi Xing noHua Xian woTai ku)shitaShu Ti . Binding of a book to be opened from the left. bound on the hidari toji left-hand side Zuo Zhui zi hidaritozi Biao Zhi noBiao Mian woZheng Mian niJian taChang He ni,nodogaZuo Ce ninatsuteiru Zhui ziFang . Binding of a book to be opened from the right. bound on the migi toji right-hand side You Zhui zi migitozi Biao Zhi noBiao Mian woZheng Mian niJian taChang He ni,nodogaYou Ce ninatsuteiru Zhui ziFang . A line drawn by the left or right side of a character or a run of text in vertical writing mode. (JIS bousen Bang Xian bosen Z 8125) (sideline) bousen Zong Zu nioite,Wen Zi You haWen Zi Lie noYou You haZuo niYin itaXian .( JIS Z 8125) To place the first of two adjacent characters at the end of a line and the second at the head of a new (2Xing ni bunkatsu line. break (a line) )Fen Ge bunkatsu Lian Sok shita2Wen Zi nitsuite,Qian no Wen Zi ha,sonoXing noXing Mo niPei Zhi shi,Hou ronoWen Zi haCi noXing noXing Tou niYi Dong surukoto. A title or a short description accompanying a picture, an illustration, kiyapushi kyapushon or a table. (JIS Z 8125) caption yon kiyapushiyon Xie Zhen ,Tu Ban ,Biao nadonisoeru Biao Ti yaJian Jie naShuo Ming Wen .(JIS Z 8125) Each element area of tables, cell. cell koma koma Biao nioiteha,Gua nadodeXiao sa koma naLing Yu niQu Qie ruga,konoLin ri He uZong Ji biHeng noGua nadodeQu Qie raretaGe "noLing Yu . The content of each cell in tables. (JIS X 4051) cell contents komaNei Rong komanaiyo komanaiyou Biao nokomanoZhong niBiao Shi sarerumo no.(JIS X 4051) Spacing between line and cell in tables. (JIS X komayohaku 4051) cell padding komaYu Bai komayohaku Biao noGua Xian tokomatonoJian noKong Bai Ling Yu .(JIS X 4051) To align the center of a run of text that is shorter than a given line length to chuo soroe the center of a line. (JIS centering Zhong Yang soro chiyuuousoro Z 8125) e e Wen Zi Lie noZhong Yang wo,Xing Tou toXing Mo tonoZhong Yang noWei Zhi niHe waseruko to.(JIS Z 8125) Size of a character frame in the inline direction, generally indicated as a ratio of the size of a full-width character, as in full-width, half-width, or quarter em width. Character character Zi Fu jihaba advance is the width of a advance zihaba given character in horizontal writing-mode, while it is the height in vertical writing-mode. Zi Fu ga,Quan Jiao no2Fen no1dearu Wen Zi noWai Waku .(JIS X 4051) Rectangular area occupied by a character when it is (Wen Zi no sotowaku set solid. character frame )Wai Waku sotowaku 1tsunoWen Zi gaZu Ban noJi niZhan You su ruJia Xiang De naChang Fang Xing noLing Yu . Incarnation of a character by handwriting, printing or rendering to a computer screen. (JIS Z 8125) character shape Zi Xing jikei Wen Zi nitsuite,Shou Shu ki,Yin Zi ,Hua Mian Biao Shi nadoniyotsuteShi Ji niTu Xing toshiteBiao Xian shitamono. (JIS Z 8125) Dimensions of a character. Unless otherwise noted, it refers to the size of a Wen Zi sai moji saizu character frame in the character size zu mozisaizu block direction. Wen Zi noDa kisa.Tong Chang ,Wen Zi no Xing Song riFang Xiang noWai Waku noChang sa. Any character for which "line-end prohibition rule" characters not Xing Mo Jin Ze gyomatsu is invoked. (JIS Z 8125) ending line Wen Zi kinsoku moji Xing Mo Jin Ze noTiao Jian niGai Dang suruWen Zi .(JIS Z 8125) Any character for which "line-start prohibition gyoto kinsoku rule" is invoked. (JIS Z characters not Xing Tou Jin Ze moji 8125) starting line Wen Zi giyoutoukin sokumozi Xing Tou Jin Ze noTiao Jian niGai Dang suruWen Zi .(JIS Z 8125) Chronological tabels about the histories of persons or chronological nenpu organizations. history Nian Pu nenpu Ge Ren (You haTuan Ti )noJing Li nitsu ite,Nian Dai Shun niJi Zai shitaBiao . Chronologocal tables about histrical incidents. There are special types of chronological tables besides general ones, focused to specific view chronological nenpyo points and aspects. table Nian Biao nenpiyou Li Shi Shang noZhu Shi Jian nitsuite,Nian Dai Shun niJi Zai shitaBiao .Nian Biao niha ,She Hui Quan Ban noZhu Shi Jian woDui Xiang to shitaZong He Nian Biao dakedenaku,Mu De niYing ziteTe Ding noFen Ye niXian Ding shitaTe Shu Nian Biao gaaru. Middle width line, usually chubosokei about 0.25mm. chu-boso-kei Zhong Xi Gua chiyuubosokei 0.25mmCheng Du noTai sanoShi Xian . A partition on a page in multi-column format. (JIS Z dan 8125) column Duan dan Duan Zu nioite,Fen Ge sareta1Qu Fen .(JIS Z 8125) Amount of space between columns on a page. (JIS Z dankan 8125) column gap Duan Jian dankan Duan Zu noDuan toDuan tonoJian noKong ki. (JIS Z 8125) A setting style of illustrations, tables, etc., over hanging to multiple columns. (JIS Z dannuki 8125) column spanning Duan Ba ki dannuki Duan Zu nopezinioite,Jian Chu shi,Tu Ban nadowoFu Shu Duan nimata gatsutePei Zhi surukoto.(JIS Z 8125) Headings using multiple dannuki no columns. column spanning Duan Ba kino midashi heading Jian Chu shi dannukinomida Duan Ba kinishitePei Zhi suruJian Chu shi shi . Process of arrangement of text, figures and/or pictures, etc on a page in a desired layout (design) in preparation for composition Zu Ban kumihan printing. kumihan Yuan Gao Ji bireiauto(dezai n)noZhi Ding niCong tsute,Wen Zi Tu Ban Xie Zhen nadowoPei Zhi suruZuo Ye noZong Cheng . A combination of two or more kanji characters which compound word jukugo makes one word. (jukugo) Shou Yu ziyukugo 2Zi Yi Shang noHan Zi gaJie He shi,Yi Yu tonatsutamono. a) To number the pages of a book continuously across all those in the front matter, the text and the back matter. b) To number the pages continuously across those of all books, such as a series published in separate volumes. Also to number the pages continuously across those of all issues of a periodical published in a continuous Tong shinon toshi nonburu year, aside from pagination pagination buru tooshinonburu per issue. (JIS Z 8125) a)Shu Ji noQian Fu Ben Wen Hou Fu wo Tong shiteYi Lian nononburuwoFu ke rukoto. b)Fen Ce shiteKan Xing sareruCong Shu na dode,soreraQuan Ti woTong shiteYi Lian nononburuwoFu kerukoto. mata,Ding Qi Kan Xing Wu denoGe Hao go tonononburutohaBie ni1Nian Fen wo Tong shitanonburuwoBing Ji suruko to. (JIS Z 8125) A style of headings. Headings do not occupy the full lines, but share lines area with following main cut-in heading Chuang Jian Chu shi madomidashi text lines. madomidashi Jian Chu shidakede1Xing woGou Cheng suruko tonaku,Jian Chu shinoCi ni2Xing You ha 3Xing noWen Zhang woSok keruJian Chu shi. A descender is the part of a letter extending below the base line, as in 'g', 'j', 'p', 'q', or 'y'. A descender line is a virtual line drawn at the bottom of descender parallel to base deisen disenda rain line. descender line darain deisendarai n deisendaha,Ou Wen Xiao Wen Zi nog ,j,p,q,ynadonoWen Zi no, besurainyoriXia niShen bite iruBu Fen woii,deisenda rainha,deisendanoZui Xia Duan woShi su,besurainniPing Xing naJia Xiang noXian . A method that prints ryobashira running heads on both even double running hoshiki and odd pages. (JIS Z 8125) head method Liang Zhu Fang Shi riyoubashiraho ushiki Zhu woQi Shu Ou Shu Liang peziniJie gerukoto.(JIS Z 8125) Symbols attached alongside a run of base characters to emphasize them. (JIS Z 8125) emphasis dots Quan Dian kenten kenten Wen Zi nosobaniFu keteZhu Yi woCu shitari,sonoBu Fen woQiang Diao shita risurushirushi.(JIS Z 8125 ) A set of notes placed at the end of a part, chapter, section, paragraph and so on, or at the end of a kochu book. (JIS Z 8125) endnote Hou Zhu kouchiyuu Ben Wen noBian Zhang Jie Duan Luo nado noQu Fen noZhong wariYou haJuan Mo nima tometeRu reruZhu Shi .(JIS Z 8125) Any of the symbols in [0-9] used to represent numbers. (JIS Z 8125) European arabia arabia suji numerals Shu Zi arabiasuuzi indoniShi mari,arabiaka rayorotsupaniChuan watsutaShu Zi .(Suan Yong Shu Zi ,Yang Shu Zi tomoi u.)(JIS Z 8125) A text setting with uniform inter-character spacing per line so that each line is aligned on the same even kinto wari line-head and line-end. inter-character Jun Deng Ge ri kintouwari (JIS Z 8125) spacing Zi Jian woJun Deng niKong ke,Wen Zi Lie no Liang Duan woXing Tou Ji biXing Mo nisoroe rukoto.(JIS Z 8125) Adjustment of inter-character spacing by subtracting the same amount kinto zume of space. (JIS Z 8125) even tsumegumi Jun Deng Jie me kintoudume betaZu yoriZi Jian woYi Ding Liang Jie me teWen Zi woPei Zhi suruFang Fa .(JIS Z 8125) Adjustment of inter-character spacing by subtracting space to the extent that two letter jizura zume faces are placed adjacent. face tsumegumi Zi Mian Jie me ziduradume (JIS Z 8125) Jia Ming yaYue Wu Deng noZi Mian gaZhong nara naiCheng Du madeJie meteWen Zi woPei Zhi suruFang Fa .(JIS Z 8125) A text setting with a uniform inter-character fixed spacing. (JIS Z 8125) inter-character akiZu aki gumi spacing akigumi Zi Jian niYi Ding noakiwoRu reteWen Zi woPei Zhi suruFang Fa .(JIS Z 8125) A characteristic of a font where the same character advance is assigned for all monosupe monosupesu glyphs. (JIS Z 8125) fixed-width su monosupesu 1tsunohuontonoWen Zi noZi Fu ga subeteDeng shiiZhi woChi tsuteiru koto.(JIS Z 8125) A set of character glyphs of a given typeface. (JIS Z fonto 8125) font huonto huonto aruShu Ti niyotsuteZuo Cheng sareta Zi Xing noJi He .(JIS Z 8125) a) The bottom part of a book or a page. b) The bottom margin between the edge of a trimmed page and the hanmen chi (text area) foot Di chi (JIS Z 8125) a)Ben You hapezinoXia Bu . b)pezinoXia Bu noShi Shang riXian to Ban Mian madenoYu Bai Bu Fen . (JIS Z 8125) A note in a smaller face than that of main text, placed at the bottom of a kyakuchu page. (JIS Z 8125) footnote Jiao Zhu kiyakuchiyuu pezinoXia Bu ni,Ben Wen yorimo Xiao sanaWen Zi deZu maretaZhu Shi . (JIS Z 8125) a) The three front trimmed edges of pages in a book. b) The opposite sides of the gutter in a book. koguchi (JIS Z 8125) fore-edge Xiao Kou koguchi a)Ben nopezinoZhui ziteinai San Fang noQie riKou . b)nodonoFan Dui Ce . (JIS Z 8125) The first part of a book followed by the text, usually consisting of a forward, preface, table of contents, list of front matter Qian Fu maezuke illustrations, maeduke acknowledgement and so on. Shu Ji noBen Wen niXian Li tsupezide ,maegaki,Xu Wen ,Mu Ci ,Cha Hui Yi Lan ,Xian Ci nado. a) Relative index for the length which is equal to a given character size. b) Character frame which character advance is equal to the amount referred to as a). A full-width full-width Quan Jiao zenkaku character frame is square zenkaku in shape by definition. a)Wen Zi saizuniDeng shiiChang sano Xiang Dui Dan Wei . b)Zi Fu gaadearuWen Zi noWai Waku .konoChang He ,Wen Zi noWai Waku haZheng Fang Xing ninaru. A method of ruby annotation using kana characters to indicate how to read kanji characters. This term derives from a Japanese verb "furu (to attach alongside)" and "kana", and has been used synonymously with "ruby". This document prefers to use the term furigana Zhen riJia Ming furigana "ruby". rubinoPei Zhi Wei Zhi ni,Jia Ming woShi Yong shitamono.nao,Zhen riJia Ming toha,Han Zi noDu miFang woShi suta meni,sonowakiniFu keruJia Ming toiuYi Wei de,rubitoTong Yi De niYong iraretekita.konoWen Shu deha"rubi"toiuYong Yu woYi Guan shiteYong iru. A method of ruby annotation using Kanji characters for ruby instead of kana furikanji Zhen riHan Zi furikanji characters. hurigana rubinoPei Zhi Wei Zhi ni,Jia Ming deha naku,Han Zi woShi Yong shitamono. A method of placing multiple runs of text in a line. (JIS Z 8125) furiwake Zhen Fen ke furiwake huriwake 1Xing noZhong ni,Fu Shu noXing karanaru Wen Zhang woPei Zhi suruFang Fa .(JIS Z 8125) A method of ruby annotation that attaches ruby text for all Kanji characters in the general-ruby Zong rubi so rubi text. (JIS Z 8125) sourubi Wen Zhong nosubetenoHan Zi nirubiwo Fu kerukoto.(JIS Z 8125) A method of ruby character distribution such that the length of ruby text matches to that of the base text by giving the same adjusted gurupu gurupu rubi amount of space between group-ruby rubi gurupurubi ruby characters. Fu Shu noQin Wen Zi deGou Cheng sareruYu Quan Ti niGua karuyouniJun Deng Jian Ge nirubiwoFu ketePei Zhi suruFang Fa . a) The binding side of a spread of a book. b) The margin between the binding edge of a book and the hanmen (text area). c) The part of a book where all pages are bound together to the book spine. gutter nodo nodo (JIS Z 8125) nodo a)Ben woGuang getatoki,Zhong Yang noZhui ziMu gaaruFang Xiang . b)Zhong Yang noZhui ziMu toBan Mian noYu Bai Bu Fen . c)Ben noZhong Shen toBei gaJie suruBu Fen . (JIS Z 8125) To keep block direction area for headings and so on, along with line units in kihon-hanmen. The width of the gyodori space is calculated with following fomula: line width x number of lines + line gap x (number of lines - 1). However, deceptively, in middle of page or column, the line gaps before and after seem to be added to the gyodori space, and in the start of page or column, the line gap after gyodori Xing Qu ri gyodori seems to be added to the giyoudori gyodori space. Jian Chu shinadowoPei Zhi suruLing Yu no Xing Song riFang Xiang noDa kisawoXing Dan Wei deQue Bao surukoto.konoChang He , Xing Song riFang Xiang noJian Chu shinoZhan meru supesuha,"Xing noFu xXing Shu + Xing Jian x(Xing Shu -1)"tonaru.shi kashi,Jian taMu niha,pezi( You haDuan )noTu Zhong niJian Chu shiwoPei Zhi suruChang He ha,sonosupesu noQian Ji biHou ronoXing Jian gaJia wari ,pezi(You haDuan )noXian Tou ni Jian Chu shiwoPei Zhi suruChang He ha,so nosupesunoHou ronoXing Jian gaJia watsutaDa kisatonaru. Half of the full-width size. (JIS Z 8125) half em Er Fen nibu nibu Quan Jiao no2Fen no1noChang sa.(JIS Z 8125) Amount of space that is nibu aki half size of em space. half em space Er Fen aki nibuaki Er Fen noKong kiLiang . Character frame which has a character advance of a half hankaku em. half-width Ban Jiao hankaku Zi Fu ga,Quan Jiao no2Fen no1dearu Wen Zi noWai Waku .(JIS X 4051) A simplified version of naka-tobira, the verso side of which text of the new part starts. (JIS Z 8125) han-tobira Ban Fei hantobira hantobira Zhong Fei woJian Lue nishitamonode,Li Mian karaBen Wen woShi meru,Jian Chu shi nadonoBiao Ti woJie getapezi. (JIS Z 8125) Actual printed area in a page excluding the margins. (note: Running heads and page numbers are not part hanmen (page hanmen of hanmen.) (JIS Z 8125) content area) Ban Mian hanmen Ben no1peziNei no,Zhou Wei noYu Bai woChu itaBu Fen noYin Shua Mian .(Can Kao :Zhu Ji binonburuhaBan Mian ni Han menai.)(JIS Z 8125) a) The top part of a book or a page. b) The top margin between the top edge of a trimmed page and the hanmen (text ten area) head Tian ten (JIS Z 8125) a)Ben You hapezinoShang Bu . b)pezinoShang Bu noShi Shang riXian to Ban Mian madenoYu Bai Bu Fen . (JIS Z 8125) a) A title of a paper or an article. b) A title for each section of a book, paper or article. heading Jian Chu shi midashi (JIS Z 8125) midashi a)Lun Wen ,Ji Shi nadonoBiao Ti . b)Ben ,Lun Wen ,Ji Shi nadonoNei Rong woQu Fen shiteFu ketaBiao Ti . (JIS Z 8125) A kind of notes in vertical writing style, head area in kihon-hanmen is kept beforehand, and notes are set with smaller size font tochu than main text. headnote Tou Zhu touchiyuu Zong Zu nioite,Ji Ben Ban Mian Nei no Shang Bu niZhu woPei Zhi surutamenoLing Yu woarakazimeShe Ding shi,sono Ling Yu niBen Wen yorimoXiao sanaWen Zi saizunishiteJie geruZhu . The process or the result of arranging characters on a line from left to right, of lines on a page from top to bottom, and/or of columns on a page from left horizontal yokogumi to right. (JIS Z 8125) writing mode Heng Zu yokogumi Xing nioitehaWen Zi woShui Ping Fang Xiang niZuo karaYou he,pezinioi teXing woShang karaXia he,Duan woZuo ka raYou hePei Lie surukoto.mata, sonoyouniWen Zi gaPei Zhi sareta Zhuang Tai .(JIS Z 8125) A method of breaking a line by dividing a Western word at the end of a line and adding a hyphen at the end haifuneshon of the first half of the hyphenation haihune haihuneshiyo syllable. shiyon n Xing Mo nikakatsutaOu Wen noDan Yu ni tsuite,Yin Jie nadoniCong iFen Zhui Ke Neng naWei Zhi nihaihunwoCha Ru shi,2Xing niFen Ge suruChu Li . Ideographic characters representing numbers. ideographic Han Shu Zi kansuji numerals kansuuzi Han Zi noYi Er San ...Shi nadowoYong ite Biao suShu Zi . A general term referring to a diagram, chart, cut, figure, picture and the like, to be used for illustrations Tu Ban zuhan printed materials. zuhan Yin Shua Wu noZhong niJie geruTu ,gura hu,katsuto,irasutoreshi yon,Xie Zhen nadonoZong Cheng . To number the pages of the front matter, the text and the back matter independently. (JIS Z 8125) independent Bie nonbu betsu nonburu pagination ru betsunonburu Qian Fu peziYou haHou Fu pezito Ben Wen pezitoniBie noShun Xu Fu ke woXing unonburuwoFu kerukoto .(JIS Z 8125) A list of terms or subjects with page numbers for where they are referred to in a single or multiple volumes of a book. (JIS Z 8125) index Suo Yin sakuin sakuin 1Ce You haFu Shu Ce karanaruBen noZhong noYu Ju ,Shi Xiang nadowoBa kiChu shi tePei Lie shi,sorezorenoGai Dang pe ziFan Hao woShi shitamono.(JIS Z 8125) Text direction in a line. (JIS Z 8125) Zi Jie meFang jizume hoko inline direction Xiang zidumehoukou 1Xing noZhong de,1tsunoWen Zi karaCi noWen Zi hetoSok kuFang Xiang .(JIS Z 8125) A line adjustment rule that prohibits inserting any space between specific combinations of characters. inseparable Fen Li Jin Zhi bunri kinshi (JIS Z 8125) characters rule bunrikinshi Te Ding noWen Zi noZu noWen Zi Jian nia kiwoRu rerukotowoJin Zhi suruko to.(JIS Z 8125) Amount of space between two adjacent character frames inter-character jikan on the same line. spacing Zi Jian zikan Tong Yi Xing noLin Jie suru2tsunoWen Zi no Wai Waku noJian Ge . To list ordered or unordered items one under the other. (JIS Z 8125) itemization Ge Tiao Shu ki kajo gaki kaziyougaki Shun Xu Fu ki,You haShun Xu woMing Shi su rukotonakuXiang Mu woLie Ju suruko to.(JIS Z 8125) To mix Japanese text and Western text in the same Japanese and He Ou Wen Hun waobun konshoku composition. Western mixed Zhi waoubunkon text composition shiyoku He Wen toOu Wen towoBing Yong shiteZu Ban surukoto. Characters used to compose Japanese text. Japanese He Wen Wen Zi wabun moji characters wabunmozi Ri Ben Yu noWen Shu niShi Yong suruWen Zi . A Japanese typeface, with strokes almost the same in thickness, and no special ornament on a stroke such as a triangular element commonly seen in the Mincho Japanese gothic goshitsuku goshikku tai typeface. Used for text face Ti goshitsukutai emphasis and/or headings. Wen Zi noXian gahoboTong ziFu woChi tsu taHe Wen Shu Ti de,Ming Zhao Ti noyou niSan Jiao Xing nourokogaFu itei nai.Qiang Diao suruBu Fen yaJian Chu shi nadoniYong iru. A method of aligning a run of text to both edges which is specified by a position to start and the length calculated by a specified number of a given size of jidori Zi Qu ri jidori characters. (JIS Z 8125) zidori Shi Yong Wen Zi saizunoBei Shu deZhi Ding shitaChang sanoLiang Duan niWen Zi Lie noXian Tou toZui Hou Wei wosoroeteWen Zi wo Pei Zhi suruFang Fa .(JIS Z 8125 ) The official list of Kanji characters "for general use in society. such as in legal and official documents, newspapers, magazines, broadcasting and the like". It was established in 1981 as a reference guide for people in composing contemporary Japanese. It listed 1,945 joyo kanji hyo of Kanji characters Jouyou Kanji Chang Yong Han Zi ziyouyoukan together with their Table Biao zihiyou orthographic shapes, Japanese native reading (Kun), Chinese derived reading (On) and other useful information. 1981Nian niZhi Ding saretaYi Ban noShe Hui Sheng Huo nioite,Xian Dai noGuo Yu woShu kiBiao suChang He noHan Zi Shi Yong no Mu An woShi suBiao .1945Zi noHan Zi ,sonoYin Xun ,Zi Ti nadogaShi sa reteiru. A method of ruby character distribution determined by two functions, one is to provide reading for each Kanji character, the other is to give a united jukugo-ruby Shou Yu rubi jukugo rubi appearance attached to a ziyukugorubi word. Shou Yu noGe "noHan Zi noDu mitoShou Yu toshitenomatomarino2tsuwoKao Lu shitePei Zhi Wei Zhi woJue merurubi noPei Zhi Fang Fa . Main text is bounced before the dannuki headings, illustrations, tables, etc., like balls and walls. kabe kabe kabe kabe Duan Zu nioite,Ban Mian noZhong niPei Zhi shitaDuan Ba kinoJian Chu shiTu Ban Biao Zu nadowoBi nitatoe,so noShou Qian deWen Zhang noXing noLiu rewoZhe riFan sukoto. Chinese classic text (or text in the same style) with various auxiliary symbols so that it can be read as Japanese text. kanbun kanbun composition Han Wen kanbun Zhong Guo noGu Dian Wen (You hasorenina ratsutaWen Ti noWen )nitsuite, Ri Ben Yu noWen toshiteDu mukotoga Ke Neng ninaruyouni,Du mutame noYang "naBu Zhu Ji Hao woFu ketaWen . A method of attaching ruby at the upper right of each katatsuki base character. (JIS Z katatsuki Jian Fu ki( (katatsuki 8125) (katatsuki-ruby) Jian Fu kiru rubi) bi) katatsuki Zong Zu nioite,rubiwoQin Wen Zi noYou Jian niFu ketePei Zhi suruFang Fa .(JIS Z 8125) The default dimensions of the main area of a typeset page specified by text direction, number of columns, character size, number of characters in a line, number of lines in a kihon hanmen column, inter-line spacing kihon-hanmen Ji Ben Ban Mian kihonhanmen and inter-column spacing. (JIS X 4051) Ben noJi Ben toshiteShe Ji sareruBan Mian Ti Cai .Zu Fang Xiang ,Duan Shu ,Wen Zi saizu,Zi Jie meShu ,Xing Shu ,Xing Jian Ji biDuan Jian deZhi Ding suru.(JIS X 4051) Text following or followed by numbers for illustrations, tables, headings and running headings. (JIS X 4051) label name raberuMing raberumei raberumei Tu Fan Hao ,Biao Fan Hao ,Jian Chu shiFan Hao Ji biZhu Fan Hao nioite,sorezo renoFan Hao noQian Ji bi/You haHou ro niFu keruWen Zi Lie .(JIS X 4051) Area in which glyph is drawn. (JIS Z 8125) letter face Zi Mian jizura zidura Zi Xing no,Shi Ji niBiao Shi sareruLing Yu .(JIS Z 8125) The traditional printing method using movable type. letterpress Huo Zi Zu Ban katsuji kumihan printing katsuzikumihan Ke Dong Shi noHuo Zi ,sonoTa noCai Liao woYong itaChuan Tong De naZu Ban . A method of aligning both edges of all lines to be the same given length by gyo no chosei removing or adding line adjustment Xing noDiao Zheng shori adjustable spacing. Chu Li giyounochiyou seishiyori Zhi Ding saretaXing Chang nisurutameni ,Zi Jian woJie meruYou haKong keruChu Li . A line breaking rule to avoid commas or full stops at a line head (which is prohibited in Japanese typography) by taking them back to the end of the line adjustment previous line beyond the by hanging buraXia ge burasage gumi specified line length. (JIS punctuation Zu burasagegumi Z 8125) Xing Tou niWei Zhi shitaHe Wen noJu Du Dian wo1Wen Zi dakeQian Xing noXing Mo Wen Zi no Ci niZhi Ding saretaXing Chang woYue ete Pei Zhi suruFang Fa .(JIS Z 8125 ) A line breaking rule that aligns both edges of a line by expanding inter-character spacing. (JIS Z 8125). line adjustment by Zhui Chu shiChu oidashi shori Jin Ze Chu Li no1tsunoFang Fa deatsute inter-character Li oidashishiyori ,Zi Jian woGuang geteXing Tou Xing Mo soro spacing ewosurukoto(JIS Z 8125) expansion .Xing Tou Xing Mo soroetoha,Ge Xing noZui Chu noWen Zi woXing Tou nisoroe ,katsuGe Xing noZui Hou noWen Zi woXing Mo nisoroetePei Zhi suruFang Fa ( JIS Z 8125). A line breaking rule that aligns both edges of a line by removing adjustable spacing such as conditional spacing for punctuation line adjustment marks. (JIS Z 8125). by inter-character Zhui Ip miChu oikomi shori Jin Ze Chu Li no1tsunoFang Fa deatsute spacing Li oikomishiyori ,Yue Wu noQian Hou nadowoJie meteXing reduction Tou Xing Mo soroewosurukoto(JIS Z 8125).Xing Tou Xing Mo soroeto ha,Ge Xing noZui Chu noWen Zi woXing Tou nisoroe,katsuGe Xing noZui Hou no Wen Zi woXing Mo nisoroetePei Zhi su ruFang Fa (JIS Z 8125). A set of rules to avoid prohibited layout in Japanese typography, such as "line-start prohibition rule", "line-end prohibition rule", line breaking kinsoku shori inseparable or unbreakable rules Jin Ze Chu Li kinsokushiyori character sequences and so on. (JIS Z 8125) Xing Tou Jin Ze ,Xing Mo Jin Ze ,Fen Li ( Fen Ge )Jin Zhi nadonoJin Ze woBi ke rutameniXing wareruChu Li .(JIS Z 8125) The position at which a line ends. (JIS Z 8125) line end Xing Mo gyomatsu giyoumatsu 1tsunoXing noZhong waruWei Zhi .(JIS Z 8125) To align a run of text to the line end. (JIS Z 8125) line end Xing Mo soro gyomatsu soroe alignment e giyoumatsusoro Wen Zi Lie noZui Hou noWen Zi woXing Mo no e Wei Zhi niHe waserukoto.(JIS Z 8125) To reserve a certain amount of space before the default position of a line end. line end indent Zi Shang ge jiage (JIS Z 8125) ziage Xing Mo noWei Zhi woXing Tou Fang Xiang niYi su koto.(JIS Z 8125) The distance between two adjacent lines measured by their reference points. gyo okuri (JIS Z 8125) line feed Xing Song ri giyouokuri Lin Jie suruXing Tong Shi noJi Zhun Dian kara Ji Zhun Dian madenoJu Li .(JIS Z 8125) The smallest amount of space between adjacent gyokan lines. line gap Xing Jian giyoukan Lin Jie suruXing noWen Zi noWai Waku Jian no Ju Li . The position at which a line starts. (JIS Z 8125) line head Xing Tou gyoto giyoutou 1tsunoXing noShi maruWei Zhi .(JIS Z 8125) To align a run of text to the line head. (JIS Z 8125) line head Xing Tou soro gyoto soroe alignment e giyoutousoro Wen Zi Lie noZui Chu noWen Zi woXing Tou no e Wei Zhi niHe waserukoto.(JIS Z 8125) To reserve a certain amount of space after the default position of a line head. line head indent Zi Xia ge jisage (JIS Z 8125) zisage Xing Tou noWei Zhi woXing Mo Fang Xiang niYi su koto.(JIS Z 8125) Length of a line with a pre-defined number of characters. When the line is indented at the line head or the line end, it is length of the line from the specified amount of line gyocho head indent to the line length Xing Chang giyouchiyou specified amount of line end indent. Ji Ben Ban Mian deShe Ding shitaXing noXing Tou karaXing Mo madenoChang sa.Zi Xia ge You haZi Shang geshitaChang He ha,Zhi Ding saretaXing Tou karaXing Mo madenoChang sa. A line breaking rule that prohibits specific gyomatsu characters at a line end. line-end kinsoku (JIS Z 8125) prohibition rule Xing Mo Jin Ze giyoumatsukin soku Xing Mo niTe Ding noWen Zi woZhi kukoto woJin Zhi suruGui Ze .(JIS Z 8125) A line breaking rule that prohibits specific characters at a line head. line-start gyoto kinsoku (JIS Z 8125) prohibition rule Xing Tou Jin Ze giyoutoukin soku Xing Tou niTe Ding noWen Zi woZhi kukoto woJin Zhi suruGui Ze .(JIS Z 8125) a) The principal part of a book, usually preceded by the front matter, followed by the back matter. b) The principal part of an article excluding figures, tables, heading, notes, leads and so on. c) The content of a page excluding running heads and page numbers. d) The net contents of a book excluding covers, end honbun papers, insets and so on. main text Ben Wen honbun (JIS Z 8125) a)Shu Ji woGou Cheng suruZhu Yao Bu Fen . Tong Chang ,sonoQian niQian Fu ,Hou niha Hou Fu gaFu ku. b)Tu Ban ,Biao ,Jian Chu shi,Zhu ,ri donadowoChu itaJi Shi noZhong no Zhu Yao Bu Fen . c)peziNei noZhu Ji binonburu woChu itaBu Fen . d)Biao Zhi ,Jian Fan shi,Tou geIp mina donoFu Shu Wu woChu itaBen noZhong Shen . (JIS Z 8125) A metal mold from which movable type is cast. matrix Mu Xing bokei bokei Huo Zi woZhu Zao suruJi ni,Zi Mian wo Xing Cheng suruXing . Text setting style to fill the left line direction space, which is happen to appear because of the arragnement of mawarikomi illustrations, tables, etc. mawarikomi Hui riIp mi mawarikomi (JIS Z 8125) Tu Ban ,Biao Zu nadowoPei Zhi suruta meniQue Bao shitaLing Yu noZi Jie meFang Xiang noYu Bai niBen Wen woZu miIp muko to.(JIS Z 8125) A major style of Japanese font. Horizontal lines are thin and vertical lines are thick. At the start position and the end position, there are triangular figure representing press of brush. Kana are designed to balance the Kanji design. In Japanese text setting, minchotai Mincho typeface is most Mincho typeface Ming Zhao Ti minchiyoutai frequently used for main text, especially for long text. Similar to "serif" of Western typography. Han Zi ha,Heng Xian niBi beteZong Xian ga Tai ku,Qi Bi Bu toZhong Bi Bu niSan Jiao Xing gaFu iteiru.koreniDiao He suruyouniShe Ji saretaJia Ming ga Zuo rareteiru.Ri Ben Yu noChang Wen noWen Shu deha,Zui moShi Yong Pin Du ga Gao i. a) To interleave Japanese text with Western text in a line (Japanese and Western mixed text composition). b) To compose text with different sizes of characters (mixed size composition). c) To compose text with different typefaces (mixed mixed text Hun Zhi konshoku typeface composition). composition konshiyoku (JIS Z 8125) a)He Wen toOu Wen towoBing Yong shiteZu Ban surukoto(He Ou Wen Hun Zhi ). b)Yi naruDa kisanoWen Zi woBing Yong shiteZu Ban surukoto(Yi saizu Hun Zhi ). c)Yi naruShu Ti woShi Yong shiteZu Ban surukoto(Yi Shu Ti Hun Zhi ). (JIS Z 8125) A method of ruby distribution where a run of ruby text is attached to each base character. (JIS Z mono-ruby monorubi mono rubi 8125) monorubi Qin Wen Zi no1Zi gotoniDui Ying shiteru biwoFu ketePei Zhi suruFang Fa .( JIS Z 8125) A format of text on a page where text is divided into two or more sections (columns) in the inline direction and each column is separated by a certain amount of space (column multi-column Duan Zu dangumi space). (JIS Z 8125) format dangumi Lian Sok suru1Xi Lie noWen Zhang wo1pe zinoZhong de,Zi Jie meFang Xiang nioi te,2tsuYi Shang noBu Fen (Duan )niFen Ge shi,Ge Bu Fen noJian nihaKong Bai ( Duan Jian )woShe keteWen Zi woPei Zhi su ruFang Fa .(JIS Z 8125) A set of work published in two or more volumes, as in the complete work or the takanmono first/last half volumes. multivolume work Duo Juan Wu takanmono Quan Ji ,Shang Xia Juan nado,1Bu noBen de 2Ce Yi Shang noTu Shu deGou Cheng saretei rumono. A recto or a page inserted to divide two different parts in a book. It often has a title or other text to describe the new part. (JIS Z 8125) naka-tobira Zhong Fei naka tobira nakatobira Shu Ji noNei Rong gaDa kikuQu Fen sare ruChang He ni,sonoNei Rong noQu Qie ri wohatsukirisaserutameniBen Wen Zhong niCha Ru suru,Biao Ti nadowoJie getaDing You hapezi.(JIS Z 8125) A method of ruby character distribution where each ruby character is aligned to the vertical center of the corresponding base character in vertical nakatsuki writing mode, or to the nakatsuki Zhong Fu ki( (nakatsuki horizontal center of the (nakatsuki-ruby) Zhong Fu kiru rubi) base character in bi) nakatsuki horizontal writing mode. (JIS Z 8125) Zong Zu noChang He haQin Wen Zi noTian Di Zhong Yang ni,Heng Zu noChang He haQin Wen Zi no Zuo You Zhong Yang nirubiwoFu ketePei Zhi suruFang Fa .(JIS Z 8125) In multi-column setting, to change to new column before the end of current column. new column Gai Duan kaidan kaidan Duan Zu deDuan noTu Zhong nimokakawara zu,Ci noJian Chu shinadowoXin shii Duan noShi mekaraPei Zhi surukoto. To start a new heading or something on an odd page. (JIS Z 8125) new recto Gai Ding kaicho kaichiyou Qi Shu peziyoriXin Gui niJian Chu shi nadowoShi merukoto.(JIS Z 8125) Explanatory information added to terms, figures or tables. (JIS Z 8125) note Zhu chu chiyuu Yu Ju ,Tu Ban ,Biao nadoniJia eru Bu Zhu De naShuo Ming Jie Shi .(JIS Z 8125) Number of characters in a line to specify the length of lines. (JIS Z 8125) number of jizume characters per Zi Jie me zidume Tu Ban ,Biao Zu nadowoPei Zhi suruta line meniQue Bao shitaLing Yu noZi Jie meFang Xiang noYu Bai niBen Wen woZu miIp muko to.(JIS Z 8125) Number of columns on a page. (JIS Z 8125) number of Duan Shu dansu columns dansuu 1peziNei niPei Zhi sareruDuan noShu .(JIS Z 8125) Thin width line. Usually about 0.12mm. (JIS Z 8125) omote-kei Biao Gua omotekei omotekei 0.1mmCheng Du noTai sanoShi Xian .( JIS Z 8125) Amount of space that is zenkaku aki full-width size. one em space Quan Jiao aki zenkakuaki Quan Jiao noKong kiLiang . One third of the full-width size. (JIS Z 8125) one third em San Fen sanbu sanbu Quan Jiao no3Fen no1noChang sa.(JIS Z 8125) Amount of space that is one one third em sanbu aki third size of em space. space San Fen aki sanbuaki San Fen noKong kiLiang . Ruby characters, narrow enough so that three can fit within the width of a full-width base character. one-third-ruby San Fen rubi sanbu rubi sanburubi Quan Jiao noZi Fu noQin Wen Zi 1Zi niDui shi ,3Wen Zi norubiwoQin Wen Zi karaha miChu sasenaiyouniFu keruta menorubi. An original drawn pattern of a character image to be used for a printing type or original pattern Yuan Tu genzu a digitized glyph. genzu Yin Shua Yong noWen Zi noYuan tonaruMiao ka retaWen Zi . A superscript or subscript attached to a base character. (JIS Z 8125) ornament Tian eZi soeji characters soezi Wen Zi nosobaniFu keruShang Fu kiWen Zi You haXia Fu kiWen Zi .(JIS Z 8125) A side of a sheet of paper in a written work such as a peji book. (JIS Z 8125) page pezi pezi Ben nadowoGou Cheng suru1Mei noZhi noPian Mian .(JIS Z 8125) To end a page even if it is not full and to start a new page with the next paragraph, a new heading and so on. (JIS Z 8125) page break Gai pezi kai peji kaipezi Qi Shu peziOu Shu peziniGuan warazu,pezinoTu Zhong deatsu temoCi noWen Zhang Jian Chu shinadowo Ci nopezikaraXin shikuShi meru koto.(JIS Z 8125) The layout and presentation of a page with text, graphics and other elements for a publication such as a page format Zu Ti Cai kumi teisai book. kumiteisai Ben nadonoShi Shang risaizuJi biso koniPei Zhi suruWen Zi sonoTa noBiao Shi Ti Cai . A sequential number to indicate the order of pages in a publication. (JIS Z nonburu 8125) page number nonburu nonburu Yin Shua Wu noGe pezinoShun Xu woShi sutameniFu ketearuFan Hao .( JIS Z 8125) A method of ruby annotation where ruby text is only attached to selected Kanji characters in the text. para-ruby pararubi para rubi (JIS Z 8125) pararubi Wen Zhong noYi Bu noHan Zi dakenirubi woFu kerukoto.(JIS Z 8125 ) A group of sentences to be processed for line composition. A paragraph consists of one or more danraku lines. (JIS Z 8125) paragraph Duan Luo danraku Xing Zu Ban Chu Li noChu Li Dan Wei tonaru1 tsuYi Shang noWen noJi mari.Duan Luo ha ,1Xing You haLian Sok shitaFu Shu noXing ka ranaru.(JIS Z 8125) To start a new line to indicate a new paragraph. paragraph break Gai Xing kaigyo kaigiyou Duan Luo noQu Qie rinadowoShi sutame niXing woGai merukoto. A format of a paragraph, as in line head indent or line danraku seikei end indent. paragraph format Duan Luo Zheng Xing danrakuseike i Zi Xia ge,Zi Shang ge,indento nadonoDuan Luo noShu Shi . Areas of notes are kept when the kihon-hanmen is designed. Related notes are set in these areas, with page unit or spread unit. Parallel-note is the general name for head note (in vertical writing mode), foot note (in vertical heiretsuchu writing mode) and side note parallel-note Bing Lie Zhu heiretsuchiyuu (in horizontal writing mode). Ji Ben Ban Mian noShe Ji Duan Jie dearaka zimeZhu notamenoLing Yu woQue Bao shi ,sonoLing Yu nipeziYou haJian Kai kiwoDan Wei toshite,sonoFan Wei ni aruXiang Mu niGuan Lian shitaZhu woJie ge ruTou Zhu (Zong Zu ),Jiao Zhu (Zong Zu )Ji biBang Zhu (Heng Zu )noZong Cheng . A measurement unit of character size. 1 point is equal to 0.3514mm (see JIS Z 8305). There is another unit to measure character sizes called Q, where 1Q is pointo equivalent to 0.25mm. point pointo pointo Wen Zi saizunoDan Wei .1pointo ha0.3514mmniDeng shii(JIS Z 8305).nao,pointoYi Wai ni,Wen Zi saizunoDan Wei niShi Yong sareteiru1Qha,0.25mmdea ru. Movable type used for letterpress printing. printing types Huo Zi katsuji Wen Zi Zu Ban niShi Yong surumonode, katsuzi Wen Zi Shu Zi Ji Hao Lei nadonoZi Mian woNi Xiang kideTu Zhuang ni,Qian He Jin nadodeZhu Zao shitaJiao Zhu . A characteristic of a font where character advance is different per glyph. (JIS Z puroposhonaru 8125) proportional puropo puroposhiyona shiyonaru ru 1tsunohuontoZhong deWen Zi noZi Fu gaYi Ding denaku,Wen Zi gotoniDu Li shitaZi Fu noZhi woChi tsuteiru koto.(JIS Z 8125) A general term referring to the symbols used in text composition to help make the meaning of text clearer, as in commas, full stops, question marks, punctuation Yue Wu yakumono brackets, diereses and so marks yakumono on. (JIS Z 8125) Wen Zi Zu Ban niShi Yong suruJi Shu Ji Hao Lei noZong Cheng .Bei Kao :Ju Du Dian Yi Wen Fu Gua Hu akusentonado .(JIS Z 8125) Quarter size of full-width. shibu quarter em Si Fen shibu Quan Jiao no4Fen no1noChang sa.(JIS Z 8125) Amount of space that is a quarter of an em space in quarter em space Si Fen aki shibu aki size. shibuaki Si Fen noKong kiLiang . Character frame which has a character advance of a shibu kaku quarter em. (JIS X 4051) quarter em width Si Fen Jiao shibukaku Zi Fu ga,Quan Jiao no1/4dearuWen Zi noWai Waku .(JIS X 4051) Excerps from other published works. (JIS Z 8125) quotation Yin Yong Wen in-yobun inyoubun Gong Biao saretaTa noZhu Zuo Wu kara, sonoYi Bu woYin Yong shiteLi Yong suru mono.(JIS Z 8125) A symbol or short run of text attached to a specific part of text, to which notes are provided followed reference marks He Yin aijirushi by the corresponding marks. aizirushi Zhu toBen Wen Wen Zi Lie nadonoGai Dang Xiang Mu towoDui Ying saserutameniGai Dang Xiang Mu niFu keruWen Zi Lie . Numbering pages of a book backwards. (JIS Z 8125) reverse Ni nonbu gyaku nonburu pagination ru giyakunonburu Juan Mo noFang karapezinoFan Hao wo Kai Shi surunonburu.(JIS Z 8125) Numerals represented by upper case or lower case of Latin letters. (JIS Z 8125) Roman numerals romaShu roma suji Zi romasuuzi ratenWen Zi noDa Wen Zi You haXiao Wen Zi woYong iteBiao Ji suruShu Zi .( JIS Z 8125) Supplementary small characters indicating pronunciation, meaning, etc. for the character or the block of characters they annotate. (JIS Z 8125) (Sometimes these ruby rubi rubi annotations are referred to rubi as "furigana".) Wen Zi Ji biYu nosobaniFu kete, sonoDu mi,Yi Wei nadowoShi suXiao sanaWen Zi .(JIS Z 8125)"Zhen riJia Ming "tomoyobarerukotogaa ru. A kind of heading style to continue main text just after the heading without Tong Xing Jian Chu dogyomidashi line break. run-in heading shi dougiyoumida shi Jian Chu shiniSok kuWen Zhang woGai Xing suru kotonaku,Jian Chu shiniSok keteWen Zhang woPei Zhi suruXing Shi noJian Chu shi. A page element which contains information on the title of the book, chapter, section and so on, printed hashira outside the area of the running head Zhu hashira hanmen. (JIS Z 8125) Ge pezinoBan Mian Wai niJi Zai sare taShu Ming Zhang Ming Jie Ming nado.( JIS Z 8125) Middle level heading between top level heading and low level heading. (JIS middle level nakamidashi Z 8125) heading Zhong Jian Chu shi nakamidashi Da Jian Chu shitoXiao Jian Chu shitonoZhong Jian noQu Fen niFu keruBiao Ti .(JIS Z 8125) A kind of notes, in vertical writing mode with spread unit, and related notes are set from the left end of left page with smaller size font than the main text. A kind of notes, in horizontal writing mode, the realm is kept beforhand in right side or fore-edge side of kihon-hanmen, and related notes are set in sidenote Bang Zhu bochu the realm with smaller size bouchiyuu font than main text. Zong Zu nioite,Jian Kai kiwoDan Wei toshite,sokoniGuan Lian suruZhu wo Zuo pezi(Qi Shu pezi)noZuo Duan niBen Wen yorimoXiao sanaWen Zi sa izunishiteJie geruZhu .Heng Zu ni oite,Ji Ben Ban Mian Nei noXiao Kou Ce You haYou Ce niZhu woPei Zhi surutame noLing Yu woarakazimeShe Ding shi, sonoLing Yu niBen Wen yorimoXiao sana Wen Zi saizunishiteJie geruZhu . To align a run of text that is shorter than a given line length to designated single line soroe positions. alignment method soroe katabashirahou shiki 1Xing noWen Zi Lie nitsuite,Zhi Ding shi taWei Zhi niWen Zi noPei Zhi Wei Zhi woHe waserukoto. A method that puts running katabashira heads only on odd pages. single running hoshiki (JIS Z 8125) head method Pian Zhu Fang Shi katabashirahou shiki Zhu woQi Shu pezidakeniJie geru koto.(JIS Z 8125) Kana with smaller letter faces to be used mainly for representing contracted sounds or prolonged vowels. (JIS Z 8125) small kana Xiao Shu kino kogaki no kana Jia Ming kogakinokana Ao Yin ,Cu Yin ,Wai Lai Yu nadowoShu kiBiao suChang He niYong iru,Zi Mian wo Xiao sakushitaJia Ming .She teJia Ming , Ban Yin tomoiu.(JIS Z 8125 ) To arrange characters with no inter-character spacing between adjacent character solid setting betaZu beta gumi frames. betagumi Zi Jian woKong kezuniWen Zi noWai Waku wo Jie shiteWen Zi woPei Zhi surukoto. Amount of space between adjacent characters or lines. It also refers to the blank area between the edges of a hanmen or an aki illustration and text or space aki aki other hanmen elements. Lin Jie suruWen Zi You haLin Jie suruXing noJian Ge .mata,Ban Mian ,Tu Ban na donoDuan karaWen Zi Lie nadonoDuan ma denoJian Ge . Any two facing pages when opening a book and the mihiraki like. (JIS Z 8125) spread Jian Kai ki mihiraki Ben nadowoKai itatokinoLiang Fang no pezi.(JIS Z 8125) Smaller face of characters, attached to the lower right or the lower left of a normal size character. (JIS subscript shitatsuki Z 8125) (inferior) Xia Fu ki shitatsuki Xiao saiZi Mian noWen Zi de,Tong Chang no Da kisanoWen Zi noYou Xia You haZuo Xia niFu ketePei Zhi suruWen Zi .(JIS Z 8125) Secondary title for headings, subtile. (JIS X 4051) subtitle Fu Ti fukudai hukudai Jian Chu shiniFu keruFu Ci De naBiao Ti .sabutaitorutomoiu.( JIS X 4051) Smaller face of characters, attached to the upper right or the upper left of a normal size character. (JIS superscript uwatsuki Z 8125) (superior) Shang Fu ki uwatsuki Xiao saiZi Mian noWen Zi de,Tong Chang no Da kisanoWen Zi noYou Jian You haZuo Jian niFu ketePei Zhi suruWen Zi .(JIS Z 8125) A method of line composition to align one or more runs of text to designated positions on a tab setting tabuChu Li tabu shori line. tabushiyori Xing nioite,1tsuYou haFu Shu noWen Zi Lie woZhi Ding Wei Zhi niHe wasetePei Zhi suruChu Li . Formatted data consisting of characters or numbers, arranged in cells and sometimes divided by lines, in order to present the data in a way that is table Biao hyo easier to understand. (JIS hiyou Z 8125) Wen Zi You haShu Zi woYi Lan dekiruyo uni,Gua nadodeQu Qie tsutakoma (Xiao Jian )niPei Lie shitamono.( JIS Z 8125) A list of headings of contents of a book in page order or arranged by subjects, with page numbers on which each section table of mokuji begins. (JIS Z 8125) contents Mu Ci mokuzi Ben noNei Rong noJian Chu shiwo,Shu kare teiruShun You haFen Ye Bie niBing bete ,sorezorenoGai Dang peziFan Hao woShi shitamono.(JIS Z 8125 ) To typeset a (small) group of characters horizontally within a vertical line of tate-chu-yoko Zong Zhong Heng tate chu yoko main text. tatechiyuuyoko Zong Zu noXing Zhong de,Wen Zi woZong Xiang ki nomamaHeng Zu nisurukoto. a) To remove conditional space from opening brackets at a line head to align the line head to the ones of the adjacent lines. b) Not to add the default line head indent for the first line of a paragraph so as to align all line heads. tentsuki Tian Fu ki tentsuki (JIS Z 8125) tentsuki a)Xing Tou niWei Zhi shitaGua Hu Lei niEr Fen noZi Fu nomononadowoShi Yong shi te,Lin Jie suruXing noXing Tou tosoro erukoto. b)Duan Luo Zui Chu noXing nioiteXing Tou noZi Xia gewoXing wanaide,Lin Jie suruXing noXing Tou tosoroerukoto . (JIS Z 8125) Horizontal setting or vertical setting. (JIS Z kumi hoko 8125) text direction Zu Fang Xiang kumihoukou Heng Zu You haZong Zu .(JIS Z 8125 ) Headings for the lowest or minimum unit of main text low level komidashi in books. heading Xiao Jian Chu shi komidashi Shu Ji nadode,Qu Fen noZui Xiao noma tomariniFu keruBiao Ti . Headings for largest or muximum unit of main text top level omidashi in books. heading Da Jian Chu shi oomidashi Shu Ji nadode,Qu Fen noZui Da noma tomariniFu keruBiao Ti . The official list of Kanji characters established in 1946, which was designed to restrict the Kanji characters for general use in society to only those 1850 specified in the list. The list together with Touyou Kanji Dang Yong Han Zi toyo kanji hyo other related tables was Table Biao touyoukanzi superseded by the Jouyou hiyou Kanji Table. 1946Nian niZhi Ding saretaYi Ban She Hui deShi Yong suruHan Zi noFan Wei woShi su Biao .1850Zi noHan Zi gaShi sarete iru.konoBiao ha,Dang Yong Han Zi Yin Xun Biao ,Dang Yong Han Zi Zi Ti Biao totomo niChang Yong Han Zi Biao niGai merareta. Dimensions of a full page in a publication, including Shi Shang risa shiagari saizu margins. (JIS Z 8125) trim size izu shiagarisaizu Shi Shang geCai chishitaYin Shua Wu noCun Fa .(JIS Z 8125) Adjustment of inter-character spacing by making the distance between the letter face of adjacent characters shorter than that produced by solid tsumegumi setting. (JIS Z 8125) tsumegumi Jie meZu tsumegumi betaZu yoriZi Song riwoJie meteWen Zi woPei Zhi suruFang Fa (JIS Z 8125).nao,Zi Song ritoha, Tong Yi Xing noLin Jie suruWen Zi Tong Shi no Ji Zhun Dian karaJi Zhun Dian madenoJu Li (JIS Z 8125). To select metal type for characters needed to print a manuscript. (Metal type is stored in a type case, but because the number of Japanese characters is very large, an extra operation was invented that involves collecting type in a type-picking Wen Xuan bunsen so-called 'bunsen box' bunsen before typesetting a manuscript using a composing stick.) Yuan Gao deZhi Shi saretaWen Zi nitsui te,sonoHuo Zi woShi iJi meruZuo Ye .Ju Ti De nihaHuo Zi woPei Lie shi tearuHuo Zi kesukaraWen Zi wo Xuan bi,Wen Xuan Xiang niShou meru. A set of letters or symbols, which are designed to have coherent patterns to be used for printing or rendering to a computer shotai screen. (JIS Z 8125) typeface Shu Ti shiyotai Yin Zi ,Hua Mian Biao Shi nadoniShi Yong su rutame,Tong Yi De naYi Tu niJi du iteZuo Cheng saretaYi Zu noWen Zi You haJi Hao noYi Jiang .(JIS Z 8125 ) A line breaking rule that prohibits breaking a line between consecutive dashes or leaders, or between other specific combinations unbreakable Fen Ge Jin Zhi bunkatsu kinshi of characters. characters rule bunkatsukinshi datsushiyu,ridanadoLian Sok shi taTong ziWen Zi Jian ,You haTe Ding noWen Zi noZu noWen Zi Jian dehaFen Ge woJin Zhi suruGui Ze . A line drawn under a character or a run of text in horizontal writing mode. kasen (JIS Z 8125) underline Xia Xian kasen Heng Zu nioite,Wen Zi You haWen Zi Lie noXia niYin itaXian .(JIS Z 8125) Thick width line. Usually about 0.4mm. (JIS Z 8125) ura-kei Li Gua urakei urakei 0.4mmCheng Du noTai sanoShi Xian .( JIS Z 8125) The process or the result of arranging characters on a line from top to bottom, of lines on a page from right to left, and/or of columns on a page from top vertical writing tate gumi to bottom. (JIS Z 8125) mode Zong Zu tategumi Xing nioitehaWen Zi woChui Zhi Fang Xiang niShang karaXia he,pezinioi teXing woYou karaZuo he,Duan woShang ka raXia hePei Lie surukoto.mata, sonoyouniWen Zi gaPei Zhi sareta Zhuang Tai .(JIS Z 8125) A note of two or more lines inserted in the text. It includes brackets which surround the note (JIS Z warichu (inline warichu 8125) cutting note) Ge Zhu warichiyuu Ben Wen Zhong de,Fu Shu Xing niGe Shu kishi taZhu Shi .Ge Zhu niha,Ge Shu kiwo Wei muGua Hu Lei woHan mu.(JIS Z 8125) A measurement of the thickness of fonts. (JIS Z weito 8125) weight ueito ueito Shu Ti niokeruZi Xing noHua Xian noTai sanoZhi Biao .(JIS Z 8125) The term in Western text layout to describe that the last line of a paragraph with only a few words appears at the top of a new wido page or a column. (JIS Z widow uidou uidou 8125) Ou Wen Zu Ban nioite,2Dan Yu Cheng Du dearuDuan Luo noZui Zhong Xing ga,Xin shi ipeziYou haDuan noDi 1Xing Mu niku rukoto.(JIS Z 8125) A method of line composition to adjust lines in a paragraph so that the danraku matsubi last line consists of more widow adjustment Duan Luo Mo Wei shori than a given number of Chu Li danrakumatsubi characters. shiyori Duan Luo noZui Zhong Xing niPei Zhi suruXing no Zi Shu gaSuo Ding noZi Shu Wei Man ninara naiyounisuruChu Li . H. References Can Kao Wen Xian * Japan Editors School. ed. 1997. "A Guide to Publishing and Editing - New Edition -" 2 vols. Tokyo: Japan Editors School Press Ri Ben edeitasukuruBian "Xin Bian Chu Ban Bian Ji Ji Shu "(Shang Xia Juan ),Ri Ben e deitasukuruChu Ban Bu ,Dong Jing ,1997Nian * Japan Editors School. ed. 1998. "A Guide to Proofreading - New Edition -" 2 vols. Tokyo: Japan Editors School Press Ri Ben edeitasukuruBian "Xin Bian Xiao Zheng Ji Shu "(Shang Xia Juan ),Ri Ben edei tasukuruChu Ban Bu ,Dong Jing ,1998Nian * JIS X 4051:2004 "Formatting rules for Japanese documents" Tokyo: Japan Standards Association JIS X 4051:2004(Ri Ben Yu Wen Shu noZu Ban Fang Fa ,Formatting rules for Japanese documents),Ri Ben Gui Ge Xie Hui ,Dong Jing ,2004Nian * JIS Z 8125:2004 "Graphic arts -- Glossary -- Digital printing" Tokyo: Japan Standards Association JIS Z 8125:2004(Yin Shua Yong Yu -- dezitaruYin Shua ,Graphic arts -- Glossary -- Digital printing),Ri Ben Gui Ge Xie Hui ,Dong Jing ,2004Nian * ISO/IEC 10646:2003/Amd.3:2008 "Information technology -- Universal Multiple-Octet Coded Character Set (UCS) -- Amendment 3: Lepcha, Ol Chiki, Saurashtra, Vai and other characters" ISO/IEC 10646:2003/Amd.3:2008 "Information technology -- Universal Multiple-Octet Coded Character Set (UCS) -- Amendment 3: Lepcha, Ol Chiki, Saurashtra, Vai and other characters" * The University of Chicago. 2003. "The Chicago Manual of Style" 15th ed., Chicago: The University of Chicago Press "The Chicago Manual of Style" 15th ed., The University of Chicago Press, Chicago, 2003. * R. M. Ritter. 2002. "The Oxford Guide to Style" Oxford: Oxford University Press R. M. Ritter, "The Oxford Guide to Style", Oxford University Press, Oxford, 2002. I. Acknowledgements Xie Ci This document has been developed with contributions from participants of the Japanese Layout Task Force. konoZi Liao ha,Japanese Layout Task ForcenoCan Jia Zhe noDuo Da naXie Li niyotsuteZuo Cheng sareteiru. J. Revision Log Bian Geng Ji Lu The following changes were made since the previous publication. Qian Hui noGong Kai Shi karaYi Xia noBian Geng gaXing wareteimasu. * Merged and simplified handling of overhanging ruby text on punctuation marks (former 3.3.8 f,g,h). Yue Wu nikakarurubiWen Zi noDing Yi woJi Yue shiJian Dan Hua shimashita (Yi Qian no 3.3.8 f,g,h). [Issue, PR] * English wording fixed. Ying Yu Biao Xian noXiu Zheng . [Issue, PR; Issue, PR; Issue, PR] * Merged English and Japanese documents into a single document, with switches to allow readers to view the text in either language, or both. Ying Yu Ban toRi Ben Yu Ban noTong He ,oyobiYan Yu Qie Ti Ji Neng noDao Ru . [7dcc927; Issue, PR] * Link targets were assigned to each list item and note, making it possible to point into the document in a more fine-grained way. Wen Shu Nei rinkugarisutoYao Su tonotonitsukuyouninari,Wen Shu Nei noTe Ding no Chang Suo woZhi surinkugaLi Yong dekiruyouninarimashita. Also minor editorial changes were made to structure and wording of the text. A detailed list of changes, including diffs, can be found in the github commit log. mataXi kanaGou Cheng Biao Ji Shang noXiu Zheng woXing imashita.Bian Geng Dian woHan muXiang Xi naBian Geng Lu Li nitsuiteha github nokomitsutoroguwoCan Zhao shitekudasai. |