Requirements for Japanese Text Layout

4.1.3 Font Selection and Heading Font Size

Headings have a hierarchical structure. So, each level of heading has to have an appropriate visual style. The following issues have to be considered:

1. Character size for the heading

   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 small-headings are usually set with 10 points, medium-headings are usually set with 12 points and large-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. Fig. 4.7 is an example of this principle.

   

   Fig. 4.7: An example of different character sizes corresponding to the heading levels

   (note 1)

   JIS X 4051 describes the character sizes for different heading levels below as informative. 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). Based on the character size of main text and scaling sizes with constant ratio. The ratio is usually 15% to 20%.

   (note 2)

   Small-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 small-headings with 8 point Japanese gothic.

2. Type faces for headings

   Both mincho and Japanese gothic are usually used. Other type face designs are seldom used.

   (note 1)

   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 Fig. 4.8).

   

   Fig. 4.8: An example of same mincho but different weight for headings

3. Alignment of headings (inline direction)

   In the case of horizontal writing mode, large-headings and medium-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.

   (note 1)

   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 large heading is 9 point by 4 times, medium-heading is 9 point by 6 times, small-heading is 9 point by 8 times.

   (note 2)

   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 Fig. 4.9).

   

   Fig. 4.9: An example of indented heading

4. Block direction footprint of headings

   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 4.1.6 Processing of Gyou-dori and 4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page.

5. The beginning position of headings around page breaks etc.

   The handling of headings around page breaks and other places will be discussed in 4.1.4 How to Handle Headings with New Recto, Page Break and New Column.

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 Fig. 4.10).

   

   Fig. 4.10: An example of a heading with fixed inter-character spacing

7. Whether to decorate with solid lines, or give a symbol on the top of the heading.

4.1.4 How to Handle Headings with New Recto, Page Break and New Column

A large heading sometimes starts with a new page following a page break, to clarify the separation between sections. The processing below should be followed:

1. Always begin with odd pages, i.e. new recto. Used for Naka-tobira, han-tobira and large-heading.

   (note 1)

   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 Fig. 4.11).

   

   Fig. 4.11: An example of new recto (vertical writing mode)

2. Always begin with new pages, regardless of even pages or odd pages, i.e. page breaking. Used for large-heading.

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.

4. In multicolumn format, begin with a new column.

5. Following previous text (see Fig. 4.12), i.e. "nariyuki". Medium-headings and small-headings are usually processed with "nariyuki". Note that medium-headings are sometimes processed with a page break. Even when "nariyuki" mode is adopted, small-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 4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page.)

   

   Fig. 4.12: An example of a "nariyuki" heading

4.1.5 Handling of Spaces just before the New Recto, Page Breaks and New Edges

Spaces just before new rectos, page breaks and new columns are treated as follows (the last pages are treated as the same):

1. In the case of single column typesetting, the spaces just before the new rectos and page breaks are left as they are (see Fig. 4.13).

   

   Fig. 4.13: An example of processing of the page just before a page break (one column setting)

2. In the case of multiple columns, the remaining space of preceding columns is left as it is.

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 spaces are left as they are (see Fig. 4.14).

   

   Fig. 4.14: An example of text handling for vertical writing mode and multi-column format just before the page break.

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 Fig. 4.15).

   

   Fig. 4.15: An example of handling of spaces just before page breaks, in the case of horizontal writing mode and multi-column format

4.1.6 Processing of Gyou-dori

"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) × (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.

The following procedures are some of the ways "betsugyou" headings are processed based on the "gyou-dori" method:

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 Fig. 4.16 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.

   (note 1)

   The character size of a sub-title 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 sub heading is indented, and in the centering case, the sub heading is also centered. The main heading and the sub heading should not be separated across two pages or two columns. It is expected that the main heading and the sub heading are treated as one object.

   (note 2)

   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.

2. Set the heading text at the center of the footprint specified with a multiple number of lines of the kihon-hanmen, and add space size 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 Fig. 4.21 et al).

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 Fig. 4.24 et al).

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 small-headings. Following are some examples (see Fig. 4.26 et al).

5. When headings are on multiple levels, set "gyou-dori" headings with different line spaces per heading level. There are two cases. One is the single heading case, the other is adjacent multiple headings. In these cases, spaces 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 spaces depending on whether the heading is single or whether headings are adjacent. There are some examples in Fig. 4.29.

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 spaces before and after. See an example in Fig. 4.30 et al.

   

   Fig. 4.16: Example one of a heading set in the center of indicated multiple lines (the heading is set around the center of the page).

   

   Fig. 4.17: Example two of a heading set in the center of indicated lines (The heading is set in the top of the page).

   

   Fig. 4.18: 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).

   

   Fig. 4.19: Example four of a heading set in the center of indicated multiple lines (a heading with sub-title is set around the center of the page).

   

   Fig. 4.20: 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).

   

   Fig. 4.21: 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).

   

   Fig. 4.22: 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).

   

   Fig. 4.23: 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).

   

   Fig. 4.24: 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).

   

   Fig. 4.25: Example two of a heading set the specified position relative to multiple lines (the heading is set in the top of the page).

   

   Fig. 4.26: Example one of a heading with one blank line before (the heading is set in around the center of the page).

   

   Fig. 4.27: Example two of a heading set with one blank line before (the heading is set in the top of the page).

   

   Fig. 4.28: 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)).

   

   Fig. 4.29: Examples of top level, medium level and low level heading in gyou-dori style.

   

   Fig. 4.30: 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).

   

   Fig. 4.31: 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).

4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page

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:

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 4.1.8 Processing when a One Line Space is Set Before a Low Level Heading for the case of the previous section).

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 Fig. 4.32). In the case of vertical writing style on an even page, the heading block is set at the bottom of the page.

   

   Fig. 4.32: 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.

   (note 1)

   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 Fig. 4.33). 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.

   

   Fig. 4.33: An example of heading set at the bottom of vertical writing style even page

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.

4.1.8 Processing when a One Line Space is Set Before a Low Level Heading

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.

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.

   (note 1)

   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 Fig. 4.34).

   

   Fig. 4.34: Example one of a low level heading where one blank line comes at the top of the page

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.

   (note 1)

   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 Fig. 4.35).

   

   Fig. 4.35: Example two of a heading with one blank line that comes at the top of the page

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 (Fig. 4.36).

   

   Fig. 4.36: Example three of a heading with one blank line before that comes at the top of the page

4.1.9 Processing of Run-in Headings

Run-in headings are usually used for low level headings. The following are some examples of run-in headings. Inter-character space between the run-in heading and following main text is usually a one em space 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.

1. The run-in heading is set with the same character size as the main text and with Japanese gothic face (see Fig. 4.37).

   

   Fig. 4.37: Example one of run-in heading

2. Set the run-in heading with one level smaller character size than the main text and use Japanese gothic face (see Fig. 4.38).

   

   Fig. 4.38: Example two of run-in heading

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 Fig. 4.39).

   

   Fig. 4.39: Example three of run-in heading

4.1.10 Processing of Cut-in Headings

Drop headings are also used for low level headings. A drop heading has no label name or heading number. Processing is as follows (see Fig. 4.40):

Fig. 4.40: An example of cut-in headings

1. Set the cut-in heading with one rank smaller character size than the main text or the same character size as the main text, and with Japanese gothic face.

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.

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.

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.

   

   Fig. 4.41: An example of a one line cut-in heading

   

   Fig. 4.42: An example of two lines or three lines cut-in headings

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.

   (note 1)

   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.

4.1.11 Processing of Column Spanning Headings

In multi-column pages, headings spanning multiple columns are processed as follows:

(note 1)

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 headings do not span not all columns.

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 Fig. 4.43).

   

   Fig. 4.43: Example one of spanning block heading turned back before the heading block

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 Fig. 4.44). 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.

   

   Fig. 4.44: Example two of turning back of main text lines before spanning block heading

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:

   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 (Fig. 4.45).

      

      Fig. 4.45: Example one of spanning block heading started from the first column

   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 Fig. 4.46). If the heading block appears after the block direction center of the column, the heading is set from that column itself (see Fig. 4.47). 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 Fig. 4.48).

      

      Fig. 4.46: Example two of spanning block heading started from the first column

      

      Fig. 4.47: Example three of which column the spanning block heading is set from

      

      Fig. 4.48: Example four of which column the spanning block heading is set from

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.

4.2 Processing of Notes

4.2.1 Kinds of Notes

The following kinds of notes are used in Japanese text layout, besides notes between LEFT PARENTHESIS "(" and RIGHT PARENTHESIS ")" or warichu:

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 Fig. 4.49). In horizontal writing mode, the frequency of this type is second after footnotes (see Fig. 4.50).

   

   Fig. 4.49: An example of an endnote in vertical writing mode

   

   Fig. 4.50: An example of an endnote in horizontal writing mode

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 Fig. 4.51). 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.

   

   Fig. 4.51: An example of headnotes in vertical writing mode

3. Footnotes (in horizontal writing mode) : Notes set beneath the kihon-hanmen (see Fig. 4.52). In horizontal writing mode, footnotes are the most frequently used note style.

   

   Fig. 4.52: An example of a footnote in horizontal writing mode

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 Fig. 4.53).

   

   Fig. 4.53: An example of a footnote in vertical writing mode

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 Fig. 4.54). 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.

   

   Fig. 4.54: An example of a sidenote in vertical writing style

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 (Fig. 4.55). 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 (Fig. 4.56). There are not so many cases of sidenotes in horizontal writing style. This style is sometimes used for keimousho (enlightening books) with many illustrations.

   

   Fig. 4.55: Example one of a sidenote in horizontal writing mode

   

   Fig. 4.56: Example two of a sidenote in horizontal writing mode (sidenotes are set in the right side of the pages)

(note 1)	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".
(note 2)	Punctuation marks are also used in notes. The behavior of punctuation marks in notes is the same as in base text.
(note 3)	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.
(note 4)	Sidenotes in vertical writing mode can be considered as a modified footnote in horizontal writing mode, when conceiving a spread as a page.
(note 5)	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 Fig. 4.57).

Fig. 4.57: An example of a note in inter lines

(note 6)

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.

4.2.2 Note Numbers

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.

(note 1)	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.
(note 2)	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 "¶", SECTION SIGN "§", DOUBLE VERTICAL LINE "‖", NUMBER SIGN "＃" in this order are used as note numbers.
(note 3)	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 ")".
(note 4)	In vertical writing mode, western numerals used as note numbers are usually set using tate-chu-yoko style (see Fig. 4.58).

Fig. 4.58: An example of western numerals as note numbers in tate-chu-yoko style.

(note 5)

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 Fig. 4.59).

Fig. 4.59: An example of ideographic numerals as note numbers with hiraji shape

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).

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.

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 Fig. 4.60).

Fig. 4.60: An example of a footnote (in vertical writing mode), with corresponding heading text with Japanese gothic face

4.2.3 The Processing of the Reference Mark

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.

(note 1)

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.

The method where the reference mark is set on the right side (vertical writing mode) or above (horizontal writing mode) is as follows (see Fig. 4.61, Fig. 4.62).

Fig. 4.61: An example where reference marks are set in the right inter-line space in vertical writing mode

Fig. 4.62: An example where reference marks are set in inter-line space above in horizontal writing mode

1. Character size of reference marks is around 6 points.

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.

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.

4. Reference marks do not affect the default line gap.

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 (Fig. 4.61, Fig. 4.62).

In vertical writing mode, characters as reference marks (cl-20) are set just after the target word inline, as follows (see Fig. 4.63):

Fig. 4.63: An example of reference marks set inline just after the target word in vertical writing mode

1. Character size of reference marks is one or two levels smaller than the character size defined for the kihon-hanmen.

2. The right side of characters as reference marks (cl-20) is set aligned with the right side of the base character line.

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 Appendix B Spacing between Characters).

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.

In horizontal writing mode, characters as reference marks (cl-20) are set inline just after the target word as follows (Fig. 4.64):

Fig. 4.64: An example of reference marks set inline just after the target word in horizontal writing mode

1. Characters as reference marks (cl-20) are same kind to characters for superior scripts.

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).

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.

4.2.4 Processing of Endnotes in Vertical Writing Mode or Horizontal Writing Mode

The following figure is a common example of endnotes set at the end of paragraphs in vertical writing mode (see Fig. 4.65).

Fig. 4.65: An example of endnotes set at the end of paragraphs in vertical writing mode

Specific issues related to setting endnotes in vertical writing mode or horizontal writing mode include the following:

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.

   (note 1)

   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.

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.

   (note 1)

   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: line length of base text 387 point = 9 point × 43 characters convert to 7 point based line length 387 point = 7 point × 55 characters + 2 point Suppose the line length of the endnote is 7 points by 53 characters, the length of indent is 16 points with following calculation: 16 point = 387 point − 7 point × 53 characters Suppose line length of the endnote is 7 points by 52 characters, indent length is 23 points with following calculation: 23 point = 387 point − 7 point × 52 characters Accordingly, in this case, the indent length of the endnote is 16 points or 23 points.

3. The inter-letter space after the head endnote number is usually the size of a full-width character of the endnote.

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.

5. Line gaps of endnotes are narrower than the line gap of the kihon-hanmen because of the smaller character size of endnotes.

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 (Fig. 4.66).

   

   Fig. 4.66: An example of the handling of line gaps before and after endnotes

4.2.5 Processing of Footnotes in Horizontal Writing Mode

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.

(note 1)

In the case of multiple columns, footnotes are set at the bottom of the column where corresponding reference marks appear (see Fig. 4.67). However, there are cases where all footnotes in the page are set at the bottom of the hanmen with one column (see Fig. 4.68).

Fig. 4.67: Example one of footnotes in multiple columns

Fig. 4.68: Example two of footnotes in multiple columns

(note 2)

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 spaces between base text and footnotes are used for the alignment (see Fig. 4.69). 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 Fig. 4.70).

Fig. 4.69: Example one of footnotes before page break or new recto

Fig. 4.70: Example two of footnotes before page break or new recto

(note 3)

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.

Following figure is an common example of footnotes in horizontal writing mode (see Fig. 4.71).

Fig. 4.71: An example of footnotes in single column horizontal writing mode

The following items are outstanding issues when setting footnotes in horizontal writing mode:

1. The character size of footnotes is one or two levels smaller than the character size of the base text in the kihon-hanmen.

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 spaces and the bottom of footnote is aligned with the kihon-hanmen or column area.

   (note 1)

   For example, when the base text line length is nine point by thirty four characters and footnote character size is seven point, the remaining spaces of footnotes are calculated as follows: line length of base text 306 point = 9 point × 34 characters convert to 7 point based line length 306 point = 7 point × 43 characters + 5 point 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.

   (note 2)

   For example, when base text line length is 9 point by thirty five characters and footnote character size is seven point, the left spaces of footnotes are calculated as follows: line length of base text 315 point = 9 point × 35 characters convert to 7 point based line length 315 point = 7 point × 45 characters when line length of footnote is seven point by 45 characters, there is no left space inserted.

3. The inter-character space between footnote numbers at the top of the line and footnote text is usually a full-width of footnote text character in size.

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 (Fig. 4.72).

   

   Fig. 4.72: Examples of indents of footnotes, first line indentation and second line and below indentation

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.

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.

   (note 1)

   There are cases without the line between base text and footnotes, but in Japan these cases are few.

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.

   (note 1)

   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.

4.2.6 Processing of Sidenotes in Vertical Writing Mode

The following figure is a common example of sidenotes in vertical writing mode (see Fig. 4.73).

Fig. 4.73: An example of sidenotes in vertical writing mode

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:

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.

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.

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.

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.

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.

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.

   (note 1)

   There are cases when the lines to distinguish base text and sidenotes are not inserted.

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.

4.2.7 Processing of Headnotes (in Vertical Writing Mode), Footnotes (in Vertical Writing Mode) and Sidenotes (in Horizontal Writing Mode)

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.

(note 1)

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.

There are the following relationships between the parallel-note and the main text:

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.

   (note 1)

   Processing of reference marks (characters as reference marks (cl-20) is very similar to the processing of endnotes and footnotes in horizontal writing mode.

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) (Fig. 4.74, Fig. 4.75).

   

   Fig. 4.74: Examples of numbers and a symbol to indicate corresponding reference marks

   

   Fig. 4.75: Examples of changed font style to indicate corresponding reference marks

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).

There are some issues specific to setting parallel-notes as follows:

1. The character size of parallel-notes is one or two ranks smaller than the character size of main text in the kihon-hanmen.

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.

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.

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.

   (note 1)

   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) × (number of lines of parallel-note + line gap of note × (number of lines of parallel-note − 1).

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.

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.

7. The inter-letter space 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 space between the target word and parallel-note text is one em of the parallel-note text size (see Fig. 4.76).

   

   Fig. 4.76: Examples of headnotes in vertical writing mode

The setting of parallel-notes and the main text area is as follows:

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 Fig. 4.77).

   

   Fig. 4.77: Example one of headnotes in vertical writing mode

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 Fig. 4.78). 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.

   

   Fig. 4.78: Example two of headnote in vertical writing mode

   (note 1)

   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.

3. When there are multiple parallel-notes set in the same page or the same spread, the following methods are applied:

   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.

   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.

   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.

4.3 Positioning of Illustrations

4.3.1 Specification of the Position of Illustrations

There are two methods for specifying the position of illustrations.

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.

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.

   (note 1)	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.
   (note 2)	Normally, when applying method "b" for vertical layout, the illustration is placed on the head or fore-edge (see Fig. 4.79). For even pages, the figure will be on the left, for odd pages, it will be on the right side.

   

   Fig. 4.79: Common example of illustration positioning

   (note 3)

   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 Fig. 4.80), or at the foot or head (see the right page in Fig. 4.80).

   

   Fig. 4.80: Common example of figure positioning in horizontal layout

   (note 4)

   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 Fig. 4.81).

   

   Fig. 4.81: Example for layout of captions

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.

4.3.2 Basic Concepts about Illustration Positioning

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.

(note 1)

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. 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. 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. 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.

4.3.3 Requirements for Illustration Positioning in Vertical Layout

For vertical layout as in Fig. 4.79, the following requirements for illustration positioning apply.

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.

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.

   (note 1)

   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.

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 Fig. 2.39). 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 Fig. 4.82).

   

   Fig. 4.82: Bleed positioning

4. If base text is placed around illustrations, normally the smallest space size between them is specified. The smallest space size 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.

   (note 1)

   Here an example is shown of the smallest and largest space size between an illustration and characters, for a character size of 9 points in the kihon-hanmen and 8 points for line gap (see Fig. 4.83). Space in the inline direction 9points≦space size of illustration and surrounding characters<18points Space in the block direction 9points≦space size of illustration and surrounding characters<26points or, Space in the block direction 8points≦space size of illustration and surrounding characters<25points

   

   Fig. 4.83: An example of space size around illustration

   (note 2)

   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.

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 Fig. 4.84). Also, as shown in the left part of Fig. 4.85, 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 Fig. 4.85, the right side shows the appropriate way).

   

   Fig. 4.84: A case where the number of characters of main text in inline direction is very short

   

   Fig. 4.85: 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)

   (note 1)

   The placement of characters around illustrations in the inline direction is called mawarikomi.

4.3.4 Requirements for Illustration Positioning in Horizontal Layout

In the case of horizontal layout as in Fig. 4.80, the following requirements for illustration positioning apply.

(note 1)

Below, the discussion is restricted to problems arising within one column space.

1. In case of Fig. 4.80, the basic approach is to position the illustration directly after the paragraph with its explanation (see Fig. 4.86).

   

   Fig. 4.86: Positioning directly after the explaining paragraph

   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 Fig. 4.87).

   

   Fig. 4.87: Placing the illustration at the foot or head of the hanmen

   (note 1)

   In the case of a print space (out of several), the illustration is placed at the foot or head of that print space.

2. As shown in Fig. 4.80, 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 Fig. 4.88) or the right side (see Fig. 4.89). 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 Fig. 4.88 and Fig. 4.89).

   

   Fig. 4.88: Example of placing an illustration at the fore-edge of the hanmen

   

   Fig. 4.89: Example of placing an illustration at the right side of the hanmen

3. As shown in the left part of Fig. 4.90, 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 Fig. 4.90, 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.

   

   Fig. 4.90: 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)

4. Illustrations which stretch across several columns in a print space are normally placed at the head or foot (see Fig. 4.91).

   

   Fig. 4.91: Example of illustration stretching across several columns

4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051

To provide some background for the preceding discussion, the main definitions of JIS X 4051 will be introduced below.

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.

   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)

   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.

   In the case of Fig. 4.79, where the position is specified from two directions (from the head or the fore-edge), the absolute position specification method is used.

   As shown in Fig. 4.80, Fig. 4.88 or Fig. 4.89, 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 ).

   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.

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 Fig. 4.85 or in Fig. 4.90. 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.

   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 Fig. 4.92). 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 Fig. 4.92 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 Fig. 4.93).

      

      Fig. 4.92: Example of positioning on the same page with relative positioning specification (before the adaptation in case of a ≧ 2b)

      

      Fig. 4.93: Example of positioning on the same page with relative positioning specification (after the adaptation in case of a ≧ 2b)

      Also, in the case of a < 2b (see Fig. 4.94), the illustration is placed on the following page, and the free area is filled with main text taken from the following page.

      

      Fig. 4.94: Example of positioning on the following page with relative positioning specification (before the adaptation in case of a < 2b)

      

      Fig. 4.95: Example of positioning on the following page with relative positioning specification (after the adaptation in case of a < 2b)

      (note 1)	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.
      (note 2)	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.
      (note 3)	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.

   2. The same basic ideas apply also for absolute positioning. However, the portions to be compared are different than with relative positioning.

      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 Fig. 4.96). 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.

      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 Fig. 4.96).

      

      Fig. 4.96: Example of positioning with absolute positioning specification (in case of a < 2b)

      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 Fig. 4.96, a < 2b, the illustration is moved to the left page (page 13), see Fig. 4.97.

      

      Fig. 4.97: Illustration positioning example 1, final position

      Fig. 4.98 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).

      

      Fig. 4.98: Absolute positioning example 2 (left is before illustration positioning, right is after)

3. In addition some more definitions related to illustration positioning are introduced below.

   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.

   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 4.5 Block Direction Setting Process of Lines, Paragraphs etc.).

   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 Fig. 4.79).

   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 Fig. 4.88 or Fig. 4.89 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 Fig. 4.99).

      

      Fig. 4.99: Space between an illustration placed midway a page and the characters above and below it

   5. For positioning of illustrations relying on the spread, JIS X 4051 defines a method using the absolute positioning method (see 4.4.5 Processing of Tables Allocated in a Spread)..

4.4 Processing of Tables

4.4.1 Elements of Tables

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.

(note 1)

There are descriptions in "JIS X 4051 11. Processing of tables".

In JIS X 4015, there is a figure of an example of the structure of table in horizontal writing mode as follows (see Fig. 4.100). The following descriptions will use the terminology in this figure.

Fig. 4.100: Structure of a table (from JIS X 4051)

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.

4.4.2 Direction of Tables Themselves

Tables themselves can be classified according to horizontal mode and vertical mode.

(note 1)

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.

Fig. 4.101: An example of table, with vertical direction

(note 2)

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.

Fig. 4.102: An example of horizontal table with vertical text cells

When the direction of a table itself is horizontal, the position of the origin and the setting order of cell contents is as follows (Fig. 4.103):

1. The origin is the left upper top of the table.

2. The order of cells in a line is from left to right.

3. The order of lines in a table is from top to bottom.

4. In the first line of Fig. 4.103, 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.

   

   Fig. 4.103: An example of the position of the origin and the setting order of cell contents in horizontal table

When the direction of a table itself is vertical, the position of the origin and the setting order of cell contents is as follows (Fig. 4.104).

Fig. 4.104: An example of the position of the origin and setting order of cell contents in vertical table

1. The origin is the right upper top of the table.

2. The order of cells in a line is from top to bottom.

3. The order of lines in a table is from right to left.

4. In the first line of Fig. 4.104 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.

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.

4.4.3 An Example of Layout with a Table

Following is an example of a vertical writing mode book with a table (see Fig. 4.105). The issues to be noted are as follows:

Fig. 4.105: An example of a vertical writing mode book with a table.

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.

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.

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.

   (note 1)

   In JIS X 4051, the widths of thin borders, mid borders and thick borders are described as informative. OMOTEKEI (thin border) 0.12 mm CHUUBOSOKEI (mid border) 0.25 mm URAKEI (thick border) 0.4 mm

   (note 2)

   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 Fig. 4.106. 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.

   

   Fig. 4.106: Physical OMOTEKEI and URAKEI in letterpress printing

   (note 3)

   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.

   (note 4)

   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.

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.

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).

   (note 1)

   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.

6. Some row headers have two lines with no line gap to maintain appropriate proportions with the cell contents.

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.

8. The horizontal position of names of header rows and the header column are horizontally centered.

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 space size after shall not be longer than the space size before.

10. The block direction spaces between KEISEN and cell contents are as follows: the spaces between visible KEISEN and cell content are a half em space of the basic table character size. The spaces between invisible KEISEN and cell content are a fourth em space 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 spaces between KEISEN and cell contents are set with a minimum gap of one fourth em (see Fig. 4.105 a and b). The reason is not to make a space between KEISEN and cell contents for other one line cells.

    (note 1)

    It is basically recommended that the spaces between visible KEISEN and cell content should be a half em and between invisible KEISEN and cell content should be a 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 space sizes are too large. In such cases, the space sizes may be reduced to a quarter em, and exceptional spaces may be set every five or ten lines.

4.4.4 Kinds of Tables from Allocation to Page Position

There are several kinds of tables as follows:

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.

   1. Linked with an anchor of the base text, and moved with the anchor. The position of the table is relative (see Fig. 4.107 and 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051).

      

      Fig. 4.107: An example of relatively allocated table

   2. Tables allocated with absolute position in the kihon-hanmen, except for the tables allocated with absolute position in a spread (see Fig. 4.108).

      

      Fig. 4.108: An example of a table allocated with absolute position

2. Tables allocated in a spread with absolute position (see Fig. 4.109).

   (note 1)

   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 Fig. 4.109).

   

   Fig. 4.109: An example of a table allocated in a spread with absolute position

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 Fig. 4.110).

   

   Fig. 4.110: An example of a table continuously allocated through two pages

(note 1)	Allocation method of a is similar to illustrations.
(note 2)	Allocation method of b is similar to illustrations, except for the method of division.
(note 3)	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.
(note 4)	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.

4.4.5 Processing of Tables Allocated in a Spread

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 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051): Firstly, calculate the distance between the anchor position of the base text and the last position of the spread (see Fig. 4.111). 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 Fig. 4.112). Finally, compare these two distances, and decide whether to allocate the table to the original spread or next spread (see Fig. 4.113).

Fig. 4.111: First step of the calculation of the distance of the allocation method to a spread.

Fig. 4.112: Second step of the calculation of the distance of the allocation method to a spread.

Fig. 4.113: Last step of the calculation of the distance of the allocation method to a spread.

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:

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.

2. When there is a visible KEISEN at the expected dividing position, the common approach is as follows:

   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 Fig. 4.114).

      

      Fig. 4.114: Example one of KEISEN of a table set in a spread

   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 Fig. 4.115).

      

      Fig. 4.115: Example two of KEISEN of a table set in a spread

   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.

4.4.6 Processing of Dividable Tables

Processing of dividable tables is as follows:

1. Dividable tables are set from the position of the specified anchor text position with specified line direction gap

   (note 1)

   These dividable tables are frequently started just after the page breaks.

2. The inline length of the table shall not hang out from the inline length of the kihon-hanmen or the column.

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.

   (note 1)

   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.

4. Captions and header line shall not be divided in following cases:

   1. Between header with two lines.

   2. Between caption and header column.

   3. Between header column.

   4. Between header column and the first column of the content.

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 Fig. 4.116).

   

   Fig. 4.116: An example of divided tables with same header columns in vertical writing mode.

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.

4.5 Block Direction Setting Process of Lines, Paragraphs etc.

4.5.1 Line Gap Arrangement with Ruby and Other Objects

When setting lines in pages or columns, basically each line should be set by aligning with the line positions set in the kihon-hanmen

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.

The following objects should be set in the interlinear space.

1. Ruby

2. Emphasis dots

3. Underlines and sidelines

4. Interlinear reference marks

The following objects might jut into the interlinear space in conjunction with character size and other factors.

1. Tate-chu-yoko processed texts

2. Ornament characters

3. Warichu (inline cutting note)

4. The strings some of character positions are moved to block direction.

5. Strings where the character size is larger than the size specified in the kihon-hanmen (see Fig. 4.117).

   

   Fig. 4.117: An example of strings some of characters' size is larger than the kihon-hanmen character size

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 Fig. 4.118).

Fig. 4.118: An example of inserted smaller characters than basic paragraph character size

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 Fig. 4.119):

1. In vertical writing mode, ruby, emphasis dots and sidelines at the right side of the character.

2. In horizontal writing mode, ruby and emphasis dots above the character.

3. In horizontal writing mode and vertical writing mode, reference marks between lines.

Fig. 4.119: An example of objects set out of the kihon-hanmen

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:

1. characters processed with tate-chu-yoko

2. ornamented characters

3. warichu

4. characters where each base line is changed to block direction

5. characters where the size is larger than the size dictated by the kihon-hanmen

Following interlinear objects are set outside the hanmen or column area, when set at the very last line of the hanmen or column area:

1. in vertical writing mode, ruby and sideline set left side of the base character

2. in horizontal writing mode, underline under main text

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 Fig. 4.120):

1. characters processed with tate-chu-yoko

2. ornamented characters

3. warichu

4. characters where each position is changed to block direction

5. characters whose size is larger than the size dictated by the kihon-hanmen

Fig. 4.120: An example of warichu jutting from kihon-hanmen

4.5.2 Processing of Spaces between Paragraphs

The space between paragraphs is usually same as line gap specified for the paragraphs.

(note 1)

JIS X 4051 determines that "the space between paragraphs where different character sizes are specified shall be the line gap specified for kihon-hanmen".

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 space sizes (see Fig. 4.121) or a number of lines (see Fig. 4.122).

Fig. 4.121: Example one where the "space before paragraph" or the "space after paragraph" is specified

Fig. 4.122: Example one where the "space before paragraph" or the "space after paragraph" is specified (quotations are inserted)

(note 1)

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 Fig. 4.125 Fig. 4.126 and Fig. 4.127 about the space specified with number of lines): 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 Fig. 4.123). Note that the remaining unexpected blank on the previous page or column is left as is. Fig. 4.123: An example of "space before paragraph" in the top of the hanmen (an example of a NAKA-TOBIRA) 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 Fig. 4.124). Fig. 4.124: An example of "space after paragraph" at the bottom of hanmen or column (an example of NAKA-TOBIRA)

(note 2)

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".

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 spaces among paragraphs are specified as a size of one line space, the results are as follows:

Fig. 4.125: Example one of the space size between paragraphs with number of lines (at the middle of the hanmen)

Fig. 4.126: Example two of the space sibe between paragraphs with number of lines (at the top of the hanmen)

Fig. 4.127: Example two of the space size between paragraphs with number of lines (at the bottom of the hanmen)

4.5.3 Adjustment of Processing of Realm in Block Direction

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:

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.

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.

In these cases, there are two ways to solve the issue. Hereafter, procedure (a) will be called "adjustment processing in block direction".

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.

2. Let the blanks appearing at the bottom of the hanmen or the column in block direction remain as they are.

There are some issues related to the adjustment procedure in the block direction as follows:

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:

1. Block heading: the area of the block heading is specified by an integral number of lines (see 4.1.6 Processing of Gyou-dori).

   (note 1)

   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.

2. Block direction space between paragraphs: to specify the size of a space with a number of lines (see 4.5.2 Processing of Spaces between Paragraphs).

3. Other cases such as Haiku with larger characters, where the space of the block is specified with a number of lines.

   (note 1)

   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 Fig. 3.102).

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:

1. Footnotes in horizontal writing mode (see 4.2.5 Processing of Footnotes in Horizontal Writing Mode).

2. Sidenotes in vertical writing mode (see 4.2.6 Processing of Sidenotes in Vertical Writing Mode).

When there is following text and objects and there is a blank as the result of setting text and objects with specified spaces, adjustment is done with the block direction space among text lines and objects. Examples are as follows:

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 4.3.5 Basic Ideas about Illustration Positioning in JIS X 4051). Process should be implemented as follows:

   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 Fig. 4.128).

      (note 1)

      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.

      

      Fig. 4.128: Example one of adjustment of allocation of a illustration with"relative positioning mode" (at the top of a hanmen)

   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 Fig. 4.129).

      

      Fig. 4.129: Example two of adjustment of allocation of a illustration with "relative positioning mode" (at the middle of a hanmen)

   3. When two or more illustrations or tables are inserted, a fractional blank is distributed to multiple spaces between main text and illustrations or tables (see Fig. 2.41).

      (note 1)

      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 Fig. 2.42). In processing like Fig. 2.41, the size of the space before and after illustrations are very similar, however, in cases like Fig. 2.42, the size of the space before and after one illustration are same, but, the sizes of spaces before and after different illustrations might be different from each other.

      (note 2)

      When the illustrations or tables with absolute position indication without turn 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 spaces 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.

2. Cases where an endnote is inserted (see 4.2.4 Processing of Endnotes in Vertical Writing Mode or Horizontal Writing Mode). 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.

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 Fig. 4.130, Fig. 4.131).

   

   Fig. 4.130: First example of a case quoted text block has smaller character size than kihon-hanmen

   

   Fig. 4.131: Second example of a case quoted text block has smaller character size than kihon-hanmen

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.

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:

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 4.1.7 Processing of Gyou-dori Heading Set at the bottom of the Page).

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 4.5.2 Processing of Spaces between Paragraphs).

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.

Appendix A Character Classes

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 3.9.2 Grouping of Characters and Symbols depending on their Positioning.

(note 1)

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.

A.1 Opening brackets (cl-01)

Character	UCS	Name	Remark
‘	2018	LEFT SINGLE QUOTATION MARK	used horizontal composition
“	201C	LEFT DOUBLE QUOTATION MARK	used horizontal composition
（	0028	LEFT PARENTHESIS
〔	3014	LEFT TORTOISE SHELL BRACKET
［	005B	LEFT SQUARE BRACKET
｛	007B	LEFT CURLY BRACKET
〈	3008	LEFT ANGLE BRACKET
《	300A	LEFT DOUBLE ANGLE BRACKET
「	300C	LEFT CORNER BRACKET
『	300E	LEFT WHITE CORNER BRACKET
【	3010	LEFT BLACK LENTICULAR BRACKET
｟	2985	LEFT WHITE PARENTHESIS
〘	3018	LEFT WHITE TORTOISE SHELL BRACKET
〖	3016	LEFT WHITE LENTICULAR BRACKET
«	00AB	LEFT-POINTING DOUBLE ANGLE QUOTATION MARK
〝	301D	REVERSED DOUBLE PRIME QUOTATION MARK	used vertical composition

A.2 Closing brackets (cl-02)

Character	UCS	Name	Remark
’	2019	RIGHT SINGLE QUOTATION MARK	used horizontal composition
”	201D	RIGHT DOUBLE QUOTATION MARK	used horizontal composition
）	0029	RIGHT PARENTHESIS
〕	3015	RIGHT TORTOISE SHELL BRACKET
］	005D	RIGHT SQUARE BRACKET
｝	007D	RIGHT CURLY BRACKET
〉	3009	RIGHT ANGLE BRACKET
》	300B	RIGHT DOUBLE ANGLE BRACKET
」	300D	RIGHT CORNER BRACKET
』	300F	RIGHT WHITE CORNER BRACKET
】	3011	RIGHT BLACK LENTICULAR BRACKET
｠	2986	RIGHT WHITE PARENTHESIS
〙	3019	RIGHT WHITE TORTOISE SHELL BRACKET
〗	3017	RIGHT WHITE LENTICULAR BRACKET
»	00BB	RIGHT-POINTING DOUBLE ANGLE QUOTATION MARK
〟	301F	LOW DOUBLE PRIME QUOTATION MARK	used vertical composition

A.3 Hyphens (cl-03)

Character	UCS	Name	Remark
‐	2010	HYPHEN	quarter em width
〜	301C	WAVE DASH
゠	30A0	KATAKANA-HIRAGANA DOUBLE HYPHEN	half-width
–	2013	EN DASH	half-width

A.4 Dividing punctuation marks (cl-04)

Character	UCS	Name	Remark
！	0021	EXCLAMATION MARK
？	003F	QUESTION MARK
‼	203C	DOUBLE EXCLAMATION MARK
⁇	2047	DOUBLE QUESTION MARK
⁈	2048	QUESTION EXCLAMATION MARK
⁉	2049	EXCLAMATION QUESTION MARK

A.5 Middle dots (cl-05)

Character	UCS	Name	Remark
・	30FB	KATAKANA MIDDLE DOT
：	003A	COLON
；	003B	SEMICOLON	used horizontal composition

A.6 Full stops (cl-06)

Character	UCS	Name	Remark
。	3002	IDEOGRAPHIC FULL STOP
．	002E	FULL STOP	used horizontal composition

A.7 Commas (cl-07)

Character	UCS	Name	Remark
、	3001	IDEOGRAPHIC COMMA
，	002C	COMMA	used horizontal composition

A.8 Inseparable characters (cl-08)

Character	UCS	Name	Remark
—	2014	EM DASH	Some systems implement U+2015 HORIZONTAL BAR very similar behavior to U+2014 EM DASH
…	2026	HORIZONTAL ELLIPSIS
‥	2025	TWO DOT LEADER
〳	3033	VERTICAL KANA REPEAT MARK UPPER HALF	used vertical composition U+3035 follows this
〴	3034	VERTICAL KANA REPEAT WITH VOICED SOUND MARK UPPER HALF	used vertical composition U+3035 follows this
〵	3035	VERTICAL KANA REPEAT MARK LOWER HALF	used vertical composition

A.9 Iteration marks (cl-09)

Character	UCS	Name	Remark
ヽ	30FD	KATAKANA ITERATION MARK
ヾ	30FE	KATAKANA VOICED ITERATION MARK
ゝ	309D	HIRAGANA ITERATION MARK
ゞ	309E	HIRAGANA VOICED ITERATION MARK
々	3005	IDEOGRAPHIC ITERATION MARK
〻	303B	VERTICAL IDEOGRAPHIC ITERATION MARK

A.10 Prolonged sound mark (cl-10)

Character	UCS	Name	Remark
ー	30FC	KATAKANA-HIRAGANA PROLONGED SOUND MARK

A.11 Small kana (cl-11)

Character	UCS	Name	Remark
ぁ	3041	HIRAGANA LETTER SMALL A
ぃ	3043	HIRAGANA LETTER SMALL I
ぅ	3045	HIRAGANA LETTER SMALL U
ぇ	3047	HIRAGANA LETTER SMALL E
ぉ	3049	HIRAGANA LETTER SMALL O
ァ	30A1	KATAKANA LETTER SMALL A
ィ	30A3	KATAKANA LETTER SMALL I
ゥ	30A5	KATAKANA LETTER SMALL U
ェ	30A7	KATAKANA LETTER SMALL E
ォ	30A9	KATAKANA LETTER SMALL O
っ	3063	HIRAGANA LETTER SMALL TU
ゃ	3083	HIRAGANA LETTER SMALL YA
ゅ	3085	HIRAGANA LETTER SMALL YU
ょ	3087	HIRAGANA LETTER SMALL YO
ゎ	308E	HIRAGANA LETTER SMALL WA
ゕ	3095	HIRAGANA LETTER SMALL KA
ゖ	3096	HIRAGANA LETTER SMALL KE
ッ	30C3	KATAKANA LETTER SMALL TU
ャ	30E3	KATAKANA LETTER SMALL YA
ュ	30E5	KATAKANA LETTER SMALL YU
ョ	30E7	KATAKANA LETTER SMALL YO
ヮ	30EE	KATAKANA LETTER SMALL WA
ヵ	30F5	KATAKANA LETTER SMALL KA
ヶ	30F6	KATAKANA LETTER SMALL KE
ㇰ	31F0	KATAKANA LETTER SMALL KU
ㇱ	31F1	KATAKANA LETTER SMALL SI
ㇲ	31F2	KATAKANA LETTER SMALL SU
ㇳ	31F3	KATAKANA LETTER SMALL TO
ㇴ	31F4	KATAKANA LETTER SMALL NU
ㇵ	31F5	KATAKANA LETTER SMALL HA
ㇶ	31F6	KATAKANA LETTER SMALL HI
ㇷ	31F7	KATAKANA LETTER SMALL HU
ㇸ	31F8	KATAKANA LETTER SMALL HE
ㇹ	31F9	KATAKANA LETTER SMALL HO
ㇺ	31FA	KATAKANA LETTER SMALL MU
ㇻ	31FB	KATAKANA LETTER SMALL RA
ㇼ	31FC	KATAKANA LETTER SMALL RI
ㇽ	31FD	KATAKANA LETTER SMALL RU
ㇾ	31FE	KATAKANA LETTER SMALL RE
ㇿ	31FF	KATAKANA LETTER SMALL RO
ㇷ゚	<31F7, 309A>	<KATAKANA LETTER SMALL HU, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>

A.12 Prefixed abbreviations (cl-12)

Character	UCS	Name	Remark
￥	00A5	YEN SIGN
＄	0024	DOLLAR SIGN
￡	00A3	POUND SIGN
＃	0023	NUMBER SIGN
€	20AC	EURO SIGN
№	2116	NUMERO SIGN

A.13 Postfixed abbreviations (cl-13)

Character	UCS	Name	Remark
°	00B0	DEGREE SIGN	proportional
′	2032	PRIME	proportional
″	2033	DOUBLE PRIME	proportional
℃	2103	DEGREE CELSIUS
￠	00A2	CENT SIGN
％	0025	PERCENT SIGN
‰	2030	PER MILLE SIGN
㏋	33CB	SQUARE HP
ℓ	2113	SCRIPT SMALL L
㌃	3303	SQUARE AARU
㌍	330D	SQUARE KARORII
㌔	3314	SQUARE KIRO
㌘	3318	SQUARE GURAMU
㌢	3322	SQUARE SENTI
㌣	3323	SQUARE SENTO
㌦	3326	SQUARE DORU
㌧	3327	SQUARE TON
㌫	332B	SQUARE PAASENTO
㌶	3336	SQUARE HEKUTAARU
㌻	333B	SQUARE PEEZI
㍉	3349	SQUARE MIRI
㍊	334A	SQUARE MIRIBAARU
㍍	334D	SQUARE MEETORU
㍑	3351	SQUARE RITTORU
㍗	3357	SQUARE WATTO
㎎	338E	SQUARE MG
㎏	338F	SQUARE KG
㎜	339C	SQUARE MM
㎝	339D	SQUARE CM
㎞	339E	SQUARE KM
㎡	33A1	SQUARE M SQUARED
㏄	33C4	SQUARE CC

A.14 Full-width ideographic space (cl-14)

Character	UCS	Name	Remark
	3000	IDEOGRAPHIC SPACE

A.15 Hiragana (cl-15)

Character	UCS	Name	Remark
あ	3042	HIRAGANA LETTER A
い	3044	HIRAGANA LETTER I
う	3046	HIRAGANA LETTER U
え	3048	HIRAGANA LETTER E
お	304A	HIRAGANA LETTER O
か	304B	HIRAGANA LETTER KA
が	304C	HIRAGANA LETTER GA
き	304D	HIRAGANA LETTER KI
ぎ	304E	HIRAGANA LETTER GI
く	304F	HIRAGANA LETTER KU
ぐ	3050	HIRAGANA LETTER GU
け	3051	HIRAGANA LETTER KE
げ	3052	HIRAGANA LETTER GE
こ	3053	HIRAGANA LETTER KO
ご	3054	HIRAGANA LETTER GO
さ	3055	HIRAGANA LETTER SA
ざ	3056	HIRAGANA LETTER ZA
し	3057	HIRAGANA LETTER SI
じ	3058	HIRAGANA LETTER ZI
す	3059	HIRAGANA LETTER SU
ず	305A	HIRAGANA LETTER ZU
せ	305B	HIRAGANA LETTER SE
ぜ	305C	HIRAGANA LETTER ZE
そ	305D	HIRAGANA LETTER SO
ぞ	305E	HIRAGANA LETTER ZO
た	305F	HIRAGANA LETTER TA
だ	3060	HIRAGANA LETTER DA
ち	3061	HIRAGANA LETTER TI
ぢ	3062	HIRAGANA LETTER DI
つ	3064	HIRAGANA LETTER TU
づ	3065	HIRAGANA LETTER DU
て	3066	HIRAGANA LETTER TE
で	3067	HIRAGANA LETTER DE
と	3068	HIRAGANA LETTER TO
ど	3069	HIRAGANA LETTER DO
な	306A	HIRAGANA LETTER NA
に	306B	HIRAGANA LETTER NI
ぬ	306C	HIRAGANA LETTER NU
ね	306D	HIRAGANA LETTER NE
の	306E	HIRAGANA LETTER NO
は	306F	HIRAGANA LETTER HA
ば	3070	HIRAGANA LETTER BA
ぱ	3071	HIRAGANA LETTER PA
ひ	3072	HIRAGANA LETTER HI
び	3073	HIRAGANA LETTER BI
ぴ	3074	HIRAGANA LETTER PI
ふ	3075	HIRAGANA LETTER HU
ぶ	3076	HIRAGANA LETTER BU
ぷ	3077	HIRAGANA LETTER PU
へ	3078	HIRAGANA LETTER HE
べ	3079	HIRAGANA LETTER BE
ぺ	307A	HIRAGANA LETTER PE
ほ	307B	HIRAGANA LETTER HO
ぼ	307C	HIRAGANA LETTER BO
ぽ	307D	HIRAGANA LETTER PO
ま	307E	HIRAGANA LETTER MA
み	307F	HIRAGANA LETTER MI
む	3080	HIRAGANA LETTER MU
め	3081	HIRAGANA LETTER ME
も	3082	HIRAGANA LETTER MO
や	3084	HIRAGANA LETTER YA
ゆ	3086	HIRAGANA LETTER YU
よ	3088	HIRAGANA LETTER YO
ら	3089	HIRAGANA LETTER RA
り	308A	HIRAGANA LETTER RI
る	308B	HIRAGANA LETTER RU
れ	308C	HIRAGANA LETTER RE
ろ	308D	HIRAGANA LETTER RO
わ	308F	HIRAGANA LETTER WA
ゐ	3090	HIRAGANA LETTER WI
ゑ	3091	HIRAGANA LETTER WE
を	3092	HIRAGANA LETTER WO
ん	3093	HIRAGANA LETTER N
ゔ	3094	HIRAGANA LETTER VU
か゚	<304B, 309A>	<HIRAGANA LETTER KA, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
き゚	<304D, 309A>	<HIRAGANA LETTER KI, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
く゚	<304F, 309A>	<HIRAGANA LETTER KU, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
け゚	<3051, 309A>	<HIRAGANA LETTER KE, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
こ゚	<3053, 309A>	<HIRAGANA LETTER KO, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>

A.16 Katakana (cl-16)

Character	UCS	Name	Remark
ア	30A2	KATAKANA LETTER A
イ	30A4	KATAKANA LETTER I
ウ	30A6	KATAKANA LETTER U
エ	30A8	KATAKANA LETTER E
オ	30AA	KATAKANA LETTER O
カ	30AB	KATAKANA LETTER KA
ガ	30AC	KATAKANA LETTER GA
キ	30AD	KATAKANA LETTER KI
ギ	30AE	KATAKANA LETTER GI
ク	30AF	KATAKANA LETTER KU
グ	30B0	KATAKANA LETTER GU
ケ	30B1	KATAKANA LETTER KE
ゲ	30B2	KATAKANA LETTER GE
コ	30B3	KATAKANA LETTER KO
ゴ	30B4	KATAKANA LETTER GO
サ	30B5	KATAKANA LETTER SA
ザ	30B6	KATAKANA LETTER ZA
シ	30B7	KATAKANA LETTER SI
ジ	30B8	KATAKANA LETTER ZI
ス	30B9	KATAKANA LETTER SU
ズ	30BA	KATAKANA LETTER ZU
セ	30BB	KATAKANA LETTER SE
ゼ	30BC	KATAKANA LETTER ZE
ソ	30BD	KATAKANA LETTER SO
ゾ	30BE	KATAKANA LETTER ZO
タ	30BF	KATAKANA LETTER TA
ダ	30C0	KATAKANA LETTER DA
チ	30C1	KATAKANA LETTER TI
ヂ	30C2	KATAKANA LETTER DI
ツ	30C4	KATAKANA LETTER TU
ヅ	30C5	KATAKANA LETTER DU
テ	30C6	KATAKANA LETTER TE
デ	30C7	KATAKANA LETTER DE
ト	30C8	KATAKANA LETTER TO
ド	30C9	KATAKANA LETTER DO
ナ	30CA	KATAKANA LETTER NA
ニ	30CB	KATAKANA LETTER NI
ヌ	30CC	KATAKANA LETTER NU
ネ	30CD	KATAKANA LETTER NE
ノ	30CE	KATAKANA LETTER NO
ハ	30CF	KATAKANA LETTER HA
バ	30D0	KATAKANA LETTER BA
パ	30D1	KATAKANA LETTER PA
ヒ	30D2	KATAKANA LETTER HI
ビ	30D3	KATAKANA LETTER BI
ピ	30D4	KATAKANA LETTER PI
フ	30D5	KATAKANA LETTER HU
ブ	30D6	KATAKANA LETTER BU
プ	30D7	KATAKANA LETTER PU
ヘ	30D8	KATAKANA LETTER HE
ベ	30D9	KATAKANA LETTER BE
ペ	30DA	KATAKANA LETTER PE
ホ	30DB	KATAKANA LETTER HO
ボ	30DC	KATAKANA LETTER BO
ポ	30DD	KATAKANA LETTER PO
マ	30DE	KATAKANA LETTER MA
ミ	30DF	KATAKANA LETTER MI
ム	30E0	KATAKANA LETTER MU
メ	30E1	KATAKANA LETTER ME
モ	30E2	KATAKANA LETTER MO
ヤ	30E4	KATAKANA LETTER YA
ユ	30E6	KATAKANA LETTER YU
ヨ	30E8	KATAKANA LETTER YO
ラ	30E9	KATAKANA LETTER RA
リ	30EA	KATAKANA LETTER RI
ル	30EB	KATAKANA LETTER RU
レ	30EC	KATAKANA LETTER RE
ロ	30ED	KATAKANA LETTER RO
ワ	30EF	KATAKANA LETTER WA
ヰ	30F0	KATAKANA LETTER WI
ヱ	30F1	KATAKANA LETTER WE
ヲ	30F2	KATAKANA LETTER WO
ン	30F3	KATAKANA LETTER N
ヴ	30F4	KATAKANA LETTER VU
カ゚	<30AB, 309A>	<KATAKANA LETTER KA, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
キ゚	<30AD, 309A>	<KATAKANA LETTER KI, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
ク゚	<30AF, 309A>	<KATAKANA LETTER KU, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
ケ゚	<30B1, 309A>	<KATAKANA LETTER KE, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
コ゚	<30B3, 309A>	<KATAKANA LETTER KO, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
セ゚	<30BB, 309A>	<KATAKANA LETTER SE, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
ツ゚	<30C4, 309A>	<KATAKANA LETTER TU, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
ト゚	<30C8, 309A>	<KATAKANA LETTER TO, COMBINING KATAKANA-HIRAGANA SEMI-VOICED SOUND MARK>
ヷ	30F7	KATAKANA LETTER VA
ヸ	30F8	KATAKANA LETTER VI
ヹ	30F9	KATAKANA LETTER VE
ヺ	30FA	KATAKANA LETTER VO

A.17 Math symbols (cl-17)

Character	UCS	Name	Remark
＝	003D	EQUALS SIGN
≠	2260	NOT EQUAL TO
≒	2252	APPROXIMATELY EQUAL TO OR THE IMAGE OF
≃	2243	ASYMPTOTICALLY EQUAL TO
≅	2245	APPROXIMATELY EQUAL TO
≈	2248	ALMOST EQUAL TO
≡	2261	IDENTICAL TO
≢	2262	NOT IDENTICAL TO
＜	003C	LESS-THAN SIGN
＞	003E	GREATER-THAN SIGN
≦	2266	LESS-THAN OVER EQUAL TO
≧	2267	GREATER-THAN OVER EQUAL TO
≪	226A	MUCH LESS-THAN
≫	226B	MUCH GREATER-THAN
≶	2276	LESS-THAN OR GREATER-THAN
≷	2277	GREATER-THAN OR LESS-THAN
⋚	22DA	LESS-THAN EQUAL TO OR GREATER-THAN
⋛	22DB	GREATER-THAN EQUAL TO OR LESS-THAN
∧	2227	LOGICAL AND
∨	2228	LOGICAL OR
⌅	2305	PROJECTIVE
⌆	2306	PERSPECTIVE
⊂	2282	SUBSET OF
⊃	2283	SUPERSET OF
⊄	2284	NOT A SUBSET OF
⊅	2285	NOT A SUPERSET OF
⊆	2286	SUBSET OF OR EQUAL TO
⊇	2287	SUPERSET OF OR EQUAL TO
⊊	228A	SUBSET OF WITH NOT EQUAL TO
⊋	228B	SUPERSET OF WITH NOT EQUAL TO
∈	2208	ELEMENT OF
∋	220B	CONTAINS AS MEMBER
∉	2209	NOT AN ELEMENT OF
∪	222A	UNION
∩	2229	INTERSECTION
∥	2225	PARALLEL TO
∦	2226	NOT PARALLEL TO
⇒	21D2	RIGHTWARDS DOUBLE ARROW
⇔	21D4	LEFT RIGHT DOUBLE ARROW
↔	2194	LEFT RIGHT ARROW
∽	223D	REVERSED TILDE (lazy S)
∝	221D	PROPORTIONAL TO
⊥	22A5	UP TACK
⊕	2295	CIRCLED PLUS
⊗	2297	CIRCLED TIMES

A.18 Math operators (cl-18)

Character	UCS	Name	Remark
＋	002B	PLUS SIGN
－	2212	MINUS SIGN
×	00D7	MULTIPLICATION SIGN
÷	00F7	DIVISION SIGN
±	00B1	PLUS-MINUS SIGN
∓	2213	MINUS-OR-PLUS SIGN

A.19 Ideographic characters (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.

Character	UCS	Name	Remark
＆	0026	AMPERSAND
＊	002A	ASTERISK
／	002F	SOLIDUS
０	0030	DIGIT ZERO
１	0031	DIGIT ONE
２	0032	DIGIT TWO
３	0033	DIGIT THREE
４	0034	DIGIT FOUR
５	0035	DIGIT FIVE
６	0036	DIGIT SIX
７	0037	DIGIT SEVEN
８	0038	DIGIT EIGHT
９	0039	DIGIT NINE
＠	0040	COMMERCIAL AT
Ａ	0041	LATIN CAPITAL LETTER A
Ｂ	0042	LATIN CAPITAL LETTER B
Ｃ	0043	LATIN CAPITAL LETTER C
Ｄ	0044	LATIN CAPITAL LETTER D
Ｅ	0045	LATIN CAPITAL LETTER E
Ｆ	0046	LATIN CAPITAL LETTER F
Ｇ	0047	LATIN CAPITAL LETTER G
Ｈ	0048	LATIN CAPITAL LETTER H
Ｉ	0049	LATIN CAPITAL LETTER I
Ｊ	004A	LATIN CAPITAL LETTER J
Ｋ	004B	LATIN CAPITAL LETTER K
Ｌ	004C	LATIN CAPITAL LETTER L
Ｍ	004D	LATIN CAPITAL LETTER M
Ｎ	004E	LATIN CAPITAL LETTER N
Ｏ	004F	LATIN CAPITAL LETTER O
Ｐ	0050	LATIN CAPITAL LETTER P
Ｑ	0051	LATIN CAPITAL LETTER Q
Ｒ	0052	LATIN CAPITAL LETTER R
Ｓ	0053	LATIN CAPITAL LETTER S
Ｔ	0054	LATIN CAPITAL LETTER T
Ｕ	0055	LATIN CAPITAL LETTER U
Ｖ	0056	LATIN CAPITAL LETTER V
Ｗ	0057	LATIN CAPITAL LETTER W
Ｘ	0058	LATIN CAPITAL LETTER X
Ｙ	0059	LATIN CAPITAL LETTER Y
Ｚ	005A	LATIN CAPITAL LETTER Z
＼	005C	REVERSE SOLIDUS
ａ	0061	LATIN SMALL LETTER A
ｂ	0062	LATIN SMALL LETTER B
ｃ	0063	LATIN SMALL LETTER C
ｄ	0064	LATIN SMALL LETTER D
ｅ	0065	LATIN SMALL LETTER E
ｆ	0066	LATIN SMALL LETTER F
ｇ	0067	LATIN SMALL LETTER G
ｈ	0068	LATIN SMALL LETTER H
ｉ	0069	LATIN SMALL LETTER I
ｊ	006A	LATIN SMALL LETTER J
ｋ	006B	LATIN SMALL LETTER K
ｌ	006C	LATIN SMALL LETTER L
ｍ	006D	LATIN SMALL LETTER M
ｎ	006E	LATIN SMALL LETTER N
ｏ	006F	LATIN SMALL LETTER O
ｐ	0070	LATIN SMALL LETTER P
ｑ	0071	LATIN SMALL LETTER Q
ｒ	0072	LATIN SMALL LETTER R
ｓ	0073	LATIN SMALL LETTER S
ｔ	0074	LATIN SMALL LETTER T
ｕ	0075	LATIN SMALL LETTER U
ｖ	0076	LATIN SMALL LETTER V
ｗ	0077	LATIN SMALL LETTER W
ｘ	0078	LATIN SMALL LETTER X
ｙ	0079	LATIN SMALL LETTER Y
ｚ	007A	LATIN SMALL LETTER Z
｜	007C	VERTICAL LINE
§	00A7	SECTION SIGN
©	00A9	COPYRIGHT SIGN
®	00AE	REGISTERED SIGN
¶	00B6	PILCROW SIGN
¼	00BC	VULGAR FRACTION ONE QUARTER
½	00BD	VULGAR FRACTION ONE HALF
¾	00BE	VULGAR FRACTION THREE QUARTERS
Α	0391	GREEK CAPITAL LETTER ALPHA
Β	0392	GREEK CAPITAL LETTER BETA
Γ	0393	GREEK CAPITAL LETTER GAMMA
Δ	0394	GREEK CAPITAL LETTER DELTA
Ε	0395	GREEK CAPITAL LETTER EPSILON
Ζ	0396	GREEK CAPITAL LETTER ZETA
Η	0397	GREEK CAPITAL LETTER ETA
Θ	0398	GREEK CAPITAL LETTER THETA
Ι	0399	GREEK CAPITAL LETTER IOTA
Κ	039A	GREEK CAPITAL LETTER KAPPA
Λ	039B	GREEK CAPITAL LETTER LAMDA
Μ	039C	GREEK CAPITAL LETTER MU
Ν	039D	GREEK CAPITAL LETTER NU
Ξ	039E	GREEK CAPITAL LETTER XI
Ο	039F	GREEK CAPITAL LETTER OMICRON
Π	03A0	GREEK CAPITAL LETTER PI
Ρ	03A1	GREEK CAPITAL LETTER RHO
Σ	03A3	GREEK CAPITAL LETTER SIGMA
Τ	03A4	GREEK CAPITAL LETTER TAU
Υ	03A5	GREEK CAPITAL LETTER UPSILON
Φ	03A6	GREEK CAPITAL LETTER PHI
Χ	03A7	GREEK CAPITAL LETTER CHI
Ψ	03A8	GREEK CAPITAL LETTER PSI
Ω	03A9	GREEK CAPITAL LETTER OMEGA
α	03B1	GREEK SMALL LETTER ALPHA
β	03B2	GREEK SMALL LETTER BETA
γ	03B3	GREEK SMALL LETTER GAMMA
δ	03B4	GREEK SMALL LETTER DELTA
ε	03B5	GREEK SMALL LETTER EPSILON
ζ	03B6	GREEK SMALL LETTER ZETA
η	03B7	GREEK SMALL LETTER ETA
θ	03B8	GREEK SMALL LETTER THETA
ι	03B9	GREEK SMALL LETTER IOTA
κ	03BA	GREEK SMALL LETTER KAPPA
λ	03BB	GREEK SMALL LETTER LAMDA
μ	03BC	GREEK SMALL LETTER MU
ν	03BD	GREEK SMALL LETTER NU
ξ	03BE	GREEK SMALL LETTER XI
ο	03BF	GREEK SMALL LETTER OMICRON
π	03C0	GREEK SMALL LETTER PI
ρ	03C1	GREEK SMALL LETTER RHO
ς	03C2	GREEK SMALL LETTER FINAL SIGMA
σ	03C3	GREEK SMALL LETTER SIGMA
τ	03C4	GREEK SMALL LETTER TAU
υ	03C5	GREEK SMALL LETTER UPSILON
φ	03C6	GREEK SMALL LETTER PHI
χ	03C7	GREEK SMALL LETTER CHI
ψ	03C8	GREEK SMALL LETTER PSI
ω	03C9	GREEK SMALL LETTER OMEGA
Ё	0401	CYRILLIC CAPITAL LETTER IO
А	0410	CYRILLIC CAPITAL LETTER A
Б	0411	CYRILLIC CAPITAL LETTER BE
В	0412	CYRILLIC CAPITAL LETTER VE
Г	0413	CYRILLIC CAPITAL LETTER GHE
Д	0414	CYRILLIC CAPITAL LETTER DE
Е	0415	CYRILLIC CAPITAL LETTER IE
Ж	0416	CYRILLIC CAPITAL LETTER ZHE
З	0417	CYRILLIC CAPITAL LETTER ZE
И	0418	CYRILLIC CAPITAL LETTER I
Й	0419	CYRILLIC CAPITAL LETTER SHORT I
К	041A	CYRILLIC CAPITAL LETTER KA
Л	041B	CYRILLIC CAPITAL LETTER EL
М	041C	CYRILLIC CAPITAL LETTER EM
Н	041D	CYRILLIC CAPITAL LETTER EN
О	041E	CYRILLIC CAPITAL LETTER O
П	041F	CYRILLIC CAPITAL LETTER PE
Р	0420	CYRILLIC CAPITAL LETTER ER
С	0421	CYRILLIC CAPITAL LETTER ES
Т	0422	CYRILLIC CAPITAL LETTER TE
У	0423	CYRILLIC CAPITAL LETTER U
Ф	0424	CYRILLIC CAPITAL LETTER EF
Х	0425	CYRILLIC CAPITAL LETTER HA
Ц	0426	CYRILLIC CAPITAL LETTER TSE
Ч	0427	CYRILLIC CAPITAL LETTER CHE
Ш	0428	CYRILLIC CAPITAL LETTER SHA
Щ	0429	CYRILLIC CAPITAL LETTER SHCHA
Ъ	042A	CYRILLIC CAPITAL LETTER HARD SIGN
Ы	042B	CYRILLIC CAPITAL LETTER YERU
Ь	042C	CYRILLIC CAPITAL LETTER SOFT SIGN
Э	042D	CYRILLIC CAPITAL LETTER E
Ю	042E	CYRILLIC CAPITAL LETTER YU
Я	042F	CYRILLIC CAPITAL LETTER YA
а	0430	CYRILLIC SMALL LETTER A
б	0431	CYRILLIC SMALL LETTER BE
в	0432	CYRILLIC SMALL LETTER VE
г	0433	CYRILLIC SMALL LETTER GHE
д	0434	CYRILLIC SMALL LETTER DE
е	0435	CYRILLIC SMALL LETTER IE
ж	0436	CYRILLIC SMALL LETTER ZHE
з	0437	CYRILLIC SMALL LETTER ZE
и	0438	CYRILLIC SMALL LETTER I
й	0439	CYRILLIC SMALL LETTER SHORT I
к	043A	CYRILLIC SMALL LETTER KA
л	043B	CYRILLIC SMALL LETTER EL
м	043C	CYRILLIC SMALL LETTER EM
н	043D	CYRILLIC SMALL LETTER EN
о	043E	CYRILLIC SMALL LETTER O
п	043F	CYRILLIC SMALL LETTER PE
р	0440	CYRILLIC SMALL LETTER ER
с	0441	CYRILLIC SMALL LETTER ES
т	0442	CYRILLIC SMALL LETTER TE
у	0443	CYRILLIC SMALL LETTER U
ф	0444	CYRILLIC SMALL LETTER EF
х	0445	CYRILLIC SMALL LETTER HA
ц	0446	CYRILLIC SMALL LETTER TSE
ч	0447	CYRILLIC SMALL LETTER CHE
ш	0448	CYRILLIC SMALL LETTER SHA
щ	0449	CYRILLIC SMALL LETTER SHCHA
ъ	044A	CYRILLIC SMALL LETTER HARD SIGN
ы	044B	CYRILLIC SMALL LETTER YERU
ь	044C	CYRILLIC SMALL LETTER SOFT SIGN
э	044D	CYRILLIC SMALL LETTER E
ю	044E	CYRILLIC SMALL LETTER YU
я	044F	CYRILLIC SMALL LETTER YA
ё	0451	CYRILLIC SMALL LETTER IO
‖	2016	DOUBLE VERTICAL LINE
†	2020	DAGGER
‡	2021	DOUBLE DAGGER
•	2022	BULLET
※	203B	REFERENCE MARK
⁂	2042	ASTERISM
⁑	2051	TWO ASTERISKS ALIGNED VERTICALLY
℡	2121	TELEPHONE SIGN
⅓	2153	VULGAR FRACTION ONE THIRD
⅔	2154	VULGAR FRACTION TWO THIRDS
⅕	2155	VULGAR FRACTION ONE FIFTH
Ⅰ	2160	ROMAN NUMERAL ONE
Ⅱ	2161	ROMAN NUMERAL TWO
Ⅲ	2162	ROMAN NUMERAL THREE
Ⅳ	2163	ROMAN NUMERAL FOUR
Ⅴ	2164	ROMAN NUMERAL FIVE
Ⅵ	2165	ROMAN NUMERAL SIX
Ⅶ	2166	ROMAN NUMERAL SEVEN
Ⅷ	2167	ROMAN NUMERAL EIGHT
Ⅸ	2168	ROMAN NUMERAL NINE
Ⅹ	2169	ROMAN NUMERAL TEN
Ⅺ	216A	ROMAN NUMERAL ELEVEN
Ⅻ	216B	ROMAN NUMERAL TWELVE
ⅰ	2170	SMALL ROMAN NUMERAL ONE
ⅱ	2171	SMALL ROMAN NUMERAL TWO
ⅲ	2172	SMALL ROMAN NUMERAL THREE
ⅳ	2173	SMALL ROMAN NUMERAL FOUR
ⅴ	2174	SMALL ROMAN NUMERAL FIVE
ⅵ	2175	SMALL ROMAN NUMERAL SIX
ⅶ	2176	SMALL ROMAN NUMERAL SEVEN
ⅷ	2177	SMALL ROMAN NUMERAL EIGHT
ⅸ	2178	SMALL ROMAN NUMERAL NINE
ⅹ	2179	SMALL ROMAN NUMERAL TEN
ⅺ	217A	SMALL ROMAN NUMERAL ELEVEN
ⅻ	217B	SMALL ROMAN NUMERAL TWELVE
←	2190	LEFTWARDS ARROW
↑	2191	UPWARDS ARROW
→	2192	RIGHTWARDS ARROW
↓	2193	DOWNWARDS ARROW
↔	2194	LEFT RIGHT ARROW
↖	2196	NORTH WEST ARROW
↗	2197	NORTH EAST ARROW
↘	2198	SOUTH EAST ARROW
↙	2199	SOUTH WEST ARROW
⇄	21C4	RIGHTWARDS ARROW OVER LEFTWARDS ARROW
⇦	21E6	LEFTWARDS WHITE ARROW
⇧	21E7	UPWARDS WHITE ARROW
⇨	21E8	RIGHTWARDS WHITE ARROW
⇩	21E9	DOWNWARDS WHITE ARROW
√	221A	SQUARE ROOT
∞	221E	INFINITY
∟	221F	RIGHT ANGLE
∫	222B	INTEGRAL
∬	222C	DOUBLE INTEGRAL
∴	2234	THEREFORE
∵	2235	BECAUSE
⊖	2296	CIRCLED MINUS
⊿	22BF	RIGHT TRIANGLE
⌘	2318	PLACE OF INTEREST SIGN
⏎	23CE	RETURN SYMBOL
␣	2423	OPEN BOX
①	2460	CIRCLED DIGIT ONE
②	2461	CIRCLED DIGIT TWO
③	2462	CIRCLED DIGIT THREE
④	2463	CIRCLED DIGIT FOUR
⑤	2464	CIRCLED DIGIT FIVE
⑥	2465	CIRCLED DIGIT SIX
⑦	2466	CIRCLED DIGIT SEVEN
⑧	2467	CIRCLED DIGIT EIGHT
⑨	2468	CIRCLED DIGIT NINE
⑩	2469	CIRCLED NUMBER TEN
⑪	246A	CIRCLED NUMBER ELEVEN
⑫	246B	CIRCLED NUMBER TWELVE
⑬	246C	CIRCLED NUMBER THIRTEEN
⑭	246D	CIRCLED NUMBER FOURTEEN
⑮	246E	CIRCLED NUMBER FIFTEEN
⑯	246F	CIRCLED NUMBER SIXTEEN
⑰	2470	CIRCLED NUMBER SEVENTEEN
⑱	2471	CIRCLED NUMBER EIGHTEEN
⑲	2472	CIRCLED NUMBER NINETEEN
⑳	2473	CIRCLED NUMBER TWENTY
ⓐ	24D0	CIRCLED LATIN SMALL LETTER A
ⓑ	24D1	CIRCLED LATIN SMALL LETTER B
ⓒ	24D2	CIRCLED LATIN SMALL LETTER C
ⓓ	24D3	CIRCLED LATIN SMALL LETTER D
ⓔ	24D4	CIRCLED LATIN SMALL LETTER E
ⓕ	24D5	CIRCLED LATIN SMALL LETTER F
ⓖ	24D6	CIRCLED LATIN SMALL LETTER G
ⓗ	24D7	CIRCLED LATIN SMALL LETTER H
ⓘ	24D8	CIRCLED LATIN SMALL LETTER I
ⓙ	24D9	CIRCLED LATIN SMALL LETTER J
ⓚ	24DA	CIRCLED LATIN SMALL LETTER K
ⓛ	24DB	CIRCLED LATIN SMALL LETTER L
ⓜ	24DC	CIRCLED LATIN SMALL LETTER M
ⓝ	24DD	CIRCLED LATIN SMALL LETTER N
ⓞ	24DE	CIRCLED LATIN SMALL LETTER O
ⓟ	24DF	CIRCLED LATIN SMALL LETTER P
ⓠ	24E0	CIRCLED LATIN SMALL LETTER Q
ⓡ	24E1	CIRCLED LATIN SMALL LETTER R
ⓢ	24E2	CIRCLED LATIN SMALL LETTER S
ⓣ	24E3	CIRCLED LATIN SMALL LETTER T
ⓤ	24E4	CIRCLED LATIN SMALL LETTER U
ⓥ	24E5	CIRCLED LATIN SMALL LETTER V
ⓦ	24E6	CIRCLED LATIN SMALL LETTER W
ⓧ	24E7	CIRCLED LATIN SMALL LETTER X
ⓨ	24E8	CIRCLED LATIN SMALL LETTER Y
ⓩ	24E9	CIRCLED LATIN SMALL LETTER Z
⓫	24EB	NEGATIVE CIRCLED NUMBER ELEVEN
⓬	24EC	NEGATIVE CIRCLED NUMBER TWELVE
⓭	24ED	NEGATIVE CIRCLED NUMBER THIRTEEN
⓮	24EE	NEGATIVE CIRCLED NUMBER FOURTEEN
⓯	24EF	NEGATIVE CIRCLED NUMBER FIFTEEN
⓰	24F0	NEGATIVE CIRCLED NUMBER SIXTEEN
⓱	24F1	NEGATIVE CIRCLED NUMBER SEVENTEEN
⓲	24F2	NEGATIVE CIRCLED NUMBER EIGHTEEN
⓳	24F3	NEGATIVE CIRCLED NUMBER NINETEEN
⓴	24F4	NEGATIVE CIRCLED NUMBER TWENTY
⓵	24F5	DOUBLE CIRCLED DIGIT ONE
⓶	24F6	DOUBLE CIRCLED DIGIT TWO
⓷	24F7	DOUBLE CIRCLED DIGIT THREE
⓸	24F8	DOUBLE CIRCLED DIGIT FOUR
⓹	24F9	DOUBLE CIRCLED DIGIT FIVE
⓺	24FA	DOUBLE CIRCLED DIGIT SIX
⓻	24FB	DOUBLE CIRCLED DIGIT SEVEN
⓼	24FC	DOUBLE CIRCLED DIGIT EIGHT
⓽	24FD	DOUBLE CIRCLED DIGIT NINE
⓾	24FE	DOUBLE CIRCLED NUMBER TEN
■	25A0	BLACK SQUARE
□	25A1	WHITE SQUARE
▱	25B1	WHITE PARALLELOGRAM
▲	25B2	BLACK UP-POINTING TRIANGLE
△	25B3	WHITE UP-POINTING TRIANGLE
▶	25B6	BLACK RIGHT-POINTING TRIANGLE
▷	25B7	WHITE RIGHT-POINTING TRIANGLE
▼	25BC	BLACK DOWN-POINTING TRIANGLE
▽	25BD	WHITE DOWN-POINTING TRIANGLE
◀	25C0	BLACK LEFT-POINTING TRIANGLE
◁	25C1	WHITE LEFT-POINTING TRIANGLE
◆	25C6	BLACK DIAMOND
◇	25C7	WHITE DIAMOND
◉	25C9	FISHEYE
○	25CB	WHITE CIRCLE
◎	25CE	BULLSEYE
●	25CF	BLACK CIRCLE
◐	25D0	CIRCLE WITH LEFT HALF BLACK
◑	25D1	CIRCLE WITH RIGHT HALF BLACK
◒	25D2	CIRCLE WITH LOWER HALF BLACK
◓	25D3	CIRCLE WITH UPPER HALF BLACK
◦	25E6	WHITE BULLET
◯	25EF	LARGE CIRCLE
☀	2600	BLACK SUN WITH RAYS
☁	2601	CLOUD
☂	2602	UMBRELLA
☃	2603	SNOWMAN
★	2605	BLACK STAR
☆	2606	WHITE STAR
☎	260E	BLACK TELEPHONE
☖	2616	WHITE SHOGI PIECE
☗	2617	BLACK SHOGI PIECE
☞	261E	WHITE RIGHT POINTING INDEX
♀	2640	FEMALE SIGN
♂	2642	MALE SIGN
♠	2660	BLACK SPADE SUIT
♡	2661	WHITE HEART SUIT
♢	2662	WHITE DIAMOND SUIT
♣	2663	BLACK CLUB SUIT
♤	2664	WHITE SPADE SUIT
♥	2665	BLACK HEART SUIT
♦	2666	BLACK DIAMOND SUIT
♧	2667	WHITE CLUB SUIT
♨	2668	HOT SPRINGS
♩	2669	QUARTER NOTE
♪	266A	EIGHTH NOTE
♫	266B	BEAMED EIGHTH NOTES
♬	266C	BEAMED SIXTEENTH NOTES
♭	266D	MUSIC FLAT SIGN
♮	266E	MUSIC NATURAL SIGN
♯	266F	MUSIC SHARP SIGN
✓	2713	CHECK MARK
❖	2756	BLACK DIAMOND MINUS WHITE X
❶	2776	DINGBAT NEGATIVE CIRCLED DIGIT ONE
❷	2777	DINGBAT NEGATIVE CIRCLED DIGIT TWO
❸	2778	DINGBAT NEGATIVE CIRCLED DIGIT THREE
❹	2779	DINGBAT NEGATIVE CIRCLED DIGIT FOUR
❺	277A	DINGBAT NEGATIVE CIRCLED DIGIT FIVE
❻	277B	DINGBAT NEGATIVE CIRCLED DIGIT SIX
❼	277C	DINGBAT NEGATIVE CIRCLED DIGIT SEVEN
❽	277D	DINGBAT NEGATIVE CIRCLED DIGIT EIGHT
❾	277E	DINGBAT NEGATIVE CIRCLED DIGIT NINE
❿	277F	DINGBAT NEGATIVE CIRCLED NUMBER TEN
⤴	2934	ARROW POINTING RIGHTWARDS THEN CURVING UPWARDS
⤵	2935	ARROW POINTING RIGHTWARDS THEN CURVING DOWNWARDS
⦿	29BF	CIRCLED BULLET
⧺	29FA	DOUBLE PLUS
⧻	29FB	TRIPLE PLUS
〃	3003	DITTO MARK
〆	3006	IDEOGRAPHIC CLOSING MARK
〇	3007	IDEOGRAPHIC NUMBER ZERO
〒	3012	POSTAL MARK
〓	3013	GETA MARK
〠	3020	POSTAL MARK FACE
〼	303C	MASU MARK
〽	303D	PART ALTERNATION MARK
ゟ	309F	HIRAGANA DIGRAPH YORI
ヿ	30FF	KATAKANA DIGRAPH KOTO
㈱	3231	PARENTHESIZED IDEOGRAPH STOCK
㈲	3232	PARENTHESIZED IDEOGRAPH HAVE
㈹	3239	PARENTHESIZED IDEOGRAPH REPRESENT
㉑	3251	CIRCLED NUMBER TWENTY ONE
㉒	3252	CIRCLED NUMBER TWENTY TWO
㉓	3253	CIRCLED NUMBER TWENTY THREE
㉔	3254	CIRCLED NUMBER TWENTY FOUR
㉕	3255	CIRCLED NUMBER TWENTY FIVE
㉖	3256	CIRCLED NUMBER TWENTY SIX
㉗	3257	CIRCLED NUMBER TWENTY SEVEN
㉘	3258	CIRCLED NUMBER TWENTY EIGHT
㉙	3259	CIRCLED NUMBER TWENTY NINE
㉚	325A	CIRCLED NUMBER THIRTY
㉛	325B	CIRCLED NUMBER THIRTY ONE
㉜	325C	CIRCLED NUMBER THIRTY TWO
㉝	325D	CIRCLED NUMBER THIRTY THREE
㉞	325E	CIRCLED NUMBER THIRTY FOUR
㉟	325F	CIRCLED NUMBER THIRTY FIVE
㊤	32A4	CIRCLED IDEOGRAPH HIGH
㊥	32A5	CIRCLED IDEOGRAPH CENTRE
㊦	32A6	CIRCLED IDEOGRAPH LOW
㊧	32A7	CIRCLED IDEOGRAPH LEFT
㊨	32A8	CIRCLED IDEOGRAPH RIGHT
㊱	32B1	CIRCLED NUMBER THIRTY SIX
㊲	32B2	CIRCLED NUMBER THIRTY SEVEN
㊳	32B3	CIRCLED NUMBER THIRTY EIGHT
㊴	32B4	CIRCLED NUMBER THIRTY NINE
㊵	32B5	CIRCLED NUMBER FORTY
㊶	32B6	CIRCLED NUMBER FORTY ONE
㊷	32B7	CIRCLED NUMBER FORTY TWO
㊸	32B8	CIRCLED NUMBER FORTY THREE
㊹	32B9	CIRCLED NUMBER FORTY FOUR
㊺	32BA	CIRCLED NUMBER FORTY FIVE
㊻	32BB	CIRCLED NUMBER FORTY SIX
㊼	32BC	CIRCLED NUMBER FORTY SEVEN
㊽	32BD	CIRCLED NUMBER FORTY EIGHT
㊾	32BE	CIRCLED NUMBER FORTY NINE
㊿	32BF	CIRCLED NUMBER FIFTY
㋐	32D0	CIRCLED KATAKANA A
㋑	32D1	CIRCLED KATAKANA I
㋒	32D2	CIRCLED KATAKANA U
㋓	32D3	CIRCLED KATAKANA E
㋔	32D4	CIRCLED KATAKANA O
㋕	32D5	CIRCLED KATAKANA KA
㋖	32D6	CIRCLED KATAKANA KI
㋗	32D7	CIRCLED KATAKANA KU
㋘	32D8	CIRCLED KATAKANA KE
㋙	32D9	CIRCLED KATAKANA KO
㋚	32DA	CIRCLED KATAKANA SA
㋛	32DB	CIRCLED KATAKANA SI
㋜	32DC	CIRCLED KATAKANA SU
㋝	32DD	CIRCLED KATAKANA SE
㋞	32DE	CIRCLED KATAKANA SO
㋟	32DF	CIRCLED KATAKANA TA
㋠	32E0	CIRCLED KATAKANA TI
㋡	32E1	CIRCLED KATAKANA TU
㋢	32E2	CIRCLED KATAKANA TE
㋣	32E3	CIRCLED KATAKANA TO
㋥	32E5	CIRCLED KATAKANA NI
㋩	32E9	CIRCLED KATAKANA HA
㋬	32EC	CIRCLED KATAKANA HE
㋭	32ED	CIRCLED KATAKANA HO
㋺	32FA	CIRCLED KATAKANA RO
㍻	337B	SQUARE ERA NAME HEISEI
㍼	337C	SQUARE ERA NAME SYOUWA
㍽	337D	SQUARE ERA NAME TAISYOU
㍾	337E	SQUARE ERA NAME MEIZI
㏍	33CD	SQUARE KK
仝	4EDD	CJK UNIFIED IDEOGRAPH-4EDD

A.20 Characters as reference marks (cl-20)

Any character may participate in reference marks.

A.21 Ornamented character complexes (cl-21)

Any character may participate in ornamented character complex.

A.22 Simple-ruby character complexes (cl-22)

Any character may participate in simple-ruby character complex.

A.23 Jukugo-ruby character complexes (cl-23)

Any character may participate in jukugo-ruby character complex.

A.24 Grouped numerals (cl-24)

Character	UCS	Name	Remark
	0020	SPACE	quarter em width
,	002C	COMMA	quarter em width or half-width
.	002E	FULL STOP	decimal point quarter em width or half-width
0	0030	DIGIT ZERO	half-width
1	0031	DIGIT ONE	half-width
2	0032	DIGIT TWO	half-width
3	0033	DIGIT THREE	half-width
4	0034	DIGIT FOUR	half-width
5	0035	DIGIT FIVE	half-width
6	0036	DIGIT SIX	half-width
7	0037	DIGIT SEVEN	half-width
8	0038	DIGIT EIGHT	half-width
9	0039	DIGIT NINE	half-width

A.25 Unit symbols (cl-25)

Character	UCS	Name	Remark
	0020	SPACE	quarter em width
(	0028	LEFT PARENTHESIS
)	0029	RIGHT PARENTHESIS
/	002F	SOLIDUS	one third em width, half-width or proportional
1	0031	DIGIT ONE	half-width or proportional
2	0032	DIGIT TWO	half-width or proportional
3	0033	DIGIT THREE	half-width or proportional
4	0034	DIGIT FOUR	half-width or proportional
A	0041	LATIN CAPITAL LETTER A	proportional
B	0042	LATIN CAPITAL LETTER B	proportional
C	0043	LATIN CAPITAL LETTER C	proportional
D	0044	LATIN CAPITAL LETTER D	proportional
E	0045	LATIN CAPITAL LETTER E	proportional
F	0046	LATIN CAPITAL LETTER F	proportional
G	0047	LATIN CAPITAL LETTER G	proportional
H	0048	LATIN CAPITAL LETTER H	proportional
I	0049	LATIN CAPITAL LETTER I	proportional
J	004A	LATIN CAPITAL LETTER J	proportional
K	004B	LATIN CAPITAL LETTER K	proportional
L	004C	LATIN CAPITAL LETTER L	proportional
M	004D	LATIN CAPITAL LETTER M	proportional
N	004E	LATIN CAPITAL LETTER N	proportional
O	004F	LATIN CAPITAL LETTER O	proportional
P	0050	LATIN CAPITAL LETTER P	proportional
Q	0051	LATIN CAPITAL LETTER Q	proportional
R	0052	LATIN CAPITAL LETTER R	proportional
S	0053	LATIN CAPITAL LETTER S	proportional
T	0054	LATIN CAPITAL LETTER T	proportional
U	0055	LATIN CAPITAL LETTER U	proportional
V	0056	LATIN CAPITAL LETTER V	proportional
W	0057	LATIN CAPITAL LETTER W	proportional
X	0058	LATIN CAPITAL LETTER X	proportional
Y	0059	LATIN CAPITAL LETTER Y	proportional
Z	005A	LATIN CAPITAL LETTER Z	proportional
a	0061	LATIN SMALL LETTER A	proportional
b	0062	LATIN SMALL LETTER B	proportional
c	0063	LATIN SMALL LETTER C	proportional
d	0064	LATIN SMALL LETTER D	proportional
e	0065	LATIN SMALL LETTER E	proportional
f	0066	LATIN SMALL LETTER F	proportional
g	0067	LATIN SMALL LETTER G	proportional
h	0068	LATIN SMALL LETTER H	proportional
i	0069	LATIN SMALL LETTER I	proportional
j	006A	LATIN SMALL LETTER J	proportional
k	006B	LATIN SMALL LETTER K	proportional
l	006C	LATIN SMALL LETTER L	proportional
m	006D	LATIN SMALL LETTER M	proportional
n	006E	LATIN SMALL LETTER N	proportional
o	006F	LATIN SMALL LETTER O	proportional
p	0070	LATIN SMALL LETTER P	proportional
q	0071	LATIN SMALL LETTER Q	proportional
r	0072	LATIN SMALL LETTER R	proportional
s	0073	LATIN SMALL LETTER S	proportional
t	0074	LATIN SMALL LETTER T	proportional
u	0075	LATIN SMALL LETTER U	proportional
v	0076	LATIN SMALL LETTER V	proportional
w	0077	LATIN SMALL LETTER W	proportional
x	0078	LATIN SMALL LETTER X	proportional
y	0079	LATIN SMALL LETTER Y	proportional
z	007A	LATIN SMALL LETTER Z	proportional
Ω	03A9	GREEK CAPITAL LETTER OMEGA	proportional
μ	03BC	GREEK SMALL LETTER MU	proportional
℧	2127	INVERTED OHM SIGN	proportional
Å	212B	ANGSTROM SIGN	proportional
−	2212	MINUS SIGN
・	30FB	KATAKANA MIDDLE DOT	half-width

A.26 Western word space (cl-26)

Character	UCS	Name	Remark
	0020	SPACE

A.27 Western characters (cl-27)

Character	UCS	Name	Remark
!	0021	EXCLAMATION MARK	proportional
"	0022	QUOTATION MARK	proportional
#	0023	NUMBER SIGN	proportional
$	0024	DOLLAR SIGN	proportional
%	0025	PERCENT SIGN	proportional
&	0026	AMPERSAND	proportional
'	0027	APOSTROPHE	proportional
(	0028	LEFT PARENTHESIS	proportional
)	0029	RIGHT PARENTHESIS	proportional
*	002A	ASTERISK	proportional
+	002B	PLUS SIGN	proportional
,	002C	COMMA	proportional
-	002D	HYPHEN-MINUS	proportional
.	002E	FULL STOP	proportional
/	002F	SOLIDUS	proportional
0	0030	DIGIT ZERO	proportional
1	0031	DIGIT ONE	proportional
2	0032	DIGIT TWO	proportional
3	0033	DIGIT THREE	proportional
4	0034	DIGIT FOUR	proportional
5	0035	DIGIT FIVE	proportional
6	0036	DIGIT SIX	proportional
7	0037	DIGIT SEVEN	proportional
8	0038	DIGIT EIGHT	proportional
9	0039	DIGIT NINE	proportional
:	003A	COLON	proportional
;	003B	SEMICOLON	proportional
<	003C	LESS-THAN SIGN	proportional
=	003D	EQUALS SIGN	proportional
>	003E	GREATER-THAN SIGN	proportional
?	003F	QUESTION MARK	proportional
@	0040	COMMERCIAL AT	proportional
A	0041	LATIN CAPITAL LETTER A	proportional
B	0042	LATIN CAPITAL LETTER B	proportional
C	0043	LATIN CAPITAL LETTER C	proportional
D	0044	LATIN CAPITAL LETTER D	proportional
E	0045	LATIN CAPITAL LETTER E	proportional
F	0046	LATIN CAPITAL LETTER F	proportional
G	0047	LATIN CAPITAL LETTER G	proportional
H	0048	LATIN CAPITAL LETTER H	proportional
I	0049	LATIN CAPITAL LETTER I	proportional
J	004A	LATIN CAPITAL LETTER J	proportional
K	004B	LATIN CAPITAL LETTER K	proportional
L	004C	LATIN CAPITAL LETTER L	proportional
M	004D	LATIN CAPITAL LETTER M	proportional
N	004E	LATIN CAPITAL LETTER N	proportional
O	004F	LATIN CAPITAL LETTER O	proportional
P	0050	LATIN CAPITAL LETTER P	proportional
Q	0051	LATIN CAPITAL LETTER Q	proportional
R	0052	LATIN CAPITAL LETTER R	proportional
S	0053	LATIN CAPITAL LETTER S	proportional
T	0054	LATIN CAPITAL LETTER T	proportional
U	0055	LATIN CAPITAL LETTER U	proportional
V	0056	LATIN CAPITAL LETTER V	proportional
W	0057	LATIN CAPITAL LETTER W	proportional
X	0058	LATIN CAPITAL LETTER X	proportional
Y	0059	LATIN CAPITAL LETTER Y	proportional
Z	005A	LATIN CAPITAL LETTER Z	proportional
[	005B	LEFT SQUARE BRACKET	proportional
\	005C	REVERSE SOLIDUS	proportional
]	005D	RIGHT SQUARE BRACKET	proportional
^	005E	CIRCUMFLEX ACCENT	proportional
_	005F	LOW LINE	proportional
`	0060	GRAVE ACCENT	proportional
a	0061	LATIN SMALL LETTER A	proportional
b	0062	LATIN SMALL LETTER B	proportional
c	0063	LATIN SMALL LETTER C	proportional
d	0064	LATIN SMALL LETTER D	proportional
e	0065	LATIN SMALL LETTER E	proportional
f	0066	LATIN SMALL LETTER F	proportional
g	0067	LATIN SMALL LETTER G	proportional
h	0068	LATIN SMALL LETTER H	proportional
i	0069	LATIN SMALL LETTER I	proportional
j	006A	LATIN SMALL LETTER J	proportional
k	006B	LATIN SMALL LETTER K	proportional
l	006C	LATIN SMALL LETTER L	proportional
m	006D	LATIN SMALL LETTER M	proportional
n	006E	LATIN SMALL LETTER N	proportional
o	006F	LATIN SMALL LETTER O	proportional
p	0070	LATIN SMALL LETTER P	proportional
q	0071	LATIN SMALL LETTER Q	proportional
r	0072	LATIN SMALL LETTER R	proportional
s	0073	LATIN SMALL LETTER S	proportional
t	0074	LATIN SMALL LETTER T	proportional
u	0075	LATIN SMALL LETTER U	proportional
v	0076	LATIN SMALL LETTER V	proportional
w	0077	LATIN SMALL LETTER W	proportional
x	0078	LATIN SMALL LETTER X	proportional
y	0079	LATIN SMALL LETTER Y	proportional
z	007A	LATIN SMALL LETTER Z	proportional
{	007B	LEFT CURLY BRACKET	proportional
|	007C	VERTICAL LINE	proportional
}	007D	RIGHT CURLY BRACKET	proportional
~	007E	TILDE	proportional
	00A0	NO-BREAK SPACE	proportional
¡	00A1	INVERTED EXCLAMATION MARK	proportional
¢	00A2	CENT SIGN	proportional
£	00A3	POUND SIGN	proportional
¤	00A4	CURRENCY SIGN	proportional
¥	00A5	YEN SIGN	proportional
¦	00A6	BROKEN BAR	proportional
§	00A7	SECTION SIGN	proportional
¨	00A8	DIAERESIS	proportional
©	00A9	COPYRIGHT SIGN	proportional
ª	00AA	FEMININE ORDINAL INDICATOR	proportional
«	00AB	LEFT-POINTING DOUBLE ANGLE QUOTATION MARK	proportional
¬	00AC	NOT SIGN	proportional
­	00AD	SOFT HYPHEN	proportional
®	00AE	REGISTERED SIGN	proportional
¯	00AF	MACRON	proportional
°	00B0	DEGREE SIGN	proportional
±	00B1	PLUS-MINUS SIGN	proportional
²	00B2	SUPERSCRIPT TWO	proportional
³	00B3	SUPERSCRIPT THREE	proportional
´	00B4	ACUTE ACCENT	proportional
¶	00B6	PILCROW SIGN	proportional
·	00B7	MIDDLE DOT	proportional
¸	00B8	CEDILLA	proportional
¹	00B9	SUPERSCRIPT ONE	proportional
º	00BA	MASCULINE ORDINAL INDICATOR	proportional
»	00BB	RIGHT-POINTING DOUBLE ANGLE QUOTATION MARK	proportional
¼	00BC	VULGAR FRACTION ONE QUARTER	proportional
½	00BD	VULGAR FRACTION ONE HALF	proportional
¾	00BE	VULGAR FRACTION THREE QUARTERS	proportional
¿	00BF	INVERTED QUESTION MARK	proportional
À	00C0	LATIN CAPITAL LETTER A WITH GRAVE	proportional
Á	00C1	LATIN CAPITAL LETTER A WITH ACUTE	proportional
Â	00C2	LATIN CAPITAL LETTER A WITH CIRCUMFLEX	proportional
Ã	00C3	LATIN CAPITAL LETTER A WITH TILDE	proportional
Ä	00C4	LATIN CAPITAL LETTER A WITH DIAERESIS	proportional
Å	00C5	LATIN CAPITAL LETTER A WITH RING ABOVE	proportional
Æ	00C6	LATIN CAPITAL LETTER AE (ash)	proportional
Ç	00C7	LATIN CAPITAL LETTER C WITH CEDILLA	proportional
È	00C8	LATIN CAPITAL LETTER E WITH GRAVE	proportional
É	00C9	LATIN CAPITAL LETTER E WITH ACUTE	proportional
Ê	00CA	LATIN CAPITAL LETTER E WITH CIRCUMFLEX	proportional
Ë	00CB	LATIN CAPITAL LETTER E WITH DIAERESIS	proportional
Ì	00CC	LATIN CAPITAL LETTER I WITH GRAVE	proportional
Í	00CD	LATIN CAPITAL LETTER I WITH ACUTE	proportional
Î	00CE	LATIN CAPITAL LETTER I WITH CIRCUMFLEX	proportional
Ï	00CF	LATIN CAPITAL LETTER I WITH DIAERESIS	proportional
Ð	00D0	LATIN CAPITAL LETTER ETH (Icelandic)	proportional
Ñ	00D1	LATIN CAPITAL LETTER N WITH TILDE	proportional
Ò	00D2	LATIN CAPITAL LETTER O WITH GRAVE	proportional
Ó	00D3	LATIN CAPITAL LETTER O WITH ACUTE	proportional
Ô	00D4	LATIN CAPITAL LETTER O WITH CIRCUMFLEX	proportional
Õ	00D5	LATIN CAPITAL LETTER O WITH TILDE	proportional
Ö	00D6	LATIN CAPITAL LETTER O WITH DIAERESIS	proportional
×	00D7	MULTIPLICATION SIGN	proportional
Ø	00D8	LATIN CAPITAL LETTER O WITH STROKE	proportional
Ù	00D9	LATIN CAPITAL LETTER U WITH GRAVE	proportional
Ú	00DA	LATIN CAPITAL LETTER U WITH ACUTE	proportional
Û	00DB	LATIN CAPITAL LETTER U WITH CIRCUMFLEX	proportional
Ü	00DC	LATIN CAPITAL LETTER U WITH DIAERESIS	proportional
Ý	00DD	LATIN CAPITAL LETTER Y WITH ACUTE	proportional
Þ	00DE	LATIN CAPITAL LETTER THORN (Icelandic)	proportional
ß	00DF	LATIN SMALL LETTER SHARP S (German)	proportional
à	00E0	LATIN SMALL LETTER A WITH GRAVE	proportional
á	00E1	LATIN SMALL LETTER A WITH ACUTE	proportional
â	00E2	LATIN SMALL LETTER A WITH CIRCUMFLEX	proportional
ã	00E3	LATIN SMALL LETTER A WITH TILDE	proportional
ä	00E4	LATIN SMALL LETTER A WITH DIAERESIS	proportional
å	00E5	LATIN SMALL LETTER A WITH RING ABOVE	proportional
æ	00E6	LATIN SMALL LETTER AE (ash)	proportional
æ̀	<00E6, 0300>	<LATIN SMALL LETTER AE, COMBINING GRAVE ACCENT>	proportional
ç	00E7	LATIN SMALL LETTER C WITH CEDILLA	proportional
è	00E8	LATIN SMALL LETTER E WITH GRAVE	proportional
é	00E9	LATIN SMALL LETTER E WITH ACUTE	proportional
ê	00EA	LATIN SMALL LETTER E WITH CIRCUMFLEX	proportional
ë	00EB	LATIN SMALL LETTER E WITH DIAERESIS	proportional
ì	00EC	LATIN SMALL LETTER I WITH GRAVE	proportional
í	00ED	LATIN SMALL LETTER I WITH ACUTE	proportional
î	00EE	LATIN SMALL LETTER I WITH CIRCUMFLEX	proportional
ï	00EF	LATIN SMALL LETTER I WITH DIAERESIS	proportional
ð	00F0	LATIN SMALL LETTER ETH (Icelandic)	proportional
ñ	00F1	LATIN SMALL LETTER N WITH TILDE	proportional
ò	00F2	LATIN SMALL LETTER O WITH GRAVE	proportional
ó	00F3	LATIN SMALL LETTER O WITH ACUTE	proportional
ô	00F4	LATIN SMALL LETTER O WITH CIRCUMFLEX	proportional
õ	00F5	LATIN SMALL LETTER O WITH TILDE	proportional
ö	00F6	LATIN SMALL LETTER O WITH DIAERESIS	proportional
÷	00F7	DIVISION SIGN	proportional
ø	00F8	LATIN SMALL LETTER O WITH STROKE	proportional
ù	00F9	LATIN SMALL LETTER U WITH GRAVE	proportional
ú	00FA	LATIN SMALL LETTER U WITH ACUTE	proportional
û	00FB	LATIN SMALL LETTER U WITH CIRCUMFLEX	proportional
ü	00FC	LATIN SMALL LETTER U WITH DIAERESIS	proportional
ý	00FD	LATIN SMALL LETTER Y WITH ACUTE	proportional
þ	00FE	LATIN SMALL LETTER THORN (Icelandic)	proportional
ÿ	00FF	LATIN SMALL LETTER Y WITH DIAERESIS	proportional
Ā	0100	LATIN CAPITAL LETTER A WITH MACRON	proportional
ā	0101	LATIN SMALL LETTER A WITH MACRON	proportional
Ă	0102	LATIN CAPITAL LETTER A WITH BREVE	proportional
ă	0103	LATIN SMALL LETTER A WITH BREVE	proportional
Ą	0104	LATIN CAPITAL LETTER A WITH OGONEK	proportional
ą	0105	LATIN SMALL LETTER A WITH OGONEK	proportional
Ć	0106	LATIN CAPITAL LETTER C WITH ACUTE	proportional
ć	0107	LATIN SMALL LETTER C WITH ACUTE	proportional
Ĉ	0108	LATIN CAPITAL LETTER C WITH CIRCUMFLEX	proportional
ĉ	0109	LATIN SMALL LETTER C WITH CIRCUMFLEX	proportional
Č	010C	LATIN CAPITAL LETTER C WITH CARON	proportional
č	010D	LATIN SMALL LETTER C WITH CARON	proportional
Ď	010E	LATIN CAPITAL LETTER D WITH CARON	proportional
ď	010F	LATIN SMALL LETTER D WITH CARON	proportional
đ	0111	LATIN SMALL LETTER D WITH STROKE	proportional
Ē	0112	LATIN CAPITAL LETTER E WITH MACRON	proportional
ē	0113	LATIN SMALL LETTER E WITH MACRON	proportional
Ę	0118	LATIN CAPITAL LETTER E WITH OGONEK	proportional
ę	0119	LATIN SMALL LETTER E WITH OGONEK	proportional
Ě	011A	LATIN CAPITAL LETTER E WITH CARON	proportional
ě	011B	LATIN SMALL LETTER E WITH CARON	proportional
Ĝ	011C	LATIN CAPITAL LETTER G WITH CIRCUMFLEX	proportional
ĝ	011D	LATIN SMALL LETTER G WITH CIRCUMFLEX	proportional
Ĥ	0124	LATIN CAPITAL LETTER H WITH CIRCUMFLEX	proportional
ĥ	0125	LATIN SMALL LETTER H WITH CIRCUMFLEX	proportional
ħ	0127	LATIN SMALL LETTER H WITH STROKE	proportional
Ī	012A	LATIN CAPITAL LETTER I WITH MACRON	proportional
ī	012B	LATIN SMALL LETTER I WITH MACRON	proportional
Ĵ	0134	LATIN CAPITAL LETTER J WITH CIRCUMFLEX	proportional
ĵ	0135	LATIN SMALL LETTER J WITH CIRCUMFLEX	proportional
Ĺ	0139	LATIN CAPITAL LETTER L WITH ACUTE	proportional
ĺ	013A	LATIN SMALL LETTER L WITH ACUTE	proportional
Ľ	013D	LATIN CAPITAL LETTER L WITH CARON	proportional
ľ	013E	LATIN SMALL LETTER L WITH CARON	proportional
Ł	0141	LATIN CAPITAL LETTER L WITH STROKE	proportional
ł	0142	LATIN SMALL LETTER L WITH STROKE	proportional
Ń	0143	LATIN CAPITAL LETTER N WITH ACUTE	proportional
ń	0144	LATIN SMALL LETTER N WITH ACUTE	proportional
Ň	0147	LATIN CAPITAL LETTER N WITH CARON	proportional
ň	0148	LATIN SMALL LETTER N WITH CARON	proportional
ŋ	014B	LATIN SMALL LETTER ENG (Sami)	proportional
Ō	014C	LATIN CAPITAL LETTER O WITH MACRON	proportional
ō	014D	LATIN SMALL LETTER O WITH MACRON	proportional
Ő	0150	LATIN CAPITAL LETTER O WITH DOUBLE ACUTE	proportional
ő	0151	LATIN SMALL LETTER O WITH DOUBLE ACUTE	proportional
Œ	0152	LATIN CAPITAL LIGATURE OE	proportional
œ	0153	LATIN SMALL LIGATURE OE	proportional
Ŕ	0154	LATIN CAPITAL LETTER R WITH ACUTE	proportional
ŕ	0155	LATIN SMALL LETTER R WITH ACUTE	proportional
Ř	0158	LATIN CAPITAL LETTER R WITH CARON	proportional
ř	0159	LATIN SMALL LETTER R WITH CARON	proportional
Ś	015A	LATIN CAPITAL LETTER S WITH ACUTE	proportional
ś	015B	LATIN SMALL LETTER S WITH ACUTE	proportional
Ŝ	015C	LATIN CAPITAL LETTER S WITH CIRCUMFLEX	proportional
ŝ	015D	LATIN SMALL LETTER S WITH CIRCUMFLEX	proportional
Ş	015E	LATIN CAPITAL LETTER S WITH CEDILLA	proportional
ş	015F	LATIN SMALL LETTER S WITH CEDILLA	proportional
Š	0160	LATIN CAPITAL LETTER S WITH CARON	proportional
š	0161	LATIN SMALL LETTER S WITH CARON	proportional
Ţ	0162	LATIN CAPITAL LETTER T WITH CEDILLA	proportional
ţ	0163	LATIN SMALL LETTER T WITH CEDILLA	proportional
Ť	0164	LATIN CAPITAL LETTER T WITH CARON	proportional
ť	0165	LATIN SMALL LETTER T WITH CARON	proportional
Ū	016A	LATIN CAPITAL LETTER U WITH MACRON	proportional
ū	016B	LATIN SMALL LETTER U WITH MACRON	proportional
Ŭ	016C	LATIN CAPITAL LETTER U WITH BREVE	proportional
ŭ	016D	LATIN SMALL LETTER U WITH BREVE	proportional
Ů	016E	LATIN CAPITAL LETTER U WITH RING ABOVE	proportional
ů	016F	LATIN SMALL LETTER U WITH RING ABOVE	proportional
Ű	0170	LATIN CAPITAL LETTER U WITH DOUBLE ACUTE	proportional
ű	0171	LATIN SMALL LETTER U WITH DOUBLE ACUTE	proportional
Ź	0179	LATIN CAPITAL LETTER Z WITH ACUTE	proportional
ź	017A	LATIN SMALL LETTER Z WITH ACUTE	proportional
Ż	017B	LATIN CAPITAL LETTER Z WITH DOT ABOVE	proportional
ż	017C	LATIN SMALL LETTER Z WITH DOT ABOVE	proportional
Ž	017D	LATIN CAPITAL LETTER Z WITH CARON	proportional
ž	017E	LATIN SMALL LETTER Z WITH CARON	proportional
Ɠ	0193	LATIN CAPITAL LETTER G WITH HOOK	proportional
ǂ	01C2	LATIN LETTER ALVEOLAR CLICK	proportional
Ǎ	01CD	LATIN CAPITAL LETTER A WITH CARON	proportional
ǎ	01CE	LATIN SMALL LETTER A WITH CARON	proportional
ǐ	01D0	LATIN SMALL LETTER I WITH CARON	proportional
Ǒ	01D1	LATIN CAPITAL LETTER O WITH CARON	proportional
ǒ	01D2	LATIN SMALL LETTER O WITH CARON	proportional
ǔ	01D4	LATIN SMALL LETTER U WITH CARON	proportional
ǖ	01D6	LATIN SMALL LETTER U WITH DIAERESIS AND MACRON	proportional
ǘ	01D8	LATIN SMALL LETTER U WITH DIAERESIS AND ACUTE	proportional
ǚ	01DA	LATIN SMALL LETTER U WITH DIAERESIS AND CARON	proportional
ǜ	01DC	LATIN SMALL LETTER U WITH DIAERESIS AND GRAVE	proportional
Ǹ	01F8	LATIN CAPITAL LETTER N WITH GRAVE	proportional
ǹ	01F9	LATIN SMALL LETTER N WITH GRAVE	proportional
ǽ	01FD	LATIN SMALL LETTER AE WITH ACUTE (ash)	proportional
ɐ	0250	LATIN SMALL LETTER TURNED A	proportional
ɑ	0251	LATIN SMALL LETTER ALPHA	proportional
ɒ	0252	LATIN SMALL LETTER TURNED ALPHA	proportional
ɓ	0253	LATIN SMALL LETTER B WITH HOOK	proportional
ɔ	0254	LATIN SMALL LETTER OPEN O	proportional
ɔ̀	<0254, 0300>	<LATIN SMALL LETTER OPEN O, COMBINING GRAVE ACCENT>	proportional
ɔ́	<0254, 0301>	<LATIN SMALL LETTER OPEN O, COMBINING ACUTE ACCENT>	proportional
ɕ	0255	LATIN SMALL LETTER C WITH CURL	proportional
ɖ	0256	LATIN SMALL LETTER D WITH TAIL	proportional
ɗ	0257	LATIN SMALL LETTER D WITH HOOK	proportional
ɘ	0258	LATIN SMALL LETTER REVERSED E	proportional
ə	0259	LATIN SMALL LETTER SCHWA	proportional
ə̀	<0259, 0300>	<LATIN SMALL LETTER SCHWA, COMBINING GRAVE ACCENT>	proportional
ə́	<0259, 0301>	<LATIN SMALL LETTER SCHWA, COMBINING ACUTE ACCENT>	proportional
ɚ	025A	LATIN SMALL LETTER SCHWA WITH HOOK	proportional
ɚ̀	<025A, 0300>	<LATIN SMALL LETTER SCHWA WITH HOOK, COMBINING GRAVE ACCENT>	proportional
ɚ́	<025A, 0301>	<LATIN SMALL LETTER SCHWA WITH HOOK, COMBINING ACUTE ACCENT>	proportional
ɜ	025C	LATIN SMALL LETTER REVERSED OPEN E	proportional
ɞ	025E	LATIN SMALL LETTER CLOSED REVERSED OPEN E	proportional
ɟ	025F	LATIN SMALL LETTER DOTLESS J WITH STROKE	proportional
ɠ	0260	LATIN SMALL LETTER G WITH HOOK	proportional
ɡ	0261	LATIN SMALL LETTER SCRIPT G	proportional
ɤ	0264	LATIN SMALL LETTER RAMS HORN	proportional
ɥ	0265	LATIN SMALL LETTER TURNED H	proportional
ɦ	0266	LATIN SMALL LETTER H WITH HOOK	proportional
ɧ	0267	LATIN SMALL LETTER HENG WITH HOOK	proportional
ɨ	0268	LATIN SMALL LETTER I WITH STROKE	proportional
ɬ	026C	LATIN SMALL LETTER L WITH BELT	proportional
ɭ	026D	LATIN SMALL LETTER L WITH RETROFLEX HOOK	proportional
ɮ	026E	LATIN SMALL LETTER LEZH	proportional
ɯ	026F	LATIN SMALL LETTER TURNED M	proportional
ɰ	0270	LATIN SMALL LETTER TURNED M WITH LONG LEG	proportional
ɱ	0271	LATIN SMALL LETTER M WITH HOOK	proportional
ɲ	0272	LATIN SMALL LETTER N WITH LEFT HOOK	proportional
ɳ	0273	LATIN SMALL LETTER N WITH RETROFLEX HOOK	proportional
ɵ	0275	LATIN SMALL LETTER BARRED O	proportional
ɹ	0279	LATIN SMALL LETTER TURNED R	proportional
ɺ	027A	LATIN SMALL LETTER TURNED R WITH LONG LEG	proportional
ɻ	027B	LATIN SMALL LETTER TURNED R WITH HOOK	proportional
ɽ	027D	LATIN SMALL LETTER R WITH TAIL	proportional
ɾ	027E	LATIN SMALL LETTER R WITH FISHHOOK	proportional
ʁ	0281	LATIN LETTER SMALL CAPITAL INVERTED R	proportional
ʂ	0282	LATIN SMALL LETTER S WITH HOOK	proportional
ʃ	0283	LATIN SMALL LETTER ESH	proportional
ʄ	0284	LATIN SMALL LETTER DOTLESS J WITH STROKE AND HOOK	proportional
ʈ	0288	LATIN SMALL LETTER T WITH RETROFLEX HOOK	proportional
ʉ	0289	LATIN SMALL LETTER U BAR	proportional
ʊ	028A	LATIN SMALL LETTER UPSILON	proportional
ʋ	028B	LATIN SMALL LETTER V WITH HOOK	proportional
ʌ	028C	LATIN SMALL LETTER TURNED V	proportional
ʌ̀	<028C, 0300>	<LATIN SMALL LETTER TURNED V, COMBINING GRAVE ACCENT>	proportional
ʌ́	<028C, 0301>	<LATIN SMALL LETTER TURNED V, COMBINING ACUTE ACCENT>	proportional
ʍ	028D	LATIN SMALL LETTER TURNED W	proportional
ʎ	028E	LATIN SMALL LETTER TURNED Y	proportional
ʐ	0290	LATIN SMALL LETTER Z WITH RETROFLEX HOOK	proportional
ʑ	0291	LATIN SMALL LETTER Z WITH CURL	proportional
ʒ	0292	LATIN SMALL LETTER EZH	proportional
ʔ	0294	LATIN LETTER GLOTTAL STOP	proportional
ʕ	0295	LATIN LETTER PHARYNGEAL VOICED FRICATIVE	proportional
ʘ	0298	LATIN LETTER BILABIAL CLICK	proportional
ʝ	029D	LATIN SMALL LETTER J WITH CROSSED-TAIL	proportional
ʡ	02A1	LATIN LETTER GLOTTAL STOP WITH STROKE	proportional
ʢ	02A2	LATIN LETTER REVERSED GLOTTAL STOP WITH STROKE	proportional
ˇ	02C7	CARON (Mandarin Chinese third tone)	proportional
ˈ	02C8	MODIFIER LETTER VERTICAL LINE	proportional
ˌ	02CC	MODIFIER LETTER LOW VERTICAL LINE	proportional
ː	02D0	MODIFIER LETTER TRIANGULAR COLON	proportional
ˑ	02D1	MODIFIER LETTER HALF TRIANGULAR COLON	proportional
˘	02D8	BREVE	proportional
˙	02D9	DOT ABOVE (Mandarin Chinese light tone)	proportional
˛	02DB	OGONEK	proportional
˝	02DD	DOUBLE ACUTE ACCENT	proportional
˞	02DE	MODIFIER LETTER RHOTIC HOOK	proportional
˥	02E5	MODIFIER LETTER EXTRA-HIGH TONE BAR	proportional
˥˩	<02E5, 02E9>	<MODIFIER LETTER EXTRA-HIGH TONE BAR, MODIFIER LETTER EXTRA-LOW TONE BAR>	proportional
˦	02E6	MODIFIER LETTER HIGH TONE BAR	proportional
˧	02E7	MODIFIER LETTER MID TONE BAR	proportional
˨	02E8	MODIFIER LETTER LOW TONE BAR	proportional
˩	02E9	MODIFIER LETTER EXTRA-LOW TONE BAR	proportional
˩˥	<02E9, 02E5>	<MODIFIER LETTER EXTRA-LOW TONE BAR, MODIFIER LETTER EXTRA-HIGH TONE BAR>	proportional
̀	0300	COMBINING GRAVE ACCENT (Varia)	proportional
́	0301	COMBINING ACUTE ACCENT (Oxia, Tonos)	proportional
̂	0302	COMBINING CIRCUMFLEX ACCENT	proportional
̃	0303	COMBINING TILDE	proportional
̄	0304	COMBINING MACRON	proportional
̆	0306	COMBINING BREVE (Vrachy)	proportional
̈	0308	COMBINING DIAERESIS (Dialytika)	proportional
̋	030B	COMBINING DOUBLE ACUTE ACCENT	proportional
̌	030C	COMBINING CARON	proportional
̏	030F	COMBINING DOUBLE GRAVE ACCENT	proportional
̘	0318	COMBINING LEFT TACK BELOW	proportional
̙	0319	COMBINING RIGHT TACK BELOW	proportional
̚	031A	COMBINING LEFT ANGLE ABOVE	proportional
̜	031C	COMBINING LEFT HALF RING BELOW	proportional
̝	031D	COMBINING UP TACK BELOW	proportional
̞	031E	COMBINING DOWN TACK BELOW	proportional
̟	031F	COMBINING PLUS SIGN BELOW	proportional
̠	0320	COMBINING MINUS SIGN BELOW	proportional
̤	0324	COMBINING DIAERESIS BELOW	proportional
̥	0325	COMBINING RING BELOW	proportional
̩	0329	COMBINING VERTICAL LINE BELOW	proportional
̪	032A	COMBINING BRIDGE BELOW	proportional
̬	032C	COMBINING CARON BELOW	proportional
̯	032F	COMBINING INVERTED BREVE BELOW	proportional
̰	0330	COMBINING TILDE BELOW	proportional
̴	0334	COMBINING TILDE OVERLAY	proportional
̹	0339	COMBINING RIGHT HALF RING BELOW	proportional
̺	033A	COMBINING INVERTED BRIDGE BELOW	proportional
̻	033B	COMBINING SQUARE BELOW	proportional
̼	033C	COMBINING SEAGULL BELOW	proportional
̽	033D	COMBINING X ABOVE	proportional
͡	0361	COMBINING DOUBLE INVERTED BREVE	proportional
Α	0391	GREEK CAPITAL LETTER ALPHA	proportional
Β	0392	GREEK CAPITAL LETTER BETA	proportional
Γ	0393	GREEK CAPITAL LETTER GAMMA	proportional
Δ	0394	GREEK CAPITAL LETTER DELTA	proportional
Ε	0395	GREEK CAPITAL LETTER EPSILON	proportional
Ζ	0396	GREEK CAPITAL LETTER ZETA	proportional
Η	0397	GREEK CAPITAL LETTER ETA	proportional
Θ	0398	GREEK CAPITAL LETTER THETA	proportional
Ι	0399	GREEK CAPITAL LETTER IOTA	proportional
Κ	039A	GREEK CAPITAL LETTER KAPPA	proportional
Λ	039B	GREEK CAPITAL LETTER LAMDA	proportional
Μ	039C	GREEK CAPITAL LETTER MU	proportional
Ν	039D	GREEK CAPITAL LETTER NU	proportional
Ξ	039E	GREEK CAPITAL LETTER XI	proportional
Ο	039F	GREEK CAPITAL LETTER OMICRON	proportional
Π	03A0	GREEK CAPITAL LETTER PI	proportional
Ρ	03A1	GREEK CAPITAL LETTER RHO	proportional
Σ	03A3	GREEK CAPITAL LETTER SIGMA	proportional
Τ	03A4	GREEK CAPITAL LETTER TAU	proportional
Υ	03A5	GREEK CAPITAL LETTER UPSILON	proportional
Φ	03A6	GREEK CAPITAL LETTER PHI	proportional
Χ	03A7	GREEK CAPITAL LETTER CHI	proportional
Ψ	03A8	GREEK CAPITAL LETTER PSI	proportional
Ω	03A9	GREEK CAPITAL LETTER OMEGA	proportional
α	03B1	GREEK SMALL LETTER ALPHA	proportional
β	03B2	GREEK SMALL LETTER BETA	proportional
γ	03B3	GREEK SMALL LETTER GAMMA	proportional
δ	03B4	GREEK SMALL LETTER DELTA	proportional
ε	03B5	GREEK SMALL LETTER EPSILON	proportional
ζ	03B6	GREEK SMALL LETTER ZETA	proportional
η	03B7	GREEK SMALL LETTER ETA	proportional
θ	03B8	GREEK SMALL LETTER THETA	proportional
ι	03B9	GREEK SMALL LETTER IOTA	proportional
κ	03BA	GREEK SMALL LETTER KAPPA	proportional
λ	03BB	GREEK SMALL LETTER LAMDA	proportional
μ	03BC	GREEK SMALL LETTER MU	proportional
ν	03BD	GREEK SMALL LETTER NU	proportional
ξ	03BE	GREEK SMALL LETTER XI	proportional
ο	03BF	GREEK SMALL LETTER OMICRON	proportional
π	03C0	GREEK SMALL LETTER PI	proportional
ρ	03C1	GREEK SMALL LETTER RHO	proportional
ς	03C2	GREEK SMALL LETTER FINAL SIGMA	proportional
σ	03C3	GREEK SMALL LETTER SIGMA	proportional
τ	03C4	GREEK SMALL LETTER TAU	proportional
υ	03C5	GREEK SMALL LETTER UPSILON	proportional
φ	03C6	GREEK SMALL LETTER PHI	proportional
χ	03C7	GREEK SMALL LETTER CHI	proportional
ψ	03C8	GREEK SMALL LETTER PSI	proportional
ω	03C9	GREEK SMALL LETTER OMEGA	proportional
Ё	0401	CYRILLIC CAPITAL LETTER IO	proportional
А	0410	CYRILLIC CAPITAL LETTER A	proportional
Б	0411	CYRILLIC CAPITAL LETTER BE	proportional
В	0412	CYRILLIC CAPITAL LETTER VE	proportional
Г	0413	CYRILLIC CAPITAL LETTER GHE	proportional
Д	0414	CYRILLIC CAPITAL LETTER DE	proportional
Е	0415	CYRILLIC CAPITAL LETTER IE	proportional
Ж	0416	CYRILLIC CAPITAL LETTER ZHE	proportional
З	0417	CYRILLIC CAPITAL LETTER ZE	proportional
И	0418	CYRILLIC CAPITAL LETTER I	proportional
Й	0419	CYRILLIC CAPITAL LETTER SHORT I	proportional
К	041A	CYRILLIC CAPITAL LETTER KA	proportional
Л	041B	CYRILLIC CAPITAL LETTER EL	proportional
М	041C	CYRILLIC CAPITAL LETTER EM	proportional
Н	041D	CYRILLIC CAPITAL LETTER EN	proportional
О	041E	CYRILLIC CAPITAL LETTER O	proportional
П	041F	CYRILLIC CAPITAL LETTER PE	proportional
Р	0420	CYRILLIC CAPITAL LETTER ER	proportional
С	0421	CYRILLIC CAPITAL LETTER ES	proportional
Т	0422	CYRILLIC CAPITAL LETTER TE	proportional
У	0423	CYRILLIC CAPITAL LETTER U	proportional
Ф	0424	CYRILLIC CAPITAL LETTER EF	proportional
Х	0425	CYRILLIC CAPITAL LETTER HA	proportional
Ц	0426	CYRILLIC CAPITAL LETTER TSE	proportional
Ч	0427	CYRILLIC CAPITAL LETTER CHE	proportional
Ш	0428	CYRILLIC CAPITAL LETTER SHA	proportional
Щ	0429	CYRILLIC CAPITAL LETTER SHCHA	proportional
Ъ	042A	CYRILLIC CAPITAL LETTER HARD SIGN	proportional
Ы	042B	CYRILLIC CAPITAL LETTER YERU	proportional
Ь	042C	CYRILLIC CAPITAL LETTER SOFT SIGN	proportional
Э	042D	CYRILLIC CAPITAL LETTER E	proportional
Ю	042E	CYRILLIC CAPITAL LETTER YU	proportional
Я	042F	CYRILLIC CAPITAL LETTER YA	proportional
а	0430	CYRILLIC SMALL LETTER A	proportional
б	0431	CYRILLIC SMALL LETTER BE	proportional
в	0432	CYRILLIC SMALL LETTER VE	proportional
г	0433	CYRILLIC SMALL LETTER GHE	proportional
д	0434	CYRILLIC SMALL LETTER DE	proportional
е	0435	CYRILLIC SMALL LETTER IE	proportional
ж	0436	CYRILLIC SMALL LETTER ZHE	proportional
з	0437	CYRILLIC SMALL LETTER ZE	proportional
и	0438	CYRILLIC SMALL LETTER I	proportional
й	0439	CYRILLIC SMALL LETTER SHORT I	proportional
к	043A	CYRILLIC SMALL LETTER KA	proportional
л	043B	CYRILLIC SMALL LETTER EL	proportional
м	043C	CYRILLIC SMALL LETTER EM	proportional
н	043D	CYRILLIC SMALL LETTER EN	proportional
о	043E	CYRILLIC SMALL LETTER O	proportional
п	043F	CYRILLIC SMALL LETTER PE	proportional
р	0440	CYRILLIC SMALL LETTER ER	proportional
с	0441	CYRILLIC SMALL LETTER ES	proportional
т	0442	CYRILLIC SMALL LETTER TE	proportional
у	0443	CYRILLIC SMALL LETTER U	proportional
ф	0444	CYRILLIC SMALL LETTER EF	proportional
х	0445	CYRILLIC SMALL LETTER HA	proportional
ц	0446	CYRILLIC SMALL LETTER TSE	proportional
ч	0447	CYRILLIC SMALL LETTER CHE	proportional
ш	0448	CYRILLIC SMALL LETTER SHA	proportional
щ	0449	CYRILLIC SMALL LETTER SHCHA	proportional
ъ	044A	CYRILLIC SMALL LETTER HARD SIGN	proportional
ы	044B	CYRILLIC SMALL LETTER YERU	proportional
ь	044C	CYRILLIC SMALL LETTER SOFT SIGN	proportional
э	044D	CYRILLIC SMALL LETTER E	proportional
ю	044E	CYRILLIC SMALL LETTER YU	proportional
я	044F	CYRILLIC SMALL LETTER YA	proportional
ё	0451	CYRILLIC SMALL LETTER IO	proportional
Ḿ	1E3E	LATIN CAPITAL LETTER M WITH ACUTE	proportional
ḿ	1E3F	LATIN SMALL LETTER M WITH ACUTE	proportional
ὰ	1F70	GREEK SMALL LETTER ALPHA WITH VARIA	proportional
ά	1F71	GREEK SMALL LETTER ALPHA WITH OXIA	proportional
ὲ	1F72	GREEK SMALL LETTER EPSILON WITH VARIA	proportional
έ	1F73	GREEK SMALL LETTER EPSILON WITH OXIA	proportional
‐	2010	HYPHEN	proportional
–	2013	EN DASH	proportional
—	2014	EM DASH	proportional
‖	2016	DOUBLE VERTICAL LINE	proportional
‘	2018	LEFT SINGLE QUOTATION MARK	proportional
’	2019	RIGHT SINGLE QUOTATION MARK	proportional
“	201C	LEFT DOUBLE QUOTATION MARK	proportional
”	201D	RIGHT DOUBLE QUOTATION MARK	proportional
†	2020	DAGGER	proportional
‡	2021	DOUBLE DAGGER	proportional
•	2022	BULLET	proportional
‥	2025	TWO DOT LEADER	proportional
…	2026	HORIZONTAL ELLIPSIS	proportional
‰	2030	PER MILLE SIGN	proportional
′	2032	PRIME	proportional
″	2033	DOUBLE PRIME	proportional
‾	203E	OVERLINE	proportional
‿	203F	UNDERTIE (Enotikon)	proportional
⁂	2042	ASTERISM	proportional
⁑	2051	TWO ASTERISKS ALIGNED VERTICALLY	proportional
€	20AC	EURO SIGN	proportional
ℏ	210F	PLANCK CONSTANT OVER TWO PI	proportional
℧	2127	INVERTED OHM SIGN	proportional
Å	212B	ANGSTROM SIGN	proportional
ℵ	2135	ALEF SYMBOL	proportional
⅓	2153	VULGAR FRACTION ONE THIRD	proportional
⅔	2154	VULGAR FRACTION TWO THIRDS	proportional
⅕	2155	VULGAR FRACTION ONE FIFTH	proportional
←	2190	LEFTWARDS ARROW	proportional
↑	2191	UPWARDS ARROW	proportional
→	2192	RIGHTWARDS ARROW	proportional
↓	2193	DOWNWARDS ARROW	proportional
↔	2194	LEFT RIGHT ARROW	proportional
↖	2196	NORTH WEST ARROW	proportional
↗	2197	NORTH EAST ARROW	proportional
↘	2198	SOUTH EAST ARROW	proportional
↙	2199	SOUTH WEST ARROW	proportional
⇄	21C4	RIGHTWARDS ARROW OVER LEFTWARDS ARROW	proportional
⇒	21D2	RIGHTWARDS DOUBLE ARROW	proportional
⇔	21D4	LEFT RIGHT DOUBLE ARROW	proportional
⇦	21E6	LEFTWARDS WHITE ARROW	proportional
⇧	21E7	UPWARDS WHITE ARROW	proportional
⇨	21E8	RIGHTWARDS WHITE ARROW	proportional
⇩	21E9	DOWNWARDS WHITE ARROW	proportional
∀	2200	FOR ALL	proportional
∂	2202	PARTIAL DIFFERENTIAL	proportional
∃	2203	THERE EXISTS	proportional
∅	2205	EMPTY SET	proportional
∇	2207	NABLA	proportional
∈	2208	ELEMENT OF	proportional
∉	2209	NOT AN ELEMENT OF	proportional
∋	220B	CONTAINS AS MEMBER	proportional
−	2212	MINUS SIGN	proportional
∓	2213	MINUS-OR-PLUS SIGN	proportional
√	221A	SQUARE ROOT	proportional
∝	221D	PROPORTIONAL TO	proportional
∞	221E	INFINITY	proportional
∟	221F	RIGHT ANGLE	proportional
∠	2220	ANGLE	proportional
∥	2225	PARALLEL TO	proportional
∦	2226	NOT PARALLEL TO	proportional
∧	2227	LOGICAL AND	proportional
∨	2228	LOGICAL OR	proportional
∩	2229	INTERSECTION	proportional
∪	222A	UNION	proportional
∫	222B	INTEGRAL	proportional
∬	222C	DOUBLE INTEGRAL	proportional
∮	222E	CONTOUR INTEGRAL	proportional
∴	2234	THEREFORE	proportional
∵	2235	BECAUSE	proportional
∽	223D	REVERSED TILDE (lazy S)	proportional
≃	2243	ASYMPTOTICALLY EQUAL TO	proportional
≅	2245	APPROXIMATELY EQUAL TO	proportional
≈	2248	ALMOST EQUAL TO	proportional
≒	2252	APPROXIMATELY EQUAL TO OR THE IMAGE OF	proportional
≠	2260	NOT EQUAL TO	proportional
≡	2261	IDENTICAL TO	proportional
≢	2262	NOT IDENTICAL TO	proportional
≦	2266	LESS-THAN OVER EQUAL TO	proportional
≧	2267	GREATER-THAN OVER EQUAL TO	proportional
≪	226A	MUCH LESS-THAN	proportional
≫	226B	MUCH GREATER-THAN	proportional
≶	2276	LESS-THAN OR GREATER-THAN	proportional
≷	2277	GREATER-THAN OR LESS-THAN	proportional
⊂	2282	SUBSET OF	proportional
⊃	2283	SUPERSET OF	proportional
⊄	2284	NOT A SUBSET OF	proportional
⊅	2285	NOT A SUPERSET OF	proportional
⊆	2286	SUBSET OF OR EQUAL TO	proportional
⊇	2287	SUPERSET OF OR EQUAL TO	proportional
⊊	228A	SUBSET OF WITH NOT EQUAL TO	proportional
⊋	228B	SUPERSET OF WITH NOT EQUAL TO	proportional
⊕	2295	CIRCLED PLUS	proportional
⊖	2296	CIRCLED MINUS	proportional
⊗	2297	CIRCLED TIMES	proportional
⊥	22A5	UP TACK	proportional
⋚	22DA	LESS-THAN EQUAL TO OR GREATER-THAN	proportional
⋛	22DB	GREATER-THAN EQUAL TO OR LESS-THAN	proportional
⌅	2305	PROJECTIVE	proportional
⌆	2306	PERSPECTIVE	proportional
⌒	2312	ARC	proportional
⌘	2318	PLACE OF INTEREST SIGN	proportional
⏎	23CE	RETURN SYMBOL	proportional
␣	2423	OPEN BOX	proportional
①	2460	CIRCLED DIGIT ONE	proportional
②	2461	CIRCLED DIGIT TWO	proportional
③	2462	CIRCLED DIGIT THREE	proportional
④	2463	CIRCLED DIGIT FOUR	proportional
⑤	2464	CIRCLED DIGIT FIVE	proportional
⑥	2465	CIRCLED DIGIT SIX	proportional
⑦	2466	CIRCLED DIGIT SEVEN	proportional
⑧	2467	CIRCLED DIGIT EIGHT	proportional
⑨	2468	CIRCLED DIGIT NINE	proportional
⑩	2469	CIRCLED NUMBER TEN	proportional
⑪	246A	CIRCLED NUMBER ELEVEN	proportional
⑫	246B	CIRCLED NUMBER TWELVE	proportional
⑬	246C	CIRCLED NUMBER THIRTEEN	proportional
⑭	246D	CIRCLED NUMBER FOURTEEN	proportional
⑮	246E	CIRCLED NUMBER FIFTEEN	proportional
⑯	246F	CIRCLED NUMBER SIXTEEN	proportional
⑰	2470	CIRCLED NUMBER SEVENTEEN	proportional
⑱	2471	CIRCLED NUMBER EIGHTEEN	proportional
⑲	2472	CIRCLED NUMBER NINETEEN	proportional
⑳	2473	CIRCLED NUMBER TWENTY	proportional
ⓐ	24D0	CIRCLED LATIN SMALL LETTER A	proportional
ⓑ	24D1	CIRCLED LATIN SMALL LETTER B	proportional
ⓒ	24D2	CIRCLED LATIN SMALL LETTER C	proportional
ⓓ	24D3	CIRCLED LATIN SMALL LETTER D	proportional
ⓔ	24D4	CIRCLED LATIN SMALL LETTER E	proportional
ⓕ	24D5	CIRCLED LATIN SMALL LETTER F	proportional
ⓖ	24D6	CIRCLED LATIN SMALL LETTER G	proportional
ⓗ	24D7	CIRCLED LATIN SMALL LETTER H	proportional
ⓘ	24D8	CIRCLED LATIN SMALL LETTER I	proportional
ⓙ	24D9	CIRCLED LATIN SMALL LETTER J	proportional
ⓚ	24DA	CIRCLED LATIN SMALL LETTER K	proportional
ⓛ	24DB	CIRCLED LATIN SMALL LETTER L	proportional
ⓜ	24DC	CIRCLED LATIN SMALL LETTER M	proportional
ⓝ	24DD	CIRCLED LATIN SMALL LETTER N	proportional
ⓞ	24DE	CIRCLED LATIN SMALL LETTER O	proportional
ⓟ	24DF	CIRCLED LATIN SMALL LETTER P	proportional
ⓠ	24E0	CIRCLED LATIN SMALL LETTER Q	proportional
ⓡ	24E1	CIRCLED LATIN SMALL LETTER R	proportional
ⓢ	24E2	CIRCLED LATIN SMALL LETTER S	proportional
ⓣ	24E3	CIRCLED LATIN SMALL LETTER T	proportional
ⓤ	24E4	CIRCLED LATIN SMALL LETTER U	proportional
ⓥ	24E5	CIRCLED LATIN SMALL LETTER V	proportional
ⓦ	24E6	CIRCLED LATIN SMALL LETTER W	proportional
ⓧ	24E7	CIRCLED LATIN SMALL LETTER X	proportional
ⓨ	24E8	CIRCLED LATIN SMALL LETTER Y	proportional
ⓩ	24E9	CIRCLED LATIN SMALL LETTER Z	proportional
⓫	24EB	NEGATIVE CIRCLED NUMBER ELEVEN	proportional
⓬	24EC	NEGATIVE CIRCLED NUMBER TWELVE	proportional
⓭	24ED	NEGATIVE CIRCLED NUMBER THIRTEEN	proportional
⓮	24EE	NEGATIVE CIRCLED NUMBER FOURTEEN	proportional
⓯	24EF	NEGATIVE CIRCLED NUMBER FIFTEEN	proportional
⓰	24F0	NEGATIVE CIRCLED NUMBER SIXTEEN	proportional
⓱	24F1	NEGATIVE CIRCLED NUMBER SEVENTEEN	proportional
⓲	24F2	NEGATIVE CIRCLED NUMBER EIGHTEEN	proportional
⓳	24F3	NEGATIVE CIRCLED NUMBER NINETEEN	proportional
⓴	24F4	NEGATIVE CIRCLED NUMBER TWENTY	proportional
⓵	24F5	DOUBLE CIRCLED DIGIT ONE	proportional
⓶	24F6	DOUBLE CIRCLED DIGIT TWO	proportional
⓷	24F7	DOUBLE CIRCLED DIGIT THREE	proportional
⓸	24F8	DOUBLE CIRCLED DIGIT FOUR	proportional
⓹	24F9	DOUBLE CIRCLED DIGIT FIVE	proportional
⓺	24FA	DOUBLE CIRCLED DIGIT SIX	proportional
⓻	24FB	DOUBLE CIRCLED DIGIT SEVEN	proportional
⓼	24FC	DOUBLE CIRCLED DIGIT EIGHT	proportional
⓽	24FD	DOUBLE CIRCLED DIGIT NINE	proportional
⓾	24FE	DOUBLE CIRCLED NUMBER TEN	proportional
■	25A0	BLACK SQUARE	proportional
□	25A1	WHITE SQUARE	proportional
▱	25B1	WHITE PARALLELOGRAM	proportional
▲	25B2	BLACK UP-POINTING TRIANGLE	proportional
△	25B3	WHITE UP-POINTING TRIANGLE	proportional
▶	25B6	BLACK RIGHT-POINTING TRIANGLE	proportional
▷	25B7	WHITE RIGHT-POINTING TRIANGLE	proportional
▼	25BC	BLACK DOWN-POINTING TRIANGLE	proportional
▽	25BD	WHITE DOWN-POINTING TRIANGLE	proportional
◀	25C0	BLACK LEFT-POINTING TRIANGLE	proportional
◁	25C1	WHITE LEFT-POINTING TRIANGLE	proportional
◆	25C6	BLACK DIAMOND	proportional
◇	25C7	WHITE DIAMOND	proportional
○	25CB	WHITE CIRCLE	proportional
◎	25CE	BULLSEYE	proportional
●	25CF	BLACK CIRCLE	proportional
◐	25D0	CIRCLE WITH LEFT HALF BLACK	proportional
◑	25D1	CIRCLE WITH RIGHT HALF BLACK	proportional
◒	25D2	CIRCLE WITH LOWER HALF BLACK	proportional
◓	25D3	CIRCLE WITH UPPER HALF BLACK	proportional
◦	25E6	WHITE BULLET	proportional
◯	25EF	LARGE CIRCLE	proportional
☀	2600	BLACK SUN WITH RAYS	proportional
☁	2601	CLOUD	proportional
☂	2602	UMBRELLA	proportional
☃	2603	SNOWMAN	proportional
★	2605	BLACK STAR	proportional
☆	2606	WHITE STAR	proportional
☎	260E	BLACK TELEPHONE	proportional
☞	261E	WHITE RIGHT POINTING INDEX	proportional
♀	2640	FEMALE SIGN	proportional
♂	2642	MALE SIGN	proportional
♠	2660	BLACK SPADE SUIT	proportional
♡	2661	WHITE HEART SUIT	proportional
♢	2662	WHITE DIAMOND SUIT	proportional
♣	2663	BLACK CLUB SUIT	proportional
♤	2664	WHITE SPADE SUIT	proportional
♥	2665	BLACK HEART SUIT	proportional
♦	2666	BLACK DIAMOND SUIT	proportional
♧	2667	WHITE CLUB SUIT	proportional
♩	2669	QUARTER NOTE	proportional
♪	266A	EIGHTH NOTE	proportional
♫	266B	BEAMED EIGHTH NOTES	proportional
♬	266C	BEAMED SIXTEENTH NOTES	proportional
♭	266D	MUSIC FLAT SIGN	proportional
♮	266E	MUSIC NATURAL SIGN	proportional
♯	266F	MUSIC SHARP SIGN	proportional
✓	2713	CHECK MARK	proportional
❖	2756	BLACK DIAMOND MINUS WHITE X	proportional
❶	2776	DINGBAT NEGATIVE CIRCLED DIGIT ONE	proportional
❷	2777	DINGBAT NEGATIVE CIRCLED DIGIT TWO	proportional
❸	2778	DINGBAT NEGATIVE CIRCLED DIGIT THREE	proportional
❹	2779	DINGBAT NEGATIVE CIRCLED DIGIT FOUR	proportional
❺	277A	DINGBAT NEGATIVE CIRCLED DIGIT FIVE	proportional
❻	277B	DINGBAT NEGATIVE CIRCLED DIGIT SIX	proportional
❼	277C	DINGBAT NEGATIVE CIRCLED DIGIT SEVEN	proportional
❽	277D	DINGBAT NEGATIVE CIRCLED DIGIT EIGHT	proportional
❾	277E	DINGBAT NEGATIVE CIRCLED DIGIT NINE	proportional
❿	277F	DINGBAT NEGATIVE CIRCLED NUMBER TEN	proportional
⤴	2934	ARROW POINTING RIGHTWARDS THEN CURVING UPWARDS	proportional
⤵	2935	ARROW POINTING RIGHTWARDS THEN CURVING DOWNWARDS	proportional
⧺	29FA	DOUBLE PLUS	proportional
⧻	29FB	TRIPLE PLUS	proportional
㉑	3251	CIRCLED NUMBER TWENTY ONE	proportional
㉒	3252	CIRCLED NUMBER TWENTY TWO	proportional
㉓	3253	CIRCLED NUMBER TWENTY THREE	proportional
㉔	3254	CIRCLED NUMBER TWENTY FOUR	proportional
㉕	3255	CIRCLED NUMBER TWENTY FIVE	proportional
㉖	3256	CIRCLED NUMBER TWENTY SIX	proportional
㉗	3257	CIRCLED NUMBER TWENTY SEVEN	proportional
㉘	3258	CIRCLED NUMBER TWENTY EIGHT	proportional
㉙	3259	CIRCLED NUMBER TWENTY NINE	proportional
㉚	325A	CIRCLED NUMBER THIRTY	proportional
㉛	325B	CIRCLED NUMBER THIRTY ONE	proportional
㉜	325C	CIRCLED NUMBER THIRTY TWO	proportional
㉝	325D	CIRCLED NUMBER THIRTY THREE	proportional
㉞	325E	CIRCLED NUMBER THIRTY FOUR	proportional
㉟	325F	CIRCLED NUMBER THIRTY FIVE	proportional
㊱	32B1	CIRCLED NUMBER THIRTY SIX	proportional
㊲	32B2	CIRCLED NUMBER THIRTY SEVEN	proportional
㊳	32B3	CIRCLED NUMBER THIRTY EIGHT	proportional
㊴	32B4	CIRCLED NUMBER THIRTY NINE	proportional
㊵	32B5	CIRCLED NUMBER FORTY	proportional
㊶	32B6	CIRCLED NUMBER FORTY ONE	proportional
㊷	32B7	CIRCLED NUMBER FORTY TWO	proportional
㊸	32B8	CIRCLED NUMBER FORTY THREE	proportional
㊹	32B9	CIRCLED NUMBER FORTY FOUR	proportional
㊺	32BA	CIRCLED NUMBER FORTY FIVE	proportional
㊻	32BB	CIRCLED NUMBER FORTY SIX	proportional
㊼	32BC	CIRCLED NUMBER FORTY SEVEN	proportional
㊽	32BD	CIRCLED NUMBER FORTY EIGHT	proportional
㊾	32BE	CIRCLED NUMBER FORTY NINE	proportional
㊿	32BF	CIRCLED NUMBER FIFTY	proportional

A.28 Warichu opening brackets (cl-28)

Character	UCS	Name	Remark
（	0028	LEFT PARENTHESIS
〔	3014	LEFT TORTOISE SHELL BRACKET
［	005B	LEFT SQUARE BRACKET

A.29 Warichu closing brackets (cl-29)

Character	UCS	Name	Remark
）	0029	RIGHT PARENTHESIS
〕	3015	RIGHT TORTOISE SHELL BRACKET
］	005D	RIGHT SQUARE BRACKET

A.30 Characters in tate-chu-yoko (cl-30)

Any character may participate in tate-chu-yoko composition.

Appendix B Spacing between Characters

The amount of space between two adjacent characters of given character classes explained in 3.9.2 Grouping of Characters and Symbols depending on their Positioning is determined by Table 1. For methods to determine the amounts of space reduction and addition by line adjustments, see Appendix D Opportunities for Inter-character Space Reduction during Line Adjustment and Appendix E Opportunities for Inter-character Space Expansion during Line Adjustment.

See "Table 1 Spacing between characters" (PDF).

B.1 Legend of Table 1

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 space between two characters of the corresponding character classes at the intersection of a given row and column.

2. The last row, labeled "line head", lists amounts of space inserted 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 space inserted between a character of the corresponding character class in each row and the line end.

3. The following notations in cells are used to indicate the amount of space or other related information.

   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).

   2. × mark: The combination is not allowed due to line breaking rules or other restrictions.

   3. 1/2 be: Insert a half em space, where the em here indicates the size of the preceding character.

   4. 1/2 af: Insert a half em space, where the em here indicates the size of the trailing character.

      (note)

      The reason for the distinction between the two half em spaces ("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 Fig. B.1 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.

      

      Fig. B.1: Referent for em in half em space.

   5. 1/2 be hang: Identical to "1/2 be" in the amount of space. Ruby text can be extended up to the size of the ruby character over this "1/2 be hang" space 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 space and shall not be extended over the other character.

   6. 1/2 af hang: Identical to "1/2 af" in the amount of space. Ruby text can be extended up to the size of the ruby character over this "1/2 af hang" space 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 space and shall not be extended over the other character.

   7. 1/4 be: Insert a quarter em space, where the em here indicates the size of the preceding character.

   8. 1/4 af: Insert a quarter em space, where the em here indicates the size of the trailing character.

   9. 1/4 be hang: Identical to "1/4 be" in the amount of space. Ruby text can be extended up to half the size of the ruby character over this "1/4 be hang" space 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 space and shall not be extended over the other character.

   10. 1/4 af hang: Identical to "1/4 af" in the amount of space. Ruby text can be extended up to half the size of the ruby character over this "1/4 af hang" space 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 space and shall not be extended over the other character.

   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 B.2 Notes).

B.2 Notes

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.

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 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End).

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.

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 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End).

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 space of the full stop or comma and the quarter em space 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 space of the following middle dot (cl-05).

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 space after full stop (cl-06) is a half em and the space after comma (cl-07) is solid, see 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End).

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.

   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).

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.

9. When two adjacent characters belong to the same ornamented character complex (cl-21) run, set them according to the method explained in 3.7.1 Superscripts and Superscripts. When two adjacent characters belong to two distinct ornamented character complex runs, set them solid.

10. When two adjacent characters belong to the same simple-ruby character complex (cl-22) run, set them according to the method explained in 3.3.5 Positioning of Mono-ruby with Respect to Base Characters or 3.3.6 Positioning of Group-ruby with Respect to Base Characters. When two adjacent characters belong to two distinct simple-ruby character complex runs, set them solid.

11. When two adjacent characters belong to the same jukugo-ruby character complex (cl-23) run, set them according to the method explained in 3.3.7 Positioning of Jukugo-ruby with Respect to Base Characters. When two adjacent characters belong to two distinct simple-ruby character complex runs, set them solid.

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.

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).

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 "々", there are three ways to deal with this situation.

    1. Follow the principle by applying some sort of line adjustment. In this case, IDEOGRAPHIC ITERATION MARK "々" remains in iteration marks (cl-09).

    2. Allow IDEOGRAPHIC ITERATION MARK "々" 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.

    3. Replace IDEOGRAPHIC ITERATION MARK "々" with the corresponding character.

       e.g.	line end: 国	line head: 々	<is replaced with>	line end: 国	line head: 国
       	line end: 人	line head: 々	<is replaced with>	line end: 人	line head: 人

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.

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.

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 space accompanying the characters (see 3.1.5 Positioning of Opening Brackets at Line Head including methods of positioning of opening brackets at the beginning of paragraphs).

Appendix C Possibilities for Line-breaking between Characters

Line break opportunities between two adjacent characters of given character classes explained in 3.9.2 Grouping of Characters and Symbols depending on their Positioning shall be determined by Table 2.

See "Table 2 Possibility of separation between characters" (PDF).

C.1 Legend of Table 2

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.

2. The type of line break opportunity is indicated in each cell in the table using the following notation.

   1. blank: A line is allow to end between the two characters (breakable).

   2. not: A line is not allowed to end between the two characters (unbreakable).

   3. × mark: the combination is not allowed due to line breaking rules or other restrictions.

C.2 Notes

1. If IDEOGRAPHIC ITERATION MARK "々" 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).)

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).)

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).)

4. For the default one em space after dividing punctuation marks (cl-04) at the end of a sentence, full-width ideographic space (cl-14) can be used. See 3.1.6 Positioning of Dividing Punctuation Marks (Question Mark and Exclamation Mark) and Hyphens for more detail on how to deal with this case.

5. There is no line break opportunity between following couple of consecutive inseparable characters (cl-08) as follows:

   • EM DASH "―", EM DASH "―"

   • HORIZONTAL ELLIPSIS "…", HORIZONTAL ELLIPSIS "…"

   • TWO DOT LEADER "‥", TWO DOT LEADER "‥"

   • VERTICAL KANA REPEAT MARK UPPER HALF "〳", VERTICAL KANA REPEAT MARK LOWER HALF "〵"

   • VERTICAL KANA REPEAT WITH VOICED SOUND MARK UPPER HALF "〴", VERTICAL KANA REPEAT MARK LOWER HALF "〵"

   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.

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.

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.

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.

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.

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.

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.

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.

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.

C.3 Addendum

As noted in Appendix B Spacing between Characters and C.2 Notes, 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.

1. Very loose (Newspapers)

   Breaking a line is allowed before or after the following character classes even though Table 2 prohibits it.

   • Hyphens (cl-03)

   • Dividing punctuation marks (cl-04)

   • Middle dots (cl-05)

   • Inseparable characters (cl-08) of the same kind

   • Iteration marks (cl-09)

   • Prolonged sound mark (cl-10)

   • Small kana (cl-11)

   • Prefixed abbreviations (cl-12)

   • Postfixed abbreviations (cl-13)

2. Loose (Magazines)

   Breaking a line is allowed before or after the following character classes (or characters) even though Table 2 prohibits it.

   • Hyphens (cl-03)

   • KATAKANA MIDDLE DOT "・"

   • Between two consecutive HORIZONTAL ELLIPSIS "…" and between two consecutive TWO DOT LEADER "‥"

   • IDEOGRAPHIC ITERATION MARK "々"

   • Prolonged sound mark (cl-10)

   • Small kana (cl-11)

   • PERCENT SIGN "%"

3. Strict (Default, general publications)

   Breaking a line is allowed before or after the following character classes (or characters) even though Table 2 prohibits it.

   • IDEOGRAPHIC ITERATION MARK "々"

   • Prolonged sound mark (cl-10)

   • Small kana (cl-11)

4. Very strict (General publications)

   Breaking a line is not allowed for any place where Table 2 prohibits it (no alternate rule explained in C.2 Notes is applied.).

   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 space adjustment.

Appendix D Opportunities for Inter-character Space Reduction during Line Adjustment

The following tables indicate if an opportunity exists for inter-character space reduction during line adjustment between two adjacent characters of given character classes as explained in 3.9.2 Grouping of Characters and Symbols depending on their Positioning. (For more detail on line adjustment, see 3.8 Line Adjustment.) In the process of line adjustment by inter-character space reduction, the first place to look (the first stage of inter-character space 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 space (or a one fifth em space) with respect to the corresponding character size. The tables are for the second and subsequent stages of inter-character space reduction in priority order, assuming the first stage of the reduction 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 Appendix B Spacing between Characters.

There are several conventions for line adjustment, especially when it is to be achieved by inter-character space 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.

See "Table 3 Opportunity of inter-character space reduction" (PDF).

See "Table 4 Opportunity of inter-character space reduction (the method specified by JIS X 4051)" (PDF).

See "Table 5 Opportunity of inter-character space reduction (the method adopted by books)" (PDF).

D.1 Legend of Tables 3, 4 and 5

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 space reduction between two adjacent characters of the corresponding character classes at a given row and column.

2. The cells in the row "line head" or the column "line end" should read if there exists opportunity for space reduction at line head or line end respectively. Tables 3, 4 and 5 all prohibit space reduction at line head. While Table 4 prohibits space reduction at line end too, Tables 3 and 5 allow it for several character classes at line end.

3. The type of opportunity for space reduction is indicated in each cell in the tables using the following notation.

   1. Cells with a white background: No opportunity for space reduction because the two characters are set solid and there is no adjustable space between them, or because it is prohibited by rule to reduce the inter-character space for the given combination.

      1. Blank: No opportunity for space reduction because the given combination of characters is set solid (or there is no space before or after the given character at line head or at line end respectively).

      2. × mark:The combination is not allowed due to line breaking rules or other restrictions.

      3. 1/2: The amount of inter-character space shall be a half em, and this space shall not be reduced (no opportunity of inter-character space reduction).

      4. 1/4: The amount of inter-character space shall be a quarter em, and this space shall not be reduced (no opportunity of inter-character space reduction).

   2. Cells with a colored or gray background: An opportunity for inter-character space reduction exists.

      1. Priority order in space reduction: The second highest and subsequent priorities of inter-character space 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.

         

         Fig. D.1: Priority order in space reduction.

      2. Amount of space reducible: the amount of space to be reduced is indicated using the following notation.

         1. 1/2–0: A half em space by default, which is reducible equally, with respect to the corresponding character size, with no minimum space required (set solid).

         2. 1/2–1/4: A half em space by default, which is reducible equally, with respect to the corresponding character size, to leave a minimum of a quarter em space.

         3. 1/2=0: A half em space by default, which can be removed to set solid (it is not allowed to leave any intermediate size of space between zero to a half em, such as a quarter em space).

         4. 1/4–0: A quarter em space by default, which is reducible equally, with respect to the corresponding character size, with no minimum space required (set solid).

         5. 1/4–1/8: A quarter em space by default, which is reducible equally, with respect to the corresponding character size, to leave a minimum of a one eighth em space.

Note that JIS X 4051 specifies to not leave any space 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 space 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 space, Table 4 indicates there is no opportunity for space 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 space after full stops (cl-06) at the line end, which is not allowed to reduce this space for line adjustment, Table 3 and 5 allow the removal of the default half em space 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 space padding before and after middle dots (cl-05) at the line end for line adjustment, while Table 5 does not.

D.2 Notes

1. The default unadjusted space 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 quarter em spaces 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.

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.

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.

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).

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.

Appendix E Opportunities for Inter-character Space Expansion during Line Adjustment

The following table indicates if an opportunity exists for inter-character space expansion during line adjustment between two adjacent characters of given character classes as explained in 3.9.2 Grouping of Characters and Symbols depending on their Positioning. (For more detail on line adjustment, see 3.8 Line Adjustment.) In the process of line adjustment by inter-character space expansion, the first place to look (the first stage of inter-character space 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 space 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 Appendix B Spacing between Characters.

See "Table 6 Opportunity of inter-character space expansion" (PDF).

E.1 Legend of Table 6

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 space 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 space expansion before any character at the line head or after any character at the line end.

2. The type of opportunity for space expansion is indicated in each cell in the table using the following notation.

   1. Cells with a white background: No opportunity for space expansion.

      1. Blank: Inter-character space expansion is not allowed because there is no line break opportunity between the given combination of characters.

      2. × mark: The combination is not allowed due to line breaking rules or other restrictions.

   2. Cells with a colored or gray background: An opportunity exists for inter-character space expansion.

      1. Priority order in space expansion: The second highest and subsequent priorities of inter-character space 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, add same space value to the spaces of 1st, 2nd, 3rd and 4th steps.

         

         Fig. E.1: Priority order in space expansion.

      2. Amount of space expandable: The amount of space to be expanded is indicated using the following notation.

         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 Appendix D Opportunities for Inter-character Space Reduction during Line Adjustment is adopted as the method of inter-character space reduction for line adjustment, this quarter em space shall not be expanded.

         2. 1/4: No inter-character space by default, which is expandable equally, with respect to the corresponding character size, to take up to a maximum of a quarter em space.

         3. blank: Expandable equally with respect to the corresponding character size, only after no other expandable inter-character space is left.

E.2 Notes

1. If the IDEOGRAPHIC ITERATION MARK "々" 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).)

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).)

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).)

4. A third order opportunity exists for inter-character space 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.

5. A third order opportunity exists for inter-character space 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)

6. A third order opportunity exists for inter-character space 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 space expansion is not allowed.

7. A third order opportunity exists for inter-character space 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 space expansion is not allowed.

8. There is no opportunity for inter-character space 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 space is expandable.

9. There is an alternative way to give a third order opportunity for inter-character space 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).

10. A third order opportunity exists for inter-character space 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 space expansion is allowed between them.

11. There is an alternative way to give a fourth order opportunity for inter-character space expansion with respect to the corresponding character size, between two consecutive Western characters (cl-27).

12. A third order opportunity exists for the inter-character space 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 space expansion is not allowed.

Appendix F Positioning of Jukugo-ruby

Positioning of ruby characters is explained in [3.3 Ruby and Emphasis Dots], 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).

F.1 Principles of Jukugo-Ruby Distribution: Part 1

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.

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.

   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.

   

   Fig. F.1: Jukugo-ruby distribution 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.).

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 3.3.8 Adjustments of Ruby with Length Longer than that of the Base Characters. 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.

F.2 Principles of Jukugo-Ruby Distribution: Part 2

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.

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.

2. When a base character is accompanied by three or more ruby characters, decide the positioning of the ruby characters in the following order.

   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 Fig. F.2). 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. Fig. F.3 shows examples where the succeeding base characters overhang, while Fig. F.4 are examples where the preceding base characters overhang since there is no arrangement of ruby characters to take the succeeding ones.

      

      Fig. F.2: Jukugo-ruby distribution 2.

      

      Fig. F.3: Jukugo-ruby distribution 3 (ruby characters to overhang the succeeding base characters).

      

      Fig. F.4: Jukugo-ruby distribution 4 (ruby characters to overhang the preceding base characters).

   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 Fig. F.5). The following are some examples. Fig. F.6 shows examples of ruby characters that overhang the succeeding non-base characters and Fig. F.7 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 Fig. F.8).

      

      Fig. F.5: Jukugo-ruby distribution 5.

      

      Fig. F.6: Jukugo-ruby distribution 6 (examples of ruby characters to overhang the succeeding non-base characters).

      

      Fig. F.7: Jukugo-ruby distribution 7 (examples of ruby characters to overhang the preceding non-base characters).

      

      Fig. F.8: Jukugo-ruby distribution 8 (examples of ruby characters to overhang both of non-base characters).

   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 Fig. F.5 or Fig. F.6 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 "居候" and "古代紫" (see Fig. F.9).

      

      Fig. F.9: Jukugo-ruby distribution 9 (examples of ruby characters to overhang the preceding non-base characters).

   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.

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.

F.3 Principles of Jukugo-Ruby Distribution with Inter-Character Space Expansion

Principles for a method of jukugo-ruby distribution which allows inter-character spacing to expand, are as follows.

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.

2. Inter-character spacing can be expanded only for those base characters which are accompanied by more than two ruby characters.

3. The total amount of inter-character spacing should be determined as follows.

   Total inter-character space = (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).

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).

5. For each base character, expand the preceding and succeeding inter-character space 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.

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 space 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 space of the base character by all of the assigned space.

F.4 Examples of Jukugo-Ruby Distribution with Inter-Character Space Expansion

The following are examples of jukugo-ruby distribution in accordance with the principles mentioned in the previous section.

The jukugo-ruby shown in Fig. F.10 requires expansion of inter-character spacing by one ruby character. Expand the preceding and succeeding inter-character spacing for the base character "峻" accompanied by three ruby characters by a quarter em each in base character size.

Fig. F.10: Jukugo-ruby distribution with inter-character space expansion 1.

The jukugo-ruby shown in Fig. F.11 requires expansion of inter-character spacing by one ruby character. Expand the preceding and the succeeding inter-character spacing for the base character "候" accompanied by four ruby characters by a quarter em each in base character size.

Fig. F.11: Jukugo-ruby distribution with inter-character space expansion 2.

Fig. F.12 are examples with the same jukugo-ruby as in Fig. F.10 and Fig. F.11 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.

Fig. F.12: Jukugo-ruby distribution with inter-character space expansion 3 (examples at the line-head and at the line-end).

Examples shown in Fig. F.13 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.

Fig. F.13: Jukugo-ruby distribution with inter-character space expansion 4.

Examples shown in Fig. F.14 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.

Fig. F.14: Jukugo-ruby distribution with inter-character space expansion 5.

Examples shown in Fig. F.15 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.

Fig. F.15: Jukugo-ruby distribution with inter-character space expansion 6.

Appendix G Terminology

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.

Terminology	Japanese	Romanized transliteration	Definition
back matter	後付	atozuke	Appendices, supplements, glossary of terms, index and/or bibliography, and so on, appended at the end of a book.
base character	親文字	oya moji	A character to be annotated by ruby, ornament characters, or emphasis dots.
base line	並び線	narabi sen	A virtual line on which almost all glyphs in Western fonts are designed to be aligned. (JIS Z 8125)
bibliography	参考文献	sankō bunken	A list of works and papers related to the subjects in the text. (JIS Z 8125)
blank page	白ページ	shiro pēji	An empty page.
bleed	裁切り	tachikiri	To print a picture or a tint to run off the edge of a trimmed page. (JIS Z 8125)
block direction	行送り方向	gyō okuri hōkō	The direction lines progress, one after the other. (JIS Z 8125)
block heading	別行見出し	betsugyōmidashi	A kind of heading styles. The heading is set as an independent line from basic text. (JIS Z 8125)
bold	太字	futoji	A kind of font style. Similer to bold in western typograpy.
bound on the left-hand side	左綴じ	hidari toji	Binding of a book to be opened from the left.
bound on the right-hand side	右綴じ	migi toji	Binding of a book to be opened from the right.
bousen (sideline)	傍線	bōsen	A line drawn by the left or right side of a character or a run of text in vertical writing mode. (JIS Z 8125)
break (a line)	（2行に）分割	bunkatsu	To place the first of two adjacent characters at the end of a line and the second at the head of a new line.
caption	キャプション	kyapushon	A title or a short description accompanying a picture, an illustration, or a table. (JIS Z 8125)
cell	こま	koma	Each element area of tables, cell.
cell contents	こま内容	komanaiyō	The content of each cell in tables. (JIS X 4051)
cell padding	こま余白	komayohaku	Spaces between line and cell in tables. (JIS X 4051)
centering	中央そろえ	chūō soroe	To align the center of a run of text that is shorter than a given line length to the center of a line. (JIS Z 8125)
character advance	字幅	jihaba	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 advance is the width of a given character in horizontal writing-mode, while it is the height in vertical writing-mode.
character frame	（文字の）外枠	sotowaku	Rectangular area occupied by a character when it is set solid.
character shape	字形	jikei	Incarnation of a character by handwriting, printing or rendering to a computer screen. (JIS Z 8125)
character size	文字サイズ	moji saizu	Dimensions of a character. Unless otherwise noted, it refers to the size of a character frame in the block direction.
characters not ending line	行末禁則文字	gyōmatsu kinsoku moji	Any character for which "line-end prohibition rule" is invoked. (JIS Z 8125)
characters not starting line	行頭禁則文字	gyōtō kinsoku moji	Any character for which "line-start prohibition rule" is invoked. (JIS Z 8125)
chronological history	年譜	nenpu	Chronological tabels about the histories of persons or organizations.
chronological table	年表	nenpyō	Chronologocal tables about histrical incidents. There are special types of chronological tables besides general ones, focused to specific view points and aspects.
chu-boso-kei	中細罫	chūbosokei	Middle width line, usually about 0.25mm.
column	段	dan	A partition on a page in multi-column format. (JIS Z 8125)
column gap	段間	dankan	Amount of space between columns on a page. (JIS Z 8125)
column spanning	段抜き	dannuki	A setting style of illustrations, tables, etc., over hanging to multiple columns. (JIS Z 8125)
column spanning heading	段抜きの見出し	dannuki no midashi	Headings using multiple columns.
composition	組版	kumihan	Process of arrangement of text, figures and/or pictures, etc on a page in a desired layout (design) in preparation for printing.
compound word (jukugo)	熟語	jukugo	A combination of two or more kanji characters which makes one word.
continuous pagination	通しノンブル	tōshi nonburu	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 year, aside from pagination per issue. (JIS Z 8125)
cut-in heading	窓見出し	madomidashi	A style of headings. Headings do not occupy the full lines, but share lines area with following main text lines.
descender line	ディセンダライン	disenda rain	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 line.
double running head method	両柱方式	ryōbashira hōshiki	A method that prints running heads on both even and odd pages. (JIS Z 8125)
emphasis dots	圏点	kenten	Symbols attached alongside a run of base characters to emphasize them. (JIS Z 8125)
endnote	後注	kōchū	A set of notes placed at the end of a part, chapter, section, paragraph and so on, or at the end of a book. (JIS Z 8125)
European numerals	アラビア数字	arabia sūji	Any of the symbols in [0-9] used to represent numbers. (JIS Z 8125)
even inter-character spacing	均等割り	kintō wari	A text setting with uniform inter-character spacing per line so that each line is aligned on the same line-head and line-end. (JIS Z 8125)
even tsumegumi	均等詰め	kintō zume	Adjustment of inter-character space by subtracting the same amount of space. (JIS Z 8125)
face tsumegumi	字面詰め	jizura zume	Adjustment of inter-character space by subtracting space to the extent that two letter faces are placed adjacent. (JIS Z 8125)
fixed inter-character spacing	アキ組	aki gumi	A text setting with a uniform inter-character spacing. (JIS Z 8125)
fixed-width	モノスペース	monosupēsu	A characteristic of a font where the same character advance is assigned for all glyphs. (JIS Z 8125)
font	フォント	fonto	A set of character glyphs of a given typeface. (JIS Z 8125)
foot	地	chi	a) The bottom part of a book or a page. b) The bottom margin between the edge of a trimmed page and the hanmen (text area) (JIS Z 8125)
footnote	脚注	kyakuchū	A note in a smaller face than that of main text, placed at the bottom of a page. (JIS Z 8125)
fore-edge	小口	koguchi	a) The three front trimmed edges of pages in a book. b) The opposite sides of the gutter in a book. (JIS Z 8125)
front matter	前付	maezuke	The first part of a book followed by the text, usually consisting of a forward, preface, table of contents, list of illustrations, acknowledgement and so on.
full-width	全角	zenkaku	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 character frame is square in shape by definition.
furigana	振り仮名	furigana	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 "ruby".
furikanji	振り漢字	furikanji	A method of ruby annotation using Kanji characters for ruby instead of kana characters.
furiwake	振分け	furiwake	A method of placing multiple runs of text in a line. (JIS Z 8125)
general-ruby	総ルビ	sō rubi	A method of ruby annotation that attaches ruby text for all Kanji characters in the text. (JIS Z 8125)
group-ruby	グループルビ	gurūpu rubi	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 amount of space between ruby characters.
gutter	のど	nodo	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. (JIS Z 8125)
gyodori	行取り	gyōdori	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 × number of lines + line gap × (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 seems to be added to the gyodori space.
half em	二分	nibu	Half of the full-width size. (JIS Z 8125)
half em space	二分アキ	nibu aki	Amount of space that is half size of em space.
half-width	半角	hankaku	Character frame which has a character advance of a half em.
han-tobira	半扉	hantobira	A simplified version of naka-tobira, the verso side of which text of the new part starts. (JIS Z 8125)
hanmen (page content area)	版面	hanmen	Actual printed area in a page excluding the margins. (note: Running heads and page numbers are not part of hanmen.) (JIS Z 8125)
head	天	ten	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 area) (JIS Z 8125)
heading	見出し	midashi	a) A title of a paper or an article. b) A title for each section of a book, paper or article. (JIS Z 8125)
headnote	頭注	tōchū	A kind of notes in vertical writing style, head area in kihon-hanmen is kept beforehand, and notes are set with smaller size font than main text.
horizontal writing mode	横組	yokogumi	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 to right. (JIS Z 8125)
hyphenation	ハイフネーション	haifunēshon	A method of breaking a line by dividing a Western word at the end of a line and adding a hyphen at the end of the first half of the syllable.
ideographic numerals	漢数字	kansūji	Ideographic characters representing numbers.
illustrations	図版	zuhan	A general term referring to a diagram, chart, cut, figure, picture and the like, to be used for printed materials.
independent pagination	別ノンブル	betsu nonburu	To number the pages of the front matter, the text and the back matter independently. (JIS Z 8125)
index	索引	sakuin	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)
inline direction	字詰め方向	jizume hōkō	Text direction in a line. (JIS Z 8125)
inseparable characters rule	分離禁止	bunri kinshi	A line adjustment rule that prohibits inserting any space between specific combinations of characters. (JIS Z 8125)
inter-character space	字間	jikan	Amount of space between two adjacent character frames on the same line.
itemization	箇条書き	kajō gaki	To list ordered or unordered items one under the other. (JIS Z 8125)
Japanese and Western mixed text composition	和欧文混植	waō konshoku	To mix Japanese text and Western text in the same composition.
Japanese characters	和文文字	wabun moji	Characters used to compose Japanese text.
Japanese gothic face	ゴシック体	goshikku tai	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 typeface. Used for text emphasis and/or headings.
jidori	字取り	jidori	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 characters. (JIS Z 8125)
Jouyou Kanji Table	常用漢字表	jōyō kanji hyō	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 of Kanji characters together with their orthographic shapes, Japanese native reading (Kun), Chinese derived reading (On) and other useful information.
jukugo-ruby	熟語ルビ	jukugo rubi	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 appearance attached to a word.
kabe	かべ	kabe	Main text is bounced before the dannuki headings, illustrations, tables, etc., like balls and walls.
kanbun composition	漢文	kanbun	Chinese classic text (or text in the same style) with various auxiliary symbols so that it can be read as Japanese text.
katatsuki (katatsuki-ruby)	肩付き（肩付きルビ）	katatsuki (katatsuki rubi)	A method of attaching ruby at the upper right of each base character. (JIS Z 8125)
kihon-hanmen	基本版面	kihon hanmen	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 column, inter-line spacing and inter-column spacing. (JIS X 4051)
label name	ラベル名	raberumei	Text following or followed by numbers for illustrations, tables, headings and running headings. (JIS X 4051)
letter face	字面	jizura	Area in which glyph is drawn. (JIS Z 8125)
letterpress printing	活字組版	katsuji kumihan	The traditional printing method using movable type.
line adjustment	行の調整処理	gyō no chōsei shori	A method of aligning both edges of all lines to be the same given length by removing or adding adjustable spaces.
line adjustment by hanging punctuation	ぶら下げ組	burasage gumi	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 previous line beyond the specified line length. (JIS Z 8125)
line adjustment by inter-character space expansion	追出し処理	oidashi shori	A line breaking rule that aligns both edges of a line by expanding inter-character spaces. (JIS Z 8125).
line adjustment by inter-character space reduction	追込み処理	oikomi shori	A line breaking rule that aligns both edges of a line by removing adjustable spaces such as conditional spaces for punctuation marks. (JIS Z 8125).
line breaking rules	禁則処理	kinsoku shori	A set of rules to avoid prohibited layout in Japanese typography, such as "line-start prohibition rule", "line-end prohibition rule", inseparable or unbreakable character sequences and so on. (JIS Z 8125)
line end	行末	gyōmatsu	The position at which a line ends. (JIS Z 8125)
line end alignment	行末そろえ	gyōmatsu soroe	To align a run of text to the line end. (JIS Z 8125)
line end indent	字上げ	jiage	To reserve a certain amount of space before the default position of a line end. (JIS Z 8125)
line feed	行送り	gyō okuri	The distance between two adjacent lines measured by their reference points. (JIS Z 8125)
line gap	行間	gyōkan	The smallest amount of space between adjacent lines.
line head	行頭	gyōtō	The position at which a line starts. (JIS Z 8125)
line head alignment	行頭そろえ	gyōtō soroe	To align a run of text to the line head. (JIS Z 8125)
line head indent	字下げ	jisage	To reserve a certain amount of space after the default position of a line head. (JIS Z 8125)
line length	行長	gyōchō	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 head indent to the specified amount of line end indent.
line-end prohibition rule	行末禁則	gyōmatsu kinsoku	A line breaking rule that prohibits specific characters at a line end. (JIS Z 8125)
line-start prohibition rule	行頭禁則	gyōtō kinsoku	A line breaking rule that prohibits specific characters at a line head. (JIS Z 8125)
main text	本文	honbun	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 papers, insets and so on. (JIS Z 8125)
matrix	母型	bokei	A metal mold from which movable type is cast.
mawarikomi	回り込み	mawarikomi	Text setting style to fill the left line direction space, which is happen to appear because of the arragnement of illustrations, tables, etc. (JIS Z 8125)
Mincho typeface	明朝体	minchōtai	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, Mincho typeface is most frequently used for main text, especially for long text. Similar to "serif" of Western typography.
mixed text composition	混植	konshoku	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 typeface composition). (JIS Z 8125)
mono-ruby	モノルビ	mono rubi	A method of ruby distribution where a run of ruby text is attached to each base character. (JIS Z 8125)
multi-column format	段組	dangumi	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 space). (JIS Z 8125)
multivolume work	多巻物	takanmono	A set of work published in two or more volumes, as in the complete work or the first/last half volumes.
naka-tobira	中扉	naka tobira	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)
nakatsuki (nakatsuki-ruby)	中付き（中付きルビ）	nakatsuki (nakatsuki rubi)	A method of ruby character distribution where each ruby character is aligned to the vertical center of the corresponding base character in vertical writing mode, or to the horizontal center of the base character in horizontal writing mode. (JIS Z 8125)
new column	改段	kaidan	In multi-column setting, to change to new column before the end of current column.
new recto	改丁	kaichō	To start a new heading or something on a odd page. (JIS Z 8125)
note	注	chū	Explanatory information added to terms, figures or tables. (JIS Z 8125)
number of characters per line	字詰め	jizume	Number of characters in a line to specify the length of lines. (JIS Z 8125)
number of columns	段数	dansū	Number of columns on a page. (JIS Z 8125)
omote-kei	表罫	omotekei	Thin width line. Usually about 0.12mm. (JIS Z 8125)
one em space	全角アキ	zenkaku aki	Amount of space that is full-width size.
one third em	三分	sanbu	One third of the full-width size. (JIS Z 8125)
one third em space	三分アキ	sanbu aki	Amount of space that is one third size of em space.
one-third-ruby	三分ルビ	sanbu rubi	Ruby characters, narrow enough so that three can fit within the width of a full-width base character.
original pattern	原図	genzu	An original drawn pattern of a character image to be used for a printing type or a digitized glyph.
ornament characters	添え字	soeji	A superscript or subscript attached to a base character. (JIS Z 8125)
page	ページ	pēji	A side of a sheet of paper in a written work such as a book. (JIS Z 8125)
page break	改ページ	kai pēji	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 format	組体裁	kumi teisai	The layout and presentation of a page with text, graphics and other elements for a publication such as a book.
page number	ノンブル	nonburu	A sequential number to indicate the order of pages in a publication. (JIS Z 8125)
para-ruby	パラルビ	para rubi	A method of ruby annotation where ruby text is only attached to selected Kanji characters in the text. (JIS Z 8125)
paragraph	段落	danraku	A group of sentences to be processed for line composition. A paragraph consists of one or more lines. (JIS Z 8125)
paragraph break	改行	kaigyō	To start a new line to indicate a new paragraph.
paragraph format	段落整形	danraku seikei	A format of a paragraph, as in line head indent or line end indent.
parallel-note	並列注	heiretsuchū	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 writing mode) and side note (in horizontal writing mode).
point	ポイント	pointo	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 equivalent to 0.25mm.
printing types	活字	katsuji	Movable type used for letterpress printing.
proportional	プロポーショナル	puropōshonaru	A characteristic of a font where character advance is different per glyph. (JIS Z 8125)
punctuation marks	約物	yakumono	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, brackets, diereses and so on. (JIS Z 8125)
quarter em	四分	shibu	Quarter size of full-width.
quarter em space	四分アキ	shibu aki	Amount of space that is a quarter of an em space in size.
quarter em width	四分角	shibu kaku	Character frame which has a character advance of a quarter em. (JIS X 4051)
quotation	引用文	in-yōbun	Excerps from other published works. (JIS Z 8125)
reference marks	合印	aijirushi	A symbol or short run of text attached to a specific part of text, to which notes are provided followed by the corresponding marks.
reverse pagination	逆ノンブル	gyaku nonburu	Numbering pages of a book backwards. (JIS Z 8125)
Roman numerals	ローマ数字	rōma sūji	Numerals represented by upper case or lower case of Latin letters. (JIS Z 8125)
ruby	ルビ	rubi	Supplementary small characters indicating pronunciation, meaning, etc. for the character or the block of characters they annotate. (JIS Z 8125) (Sometimes these annotations are referred to as "furigana".)
run-in heading	同行見出し	dōgyōmidashi	A kind of heading style to continue main text just after the heading without line break.
running head	柱	hashira	A page element which contains information on the title of the book, chapter, section and so on, printed outside the area of the hanmen. (JIS Z 8125)
second level heading	中見出し	nakamidashi	Second level and middle size heading between first level heading and third level heading. (JIS Z 8125)
sidenote	傍注	bōchū	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 the realm with smaller size font than main text.
single line alignment method	そろえ	soroe	To align a run of text that is shorter than a given line length to designated positions.
single running head method	片柱方式	katabashira hōshiki	A method that puts running heads only on odd pages. (JIS Z 8125)
small kana	小書きの仮名	kogaki no kana	Kana with smaller letter faces to be used mainly for representing contracted sounds or prolonged vowels. (JIS Z 8125)
solid setting	ベタ組	beta gumi	To arrange characters with no inter-character space between adjacent character frames.
space	アキ	aki	Amount of space between adjacent characters or lines. It also refers to the blank area between the edges of a hanmen or an illustration and text or other hanmen elements.
spread	見開き	mihiraki	Any two facing pages when opening a book and the like. (JIS Z 8125)
subscript (inferior)	下付き	shitatsuki	Smaller face of characters, attached to the lower right or the lower left of a normal size character. (JIS Z 8125)
subtitle	副題	fukudai	Secondary title for headings, subtile. (JIS X 4051)
superscript (superior)	上付き	uwatsuki	Smaller face of characters, attached to the upper right or the upper left of a normal size character. (JIS Z 8125)
tab setting	タブ処理	tabu shori	A method of line composition to align one or more runs of text to designated positions on a line.
table	表	hyō	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 easier to understand. (JIS Z 8125)
table of contents	目次	mokuji	A list of headings of contents of a book in page order or arranged by subjects, with page numbers on which each section begins. (JIS Z 8125)
tate-chu-yoko	縦中横	tate chū yoko	To typeset a (small) group of characters horizontally within a vertical line of main text.
tentsuki	天付き	tentsuki	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. (JIS Z 8125)
text direction	組方向	kumi hōkō	Horizontal setting or vertical setting. (JIS Z 8125)
third level heading	小見出し	komidashi	Headings for smallest or minimum unit of main text in books.
top level heading	大見出し	ōmidashi	Headings for largest or muximum unit of main text in books.
Touyou Kanji Table	当用漢字表	tōyō kanji hyō	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 other related tables was superseded by the Jouyou Kanji Table.
trim size	仕上りサイズ	shiagari saizu	Dimensions of a full page in a publication, including margins. (JIS Z 8125)
tsumegumi	詰め組	tsumegumi	Adjustment of inter-character space by making the distance between the letter face of adjacent characters shorter than that produced by solid setting. (JIS Z 8125)
type-picking	文選	bunsen	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 so-called 'bunsen box' before typesetting a manuscript using a composing stick.)
typeface	書体	shotai	A set of letters or symbols, which are designed to have coherent patterns to be used for printing or rendering to a computer screen. (JIS Z 8125)
unbreakable characters rule	分割禁止	bunkatsu kinshi	A line breaking rule that prohibits breaking a line between consecutive dashes or leaders, or between other specific combinations of characters.
underline	下線	kasen	A line drawn under a character or a run of text in horizontal writing mode. (JIS Z 8125)
ura-kei	裏罫	urakei	Thick width line. Usually about 0.4mm. (JIS Z 8125)
vertical writing mode	縦組	tate gumi	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 to bottom. (JIS Z 8125)
warichu (inline cutting note)	割注	warichū	A note of two or more lines inserted in the text. It includes brackets which surround the note (JIS Z 8125)
weight	ウェイト	weito	A measurement of the thickness of fonts. (JIS Z 8125)
widow	ウィドウ	widō	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 page or a column. (JIS Z 8125)
widow adjustment	段落末尾処理	danraku matsubi shori	A method of line composition to adjust lines in a paragraph so that the last line consists of more than a given number of characters.

Appendix H References

• Japan Editors School. ed. 1997. "A Guide to Publishing and Editing - New Edition -" 2 vols. Tokyo: Japan Editors School Press

• Japan Editors School. ed. 1998. "A Guide to Proofreading - New Edition -" 2 vols. Tokyo: Japan Editors School Press

• JIS X 4051：2004 "Formatting rules for Japanese documents" Tokyo: Japan Standards Association

• JIS Z 8125：2004 "Graphic arts — Glossary — Digital printing" Tokyo: Japan Standards Association

• 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

• R. M. Ritter. 2002. "The Oxford Guide to Style" Oxford: Oxford University Press

Appendix I Revision Log

This is the second version of this document and is published as W3C Working Group Note. The first version of this document was published as a W3C Working Group Note on June 2009. The major modifications and additions to version 1 are as follows:

• Added 4 Positioning of Headings, Notes, Illustrations, Tables and Paragraphs.

• Renamed "even spacing distribution" to "even inter-character spacing" throughout the whole document.

• Changed the numbering of figures from per document to per section throughout the whole document.

• Added note 4 in 2.2.4 Elements of Kihon-hanmen.

• Exchanged the left side and the right side of equations in 2.4.2 Considerations in Designing the Kihon-hanmen.

• Changed "(the patterns shown in (2) and (3) are offered as options)" to "(the patterns shown in ② are offered as options)" in note 1 of 3.1.5 Positioning of Opening Brackets at Line Head.

• Added some descriptions in note 4 of 3.1.7 Characters Not Starting a Line.

• Added note 4 in 3.2.2 Mixed Text Composition in Horizontal Writing Mode.

• Added a description "Currently, sometimes proportional Western style fonts are also used with this style." in item a of 3.2.3 Mixed Text Composition in Vertical Writing Mode.

• Added the description about "Mono-ruby", "Jukugo-ruby" and "Group-ruby" in 3.3.1 Usage of Ruby.

• Added note 1 in item b of 3.3.8 Adjustments of Ruby with Length Longer than that of the Base Characters.

• Added note 2 in 3.8.2 Reduction and Addition of Inter-Character Space.

• Changed "The detail of the places where space expansion is possible for line adjustment is described in Appendix B Spacing between Characters as a complete table" to "The detail of the places where space expansion is possible for line adjustment is described in Appendix E Opportunities for Inter-character Space Expansion during Line Adjustment as a complete table" in note 2 of 3.8.4 Procedures for Inter-Character Space Expansion.

• Added note 2 in item 17 of 3.9.2 Grouping of Characters and Symbols depending on their Positioning.

• Changed table number in appendicies as following: Table 2 to Table 1, Table 3 to Table 2, Table 4 to Table 3, Table 5 to Table 4, Table 6 to Table 5, Table 7 to Table 6.

• Changed the character class of the following items from Ideographic characters (cl-19) to Postfixed abbreviations (cl-13): SQUARE AARU "㌃", SQUARE KARORII "㌍", SQUARE KIRO "㌔", SQUARE GURAMU "㌘", SQUARE SENTI "㌢", SQUARE SENTO "㌣", SQUARE DORU "㌦", SQUARE TON "㌧", SQUARE PAASENTO "㌫", SQUARE HEKUTAARU "㌶", SQUARE PEEZI "㌻", SQUARE MIRI "㍉", SQUARE MIRIBAARU "㍊", SQUARE MEETORU "㍍", SQUARE RITTORU "㍑", SQUARE WATTO "㍗", SQUARE MG "㎎", SQUARE KG "㎏", SQUARE MM "㎜", SQUARE CM "㎝", SQUARE KM "㎞", QUARE M SQUARED "㎡", SQUARE CC "㏄".

• Changed the character class of following items from Math operators (cl-18) to Math symbols (cl-17): CIRCLED PLUS "⊕", CIRCLED TIMES "⊗".

• Changed the character class of following items from Math operators (cl-18) to Ideographic characters (cl-19): CIRCLED MINUS "⊖".

• Removed the following item from Ideographic characters (cl-19): NUMERO SIGN "№".

• Added "JIS X 4051 adopts solid setting method" in item 2 of B.2 Notes.

• Added "(JIS X 4051 adopts solid setting method, see 3.1.9 Positioning of Closing Brackets, Full Stops, Commas and Middle Dots at Line End)" in item 4 of B.2 Notes.

• Added "JIS X 4051 specifies that the space after full stop (cl-06) is a half em and the space after a comma (cl-07) is solid" in item 6 of B.2 Notes.

• Added the description of the combinations which cannot be divided in item 5 of C.2 Notes.

• Added "in Table 4, the conditional half space accompanying a preceding comma (cl-07) and the conditional quarter space accompanyinga trailing middle dot (cl-05) can be reduced to solid setting" in item 3 of D.2 Notes.

• Added "When the 4th step is needed, add same space value to the spaces of 1st, 2nd, 3rd and 4th steps." in item 2.b.i of E.1 Legend of Table 6.

• Changed "A fourth order opportunity" to "A third order opportunity" in item 10 of E.2 Notes.

• Added following words in Appendix G Terminology: block heading, bold, cell, cell contents, cell padding, chronogical history, chronogical table, chu-boso-kei, column spanning, column spanning heading, cut-in heading, gyodori, headnote, kabe, label name, mawarikomi, Mincho typeface, new column, omote-kei, parallel-note, run-in heading, second level heading, sidenote, subtitle, third level heading, top level heading, ura-kei, weight.

• Removed the following word in Appendix G Terminology: even space distribution.

Appendix J Acknowledgements

This document has been developed with contributions from participants of the Japanese Layout Task Force.

Follow Lee on X/Twitter - Father, Husband, Serial builder creating AI, crypto, games & web tools. We are friends :) AI Will Come To Life!

Check out: eBank.nz (Art Generator) | Netwrck.com (AI Tools) | Text-Generator.io (AI API) | BitBank.nz (Crypto AI) | ReadingTime (Kids Reading) | RewordGame | BigMultiplayerChess | WebFiddle | How.nz | Helix AI Assistant