Line-end Punctuation Half Width now also spaces Japanese from Latin
letters and digits (JLREQ 3.2.2): a quarter em of the Japanese
characters' size between a kana/kanji (or full-width letter) and a
Latin letter or digit, either way round — 雅楽 2026 年, not 雅楽2026年 —
horizontal and vertical (around sideways Latin).
- Not next to punctuation or symbols, not inside or around a
tate-chu-yoko block (it is set as one Japanese character), and none
left at the end of a line.
- Mojikumi None (older documents, imported text) is unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Japanese full-width punctuation is half a mark and half a space (an
opening bracket's space before it; a closing bracket's, comma's or full
stop's after it). Set solid, 」「 or 。」 show a full em of air between
the marks, and a line ending in 。 stops half an em short of the edge.
- `ParaStyle.mojikumi` (Paragraph panel › Mojikumi): None, or Line-end
Punctuation Half Width, which (JLREQ 3.1.4) lets consecutive
punctuation share one half-em space — a closing mark followed by
punctuation loses the space after it, an opening bracket after another
the space before it — and sets a closing mark ending a line half
width. Only full-width marks (advance an em) are touched, never inside
a tate-chu-yoko block; vertical type the same way down the column.
- New type (`text.create`, Area/Path Type) takes Line-end Punctuation
Half Width, the usual default of Japanese layout; documents from
before it and imported text keep None (written only when set, so
older files and older apps are unaffected). `text.setFormat
{mojikumi: "none"|"lineEndHalf"}`.
- Builds on #344: on justified lines the room it frees is spread
between the characters.
- Catalog rows in ja and zh-hant.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Justify (last line left, centred or right) widened only word spaces, so
a Japanese line, which has none, stayed set solid and the right edge of
a justified Japanese paragraph was ragged by up to almost a character
(only Justify All spread the characters). Following JLREQ 3.8, the room
left on a line now goes to the gaps next to a CJK character, shared
with any word spaces:
- not inside a Latin word or a tate-chu-yoko block, nor next to a tab;
- lines without CJK characters are justified as before;
- vertical type too (the same code, in line space).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Upright glyphs in vertical type advanced one em (or their horizontal
advance, if wider) and turned about a fixed point 0.38 em above the
baseline. Fonts that carry vertical metrics now place them as they ask:
- `FontFace::vertical_glyph`: a glyph's advance down the column (`vmtx`)
and the height of its vertical origin (`VORG`, else the glyph's top
plus its top side bearing, as in TrueType fonts); `None` without
`vhea`/`vmtx` or with values outside a few ems.
`FontFace::ideographic_centre`: the em box centre from an ideograph's
cell, else 0.38.
- The layout advances an upright glyph by its vertical advance and hangs
it from its vertical origin; tate-chu-yoko blocks and point type's
anchor use the font's em box centre. Fonts without vertical metrics
are laid out exactly as before.
- Hiragino's tables give the values the layout assumed (one em, origin
0.88 em), so Japanese vertical type in it renders pixel for pixel the
same; this is the base for proportional vertical metrics (`vpal`) and
for fonts whose em box sits elsewhere.
- `test_fonts::vertical_font`: Source Sans 3 with `vhea`/`vmtx` (and
optionally `VORG`) built in code, one glyph 1.4 em tall hanging from
1.1 em; tested with and without `VORG`.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
In vertical type every character now sits in its own cell down the column:
"10" and "22" in 「10月22日」 stand side by side in one em, centred on the
column, and 月/日 start right after them. Justified (Justify All) columns
no longer split a tate-chu-yoko block, and tracked or justified upright
characters stay on the column's centre line instead of drifting across it.
Root cause: in 0.3.1 (the reporter's build) upright glyphs were placed by
the font's ascent rather than the ideographic em box, so a font with a tall
ascent (Noto Sans CJK JP, 1.16 em) drew each upright character ~0.28 em
down into the next cell, onto the sideways digits; #208 (after 0.3.1)
replaced that with em-box placement and tate-chu-yoko, which this commit
locks in with regression tests. Two defects of the same kind remained:
Justify All added its inter-character gap inside a tate-chu-yoko block
(the block's second digit slid down the column, away from the first), and
upright glyphs turned about the middle of their advance, which tracking and
justification lengthen, instead of the middle of their own cell.
Tests: the issue's layout with bundled glyphs (cells one after the other,
every ink inside its cell and no overlaps, 2-3 digit blocks one em and
centred, single digits and 2026 on their side advancing by their length,
spaces), the issue's string with craft-fonts' Japanese face (skips without
craft-fonts), Justify All with a block, tracking.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Builds on the vertical type from #145 (same data, commands and tools).
- Kinsoku (the strict set, horizontal Japanese too): no line starts with a
closing bracket, 、。, a middle dot, colon, !?, the long vowel mark,
iteration marks or small kana; no line ends with an opening bracket.
Hyphenation breaks obey it too.
- Tate-chu-yoko: a run of two or three half-width digits (10月, 第100回)
stands upright across the column as one block one em long, squeezed to
the em when wider; longer numbers stay on their side.
- Upright or on its side by Unicode's Vertical_Orientation: CJK and
symbols upright, marks that need a vertical form on their side when the
font has none; upright glyphs advance at least one em, centred, and turn
about the ideographic em box centre so they sit on the column's centre
line. Point type keeps its anchor on the first column's centre line.
- `vrt2` is no longer requested: its glyphs are already on their side, so
with the layout turning Latin and digits too they came out upside down
(and tate-chu-yoko blocks broke) in fonts that have it, e.g. Hiragino.
- The line→text mapping is one affine (`TextLayout::line_xf`, an exact
quarter turn plus the point-type offset); `logical_point` and
`physical_point` use it. Pixel snapping skips vertical type.
- Tests: kinsoku in both directions, tate-chu-yoko blocks, upright vs
sideways, anchor on the centre line, arrows along columns.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Convert Text to Outlines off (advanced.outlineText: false), type is
written as selectable, searchable text: each glyph in its font, embedded
as a subset with a ToUnicode map, where its outline would be (rotated,
scaled, skewed and on-path type too; gradients keep their place). Fonts
whose licence forbids embedding, or allows only whole fonts, fall back to
outlines with a warning; a subset threshold below 100% is accepted with a
warning. Laid-out glyphs now carry their glyph id and transform.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
