Requirements of Japanese Text Layout

1.1.1 Specification of Page Formats

Page formats of a Japanese document shall be specified by:

• Firstly, preparing the page templates which determine the basic appearance of pages of the document;

• Then, specifying the details of actual Page elements based on the templates.

1.1.2 Page Formats and Page Templates

Generally, books use only one page template and magazines often use several templates.

1.1.3 Elements of Page Templates

The following are the basic elements of page template (Figure 1-1 illustrates an example of a page template with Vertical composition).

Figure 1-1 An Example of a Page Template for Vertical Composition

1. Trim size and binding side (Japanese documents with vertical composition are bound on the right-hand side, and documents with horizontal composition are bound on the left-hand side. See Fig.1-2. )

2. Principal Text direction (vertical composition or horizontal composition)

3. The appearance of KIHONHANMEN and its position relative to the trim size

4. The appearance of Running Heads and Folios and their positions relative to the trim size and KIHONHANMEN

Figure 1-2 Binding-side (left-hand side binding and right-hand side binding)

1.1.4 Elements of KIHONHANMEN

KIHONHANMEN is the HANMEN style designed as the basis of a book. The following are the basic elements of KIHONHANMEN (See Fig. 1-3).

Figure 1-3 Elements of KIHONHANMEN (Example in vertical composition)

1. Character size and Typeface name

2. Text direction (vertical composition or horizontal composition)

3. Number of columns and Column space when using multi-column formats

4. Number of characters per line

5. Number of lines per page (number of lines per column when using multi-column formats)

6. line-gap (or Line feed)

1.1.5 KIHONHANMEN and Examples of Real Page Design

Below are several examples of how the basic style is created, and how then various elements are placed on a real text page (This and other aspects of how the various elements of KIHONHANMEN are arranged on each page are explained in sec. 1.5 Pagewise Arrangements of KIHONHANMEN Elements.).

1. Space and position of headings

   The space of line feed direction of headings is specified by using the line positions provided by KIHONHANMEN as a basis and by deciding how many times they need to be used. (Details of this processing are defined in JIS X 4051, sec. 8.3.3. d). The Indentation of the text direction of the heading is normally specified by using the character position designed via KIHONHANMEN as a basis. The indentation is then several times of that position. In the example in Figure A1-1, the heading is placed in the middle line of three lines which are provided via KIHONHANMEN. It is indented 4 characters of the character size provided via KIHONHANMEN.

   

   Figure A1-1　Layout example of a heading based on the line position which is designed via KIHONHANMEN

   (note 1)

   Details of the different types of headings, creation of headings, methods for placing headings etc. are explained in sec. 3.1 "Processing of Headings".

2. Size of illustrations

   In horizontal setting with two columns, if at all possible, the width of illustrations should be either the width of one column (which is provided via KIHONHANMEN) or the width of KIHONHANMEN (see Fig. A1-2). The position of illustrations is often the head or the Foot of the page (see Fig. A1-2).

   

   Figure A1-2 Example of illustrations in two columns, horizontal setting

   (note 1)

   Details of illustration positioning are explained in "sec. 3.3 Positioning of Figures, Photographs etc.".

3. HANMEN size for the Table of contents

   The HANMEN size for the table of contents of books is based on the size of KIHONHANMEN. There are many examples, for the table of contents in vertical layout, in which the size of the left-to-right line feed is identical to the size of KIHONHANMEN, and the text direction size for head and foot is a little bit smaller (see Fig. A1-3).

   

   Figure 1-3 Design example for the table of contents in vertical layout

   (note 1)

   There are cases when a different HANMEN than KIHONHANMEN is used for positioning of running heads and folios. This will be discussed in "sec. 1.6.2 Principles of positioning running head and folios" (see Fig. A1-17).

1.2.1 Characters Used for Japanese Documents

Japanese characters used for composing Japanese text mainly consist of KANJI and KANA (HIRAGANA and KATAKANA) (See Fig. 1-4).

Figure 1-4 KANJI, HIRAGANA and KATAKANA

(note 1)	In addition to KANJI and KANA, various punctuation marks (See Fig. 1-5) as well as Arabic numerals, Latin characters and/or Greek characters may be used in Japanese text. Figure 1-5 Examples of punctuation marks
(note 2)	The details of characters and character classes used in this document will be explained in a separate document about terminology of Japanese Layout. Also, the relation of the characters and symbols from each character class to Unicode code points will be shown in an appendix to this document.

1.2.2 KANJI and KANA

KANJI and KANA characters that are of the same size have square Imaginary bodies of equal dimensions (also known as the outer frame of a character). Aligned with the vertical and horizontal center of the imaginary body, there is a smaller box called the Letter face which contains the actual symbol. Character size shall be measured by the size of the imaginary body (See Fig. 1-6). "Character width" is a term to describe the advance width of the imaginary body of a character in text direction (Direction of text advance). By definition it is equal to the "width" of a character in horizontal composition, while it's the height of a character in vertical composition (See Fig. 1-6).

Figure 1-6 The Size of KANJI and KANA, and the imaginary bodies

(note 1)

The letter face of Small KANA (っ, ょ, ュ, ァ, ィ, ゥ, etc) shall be placed at the vertical center and to the right of horizontal center of the imaginary body in vertical composition, and at the horizontal center and below the vertical center in horizontal composition. (See Fig. 1-7). Also there are punctuation marks of which letter faces are not placed at the vertical and horizontal center of the imaginary body. Figure 1-7 Small KANA letter and the position of its letter face in the imaginary body

1.2.3 Principles of Arrangement of KANJI and KANA Characters

When composing a line with KANJI and KANA characters, in principle no extra space between their imaginary bodies is placed. This is called Solid setting (See Fig. 1-8).

Figure 1-8 Example of solid setting in horizontal composition

1.3.1 Vertical Composition and Horizontal Composition

Japanese text is laid out either in a vertical direction (vertical writing) or in a horizontal direction (horizontal writing). Depending on the content, either of the directions may be chosen.

(note 1)	KANJI and KANA characters for Japanese text layout have basically been designed to have the same dimensions of a square body, and the same collection of types can be used in either vertical composition or horizontal composition simply by changing the direction of text. (See Fig. 1-13). There were some attempts to develop Printing types designed exclusively for horizontal composition, but they were not widely accepted. Figure 1-13 Vertical composition and horizontal composition (The arrows show the reading direction)
(note 2)	There is little market data comparing the number of pages with vertically and horizontally composed text, but it is said both are almost the same.
(note 3)	For official (e.g. governmental) publications, horizontal setting is recommended, educational material (with the exception of certain topics) is mostly in horizontal setting, and furthermore, the readers of "mobile novels" are increasing, and it is expected that in the future, horizontal setting will increase in this area as well. However, most of the large newspapers are written completely in vertical setting, and most of the large journals for ordinary readers are almost completely in vertical setting. In addition, novels, which are the most widely read kind of book publication, are almost completely in vertical setting (some readers say that they cannot read a novel if it is not in vertical setting.). Hence it can be expected that the importance of vertical setting for Japanese will not change for the time being.
注4）	There's usually only one direction for all text throughout a book, but there are cases where horizontal composition are partially adopted in vertically composed books, for e.g. running heads composed horizontally (See Fig. 1-14). (Example) Tables, Captions for Graphics, running heads, and folios composed horizontally in a page with a vertical text layout. Figure 1-14 Example of partial adoption of horizontal composition in vertically composed books

1.3.2 Characteristics of Vertical and Horizontal composition

The following are major differences between vertical composition and horizontal composition.

1. Arrangement of characters, lines, columns and pages; Direction of page progression.

   (note 1)

   The positioning of characters, lines and paragraphs in vertical and horizontal setting is defined in JIS X 4051, sec. 7.4.4.

   1. Vertical composition (See Fig. 1-15 for an example of vertical text layout with two columns per page)

      

      Figure 1-15 Direction of arrangement for characters and other elements in vertical composition.

      1. Characters are arranged from top to bottom, lines are arranged from right to left.

      2. Columns are arranged from top to bottom. A book starts with the recto side and progresses from right to left (See Fig. 1-16).

         

         Figure 1-16 Progression of pages for a book with vertical composition

   2. Horizontal composition (See Fig. 1-17 for an example of horizontal text layout with two-columns per page)

      

      Figure 1-17 Direction of arrangement for characters and other elements in horizontal composition

      1. Characters are arranged from left to right, and lines are arranged from top to bottom.

      2. Columns are arranged from left to right. A book starts with the recto side and progresses from left to right (See Fig. 1-18).

         

         Figure 1-18 Progression of pages for a book with horizontal composition

   3. Orientation of alphanumeric characters in a line

      1. There are three ways to arrange alphanumerics in vertical composition.

         1. Arranging one by one with the same Normal orientation as that of Japanese characters. Usually applied to one letter alphanumeric or capital abbreviations (See Fig. 1-19).

            

            Figure 1-19 Arrangement of alphanumerics in vertical composition - 1

            (note 1)

            The alphanumeric characters used for this arrangement have different typographic features than those with Propotional width used for Latin scrip text. They are Monospace characters of Full width design, which have been used since the letterpress era.

         2. Arranging characters after rotating 90 degrees clockwise. Usually applied to English words or sentences (See Fig. 1-20).

            

            Figure 1-20 Arrangement of alphanumerics in vertical composition - 2

            (note 1)

            In Figure 1-20, there is a gap before and after the imaginary body of “editor”. This gap is necessary for arrangement of mixed Japanese and Latin script text. Details of its processing will be explained later.

         3. Setting horizontally without changing orientation (TATECHUYOKO (horizontal-in-vertical annotation), See Fig. 1-21). This is usually applied to two-digit numbers (see JIS X 4051, sec. 4.8 for the definition.).

            

            Figure 1-21 Arrangement of alphanumerics in vertical composition -3 (TATECHUYOKO)

      2. There's only one arrangement with normal orientation in horizontal composition.

   4. Arrangement of Tables and/or Figures with rotating 90 degrees clockwise or anti-clockwise for size considerations (This processing is defined in JIS X 4051, sec. 7.3.).

      1. In vertical composition, align top of tables/figures to the right of page (See Fig. 1-22).

         

         Figure 1-22 Example arrangement of a table rotating 90 degrees clockwise in vertical composition

      2. In horizontal composition, align top of tables/figures to the left of page (See Fig. 1-23).

         

         Figure 1-23 Example arrangement of a table rotating 90 degrees counterclockwise in horizontal composition

         (note 1)

         The orientation is determined not to prevent reading flow of the book.

2. Arrangement of incomplete number of lines on a multi-column format page due to New recto, Page break or other reasons (The processing of new recto and each page is defined in JIS X 4051, sec. 8.1.1.).

   1. In vertical composition, just finish the line where it ends ("NARIYUKI"). The number of lines in each column is not uniform. (See Fig. 1-24).

      

      Figure 1-24 How to process incomplete number of lines on a multi-column format page. An example in vertical composition.

   2. In horizontal composition, re-arrange columns so that each column has the same number of lines on average. In case the number of lines is not divisible by the number of columns, add the smallest number to make it divisible and re-arrange columns using the quotient as the number of lines so that only the last column shall have the incomplete number of lines. (See Fig. 1-25).

      

      Figure 1-25 How to process incomplete number of lines on a multi-column format page. An example in horizontal composition.

      (note 1)

      Neither Horizontal nor vertical balance of column arrangement would break the stability of vertical page layout very much, while horizontal balance of column arrangement is determinant for horizontal page layout.

1.4.1 Procedures to Determine KIHONHANMEN

In Japanese layout, first the size of KIHONHANMEN is defined, using the square imaginary body of characters in solid setting. Taken this as a base, the position of KIHONHANMEN with regards to the trim size is specified. Now, the following are procedures to determine KIHONHANMEN (See Fig. 1-26).

1. Specifying the dimensions of KIHONHANMEN.

   1. For a document with a single column per page, specify character size, number of characters per line, number of lines per page, and line-gap.

   2. For a document with multiple columns per page, specify character size, number of characters per line, number of lines per column, line-gap, number of columns, column space.

      
      

      Figure 1-26-1 Procedures to determine KIHONHANMEN Step 1

2. Determining the position of KIHONHANMEN relative to the trim size.

   Various alternative methods for specifying the position of KIHONHANMEN relative to the trim size are as follows.

   1. Position top and bottom: center. Position left and right: center.
   2. Position top and bottom: specifying the space at the top (for horizontal setting) or space at the bottom (for vertical setting). Left and right position: center.
   3. Top and bottom position: center. Left and right position: specifying the space of the gutter.
   4. Position top and bottom: Space at the top (for horizontal setting) or space at the bottom (for vertical setting). Position left and right: specifying the space of the gutter (see Fig. 1-26-2).
   
   

   Figure 1-26-2 Procedures to determine KIHONHANMEN Step 2

   (note 1)	In most cases KIHONHANMEN is set at the horizontal and vertical center of the trim size, which should be the default positioning, but depending on the dimensions of KIHONHANMEN there may be a case where the default needs to be changed, for example, by moving KIHONHANMEN up, down, to the left or to the right of the default position.
   (note 2)	It's technically possible to determine the dimensions of KIHONHANMEN by specifying the trim size and margins of all sides, but this method is not common in the Japanese text layout tradition. If this is the only way an implementation allows, the margins of each side need to be measured in relation to the dimensions of KIHONHANMEN and its position in the trim size.

1.4.2 Considerations in Designing KIHONHANMEN

The following are the considerations that should be taken into account in designing KIHONHANMEN. (The items a) and b) of this topic are not about processing, but rather an explanation about how the design should be. The definition of KIHONHANMEN is given in JIS X 4051, sec. 7.4.1.)

1. Trim size and margins. It would be best if KIHONHANMEN could be made similar to the trim size.

2. Character size. Generally 9 points (≒3.2mm), 8 points (≒2.8mm) at smallest for books targeted to adults but for special purpose like dictionaries.

   (note 1)

   In western typography, 10 points (≒3.5mm) or 12 points (≒4.2mm) are commonly used. This is mainly because of a difference of design principles between Japanese characters and Latin characters.

3. Line length.

   1. Line length should be multiples of the character size (See Fig. 1-27).

      

      Figure 1-27 Line length should be multiples of the character size

      (note 1)

      There are basically two reasons why line length should be multiples of the character size. For Japanese text layout, all line lengths except that of the last line of the Paragraph should be the same in principle. Furthermore, only the first line of a paragraph is shorter, since as a matter of principle it is indented. Japanese characters like KANJI or KANA for printing are uniformly designed in the same square and they are arranged solid (no extra space between adjacent imaginary bodies) in principle.

      (note 2)

      The best line length (number of ZIZUME or number of characters per line) is around 52 characters at max in vertical composition and 40 characters in horizontal composition. If it would go beyond the recommended length due to the trim size, consider multi-column format and make the line length shorter.

4. Use the same amount of line-gap across the book except special cases and each line should be aligned. With these two conditions, the size of KIHONHANMEN in the line feed direction is specified with number of lines and line-gap (or line height, GYO-OKURI).

   (note 1)	In Japanese layout, there are cases that RUBY, KENTEN, BOSEN, under lines etc. are inserted between lines. The inter-line spacing is not changed and kept constant for these cases as well (see Fig. A1-5). It is also possible to insert references to notes between lines within the main text. This case is handled in the same manner. Further explanation about the placement of RUBY will be given in sec. 2. Figure A1-5 Inserting RUBY or other items between lines
   (note 2)	WARICHU juts out of the width of the line feed direction (the character size designed via KIHONHANMEN). Also for these cases, the inter-line spacing is defined for the parts without WARICHU, and the passages with WARICHU are made narrower (see Fig. A1-18). Hence, for WARICHU, inter-line spacing is larger to some extend. The same is true for TATECHUYOKO or sub- and superscript. Further explanations of the placement of WARICHU and other items is provided in sec. 2. Figure A1-18 Example of inter-line processing with WARICHU between lines
   (note 3)	It is common that line-gap for KIHONHANMEN is set a value between 1/2 em space and full width (em) of the character size in KIHONHANMEN. 1/2 em space can be chosen in case the number of characters per line is small, but full width (em) or close to it should be appropriate when it is larger than 35 characters.
   (note 4)	Unless RUBY or other design elements are placed in the space between lines for books like classics with many annotations, there's no need to make line-gap larger than full width, which would not improve legibility.
   (note 5)	It is said that the standard line-gap in western typography is 1/3 em space, which is smaller than that in Japanese text layout. This difference again comes from the design difference between Latin characters and Japanese characters.

1.5.1 Examples of Jutting out of KIHONHANMEN

If at all possible, the various elements of a page should be inside the HANMEN size. This is which is determined by KIHONHANMEN. However, there are exceptions like the following ones.

1. If there is RUBY, BOSEN, KENTEN etc. at the right side (for vertical setting) or upper side (for horizontal setting) of the HANMEN or the first paragraph of a page, the added item is put outside the HANMEN or the area of the paragraph (see Fig. A1-6). In cases where RUBY, under lines etc. are put on the left (in vertical setting) or bottom (horizontal composition), the item is in contact with the HANMEN or the line at the end of the paragraph. Like for the handling of exceptions mentioned below, the purpose here is to preserve the line positions which are provided via KIHONHANMEN. It is also possible to insert references to notes between lines within the main text. This case is handled in the same manner.

   

   Figure A1-6 Example of ruby annotation placed outside of KIHONHANMEN

2. In cases where there are elements in HANMEN, the first column or the last line (e.g. of a paragraph) which jut out of the width of the line feed direction given by KIHONHANMEN (the character size specified via KIHONHANMEN), the parts of the item which just out of the line width of the line feed direction given by KIHONHANMEN, are put jutting out of the HANMEN area or outer side of the column (The processing of this item and item a) is defined in JIS X 4051, sec. 12.1.1.). For example this is the case when the width of a sequence of characters which are set to TATECHUYOKO is larger than the width of characters set for KIHONHANMEN. In addition, WARICHU or sub- and superscript are handled the same.

3. The processing of so-called hanging punctuation is only necessary for KUTEN (。) and TOUTEN (、) which need line head wrap: The character is placed so that it touches the HANMEN of the line end or the outside area of the column (see Fig. A1-7). Furthermore, hanging punctuation is not defined in JIS X 4051, but there is an explanation in sec. 8.1, c).

   

   Figure A1-7 Example of ideographic comma and ideographic full stop placed below the KIHONHANMEN

   (note 1)	Hanging punctuation is a method to reduce line adjustment processing, which relies on inter-character spacing.
   (note 2)	There are a lot of books which apply hanging punctuation.

4. Illustrations and tables are normally placed inside the area which is defined via KIHONHANMEN. However, depending on the illustration or table, there are also cases in which they jut outside the area of KIHONHANMEN.

   1. Cases in which it is necessary to make the illustration or table larger than KIHONHANMEN.

   2. To achieve a visual effect, the illustration or table juts outside of KIHONHANMEN. Especially the "bleeds" method of using the complete paper area is not used often books, but in magazines (see Fig. A1-8).

      

      Figure A1-8 Example of bleeds

5. In addition, the method of placing the captions of figures outside the column area or between columns is used in journals (Some people regard this as bad style.).

1.5.2 Line Positioning relying on KIHONHANMEN Design

In principle, pagewise positioning of lines relies on the line positions given via KIHONHANMEN. This is also true for RUBY or KENTEN like in Figure A1-5, and also with characters as shown in Figure A1-9. These characters within a line are smaller than the characters size provided by KIHONHANMEN. Nevertheless, the line positions given by KIHONHANMEN is taken as a base, and the subsequent lines also use these positions.

Figure A1-9 Positioning of lines with a mix of a smaller size of text

There are the following exceptions of line position handling.

1. In horizontal composition, assuming that there is no text to the left or right of an illustration or table, it can happen that when inserting more than one illustration or table, they slip of the lines given via KIHONHANMEN (see Fig. A1-10). But the illustration or table may also rely on the lines given via KIHONHANMEN (see Fig. A1-11). The former method is used to achieve equal space before and after illustrations or tables, if at all possible (This method is often used in books.). This processing method is defined in JIS X 4051, sec. 10.3.2., d).

   

   Figure A1-10 Positioning of lines with multiple illustrations - 1
   

   Figure A1-11 Positioning of lines with multiple illustrations - 2

2. Notes which are inserted between paragraphs or at the bottom of the page (in horizontal composition) are smaller than the character size given via KIHONHANMEN. As a result, the line distance becomes smaller, and the line positions are not identical to the lines given via KIHONHANMEN. As an example, Figure A1-12 shows the position of an endnote between paragraphs in vertical composition. The processing of endnotes is defined in JIS X 4051, sec. 9.3, and the processing of footnotes in sec. 9.4.

   

   Figure A1-12 Positioning of an endnote in vertical composition

3. As mentioned above, it may happen that the position of headings is not identical with the lines given via KIHONHANMEN. Nevertheless, the area of the line feed direction uses the lines given via KIHONHANMEN as a basis (see Fig. A1-1).

1.5.3 Character Positioning relying on KIHONHANMEN Design

In principle, the characters in each line follow the solid setting positions of characters, which are given via KIHONHANMEN. However, as already shown in some of the previous figures, there are examples in which the character positions do not follow the positions given via KIHONHANMEN. Such cases are rather common, and here we will show some prototypical examples (details will be given in sec. 2).

1. It may happen that in a part of a line, characters are inserted which are smaller than 9 points (see Fig. A1-9). This is a size provided via KIHONHANMEN. In such cases, the parts with 9 points given via KIHONHANMEN use solid setting with an imaginary body of 9 points. In addition, the smaller parts with 8 points use solid setting with an imaginary body of 8 points.

2. In cases with proportional, Latin script text (see Fig. 1-20) rotated clockwise 90 degrees, the proportional, Latin characters are placed in accordance with their width. Hence, they do not follow the character positions given via KIHONHANMEN (see Fig. A1-13). The Japanese characters following the Latin characters slip of as well.

   

   Figure A1-13 Positioning of a mix of Latin and Japanese characters in a line

3. There are several methods for positioning brackets at the head of line feed lines or lines after the first line of a paragraph (details are explained in sec. 2.1.5 "Positioning of Brackets at Line Head".). In cases where the indentation of line feed lines is full width, or if the TENTSUKI position is used for the bracket (that is, there is no space at the line head), the second character will be in a position which is not given via KIHONHANMEN (see Fig. A1-14). However, since adaptation processing for the unification of line lengths is applied, the characters at the end of the line are at positions which are in accordance with the positions given via KIHONHANMEN.

   

   Figure A1-14 Example of positioning of characters off to the grid due to the brackets at the line head

4. Sec. 2 explains that punctuation marks and brackets are half width. If these punctuation marks and brackets are in continuation with Kanji or Kana characters, in principle there is a 1/2 em space before or after the punctuation mark or brackets, so that these are made in effect a full width size. However, if they are in continuation with other punctuation marks or brackets, the 1/2 em space is not used. In such cases, the character positions are different than the positions given via KIHONHANMEN (see Fig. A1-15). The purpose is to improve the visual appearance.

   

   Figure A1-15 Example of lines with consecutive punctuation marks

5. Sec. 2 explains the principle that closing brackets and punctuation marks must not be placed at the line head (so-called line head wrap). If these characters appear at the line head, some kind of adaptation processing becomes necessary. As a result of such adaptation processing, it may happen that characters are placed at positions which are different than the positions given via KIHONHANMEN.

   

   Figure A1-16 Example of line adjustment to avoid those characters which should not start a line, such as closing brackets

1.6.1 Positioning of Running Heads and Folios

Typical positioning of running heads and folios in vertical composition is as shown in Fig. 1-28.

Figure 1-28 Typical positioning of running heads and folios in vertical composition

Typical positioning of running heads and folios in horizontal composition is as shown in Fig. 1-29.

Figure 1-29 Typical positioning of running heads and folios in horizontal composition

In principle, positions of running heads and folios should be specified with relative positions to KIHONHANMEN, not with the absolute coordinates in the trim size (Position of running heads are defined in JIS X 4051, sec. 7.6.4. Positions of folios are defined in JIS X 4051, sec. 7.5.4.).

Figure 1-30 Positioning of a running head (vertical composition)

The following are those that should be taken into account in positioning running heads and folios with reference to KIHONHANMEN.

1. When positioning running heads and folios horizontally with reference to KIHONHANMEN in vertical composition, the amount of vertical space is full width of character size in KIHONHANMEN. If KIHONHANMEN is horizontally set, make more vertical space than the character size in KIHONHANMEN.

2. Regardless of direction of text in KIHONHANMEN, running heads and folios in horizontal composition on the left page should be aligned either at the left edge of KIHONHANMEN or at the full width horizontal space off to the right from the left edge. On the right page, the tail of the running heads or folios be aligned either at the right edge of KIHONHANMEN or at the full width space off from the right edge.

3. When arranging a running head and a folio together horizontally, space between the running head and the folio should be double or one and a half time of the character size for the running head.

4. When positioning running heads and folios vertically to the edge with reference to KIHONHANMEN in vertical composition (See the bottom left spread in Fig. 1-28 for example) the minimum horizontal space should be the same amount as that of the line-gap of KIHONHANMEN. The start of the running head should be placed with a space as large as around four times of the character size of KIHONHANMEN below off the head, and with a space as large as around the five times above off the foot.

   (note 1)

   In general, Ideographic numerals are used for vertically set folios, and Arabic numerals for horizontal pagination. When giving Different pagination on the Front matter, small Roman Numerals are used for the horizontal pagination.

1.6.2 Principles of Arrangement of Running Heads and Folios

Positioning of all running heads and folios in the same book should be consistent.

(note 1)

Even on a page with text area smaller than KIHONHANMEN in size such as for Table of contents or Index, positioning of running head and folio shall be the same. In other words, the positioning of running heads and folios with reference to those areas smaller than KIHONHANMEN in size shall be changed. The following Figure A1-17 demonstrates the relations of the HANMEN for table of contents and running heads or folios. As shown in Figure A1-3, this HANMEN is smaller than KIHONHANMEN. Figure A1-31 demonstrates the relations of positions of running heads and folios for the HANMEN of indices. These HANMEN are not only 4 point smaller at the left and right, but also 5 point smaller at the top and bottom. Figure A1-17 Positioning of running heads and folios on TOC pages on which HANMEN is smaller than KIHONHANMEN in size. Figure 1-31 Positioning of running heads and folios on index pages on which HANMEN is smaller than KIHONHANMEN in size.

Because the start of page shall be on the recto side, the right-hand page of a Spread in vertical composition is always even page and the left-hand page is always odd page (See Fig. 1-32). Likewise, the left-hand page of a spread in horizontal composition is always even page and the right-hand page is always odd page (See Fig. 1-33).

Figure 1-32 Folios on a spread in vertical composition

Figure 1-33 Folios on a spread in horizontal composition

1.6.3 Types of Arrangement of Running Heads and Folios

There are two methods to arrange running heads (Arrangement of running heads is defined in JIS X 4051, sec. 7.6.2. Folios are defined in sec. 7.5.2.).

• Double running head scheme: Print running heads on both Even pages and Odd pages (See Fig. 1-34).

• Single running head scheme: Print running heads only on odd pages (See Fig. 1-35).

Figure 1-34 Double running head scheme

Figure 1-35 Single running head scheme

1. In double running head scheme, main Headings with high-level title of contents or the title of book are printed on the even pages, and on odd pages the heading subordinate to the main title or the heading one level below the heading from the even page is is printed. On pages with no subheadings like pages for a table of contents, the same running heads are printed on both even and odd pages.

   (note 1)

   It depends on the content of a book what is printed in running heads. The main purpose of running heads is to help readers to find what is written on each page, or to understand the content of the current page. For this purpose, it does not make much sense to print the name of the book within the running head. The most common approach for headings with three levels is to print the largest heading and the heading on the next level.

2. In single running head scheme, either of the above is selected and printed.

3. In principle, the contents of running heads will be the same as those of headings with the following differences;

   1. Numbers and words in alphanumeric characters in vertically set headings should be changed to horizontal notation for horizontally set running heads.

   2. If headings are too long, make them shorter by paraphrasing them in fewer characters. Running heads with too many characters will not give a good appearance.

   3. For certain publications like a collection of monographs, the name of authors may be added at the end of headings in Parenthesis.

4. In principle, text direction of running heads and folios should be the same as that of KIHONHANMEN. In case of vertical composition, however, it is more common to set running heads and folios horizontally.

5. In principle, running heads are printed on all odd pages in single running head scheme, and on all even and odd pages in double running head scheme. However, for the sake of appearance, they may be omitted on pages like the following.

   1. Pages on which running heads should be hidden

      1. Divisional title and Simplified divisional title

      2. A page where a running head overlaps with other elements like figures

      3. A Blank page

   2. Pages on which running heads may be hidden

      1. A page where a figure or a table is positioned adjacent to the running head

      2. A page with a heading right after new recto or new page

6. In principle, folios are printed on all pages. However, for the sake of appearance, they may be omitted on pages with the following conditions.

   1. Pages on which folios should be hidden

      1. A page on which a figure or a table is positioned adjacent to the folio

      2. A blank page

   2. Pages on which folios may be hidden

      1. Divisional title and simplified divisional title

      2. A page in horizontal composition with a folio placed on the margin to the head and with a heading right after new recto or new page (In this case, there is also the method of moving the folios to the foot center.).

   (note 1)

   Cases in which there are pages which are not counted are for example as follows. if the main title page is the enclosure; if a frontispiece is inserted in the opening page of a book; or if an illustration of the enclosure or a divisional title is inserted in the main text.

7. There are two types of folios. "Serial pagination" means that folios are continued through one complete book. "Different pagination" means that folios are started from "1" separatley at the front matter and back matter. Also, for example in manuals, there is also the method of starting from folio "1" for each chapter (In these cases, it is common that before the folio, the name of the chapter is added as a prefix.).

   (note 1)

   If the front matter and the main text have different folios, each is starting with folio "1". In this case, it is common to use Roman numerals for the front matter, in order to distinguish it from the main text.

   (note 2)

   For books in vertical setting with indices in horizontal setting, the following methods are available. So-called reversal pagination. The index in horizontal setting is starting at the end of the book, and folios are added starting with "1" in reverse order (viewed from the flow of the book). So-called serial pagination. The index in horizontal setting is starting at the end of the book, and folios are added starting with "1" in the same order as the flow of the book. Usage of both reversal and serial pagination. In these cases, the folios of serial pagination are in the same position as the folios of the main text, and folios in reversal pagination are in a different position (for example, if serial pagination is at the foot, reversal pagination is at the head). Often methods to distinct the different paginations are applied, like using Arabic numbers like for the main text, but adding brackets before and after.