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+%
+% Process this file twice with big LaTeX. Does not rely on any japanese font.
+%
+\typeout{}
+\typeout{Japanese [La]TeX for DOS User's Guide Version 2.00 <14 April 1991>}
+\typeout{Note: Run big LaTeX two times to resolve cross-references.}
+\typeout{Warning: This guide requires approximately 120Kb of memory to process.}
+\typeout{}
+
+\hyphenation{jap-a-nese}
+
+\def\LLaTeX{{\rm \raise.2ex\hbox{[}\kern-.05em L\kern-.38em\raise.35ex%
+\hbox{\lowercase{a}}\kern-.05em\raise.2ex\hbox{]}\kern-.1em T%
+\kern-.1667em\lower.7ex\hbox{E}\kern-.125em X}}
+\def\MuTeX{{\rm M\kern-.15em\raise.2ex\hbox{\lowercase{u}}\kern-.32em T%
+\kern-.1667em\lower.5ex\hbox{E}\kern-.125em X}}
+\def\emTeX{{\rm {\it{em}}\kern-.15em T%
+\kern-.1667em\lower.5ex\hbox{E}\kern-.125em X}}
+\def\JemTeX{{\rm J\kern-.2em {\it{em}}\kern-.15em T%
+\kern-.1667em\lower.5ex\hbox{E}\kern-.125em X}}
+\def\MFT{{\small\rm METAFONT}}
+
+\documentstyle[12pt]{article}
+\pagestyle{plain}
+\begin{document}
+
+\title{Japanese \LLaTeX\ for DOS \\
+ - User's Guide - \\
+ {\small (Version 2.00)}}
+\author{Fran\c cois Jalbert}
+\date{14 April 1991}
+\maketitle
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\section{Introduction}
+\typeout{1 Introduction}
+\label{introduction}
+
+Welcome to \JemTeX\ Version~2.00, a simple system to typeset japanese using any
+standard version of \TeX\ running under DOS. All you need to create your own
+japanese fonts using \MFT\ is included. A preprocessor is also supplied which
+will turn the output of your favorite japanese text editor into a standard
+\TeX\ document ready for processing.
+
+This guide is divided into four main sections:
+\begin{description}
+ \item[Introduction:] Preliminary remarks (page~\pageref{introduction}).
+ \item[Japanese Fonts:] The \JemTeX\ fonts (page~\pageref{japanesefonts}).
+ \item[The \LLaTeX\ Interface:] The \JemTeX\ preprocessor
+ (page~\pageref{thelatexinterface}).
+ \item[JemTeX Quick Reference:] Items often referred to
+ (page~\pageref{jemtexquickreference}).
+\end{description}
+
+\subsection{Why \JemTeX}
+\label{whyjemtex}
+
+Shortly after adopting japanese as my new hobby, I felt the need to compile my
+own small dictionaries and to keep a computer record of all the letters I sent
+to my friends in Japan. These japanese documents would, of course, be produced
+on my DOS computer. I was also typesetting japanese music with \MuTeX, and I
+really wanted to write the lyrics using japanese characters rather than the
+roman ones I was currently constrained to use.
+
+Luckily I had \mbox{USENET} access, and in early 1990 I came across Mr.\ Mark
+Edward's MOKE~(1.1+) japanese text editor. It supported the most popular
+graphics displays, it had all the japanese characters a novice like me would
+ever need, it had extensive indexes to find the correct kanjis for any given
+word, and it even supported my \mbox{EPSON} printer. I FTP'ed a copy for
+myself and arranged to have it made available in T\=oky\=o at utsun
+(133.11.11.11) for FTP as well.
+
+Unfortunately, MOKE's quality of output left much to be desired on my
+\mbox{9-pin} printer, and MOKE did not have the fancy capabilities of \LaTeX. I
+decided to look into public domain japanese versions of \LaTeX\ for DOS
+computers. A query on \mbox{USENET} news triggered a long series of
+\mbox{e-mail} exchanges. In a nutshell, the news was bad.
+
+First, I could not locate any \MFT\ code to generate the 240~DPI by 216~DPI
+fonts needed by my previewing and printing devices. It was out of the question
+for me to even think about writing my own \MFT\ code for the thousands of
+characters involved in japanese. I did find some 300~DPI public domain fonts,
+but they were useless to me. I was told many japanese printers have built-in
+fonts, which could explain the lack of public domain external ones.
+
+There was also a serious possibility that loading many fonts might cause any
+small implementation of \TeX\ to run out of memory. This was a problem
+especially for DOS machines limited for historical reasons to 640~Kb of main
+memory. I needed a \TeX\ with some sort of memory paging system for my big
+RAM~disk. This problem was solved with Mr.\ Eberhard Mattes' \emTeX\ for DOS.
+Its capacity seemed limited solely by \TeX's internal design.
+
+I could not find any macros to enter japanese using standard \LaTeX. I did
+come across J\TeX\ and \mbox{ASCII-j\TeX}. However, both required that I build
+my own \TeX\ source in C, using exotic tools like WEB and \mbox{TANGLE}. Even
+if I ever managed eventually to get some usable C~code, it would not compile
+into something very useful because of the 640~Kb main memory limitation of DOS.
+It would be necessary to modify the C~code by adding the paging system to it. I
+knew nothing of \TeX's internal working. How could I decide correctly which
+information should be paged and which should remain in memory at all time? I
+decided that adapting J\TeX\ or \mbox{ASCII-j\TeX}\ to DOS appeared too
+uncertain and time-consuming.
+
+My situation could be summarized as follows. I had a simple japanese text
+editor I could use to enter both english and japanese, and I had a big
+implementation of \TeX\ which would not crash if I remained reasonable. But I
+lacked japanese fonts and macros to put it all together. The remainder of this
+brief guide explains how I solved these two problems.
+
+I call my japanese system \JemTeX. Anybody with a japanese text editor and
+\emTeX, or any equivalent implementation of \TeX\ and \MFT, can now produce
+simple, but acceptable japanese documents with his DOS computer. Following the
+release of the first two versions, people from all over the world expressed
+their satisfaction. There is no doubt in my mind that there was a real need for
+\JemTeX.
+
+\begin{quote}
+ \begin{em}
+ \JemTeX\ is free for all to use and modify. Please feel free to distribute
+ unmodified copies of it. If you should use parts of\/ \JemTeX, or some of my
+ ideas in your work, a reference to \JemTeX\ would be appreciated.
+ \end{em}
+\end{quote}
+
+\subsection{\JemTeX\ Files}
+\label{jemtexfiles}
+
+\JemTeX\ is distributed compressed with Version~1.1 of the \verb"PKZIP"
+utility of PKWARE Inc. You should have received the following file:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+JEMTEX2 ZIP 440435 4-14-91 12:00p
+\end{verbatim}
+\end{quote}
+
+Unpacking should yield the following files:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+JIS24 562032 4-14-91 12:00p
+JIS2MF C 37598 4-14-91 12:00p
+JIS2MF PAS 33242 4-14-91 12:00p
+JIS2MF EXE 12181 4-14-91 12:00p
+JEM2TEX C 47627 4-14-91 12:00p
+JEM2TEX PAS 40635 4-14-91 12:00p
+JEM2TEX EXE 14203 4-14-91 12:00p
+FONTABLE C 5814 4-14-91 12:00p
+FONTABLE PAS 4475 4-14-91 12:00p
+FONTABLE EXE 4905 4-14-91 12:00p
+JGUIDE TEX 175442 4-14-91 12:00p
+\end{verbatim}
+\end{quote}
+All these files will be covered in time in this brief guide.
+
+I supply you with the fastest utilities possible at the moment, which are
+sometime C versions, sometime Pascal versions. The programs compile fine with
+recent DOS turbo compilers and UNIX gcc. Note that the executables are also
+compressed with the \verb"LZEXE" utility of Mr.\ Fabrice Bellard. The
+decompression automatically occurs at runtime.
+
+\subsection{Author's Address}
+\label{authorsaddress}
+
+There is still a lot I do not understand about \LLaTeX\ and, especially,
+japanese. I apologize in advance for my errors. If you have any comments, or
+simply wish to be put on my mailing list, do not hesitate to contact the
+author:
+
+\begin{quote}
+Fran\c cois Jalbert \\
+220 Forest \\
+Ch\^ateauguay, QC \\
+CANADA \\
+J6J 1R1 \\
+\verb"jalbert@CS.UBC.CA" \\
+\verb"jalbert@IRO.UMontreal.CA"
+\end{quote}
+
+\subsection{Acknowledgments}
+\label{acknowledgments}
+
+I would like to take this opportunity to thank all the people who helped me in
+this quest for knowledge, especially Mr.\ Takafumi Sakurai who is very familiar
+with J\TeX. Finally, I must also thank all the users who helped to improve this
+package with their comments. Keep them coming! In fact, Version~2.00 would not
+have been possible without Mr.\ Masatoshi Watanabe, the author of JaWa\TeX. I
+am greatly grateful to him for his contribution to my \verb"JIS2MF" program.
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\section{Japanese Fonts}
+\typeout{2 Japanese Fonts}
+\label{japanesefonts}
+
+In this section, I describe how I solved the font problem. I first introduce
+the JIS~24 dot font which is the key behind the \JemTeX\ fonts. A discussion of
+horizontal and vertical writing styles then becomes essential since writing
+style influences the ideal characteristics of a font. I conclude the first part
+of this section by explaining how to run my \verb"JIS2MF" \MFT\ code generation
+program and \MFT\ itself.
+
+I include a few more technical details in the second part of this section.
+Strictly speaking, this information is not mandatory and the reader in a hurry
+will do well to simply skip it. But the inquiring one will have a chance to
+take a closer look at the \MFT\ code generated and at the underlying algorithm.
+
+\subsection{The JIS~24 Dot Font}
+\label{thejis24dotfont}
+
+The font problem is solved using the JIS~24 dot font of Mr.\ Yasuki Saito. It
+is a series of 24~by~24 bitmaps organized sequentially. There is room for
+7806~bitmaps in the file \verb"JIS24", but several bitmaps are simply left
+empty in the current version.
+
+\label{standard}
+
+The JIS~'83 standard states which characters are defined in the JIS~24 dot font
+and what position they occupy. However, several computer manufacturers have
+taken the liberty of defining their own additional 24~by~24 bitmaps which they
+place here and there at locations currently left empty by JIS~'83. The
+resulting {\em extended\/} JIS~24 dot fonts exist in many different
+incompatible versions.
+
+\label{extended}
+
+\JemTeX\ uses such an extended JIS~24 dot font. I do not know who is
+responsible for its extension, but I certainly welcome the extra characters.
+Besides a wealth of miscellaneous characters, a complete half-width roman and
+japanese character set is available. You may choose to use them, or to restrict
+yourself to standard JIS~'83 characters only.
+
+No doubt one can mechanize the creation of fonts from such bitmaps. There seems
+to be two ways of handling the problem. First, one could generate fonts
+directly from the bitmaps without using \MFT\ at all. Indeed, I know that
+several fonts in J\TeX\ were created just that way. However, I suspect that it
+might be difficult to scale fonts using non-integer factors. To further
+complicate the scaling problem, my devices do not have the same horizontal and
+vertical resolution. Besides, I feel that \MFT\ can deal with such scaling
+issues better than I probably can in a mere few days of work.
+
+Consequently, I prefer to create \MFT\ code out of the bitmaps. A good example
+of such an approach is the \verb"ega2mf" program of Mr.\ Thomas B.\ Ridgeway.
+This program reads bitmaps and creates \MFT\ code where each character is a
+small matrix of dots. The purpose of such fonts is to mimic the looks of
+CRT~screens on paper. This is does so well that in fact, I find that the
+japanese characters look too much like bitmaps! I want these dots to disappear
+and a continuous outline to replace them. Nevertheless, \verb"ega2mf" clearly
+demonstrates that the goal can be reached.
+
+I started from scratch, using a \MFT\ book and came up with my own \MFT\ code
+generation program \verb"JIS2MF". It reads bitmaps from \verb"JIS24", and it
+then constructs continuous characters, using squares, triangles, and quarter
+circles. My program has been substantially improved by Mr.\ Masatoshi Watanabe.
+A complete description is found in Subsections~\ref{themetafontcode}
+and~\ref{algorithm}.
+
+\subsection{Writing Styles}
+\label{writingstyles}
+
+It is clear from the lack of a vertical baseline in \MFT\ that \TeX\ was solely
+designed for horizontal use. Indeed, \TeX\ can typeset japanese horizontally as
+well as it does for english. This does not imply that vertical use of \TeX\ is
+impossible, but it merely suggests that extra care will be required. In this
+subsection, I would like to discuss and compare both writing styles. The
+appropriate font properties can then be determined.
+
+\label{widthheight}
+
+The first features of interest in this subsection are character width,
+character height, and distance from the baseline. Consider first a few roman
+characters and their horizontal baseline:
+\begin{center}
+ \setlength{\unitlength}{0.4pt}
+ \begin{picture}(80,30)
+ \thinlines
+ \put(0,5){\line(1,0){80}}
+ \put(0,0){\makebox(80,30){dip}}
+ \end{picture}
+\end{center}
+
+The width of each character is minimized and this is important in english
+writing. However, the height of each character is unimportant. It is the
+vertical relationship between the character and its horizontal baseline which
+matters.
+
+Consider now a few japanese characters and their horizontal baseline:
+\begin{center}
+ \setlength{\unitlength}{0.4pt}
+ \newsavebox{\watashi}
+ \sbox{\watashi}{%
+ \begin{picture}(28,26)(-2,-2)%Bitmap 2512
+ \put(0.5,4.5){\circle*{1}}\put(0.5,15.5){\circle*{1}}
+ \put(0.5,19.5){\circle*{1}}\put(1.5,5.5){\circle*{1}}
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+ \put(23.5,1.5){\circle*{1}}\put(23.5,2.5){\circle*{1}}
+ \end{picture}}
+ \begin{picture}(250,28)
+ \thinlines
+ \put(0,0){\line(1,0){250}}
+ \put(20,0){%
+ \begin{picture}(28,26)(-2,-2)%Bitmap 288
+ \put(5.5,15.5){\circle*{1}}\put(6.5,13.5){\circle*{1}}
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+ \end{picture}}
+ \put(50,0){\usebox{\watashi}}
+ \put(80,0){%
+ \begin{picture}(28,26)(-2,-2)%Bitmap 356
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+
+The japanese characters on the left have a fixed width. The characters on the
+right have a minimized width, just like ordinary english characters.
+Personally, I find that minimized width is desirable when writing japanese
+horizontally. Also note that although this is not visible in these two
+examples, the japanese characters are as short as possible while respecting the
+vertical relationship with their horizontal baseline.
+
+Let us now consider vertical roman writing. If one was to simply reverse the
+previous argument regarding roman characters and their horizontal baseline, one
+would conclude that it is important to minimize the height of each roman
+character. However, the width of each character would be unimportant. It is the
+horizontal relationship between the roman character and the vertical baseline
+that would appear crucial.
+
+That reasoning could be correct if there was such a thing as vertical roman
+writing, but it fails in the japanese case for two good reasons. First of all,
+there is no vertical baseline available in \MFT. That implies that the concept
+of an horizontal relationship between a japanese character and its vertical
+baseline is undefined. The next best thing available to us is to use fixed
+width japanese characters. In such a case, the sought horizontal relationship
+is implied in the bitmap itself.
+
+Secondly, some japanese characters can be constructed by piling up other
+characters on top of one another. For example, consider the characters two,
+one, and three:
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+ \put(4.5,2.5){\circle*{1}}\put(4.5,12.5){\circle*{1}}
+ \put(4.5,21.5){\circle*{1}}\put(5.5,2.5){\circle*{1}}
+ \put(5.5,12.5){\circle*{1}}\put(5.5,21.5){\circle*{1}}
+ \put(6.5,2.5){\circle*{1}}\put(6.5,12.5){\circle*{1}}
+ \put(6.5,21.5){\circle*{1}}\put(7.5,2.5){\circle*{1}}
+ \put(7.5,12.5){\circle*{1}}\put(7.5,21.5){\circle*{1}}
+ \put(8.5,2.5){\circle*{1}}\put(8.5,12.5){\circle*{1}}
+ \put(8.5,21.5){\circle*{1}}\put(9.5,2.5){\circle*{1}}
+ \put(9.5,12.5){\circle*{1}}\put(9.5,21.5){\circle*{1}}
+ \put(10.5,2.5){\circle*{1}}\put(10.5,12.5){\circle*{1}}
+ \put(10.5,21.5){\circle*{1}}\put(11.5,2.5){\circle*{1}}
+ \put(11.5,12.5){\circle*{1}}\put(11.5,21.5){\circle*{1}}
+ \put(12.5,2.5){\circle*{1}}\put(12.5,12.5){\circle*{1}}
+ \put(12.5,21.5){\circle*{1}}\put(13.5,2.5){\circle*{1}}
+ \put(13.5,12.5){\circle*{1}}\put(13.5,21.5){\circle*{1}}
+ \put(14.5,2.5){\circle*{1}}\put(14.5,12.5){\circle*{1}}
+ \put(14.5,21.5){\circle*{1}}\put(15.5,2.5){\circle*{1}}
+ \put(15.5,12.5){\circle*{1}}\put(15.5,21.5){\circle*{1}}
+ \put(16.5,2.5){\circle*{1}}\put(16.5,12.5){\circle*{1}}
+ \put(16.5,21.5){\circle*{1}}\put(17.5,2.5){\circle*{1}}
+ \put(17.5,12.5){\circle*{1}}\put(17.5,13.5){\circle*{1}}
+ \put(17.5,21.5){\circle*{1}}\put(18.5,2.5){\circle*{1}}
+ \put(18.5,12.5){\circle*{1}}\put(18.5,13.5){\circle*{1}}
+ \put(18.5,21.5){\circle*{1}}\put(19.5,2.5){\circle*{1}}
+ \put(19.5,12.5){\circle*{1}}\put(19.5,21.5){\circle*{1}}
+ \put(19.5,22.5){\circle*{1}}\put(20.5,2.5){\circle*{1}}
+ \put(20.5,21.5){\circle*{1}}\put(20.5,22.5){\circle*{1}}
+ \put(21.5,2.5){\circle*{1}}\put(21.5,3.5){\circle*{1}}
+ \put(21.5,21.5){\circle*{1}}\put(22.5,2.5){\circle*{1}}
+ \put(22.5,3.5){\circle*{1}}\put(23.5,2.5){\circle*{1}}
+ \end{picture}}
+ \end{picture}
+\end{center}
+
+The japanese characters on the right are harder to read than the ones on the
+left. This problem is partly alleviated if one uses vertically, characters with
+minimized height that have been created for horizontal use. As discussed
+before, the vertical distance between such characters and their horizontal
+baseline is respected. This space could occasionally act as breathing space if
+such horizontal characters were to be used vertically. But this is nevertheless
+not satisfactory since an incomplete and unnatural solution. The only way to
+avoid this problem altogether is to use fixed height characters when writing
+japanese vertically, just as was done in the left column.
+
+The conclusion seems clear. If you intend to use your \JemTeX\ fonts vertically
+with some vertical writing style unknown to me, you should definitely create
+fixed width and fixed height fonts. This is the only natural choice available.
+If you will use your fonts only horizontally, then you probably want minimized
+width fonts. Personally, I also minimized their height since the resulting
+fonts are slightly smaller in size.
+
+\label{positioning}
+
+The second topic I would like to discuss here is relevant primarily for
+horizontal writing. Given intermixed roman and japanese characters, how should
+they relate to one another. More precisely, how tall should japanese characters
+be with respect to capital roman ones, and what vertical relationship should
+they have with their horizontal baseline.
+
+It is a fact that most japanese characters are far more complex than any given
+roman one. Therefore, japanese character should be relatively big. On the other
+hand, tall centered japanese characters will lie lower on the horizontal
+baseline than capital roman characters do, and will extend vertically more than
+capital roman ones do. Consequently, the reader's eyes might have to go up and
+down as they look over the text horizontally. A compromise is clearly called
+for.
+
+The first writing style considered here will be referred to as a {\em
+dictionary\/} style since usually used in japanese dictionaries. In this style,
+japanese characters are substantially taller than capital roman ones. This
+makes it possible to use small japanese characters along with even smaller
+roman ones to save space while maintaining readability. The japanese characters
+also lie quite low on the horizontal baseline and extend vertically exactly the
+same as capital roman characters do. Take a close look at your favorite
+japanese dictionary.
+
+I will refer to a more conventional japanese font as a {\em standard\/} style.
+In this one, the japanese characters are still taller than capital roman ones,
+but by a smaller amount than before. The japanese characters lie a little bit
+lower on the horizontal baseline than capital roman characters do, and also
+extend a little bit more vertically than capital roman ones do. They are
+vertically centered as well as possible with respect to capital roman letter.
+Many users of \JemTeX\ requested such a font style.
+
+Here again, you will have to decide which style you prefer. In the first two
+releases of \JemTeX, I used my japanese dictionaries to derive ideal font
+characteristics. Since then, numerous people taught me that dictionary fonts
+are quite specialized. Chances are you will want to use the standard style.
+Personally, I am now permanently switching to it.
+
+\subsection{The {\tt JIS2MF} Code Generator}
+\label{thejis2mfcodegenerator}
+
+Given a bitmap, my program \verb"JIS2MF" can construct an equivalent continuous
+character and generate \MFT\ code for it. The \MFT\ program can then use this
+code to generate a standard \TeX\ font. You have been supplied with the source
+and the compressed compiled version of this Pascal program. Note that the file
+\verb"JIS24" should be available in the current directory to run \verb"JIS2MF".
+This fairly big file contains all the bitmaps making up the JIS~24 dot font.
+
+The first practical problem is to decide on font names and their content. Not
+everybody is running newer versions of \TeX\ and its drivers, allowing for
+256~characters in a font. This includes me! Therefore, I put only
+128~characters in my fonts. Unfortunately, this implies that I cannot use the
+same scheme as J\TeX\ since the latter uses 256~characters per font. However, I
+keep my new standard simple by organizing characters sequentially. I also leave
+character~0 of the first font empty so that character~$x$ of the first font
+corresponds to bitmap~$x$ of the JIS~24 dot font.
+
+\TeX\ does not allow numbers in font names. Therefore, the names \verb"kanji00"
+all the way to \verb"kanji60" are not possible. Table~\ref{thejemtexfonts}
+lists the names I am using.
+
+\begin{table}[htb]
+ \begin{center}
+ \begin{footnotesize}
+ \begin{tabular}{cccccccc}
+ \verb"kanjiaa" & \verb"kanjiab" & \verb"kanjiac" & \verb"kanjiad" &
+ \verb"kanjiae" & \verb"kanjiaf" & \verb"kanjiag" & \verb"kanjiah" \\
+ $\vdots$ & $\vdots$ & $\vdots$ & $\vdots$ &
+ $\vdots$ & $\vdots$ & $\vdots$ & $\vdots$ \\
+ \verb"kanjiga" & \verb"kanjigb" & \verb"kanjigc" & \verb"kanjigd" &
+ \verb"kanjige" & \verb"kanjigf" & \verb"kanjigg" & \verb"kanjigh" \\
+ \verb"kanjiha" & \verb"kanjihb" & \verb"kanjihc" & \verb"kanjihd" &
+ \verb"kanjihe"
+ \end{tabular}
+ \end{footnotesize}
+ \end{center}
+ \caption{The \JemTeX\ Fonts.}
+ \label{thejemtexfonts}
+\end{table}
+
+\begin{table}[htb]
+ \begin{center}
+ \begin{minipage}{\textwidth}
+ \begin{small}
+ \begin{tabbing}
+ \verb"kanjiaa": Beginning of common english and japanese characters. \\
+ \verb"kanjiae": Most foreign characters. \\
+ \verb"kanjiaf": Beginning of most extended characters. \\
+ \verb"kanjiba": First of three empty fonts. \\
+ \verb"kanjibd": Beginning of level~1 kanjis. \\
+ \verb"kanjiec": Transition between level~1 and level~2 kanjis. \\
+ \verb"kanjihe": End of level~2 kanjis.
+ \end{tabbing}
+ \end{small}
+ \end{minipage}
+ \end{center}
+ \caption{Description of the \JemTeX\ Fonts.}
+ \label{descriptionofthejemtexfonts}
+\end{table}
+
+Several users complained about the time necessary to generate these fonts,
+especially on the original 4.77~MHz IBM-PC. To help them decide which \JemTeX\
+fonts they are likely to need, Table~\ref{descriptionofthejemtexfonts} contains
+a brief description of all of them. I found through daily use that I almost
+never use level~2 fonts. However, a typical 4~page document uses every level~1
+font.
+
+The last remaining preliminary detail is the question of bitmap numbering. The
+bitmaps in \verb"JIS24" are numbered consecutively from~1 to~7806. The first
+bitmap is empty, since it is the japanese space character. Many other
+characters in the \JemTeX\ extended JIS~24 dot font are also left empty.
+\verb"JIS2MF" ignores such characters altogether and will leave an undefined
+character when it encounters one. This can be quite handy for somebody wishing
+to create fonts using some other standard, like J\TeX. Suppose you wish to
+leave some characters undefined in the font you are currently building. By
+specifying bitmap~1 at the right places, the corresponding characters will be
+left undefined.
+
+My utility \verb"JIS2MF" requires the following information to operate:
+\begin{description}
+ \item[Font Name:] The name of the font you are creating. \verb"JIS2MF" will
+ add for you the extension \verb".mf", so do not specify it.
+ The program also acts differently depending on whether or
+ not the font name you supply is a \JemTeX\ font name, like
+ \verb"kanjidf".
+ \item[Writing Style:] The characteristics of your font, essentially fixed
+ versus proportional dimensions and dictionary versus
+ standard positioning of the japanese characters.
+ \item[Bitmap Numbers:] The number of all the bitmaps making up the current
+ font. Specifying bitmap~0 terminates the process.
+\end{description}
+
+\begin{table}[htb]
+ \begin{center}
+ \begin{tabular}{l|cccc}
+ {\tt JIS2MF} & Command Line & Font & Writing & Bitmap \\
+ Mode & Parameters & Name & Style & Numbers \\
+ \hline
+ Manual & $\times$ & $\surd$ & $\surd$ & $\surd$ \\
+ Semi-Automatic & $\surd$ & (other) & Optional & $\surd$ \\
+ Automatic & $\surd$ & (\JemTeX) & Optional & $\times$ \\
+ Batch & $\surd$ & $\times$ & Optional & $\times$
+ \end{tabular}
+ \end{center}
+ \caption{The {\tt JIS2MF} Modes.}
+ \label{thejis2mfmodes}
+\end{table}
+
+How much and what information you must supply depends on which mode
+\verb"JIS2MF" is in when you run it. Table~\ref{thejis2mfmodes} shows all the
+modes currently available.
+
+If you simply start \verb"JIS2MF" without any command line information, it will
+run in manual mode where you must answer questions interactively throughout the
+operation. In Table~\ref{thejis2mfmodes}, a $\surd$ indicates information that
+will be required of you interactively. A $\times$ indicates information
+irrelevant, or that you will not be asked for interactively.
+
+The other three more advanced modes can only be accessed by specifying some
+additional command line information. First, you can specify on the command line
+the name of the font to be built. For example, here is how I would generate the
+first \JemTeX\ font:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+JIS2MF kanjiaa
+\end{verbatim}
+\end{quote}
+You can also add to such a command some \verb"JIS2MF" parameters. These always
+begin with a \verb"/" or a \verb"-", and any combination or small and capital
+letters is acceptable.
+
+For the last three modes listed in Table~\ref{thejis2mfmodes}, proportional
+width, proportional height, and standard positioning are assumed as default
+writing styles. However, you may override or confirm any of these default
+values with the appropriate command line parameter. The recognized ones are
+listed in Tables~\ref{widthparameters}, \ref{heightparameters},
+and~\ref{positioningparameters}.
+
+\vspace*{\fill}
+
+\begin{table}[htb]
+ \begin{center}
+ \begin{tabular}{ll}
+ \mbox{$\left.\parbox{4.6cm}{%
+ \verb"/FixedWidth" \\
+ \verb"/FixedX" \\
+ \verb"/NoProportionalWidth" \\
+ \verb"/NoProportionalX"}\right\}$} & Fixed width. \\[8mm]
+ \mbox{$\left.\parbox{4.6cm}{%
+ \verb"/NoFixedWidth" \\
+ \verb"/NoFixedX" \\
+ \verb"/ProportionalWidth" \\
+ \verb"/ProportionalX"}\right\}$} & Minimized width.
+ \end{tabular}
+ \end{center}
+ \caption{Width Parameters.}
+ \label{widthparameters}
+\end{table}
+
+\vspace*{\fill}
+
+\newpage %improve a bad page break
+
+\begin{table}[htb]
+ \begin{center}
+ \begin{tabular}{ll}
+ \mbox{$\left.\parbox{4.6cm}{%
+ \verb"/FixedHeight" \\
+ \verb"/FixedY" \\
+ \verb"/NoProportionalHeight" \\
+ \verb"/NoProportionalY"}\right\}$} & Fixed height. \\[8mm]
+ \mbox{$\left.\parbox{4.6cm}{%
+ \verb"/NoFixedHeight" \\
+ \verb"/NoFixedY" \\
+ \verb"/ProportionalHeight" \\
+ \verb"/ProportionalY"}\right\}$} & Minimized height.
+ \end{tabular}
+ \end{center}
+ \caption{Height Parameters.}
+ \label{heightparameters}
+ \begin{center}
+ \begin{tabular}{ll}
+ \verb"/Standard" & Standard positioning. \\
+ \verb"/Dictionary" & Dictionary positioning.
+ \end{tabular}
+ \end{center}
+ \caption{Positioning Parameters.}
+ \label{positioningparameters}
+\end{table}
+
+Here is how I would generate a \JemTeX\ font to be used vertically:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+JIS2MF kanjiaa /FixedWidth /FixedHeight
+\end{verbatim}
+\end{quote}
+In the last two examples, since the font names specified are \JemTeX\ font
+names, \verb"JIS2MF" supplies all the bitmap numbers for you; that's the
+automatic mode. If the font name is not a \JemTeX\ one, then you are asked
+interactively for the bitmap numbers; that's the semi-automatic mode. If you
+plan on using a lot \verb"JIS2MF" semi-automatically, you may find piping
+advantageous.
+
+\label{batch}
+
+The remaining mode is the batch mode. As its name implies, it is designed for
+people using batch files. To trigger this mode, use the \verb"/batch" command
+line parameter. In this mode, \verb"JIS2MF" looks in the current directory to
+determine the latest \JemTeX\ font generated. It then generates the next one,
+if possible.
+
+There are two ways of using this feature. The simplest one is to generate the
+\MFT\ code for all the \JemTeX\ fonts. To do so, create and execute the
+following \verb"SIMPLE.BAT" batch file:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+JIS2MF /NoFixedWidth /NoFixedHeight /Standard /Batch
+IF NOT ERRORLEVEL 1 SIMPLE
+\end{verbatim}
+\end{quote}
+
+In this example, the code for the font \verb"kanjiaa" is first created. If all
+went well, \verb"SIMPLE" executes again. It finds the file \verb"kanjiaa.mf"
+in the current directory and therefore generates \verb"kanjiab.mf". Eventually,
+the code for the font \verb"kanjihe" will be produced. When called once more,
+\verb"JIS2MF" realizes that there is no such thing as a \JemTeX\ font
+\verb"kanjihf" and stops with an error. The current batch file \verb"SIMPLE"
+then terminates.
+
+Although this procedure is correct, it also requires 36~Mb of disk space! To
+avoid this, I use a more involved procedure. Here is the batch file
+\verb"COMPLEX.BAT":
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+JIS2MF /NoFixedWidth /NoFixedHeight /Standard /Batch
+IF ERRORLEVEL 1 GOTO TERMINATE
+FOR %%1 IN (kanji??.mf) DO CALL METAFONT %%1
+ERASE kanji??.mf
+COMPLEX
+:TERMINATE
+\end{verbatim}
+\end{quote}
+
+As in the previous example, \verb"JIS2MF" first creates the file
+\verb"kanjiaa.mf". The batch file \verb"METAFONT.BAT" is then called with the
+parameter \verb"kanjiaa.mf". \MFT\ is to be discussed in
+Subsection~\ref{runningmetafont}, but suffice to say that the files
+\verb"kanjiaa.tfm" and \verb"kanjiaa.pk" are created by the subroutine
+\verb"METAFONT". To save disk space, the file \verb"kanjiaa.mf" is then
+deleted. Finally, this cycle starts all over again. This procedure works fine
+because \verb"JIS2MF" looks for \verb"*.mf" {\em and\/} \verb"*.tfm" files when
+trying to decide which font should be handled next.
+
+\subsection{Running METAFONT}
+\label{runningmetafont}
+
+The \MFT\ program comes in two versions; a small one with a 64~Kb work space,
+and a big one with a 256~Kb work space. Although the big version is more
+capable, the small one is preferred whenever possible since it runs faster.
+Here is a list of the \emTeX\ files necessary for the small 80286 version:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+MF EXE 197840 8-04-90 10:29p
+MF POO 23028 8-04-90 9:42p
+CM BAS 107412 9-19-90 11:13a
+\end{verbatim}
+\end{quote}
+
+\newpage %improve a bad page break
+
+The files for the big 80286 version are:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+MF EXE 238996 8-04-90 11:15p
+MF POO 23028 8-04-90 10:32p
+CM BAS 215128 9-19-90 11:13a
+\end{verbatim}
+\end{quote}
+
+The program to compress the forthcoming fonts is:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+GFTOPK EXE 52825 9-15-90 1:13a
+\end{verbatim}
+\end{quote}
+
+Finally, you also need a small file, describing the characteristics of the
+device for which the fonts are intended. I use the file \verb"epsonfx.mf",
+which is given below. Several such files are included in the file
+\verb"local.mf" supplied with \emTeX, and there are small libraries of them in
+\TeX\ circles.
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+mode_def epsonfx = % Epson FX-80 (240x216)
+ proofing:=0; % no, we're not making proofs
+ fontmaking:=1; % yes, we are making a font
+ tracingtitles:=0; % no, don't show titles in the log
+ pixels_per_inch:=240; % 240 dots/inch horizontally
+ blacker:=0; % don't make the pens any blacker
+ fillin:=0; % and don't compensate for fillin
+ o_correction:=.2; % but suppress most overshoots
+ aspect_ratio:=9/10; % 216 dots/inch vertically
+ enddef;
+\end{verbatim}
+\end{quote}
+
+Font sizes are measured in magsteps. Typical magsteps are~$0.0$, $0.5$, $1.0$,
+$2.0$, $3.0$, $4.0$, and~$5.0$. I find that most kanjis look acceptable on my
+\mbox{9-pin} printer starting at magstep~$2.0$, and all kanjis are acceptable
+starting at magstep~$3.0$. Hiraganas and katakanas are fairly simple
+characters, and they look good at any magsteps. Table~\ref{12ptfontsizes} on
+page~\pageref{12ptfontsizes} lists common font sizes.
+
+\label{mftproof}
+
+You can run big \MFT\ in proof mode where each character is displayed
+graphically, but no font useful for us is created. The command I use is:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+MF &cm kanjiaa >NUL:
+\end{verbatim}
+\end{quote}
+
+\newpage %improve a bad page break
+
+\label{mftstandard}
+
+You can run small \MFT\ in standard mode, which will generate usable fonts.
+Here are the commands to create \verb"kanjiaa.tfm" and \verb"kanjiaa.pk":
+\begin{quote}
+\begin{small}%Don't put spaces after the next line!
+\begin{verbatim}
+MF &cm \mode:=epsonfx; \mag:=magstep(0.0); \input kanjiaa.mf
+GFTOPK kanjiaa.240
+\end{verbatim}
+\end{small}
+\end{quote}
+
+The file name extension \verb".240" refers to the resolution of my printer,
+resolution specified in the file \verb"epsonfx.mf". It may be different in your
+case. Finally, note that this extension also changes with the magstep used. For
+magstep~$5.0$, it becomes in my case $240 \times 1.2^{5.0} \approx 597$.
+
+Here is my batch file \verb"METAFONT.BAT":
+\begin{quote}
+\begin{small}%Don't put spaces after the next line!
+\begin{verbatim}
+MF &cm \mode:=epsonfx; \mag:=magstep(5.0); \input %1
+FOR %%1 IN (kanji??.597) DO GFTOPK %%1
+ERASE kanji??.597
+ERASE kanji??.log
+\end{verbatim}
+\end{small}
+\end{quote}
+
+\subsection{The METAFONT Code}
+\label{themetafontcode}
+
+In this subsection, I will briefly go over the \MFT\ code produced by my
+program for a typical standard style font. This code can be crudely divided
+into four parts:
+\begin{itemize}
+ \item Initial Header.
+ \item Macro Definitions.
+ \item Character Definitions.
+ \item Final Header.
+\end{itemize}
+
+The header begins with the following command requesting memory usage statistics
+in the \verb".log" file produced along with each font by \MFT:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+tracingstats:=1;
+\end{verbatim}
+\end{quote}
+
+In proof mode, \MFT\ displays the characters in graphics mode provided it knows
+the resolution of your device. I use the following, which you may decide to
+change according to your hardware:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+screen_cols:=640; %VGA
+screen_rows:=480; %VGA
+\end{verbatim}
+\end{quote}
+
+The font design size, a fundamental unit of measurement, and character
+positioning are then supplied. I use the following for standard \JemTeX\ fonts:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+font_size 10pt#;
+u#:=12.7/36pt#;
+body_height#:=23.25u#;
+desc_depth#:=4.75u#;
+\end{verbatim}
+\end{quote}
+
+Each underlying bitmap is $24u$~by~$24u$, and an empty border of $2u$ is left
+around every japanese characters. In a standard style, each character can
+extend vertically potentially by as much as $23.25u$ above its horizontal
+baseline, and $4.75u$ below it, for a total of $28u$. Note that these are the
+biggest values that can occur. In practice, the actual values are supplied for
+each character when they are defined. For a fixed height font, the actual
+values are always equal to these extreme values. Finally, the width is handled
+differently by \MFT\ since only the actual width needs to be specified for each
+character.
+
+At this point, a whole series of parameters is necessary for the Computer
+Modern base. The minimum set of them is set to~\verb"0pt" whenever possible. I
+solve the few occurring overflows by setting the right parameters
+to~\verb"1pt". None of these parameters appears useful since my japanese
+characters use only very primitive \MFT\ operators. But \MFT\ insists on all
+its parameters to be set anyway.
+
+\MFT\ is then initialized with:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+mode_setup;
+font_setup;
+\end{verbatim}
+\end{quote}
+
+The macros to be used in drawing the characters follow. Each dot making up the
+current bitmap lies in a square which I refer to by its lower left $z=(x,y)$
+coordinates. I declare that variable $z$ with:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+pair z;
+\end{verbatim}
+\end{quote}
+
+A number of macros to draw squares, triangles, reverse triangles, and quarter
+circles are then included. All these have only one parameter; $z$. They are
+illustrated in Figures~\ref{shortpatches} and~\ref{longpatches}.
+
+\newpage %improve a bad page break
+
+\begin{figure}[htb]
+ \begin{center}
+ \setlength{\unitlength}{0.38pt}
+ \begin{picture}(900,900)
+ \put(0,720){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,90){\framebox(90,90){}}
+ \put(0,90){\makebox(90,90){sul}}
+ \end{picture}}
+ \put(240,720){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(90,90){\framebox(90,90){}}
+ \put(90,90){\makebox(90,90){sur}}
+ \end{picture}}
+ \put(480,720){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(90,0){\framebox(90,90){}}
+ \put(90,0){\makebox(90,90){sbr}}
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+ \end{picture}}
+ \put(0,240){%
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+ \put(0,90){\line(1,1){90}}
+ \put(45,90){\makebox(45,45){tul}}
+ \end{picture}}
+ \put(240,240){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(90,90){\line(1,0){90}}
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+ \put(90,180){\line(1,-1){90}}
+ \put(90,90){\makebox(45,45){tur}}
+ \end{picture}}
+ \put(480,240){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
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+ \put(90,90){\line(0,-1){90}}
+ \put(90,0){\line(1,1){90}}
+ \put(90,45){\makebox(45,45){tbr}}
+ \end{picture}}
+ \put(720,240){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(90,90){\line(-1,0){90}}
+ \put(90,90){\line(0,-1){90}}
+ \put(0,90){\line(1,-1){90}}
+ \put(45,45){\makebox(45,45){tbl}}
+ \end{picture}}
+ \put(0,0){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,180){\line(1,0){90}}
+ \put(0,90){\line(0,1){90}}
+ \put(0,90){\line(1,1){90}}
+ \put(0,135){\makebox(45,45){rul}}
+ \end{picture}}
+ \put(240,0){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(90,180){\line(1,0){90}}
+ \put(180,90){\line(0,1){90}}
+ \put(90,180){\line(1,-1){90}}
+ \put(135,135){\makebox(45,45){rur}}
+ \end{picture}}
+ \put(480,0){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(90,0){\line(1,0){90}}
+ \put(180,0){\line(0,1){90}}
+ \put(90,0){\line(1,1){90}}
+ \put(135,0){\makebox(45,45){rbr}}
+ \end{picture}}
+ \put(720,0){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,0){\line(1,0){90}}
+ \put(0,0){\line(0,1){90}}
+ \put(0,90){\line(1,-1){90}}
+ \put(0,0){\makebox(45,45){rbl}}
+ \end{picture}}
+ \end{picture}
+ \end{center}
+ \caption{Short Patches.}
+ \label{shortpatches}
+\end{figure}
+
+The definitions of each japanese character follow sequentially. The template
+for such a definition is:
+\begin{quote}
+\tt beginchar(0,\em width \tt\#,\em body\_height \tt\#,\em desc\_depth \tt\#);\\
+\verb"normal_adjust_fit(2u#,2u#);"\\
+$\vdots$\\
+\verb"endchar;"
+\end{quote}
+
+\newpage %improve a bad page break
+
+\begin{figure}[htb]
+ \begin{center}
+ \setlength{\unitlength}{0.38pt}
+ \begin{picture}(900,900)
+ \put(0,720){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,90){\line(1,0){180}}
+ \put(180,90){\line(0,1){90}}
+ \put(0,90){\line(2,1){180}}
+ \put(90,90){\makebox(90,45){tuul}}
+ \end{picture}}
+ \put(240,720){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(90,0){\line(0,1){180}}
+ \put(0,0){\line(1,0){90}}
+ \put(0,0){\line(1,2){90}}
+ \put(30,0){\makebox(60,60){tull}}
+ \end{picture}}
+ \put(480,720){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,90){\line(1,0){180}}
+ \put(0,90){\line(0,1){90}}
+ \put(0,180){\line(2,-1){180}}
+ \put(0,90){\makebox(90,45){tuur}}
+ \end{picture}}
+ \put(720,720){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(90,0){\line(0,1){180}}
+ \put(90,0){\line(1,0){90}}
+ \put(90,180){\line(1,-2){90}}
+ \put(90,0){\makebox(60,60){turr}}
+ \end{picture}}
+ \put(0,480){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,90){\line(1,0){180}}
+ \put(0,0){\line(0,1){90}}
+ \put(0,0){\line(2,1){180}}
+ \put(0,45){\makebox(90,45){tbbr}}
+ \end{picture}}
+ \put(240,480){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(90,0){\line(0,1){180}}
+ \put(90,180){\line(1,0){90}}
+ \put(90,0){\line(1,2){90}}
+ \put(90,120){\makebox(60,60){tbrr}}
+ \end{picture}}
+ \put(480,480){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,90){\line(1,0){180}}
+ \put(180,0){\line(0,1){90}}
+ \put(0,90){\line(2,-1){180}}
+ \put(90,45){\makebox(90,45){tbbl}}
+ \end{picture}}
+ \put(720,480){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(90,0){\line(0,1){180}}
+ \put(0,180){\line(1,0){90}}
+ \put(0,180){\line(1,-2){90}}
+ \put(30,120){\makebox(60,60){tbll}}
+ \end{picture}}
+ \put(0,240){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,0){\line(0,1){180}}
+ \put(0,180){\line(1,0){90}}
+ \put(0,0){\line(1,2){90}}
+ \put(0,120){\makebox(60,60){ruul}}
+ \end{picture}}
+ \put(240,240){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,180){\line(1,0){180}}
+ \put(0,90){\line(0,1){90}}
+ \put(0,90){\line(2,1){180}}
+ \put(0,135){\makebox(90,45){rull}}
+ \end{picture}}
+ \put(480,240){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(180,0){\line(0,1){180}}
+ \put(90,180){\line(1,0){90}}
+ \put(90,180){\line(1,-2){90}}
+ \put(120,120){\makebox(60,60){ruur}}
+ \end{picture}}
+ \put(720,240){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,180){\line(1,0){180}}
+ \put(180,90){\line(0,1){90}}
+ \put(0,180){\line(2,-1){180}}
+ \put(90,135){\makebox(90,45){rurr}}
+ \end{picture}}
+ \put(0,0){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(180,0){\line(0,1){180}}
+ \put(90,0){\line(1,0){90}}
+ \put(90,0){\line(1,2){90}}
+ \put(120,0){\makebox(60,60){rbbr}}
+ \end{picture}}
+ \put(240,0){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,0){\line(1,0){180}}
+ \put(180,0){\line(0,1){90}}
+ \put(0,0){\line(2,1){180}}
+ \put(90,0){\makebox(90,45){rbrr}}
+ \end{picture}}
+ \put(480,0){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,0){\line(0,1){180}}
+ \put(0,0){\line(1,0){90}}
+ \put(0,180){\line(1,-2){90}}
+ \put(0,0){\makebox(60,60){rbbl}}
+ \end{picture}}
+ \put(720,0){%
+ \begin{picture}(180,180)
+ \put(0,0){\dashbox{5}(180,180){}}
+ \put(0,0){\line(1,0){180}}
+ \put(0,0){\line(0,1){90}}
+ \put(0,90){\line(2,-1){180}}
+ \put(0,0){\makebox(90,45){rbll}}
+ \end{picture}}
+ \end{picture}
+ \end{center}
+ \caption{Long Patches.}
+ \label{longpatches}
+\end{figure}
+
+All sizes are given in terms of the fundamental unit of measurement $u$. The
+quantities {\em body\_height\/} and {\em desc\_depth\/} must include the border
+which is $2u$ thick. However, {\em width\/} does not need to include this
+border because the statement \verb"normal_adjust_fit" is equivalent to it
+horizontally. \MFT\ is somewhat more flexible in the horizontal direction by
+design and intent. The body of a character definition is simply a series of
+macro calls. Each line contains the macros for a given pixel in the bitmap.
+Consequently, each line is reasonably short.
+
+\newpage %improve a bad page break
+
+The \MFT\ code ends with a final header containing a few pieces of information
+for the \TeX\ Font Metric (\verb".tfm") files. The following are the most
+interesting items:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+font_normal_space 8u#;
+font_normal_stretch 4u#;
+font_normal_shrink 3u#;
+font_x_height 24u#; %ex
+font_quad 24u#; %em
+\end{verbatim}
+\end{quote}
+
+I set the normal inter-word spacing to a third of the maximum width of a
+character. This seems comparable to the scheme used in several Computer Modern
+fonts. Stretching and shrinking are set to values also comparable to what is
+used elsewhere. I set the typical character height and width to the maximum
+size of a bitmap.
+
+\subsection{Algorithm}
+\label{algorithm}
+
+Given a bitmap, it is straightforward to determine its width and height, either
+fixed or minimized, while making sure that the vertical relationship with the
+horizontal baseline is respected. The bulk of the problem lies in determining
+the proper combination of squares, triangles, and quarter circles to be used.
+This subsection describes an algorithm developed jointly by Mr. Masatoshi
+Watanabe and me. I find that it produces good enough results for my need. But
+perhaps somebody will not share my opinion, and in that case, the following
+will no doubt prove helpful.
+
+The current bitmap is read into a 24~by~24 array of boolean variables. In what
+follows, I will say that a cell is {\em active\/} if the bitmap dictates that a
+dot should lie in it, otherwise it is {\em inactive}. Each cell is subdivided
+in four, and each subcell is examined with respect to the neighboring cells.
+The current algorithm is very local in that only neighboring cells in direct
+contact with the current cell are examined. A more global algorithm should
+perform better and that is certainly an area worth investigating for future
+releases.
+
+From now on, I will concentrate on the upper left subcell. The other three
+subcells are handled in a similar fashion. In the following diagrams, a
+$\bullet$ indicates an active cell and a $\times$ indicates an inactive cell.
+Unlabeled neighboring cells are simply irrelevant.
+
+The simplest case occurs when the current cell is inactive. Although the center
+of that cell should remain empty, it is possible to use its border to smooth a
+nearby painted area. The algorithm always tries to use long shapes first,
+before falling back to shorter shapes.
+
+First, the following cases clearly require that the upper left subcell not
+be painted:
+\begin{center}
+ \setlength{\unitlength}{0.4pt}
+ \begin{picture}(660,180)
+ \put(0,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,0){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,60){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,0){\makebox(60,60){\Huge$\times$}}
+ \put(60,120){\makebox(60,60){\Huge$\times$}}
+ \put(60,90){\makebox(30,30){\large$\times$}}
+ \end{picture}}
+ \put(240,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,0){\makebox(60,60){\Huge$\times$}}
+ \put(0,60){\makebox(60,60){\Huge$\times$}}
+ \put(0,120){\makebox(60,60){\Huge$\times$}}
+ \put(60,120){\makebox(60,60){\Huge$\times$}}
+ \put(120,120){\makebox(60,60){\Huge$\times$}}
+ \put(60,90){\makebox(30,30){\large$\times$}}
+ \end{picture}}
+ \put(480,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(120,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,60){\makebox(60,60){\Huge$\times$}}
+ \put(120,60){\makebox(60,60){\Huge$\times$}}
+ \put(60,90){\makebox(30,30){\large$\times$}}
+ \end{picture}}
+ \end{picture}
+\end{center}
+
+These three cases require reverse triangles involving the upper left subcell:
+\begin{center}
+ \setlength{\unitlength}{0.4pt}
+ \begin{picture}(660,180)
+ \put(0,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,0){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,60){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(120,120){\makebox(60,60){\Huge$\times$}}
+ \put(60,60){\line(0,1){60}}
+ \put(60,120){\line(1,0){30}}
+ \put(60,60){\line(1,2){30}}
+ \end{picture}}
+ \put(240,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(120,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,60){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,0){\makebox(60,60){\Huge$\times$}}
+ \put(60,120){\line(1,0){60}}
+ \put(60,90){\line(0,1){30}}
+ \put(60,90){\line(2,1){60}}
+ \end{picture}}
+ \put(480,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,60){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(120,120){\makebox(60,60){\Huge$\times$}}
+ \put(0,0){\makebox(60,60){\Huge$\times$}}
+ \put(60,120){\line(1,0){30}}
+ \put(60,90){\line(0,1){30}}
+ \put(60,90){\line(1,1){30}}
+ \end{picture}}
+ \end{picture}
+\end{center}
+
+There are two possible ways of handling the remaining case:
+\begin{center}
+ \setlength{\unitlength}{0.4pt}
+ \begin{picture}(420,180)
+ \put(0,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,0){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,60){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(120,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,90){\makebox(30,30){\large$\times$}}
+ \end{picture}}
+ \put(240,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,0){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,60){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(120,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,120){\line(1,0){30}}
+ \put(60,90){\line(0,1){30}}
+ \put(60,90){\line(1,1){30}}
+ \end{picture}}
+ \end{picture}
+\end{center}
+
+The technique on the left has the advantage of producing clean crossings of
+$+$ strokes, but experimentation shows that it often yields bad crossings of
+$\times$ strokes. The technique on the right produces good crossings of
+$\times$ strokes, but it also generates crossings of $+$ strokes with
+unnecessarily round corners. I examined both alternatives with \MFT\ in proof
+mode, and I found that it is preferable to have characters occasionally
+slightly too smooth, rather than sharp ones occasionally rough. Therefore, the
+approach on the right is the one used in \verb"JIS2MF".
+
+\newpage %improve a bad page break
+
+The most complex situation occurs when the center cell is active. Each of its
+subcells will be filled by a square, a triangle, or a quarter circle. No
+reverse triangle is used in such instances since I insist that the interior of
+the cell be filled. As always, long triangles are tried first. The possible
+four cases involving the upper left subcell are:
+\begin{center}
+ \setlength{\unitlength}{0.4pt}
+ \begin{picture}(900,180)
+ \put(0,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,0){\makebox(60,60){\Huge$\bullet$}}
+ \put(120,60){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,60){\makebox(60,60){\Huge$\times$}}
+ \put(0,120){\makebox(60,60){\Huge$\times$}}
+ \put(60,120){\makebox(60,60){\Huge$\times$}}
+ \put(120,120){\makebox(60,60){\Huge$\times$}}
+ \put(60,90){\line(1,0){60}}
+ \put(120,90){\line(0,1){30}}
+ \put(60,90){\line(2,1){60}}
+ \end{picture}}
+ \put(240,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(60,0){\makebox(60,60){\Huge$\bullet$}}
+ \put(120,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,0){\makebox(60,60){\Huge$\times$}}
+ \put(0,60){\makebox(60,60){\Huge$\times$}}
+ \put(0,120){\makebox(60,60){\Huge$\times$}}
+ \put(60,120){\makebox(60,60){\Huge$\times$}}
+ \put(90,60){\line(0,1){60}}
+ \put(60,60){\line(1,0){30}}
+ \put(60,60){\line(1,2){30}}
+ \end{picture}}
+ \put(480,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,60){\makebox(60,60){\Huge$\bullet$}}
+ \put(120,0){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,120){\makebox(60,60){\Huge$\times$}}
+ \put(60,120){\makebox(60,60){\Huge$\times$}}
+ \put(120,120){\makebox(60,60){\Huge$\times$}}
+ \put(120,60){\makebox(60,60){\Huge$\times$}}
+ \put(60,90){\line(1,0){60}}
+ \put(60,90){\line(0,1){30}}
+ \put(60,120){\line(2,-1){60}}
+ \end{picture}}
+ \put(720,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(120,0){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(0,0){\makebox(60,60){\Huge$\times$}}
+ \put(60,0){\makebox(60,60){\Huge$\times$}}
+ \put(0,60){\makebox(60,60){\Huge$\times$}}
+ \put(0,120){\makebox(60,60){\Huge$\times$}}
+ \put(90,60){\line(0,1){60}}
+ \put(60,120){\line(1,0){30}}
+ \put(60,120){\line(1,-2){30}}
+ \end{picture}}
+ \end{picture}
+\end{center}
+
+If none of these cases can be applied, the following three cases are tried out:
+\begin{center}
+ \setlength{\unitlength}{0.4pt}
+ \begin{picture}(660,180)
+ \put(0,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,60){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,90){\framebox(30,30){}}
+ \end{picture}}
+ \put(240,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,90){\framebox(30,30){}}
+ \end{picture}}
+ \put(480,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(60,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(60,90){\framebox(30,30){}}
+ \end{picture}}
+ \end{picture}
+\end{center}
+
+If neither of these is relevant, I always resort to one of these three final
+cases:
+\begin{center}
+ \setlength{\unitlength}{0.4pt}
+ \begin{picture}(660,180)
+ \put(0,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,60){\makebox(60,60){\Huge$\times$}}
+ \put(0,120){\makebox(60,60){\Huge$\times$}}
+ \put(60,120){\makebox(60,60){\Huge$\times$}}
+ \put(120,120){\makebox(60,60){\Huge$\bullet$}}
+ \put(90,90){\line(-1,0){30}}
+ \put(90,90){\line(0,1){30}}
+ \put(60,90){\line(1,1){30}}
+ \end{picture}}
+ \put(240,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,60){\makebox(60,60){\Huge$\times$}}
+ \put(0,120){\makebox(60,60){\Huge$\times$}}
+ \put(60,120){\makebox(60,60){\Huge$\times$}}
+ \put(0,0){\makebox(60,60){\Huge$\bullet$}}
+ \put(90,90){\line(-1,0){30}}
+ \put(90,90){\line(0,1){30}}
+ \put(60,90){\line(1,1){30}}
+ \end{picture}}
+ \put(480,0){%
+ \begin{picture}(180,180)
+ \multiput(0,0)(60,0){4}{\dashbox{5}(0,180){}}
+ \multiput(0,0)(0,60){4}{\dashbox{5}(180,0){}}
+ \put(0,60){\makebox(60,60){\Huge$\times$}}
+ \put(0,120){\makebox(60,60){\Huge$\times$}}
+ \put(60,120){\makebox(60,60){\Huge$\times$}}
+ \put(0,0){\makebox(60,60){\Huge$\times$}}
+ \put(120,120){\makebox(60,60){\Huge$\times$}}
+ \put(90,90){\line(-1,0){30}}
+ \put(90,90){\line(0,1){30}}
+ \put(90.0,120.0){\circle*{1}}\put(89.3,120.0){\circle*{1}}
+ \put(88.6,120.0){\circle*{1}}\put(87.9,119.9){\circle*{1}}
+ \put(87.2,119.9){\circle*{1}}\put(86.5,119.8){\circle*{1}}
+ \put(85.8,119.7){\circle*{1}}\put(85.1,119.6){\circle*{1}}
+ \put(84.3,119.5){\circle*{1}}\put(83.6,119.3){\circle*{1}}
+ \put(82.9,119.2){\circle*{1}}\put(82.2,119.0){\circle*{1}}
+ \put(81.5,118.8){\circle*{1}}\put(80.8,118.6){\circle*{1}}
+ \put(80.1,118.3){\circle*{1}}\put(79.4,118.1){\circle*{1}}
+ \put(78.7,117.8){\circle*{1}}\put(78.0,117.5){\circle*{1}}
+ \put(77.3,117.2){\circle*{1}}\put(76.6,116.8){\circle*{1}}
+ \put(75.9,116.5){\circle*{1}}\put(75.2,116.1){\circle*{1}}
+ \put(74.4,115.7){\circle*{1}}\put(73.7,115.2){\circle*{1}}
+ \put(73.0,114.7){\circle*{1}}\put(72.3,114.2){\circle*{1}}
+ \put(71.6,113.7){\circle*{1}}\put(70.9,113.1){\circle*{1}}
+ \put(70.2,112.5){\circle*{1}}\put(69.5,111.9){\circle*{1}}
+ \put(68.8,111.2){\circle*{1}}\put(60.0,90.0){\circle*{1}}
+ \put(60.0,90.7){\circle*{1}}\put(60.0,91.4){\circle*{1}}
+ \put(60.1,92.1){\circle*{1}}\put(60.1,92.8){\circle*{1}}
+ \put(60.2,93.5){\circle*{1}}\put(60.3,94.2){\circle*{1}}
+ \put(60.4,94.9){\circle*{1}}\put(60.5,95.7){\circle*{1}}
+ \put(60.7,96.4){\circle*{1}}\put(60.8,97.1){\circle*{1}}
+ \put(61.0,97.8){\circle*{1}}\put(61.2,98.5){\circle*{1}}
+ \put(61.4,99.2){\circle*{1}}\put(61.7,99.9){\circle*{1}}
+ \put(61.9,100.6){\circle*{1}}\put(62.2,101.3){\circle*{1}}
+ \put(62.5,102.0){\circle*{1}}\put(62.8,102.7){\circle*{1}}
+ \put(63.2,103.4){\circle*{1}}\put(63.5,104.1){\circle*{1}}
+ \put(63.9,104.8){\circle*{1}}\put(64.3,105.6){\circle*{1}}
+ \put(64.8,106.3){\circle*{1}}\put(65.3,107.0){\circle*{1}}
+ \put(65.8,107.7){\circle*{1}}\put(66.3,108.4){\circle*{1}}
+ \put(66.9,109.1){\circle*{1}}\put(67.5,109.8){\circle*{1}}
+ \put(68.1,110.5){\circle*{1}}
+ \end{picture}}
+ \end{picture}
+\end{center}
+
+Note that an active cell surrounded by inactive ones is always eventually
+filled by four quarter circles; the original bitmap pixel remains unchanged. In
+that case, rather than using four quarter circle macro calls, I use one call to
+another macro which paints one complete circle. The case of four squares is
+handled similarly with one big square. These two additional macros complete the
+collection of painting macros used by \verb"JIS2MF".
+
+\newpage %improve a bad page break
+
+Figure~\ref{bitmapandcontinuouscharacter} illustrates typical results obtained
+with this algorithm using bitmap~2512 of the JIS~24 dot font.
+
+\begin{figure}[htb]
+ \begin{center}
+ \setlength{\unitlength}{6pt}
+ \begin{picture}(56,24)
+ \put(0,0){%
+ \begin{picture}(25,25)(1,1)
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+ \put(24,2){\makebox(1,1){$\bullet$}}\put(24,3){\makebox(1,1){$\bullet$}}
+ \end{picture}}
+ \put(32,0){%
+ \begin{picture}(24,21.25)(0,-2.75)
+ \newsavebox{\sss}
+ \sbox{\sss}{%
+ \begin{picture}(1,1)
+ \put(0,0){\framebox(1,1){}}
+ \end{picture}}
+ \newsavebox{\sul}
+ \sbox{\sul}{%
+ \begin{picture}(1,1)
+ \put(0,0.5){\framebox(0.5,0.5){}}
+ \end{picture}}
+ \newsavebox{\sur}
+ \sbox{\sur}{%
+ \begin{picture}(1,1)
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+ \end{picture}}
+ \newsavebox{\sbr}
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+ \put(1,2.25){\usebox{\sbl}}\put(1,2.25){\usebox{\tbr}}
+ \put(1,3.25){\usebox{\rbbr}}\put(1,12.25){\usebox{\sss}}
+ \put(1,16.25){\usebox{\sss}}\put(2,2.25){\usebox{\rul}}
+ \put(2,3.25){\usebox{\sul}}\put(2,3.25){\usebox{\sur}}
+ \put(2,3.25){\usebox{\sbl}}\put(2,3.25){\usebox{\tbr}}
+ \put(2,4.25){\usebox{\tull}}\put(2,4.25){\usebox{\sur}}
+ \put(2,4.25){\usebox{\sbr}}\put(2,5.25){\usebox{\rbbr}}
+ \put(2,12.25){\usebox{\sss}}\put(2,16.25){\usebox{\tbbr}}
+ \put(2,16.25){\usebox{\sul}}\put(2,16.25){\usebox{\sur}}
+ \put(2,17.25){\usebox{\rbrr}}\put(3,3.25){\usebox{\rul}}
+ \put(3,4.25){\usebox{\tbrr}}\put(3,4.25){\usebox{\sul}}
+ \put(3,4.25){\usebox{\sbl}}\put(3,5.25){\usebox{\sss}}
+ \put(3,6.25){\usebox{\tull}}\put(3,6.25){\usebox{\sur}}
+ \put(3,6.25){\usebox{\sbr}}\put(3,7.25){\usebox{\rbbr}}
+ \put(3,12.25){\usebox{\sss}}\put(3,16.25){\usebox{\rull}}
+ \put(3,17.25){\usebox{\tuul}}\put(3,17.25){\usebox{\sbl}}
+ \put(3,17.25){\usebox{\sbr}}\put(4,5.25){\usebox{\rul}}
+ \put(4,5.25){\usebox{\rur}}\put(4,6.25){\usebox{\sss}}
+ \put(4,7.25){\usebox{\sss}}\put(4,8.25){\usebox{\sss}}
+ \put(4,9.25){\usebox{\tull}}\put(4,9.25){\usebox{\sur}}
+ \put(4,9.25){\usebox{\sbr}}\put(4,10.25){\usebox{\rbbr}}
+ \put(4,11.25){\usebox{\rur}}\put(4,12.25){\usebox{\sss}}
+ \put(4,13.25){\usebox{\rbr}}\put(4,16.25){\usebox{\rur}}
+ \put(4,17.25){\usebox{\sss}}\put(5,-2.75){\usebox{\sul}}
+ \put(5,-2.75){\usebox{\sur}}\put(5,-2.75){\usebox{\cbl}}
+ \put(5,-2.75){\usebox{\sbr}}\put(5,-1.75){\usebox{\sss}}
+ \put(5,-0.75){\usebox{\sss}}\put(5,0.25){\usebox{\sss}}
+ \put(5,1.25){\usebox{\sss}}\put(5,2.25){\usebox{\sss}}
+ \put(5,3.25){\usebox{\sss}}\put(5,4.25){\usebox{\sss}}
+ \put(5,5.25){\usebox{\sss}}\put(5,6.25){\usebox{\sss}}
+ \put(5,7.25){\usebox{\sss}}\put(5,8.25){\usebox{\sss}}
+ \put(5,9.25){\usebox{\sss}}\put(5,10.25){\usebox{\sss}}
+ \put(5,11.25){\usebox{\sss}}\put(5,12.25){\usebox{\sss}}
+ \put(5,13.25){\usebox{\sss}}\put(5,14.25){\usebox{\sss}}
+ \put(5,15.25){\usebox{\sss}}\put(5,16.25){\usebox{\sss}}
+ \put(5,17.25){\usebox{\sss}}\put(5,18.25){\usebox{\rbrr}}
+ \put(6,-2.75){\usebox{\sul}}\put(6,-2.75){\usebox{\sur}}
+ \put(6,-2.75){\usebox{\sbl}}\put(6,-2.75){\usebox{\cbr}}
+ \put(6,-1.75){\usebox{\sss}}\put(6,-0.75){\usebox{\sss}}
+ \put(6,0.25){\usebox{\sss}}\put(6,1.25){\usebox{\sss}}
+ \put(6,2.25){\usebox{\sss}}\put(6,3.25){\usebox{\sss}}
+ \put(6,4.25){\usebox{\sss}}\put(6,5.25){\usebox{\sss}}
+ \put(6,6.25){\usebox{\sss}}\put(6,7.25){\usebox{\sss}}
+ \put(6,8.25){\usebox{\sss}}\put(6,9.25){\usebox{\sss}}
+ \put(6,10.25){\usebox{\sss}}\put(6,11.25){\usebox{\sss}}
+ \put(6,12.25){\usebox{\sss}}\put(6,13.25){\usebox{\sss}}
+ \put(6,14.25){\usebox{\sss}}\put(6,15.25){\usebox{\sss}}
+ \put(6,16.25){\usebox{\sss}}\put(6,17.25){\usebox{\sss}}
+ \put(6,18.25){\usebox{\tuul}}\put(6,18.25){\usebox{\sbl}}
+ \put(6,18.25){\usebox{\sbr}}\put(7,7.25){\usebox{\rul}}
+ \put(7,8.25){\usebox{\sss}}\put(7,9.25){\usebox{\rbl}}
+ \put(7,11.25){\usebox{\rul}}\put(7,12.25){\usebox{\sss}}
+ \put(7,13.25){\usebox{\rbl}}\put(7,17.25){\usebox{\rul}}
+ \put(7,18.25){\usebox{\sss}}\put(7,19.25){\usebox{\rbrr}}
+ \put(8,7.25){\usebox{\rurr}}\put(8,8.25){\usebox{\tuur}}
+ \put(8,8.25){\usebox{\sbl}}\put(8,8.25){\usebox{\sbr}}
+ \put(8,12.25){\usebox{\sss}}\put(8,13.25){\usebox{\rbrr}}
+ \put(8,18.25){\usebox{\tbbr}}\put(8,18.25){\usebox{\sul}}
+ \put(8,18.25){\usebox{\sur}}\put(8,19.25){\usebox{\tul}}
+ \put(8,19.25){\usebox{\sur}}\put(8,19.25){\usebox{\sbl}}
+ \put(8,19.25){\usebox{\sbr}}\put(8,20.25){\usebox{\rbr}}
+ \put(9,-1.75){\usebox{\ruur}}\put(9,-0.75){\usebox{\cul}}
+ \put(9,-0.75){\usebox{\sur}}\put(9,-0.75){\usebox{\tbl}}
+ \put(9,-0.75){\usebox{\sbr}}\put(9,6.25){\usebox{\ruur}}
+ \put(9,7.25){\usebox{\sul}}\put(9,7.25){\usebox{\sur}}
+ \put(9,7.25){\usebox{\tbl}}\put(9,7.25){\usebox{\sbr}}
+ \put(9,8.25){\usebox{\rbll}}\put(9,12.25){\usebox{\sss}}
+ \put(9,13.25){\usebox{\tuul}}\put(9,13.25){\usebox{\sbl}}
+ \put(9,13.25){\usebox{\sbr}}\put(9,18.25){\usebox{\rull}}
+ \put(9,19.25){\usebox{\sss}}\put(9,20.25){\usebox{\tuul}}
+ \put(9,20.25){\usebox{\sbl}}\put(9,20.25){\usebox{\sbr}}
+ \put(10,-2.75){\usebox{\sul}}\put(10,-2.75){\usebox{\sur}}
+ \put(10,-2.75){\usebox{\cbl}}\put(10,-2.75){\usebox{\tbr}}
+ \put(10,-1.75){\usebox{\sss}}\put(10,-0.75){\usebox{\sss}}
+ \put(10,5.25){\usebox{\sul}}\put(10,5.25){\usebox{\sur}}
+ \put(10,5.25){\usebox{\cbl}}\put(10,5.25){\usebox{\sbr}}
+ \put(10,6.25){\usebox{\sss}}\put(10,7.25){\usebox{\tuur}}
+ \put(10,7.25){\usebox{\sbl}}\put(10,7.25){\usebox{\sbr}}
+ \put(10,12.25){\usebox{\sss}}\put(10,13.25){\usebox{\tuur}}
+ \put(10,13.25){\usebox{\sbl}}\put(10,13.25){\usebox{\sbr}}
+ \put(10,19.25){\usebox{\sss}}\put(10,20.25){\usebox{\tuur}}
+ \put(10,20.25){\usebox{\sbl}}\put(10,20.25){\usebox{\sbr}}
+ \put(11,-2.75){\usebox{\rull}}\put(11,-1.75){\usebox{\sss}}
+ \put(11,-0.75){\usebox{\sss}}\put(11,5.25){\usebox{\sul}}
+ \put(11,5.25){\usebox{\sur}}\put(11,5.25){\usebox{\sbl}}
+ \put(11,5.25){\usebox{\cbr}}\put(11,6.25){\usebox{\turr}}
+ \put(11,6.25){\usebox{\sul}}\put(11,6.25){\usebox{\sbl}}
+ \put(11,7.25){\usebox{\rbl}}\put(11,12.25){\usebox{\sul}}
+ \put(11,12.25){\usebox{\tur}}\put(11,12.25){\usebox{\sbl}}
+ \put(11,12.25){\usebox{\cbr}}\put(11,13.25){\usebox{\rbl}}
+ \put(11,19.25){\usebox{\sul}}\put(11,19.25){\usebox{\tur}}
+ \put(11,19.25){\usebox{\sbl}}\put(11,19.25){\usebox{\cbr}}
+ \put(11,20.25){\usebox{\rbl}}\put(12,-1.75){\usebox{\sss}}
+ \put(12,-0.75){\usebox{\sss}}\put(12,0.25){\usebox{\rbr}}
+ \put(13,-1.75){\usebox{\tbbr}}\put(13,-1.75){\usebox{\sul}}
+ \put(13,-1.75){\usebox{\sur}}\put(13,-0.75){\usebox{\sss}}
+ \put(13,0.25){\usebox{\sss}}\put(13,1.25){\usebox{\tull}}
+ \put(13,1.25){\usebox{\sur}}\put(13,1.25){\usebox{\sbr}}
+ \put(13,2.25){\usebox{\rbbr}}\put(14,-1.75){\usebox{\rull}}
+ \put(14,-0.75){\usebox{\sss}}\put(14,0.25){\usebox{\rbl}}
+ \put(14,1.25){\usebox{\ruul}}\put(14,2.25){\usebox{\tbrr}}
+ \put(14,2.25){\usebox{\sul}}\put(14,2.25){\usebox{\sbl}}
+ \put(14,3.25){\usebox{\sss}}\put(14,4.25){\usebox{\sss}}
+ \put(14,5.25){\usebox{\tull}}\put(14,5.25){\usebox{\sur}}
+ \put(14,5.25){\usebox{\sbr}}\put(14,6.25){\usebox{\rbbr}}
+ \put(15,-0.75){\usebox{\sss}}\put(15,3.25){\usebox{\ruul}}
+ \put(15,4.25){\usebox{\tbrr}}\put(15,4.25){\usebox{\sul}}
+ \put(15,4.25){\usebox{\sbl}}\put(15,5.25){\usebox{\sss}}
+ \put(15,6.25){\usebox{\sss}}\put(15,7.25){\usebox{\sss}}
+ \put(15,8.25){\usebox{\sss}}\put(15,9.25){\usebox{\sss}}
+ \put(15,10.25){\usebox{\sss}}\put(15,11.25){\usebox{\sss}}
+ \put(15,12.25){\usebox{\tull}}\put(15,12.25){\usebox{\sur}}
+ \put(15,12.25){\usebox{\sbr}}\put(15,13.25){\usebox{\rbbr}}
+ \put(16,-0.75){\usebox{\sss}}\put(16,7.25){\usebox{\ruul}}
+ \put(16,8.25){\usebox{\tbrr}}\put(16,8.25){\usebox{\sul}}
+ \put(16,8.25){\usebox{\sbl}}\put(16,9.25){\usebox{\sss}}
+ \put(16,10.25){\usebox{\sss}}\put(16,11.25){\usebox{\sss}}
+ \put(16,12.25){\usebox{\sss}}\put(16,13.25){\usebox{\sss}}
+ \put(16,14.25){\usebox{\sss}}\put(16,15.25){\usebox{\sss}}
+ \put(16,16.25){\usebox{\sss}}\put(16,17.25){\usebox{\sss}}
+ \put(16,18.25){\usebox{\sss}}\put(16,19.25){\usebox{\sss}}
+ \put(16,20.25){\usebox{\cul}}\put(16,20.25){\usebox{\tur}}
+ \put(16,20.25){\usebox{\sbl}}\put(16,20.25){\usebox{\sbr}}
+ \put(17,-0.75){\usebox{\tbbr}}\put(17,-0.75){\usebox{\sul}}
+ \put(17,-0.75){\usebox{\sur}}\put(17,0.25){\usebox{\rbrr}}
+ \put(17,12.25){\usebox{\ruul}}\put(17,13.25){\usebox{\tbrr}}
+ \put(17,13.25){\usebox{\sul}}\put(17,13.25){\usebox{\sbl}}
+ \put(17,14.25){\usebox{\sss}}\put(17,15.25){\usebox{\sss}}
+ \put(17,16.25){\usebox{\sss}}\put(17,17.25){\usebox{\sss}}
+ \put(17,18.25){\usebox{\sss}}\put(17,19.25){\usebox{\sss}}
+ \put(17,20.25){\usebox{\rbll}}\put(18,-0.75){\usebox{\rull}}
+ \put(18,0.25){\usebox{\tuul}}\put(18,0.25){\usebox{\sbl}}
+ \put(18,0.25){\usebox{\sbr}}\put(18,18.25){\usebox{\ruul}}
+ \put(18,19.25){\usebox{\sul}}\put(18,19.25){\usebox{\cur}}
+ \put(18,19.25){\usebox{\sbl}}\put(18,19.25){\usebox{\tbr}}
+ \put(19,0.25){\usebox{\sss}}\put(19,3.25){\usebox{\ruur}}
+ \put(19,4.25){\usebox{\cul}}\put(19,4.25){\usebox{\tur}}
+ \put(19,4.25){\usebox{\tbl}}\put(19,4.25){\usebox{\sbr}}
+ \put(20,0.25){\usebox{\sss}}\put(20,1.25){\usebox{\ruur}}
+ \put(20,1.25){\usebox{\rbr}}\put(20,2.25){\usebox{\tbll}}
+ \put(20,2.25){\usebox{\sur}}\put(20,2.25){\usebox{\sbr}}
+ \put(20,3.25){\usebox{\sul}}\put(20,3.25){\usebox{\tur}}
+ \put(20,3.25){\usebox{\sbl}}\put(20,3.25){\usebox{\sbr}}
+ \put(20,4.25){\usebox{\rbl}}\put(21,-0.75){\usebox{\rur}}
+ \put(21,0.25){\usebox{\sss}}\put(21,1.25){\usebox{\sss}}
+ \put(21,2.25){\usebox{\sul}}\put(21,2.25){\usebox{\tur}}
+ \put(21,2.25){\usebox{\sbl}}\put(21,2.25){\usebox{\sbr}}
+ \put(21,3.25){\usebox{\rbl}}\put(22,-2.75){\usebox{\sul}}
+ \put(22,-2.75){\usebox{\sur}}\put(22,-2.75){\usebox{\cbl}}
+ \put(22,-2.75){\usebox{\sbr}}\put(22,-1.75){\usebox{\sss}}
+ \put(22,-0.75){\usebox{\sss}}\put(22,0.25){\usebox{\sss}}
+ \put(22,1.25){\usebox{\turr}}\put(22,1.25){\usebox{\sul}}
+ \put(22,1.25){\usebox{\sbl}}\put(22,2.25){\usebox{\rbl}}
+ \put(23,-2.75){\usebox{\sul}}\put(23,-2.75){\usebox{\sur}}
+ \put(23,-2.75){\usebox{\sbl}}\put(23,-2.75){\usebox{\cbr}}
+ \put(23,-1.75){\usebox{\sss}}\put(23,-0.75){\usebox{\turr}}
+ \put(23,-0.75){\usebox{\sul}}\put(23,-0.75){\usebox{\sbl}}
+ \put(23,0.25){\usebox{\rbbl}}
+ \sbox{\sss}{}
+ \sbox{\sul}{}\sbox{\sur}{}\sbox{\sbr}{}\sbox{\sbl}{}
+ \sbox{\cul}{}\sbox{\cur}{}\sbox{\cbr}{}\sbox{\cbl}{}
+ \sbox{\tul}{}\sbox{\tur}{}\sbox{\tbr}{}\sbox{\tbl}{}
+ \sbox{\rul}{}\sbox{\rur}{}\sbox{\rbr}{}\sbox{\rbl}{}
+ \sbox{\tuul}{}\sbox{\tuur}{}\sbox{\tbbl}{}\sbox{\tbbr}{}
+ \sbox{\tull}{}\sbox{\turr}{}\sbox{\tbll}{}\sbox{\tbrr}{}
+ \sbox{\ruul}{}\sbox{\ruur}{}\sbox{\rbbl}{}\sbox{\rbbr}{}
+ \sbox{\rull}{}\sbox{\rurr}{}\sbox{\rbll}{}\sbox{\rbrr}{}
+ \end{picture}}
+ \end{picture}
+ \end{center}
+ \caption{Bitmap and Continuous Character.}
+ \label{bitmapandcontinuouscharacter}
+\end{figure}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\section{The \LLaTeX\ Interface}
+\typeout{3 The [La]TeX Interface}
+\label{thelatexinterface}
+
+The next challenge is to make \LLaTeX\ understand the output of a japanese text
+editor. There seems to be three ways of achieving this. First, one can modify
+the input routines of \TeX\ and recompile it. This is the approach used by
+J\TeX\ and \mbox{ASCII-j\TeX}. For the reasons mentioned in
+Subsection~\ref{whyjemtex}, I do not want to get into rebuilding \TeX.
+A second possibility is to write macros to have \TeX\ understand japanese.
+Unfortunately, I do not have the expertise to do that.
+
+The third possibility is to write a preprocessor to transform any japanese
+document into a standard \LLaTeX\ one. And I do know enough about japanese and
+\TeX\ to accomplish this. This important decision has several consequences. If
+I am to have the power of any programming language available somewhere in the
+chain from a japanese text to a final \LLaTeX\ document, I might as well fully
+exploit that power. As much as possible of the work should be done by the
+compiled preprocessor, keeping the necessary interpreted \LLaTeX\ macros simple
+and fast. This philosophy is present in many aspects of my work.
+
+\newpage %improve a bad page break
+
+The \JemTeX\ preprocessor deals with the following issues:
+\begin{itemize}
+ \item Loading and calling \JemTeX\ fonts.
+ \item Japanese hyphenation.
+ \item Japanese spacing.
+\end{itemize}
+
+The next subsections will discuss these topics and related subjects, before
+eventually taking up the actual operation of the preprocessor.
+
+\subsection{Japanese Encodings}
+\label{japaneseencodings}
+
+The reasonable thing to do at this point is to look into how japanese is
+represented by a japanese text editor. The first method I came across is the
+Japanese Industrial Standard (JIS). Unfortunately, my japanese text editor is
+very unreliable in JIS mode and this is why I never use it in this mode. I also
+do not know exactly how JIS works, but I do know that it involves escape
+sequences. I will be happy to support it in future versions of \JemTeX\, if
+users express that need and if somebody gives me more information about it.
+
+\label{euc}
+
+The second method is the Extended UNIX Code (EUC). I like it because it is the
+only encoding that my japanese text editor handles reliably. Each japanese
+character is represented by a pair of ASCII characters in the range
+$[161,\ldots,254]$. Given an EUC character $(x,y)$, its position in the JIS~24
+dot font is simply:
+ \[ 94 \times ( x - 161 ) + ( y - 161 ) + 1 \]
+
+\label{mskanji}
+
+A third method is the \mbox{MS-kanji} (\mbox{Shift-JIS}) code which is very
+popular in the DOS world. As for EUC, each japanese character is represented by
+a pair of ASCII characters. The first character is always in the range
+$[129,\ldots,159,224,\ldots,234]$ and the second character is always in the
+range $[64,\ldots,126,128,\ldots,252]$. Given an \mbox{MS-kanji} character,
+consider the coordinates $(x,y)$ obtained by shifting the upper subranges so
+that they are consecutive to the lower subranges, the position of the character
+in the JIS~24 dot font then is:
+ \[ 188 \times ( x - 129 ) + ( y - 64 ) + 1 \]
+
+The preprocessor supports EUC and \mbox{MS-kanji}. You may freely use both in
+any \JemTeX\ document.
+
+\subsection{Using Fonts}
+\label{usingfonts}
+
+This subsection covers all the details having to do with \JemTeX\ fonts.
+
+One of the operation carried out by the preprocessor is the replacement of any
+EUC or \mbox{MS-kanji} character pair by the appropriate font name and symbol
+number. However, all \JemTeX\ fonts must first be declared in a \LLaTeX\ header
+before they can be used.
+
+\label{header}
+
+In \LaTeX, a \JemTeX\ font at magstep~$3.0$, say, is loaded with the following
+command:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+\newfont{\keac}{kanjiac scaled 1728}
+\end{verbatim}
+\end{quote}
+In \TeX, it is loaded with:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+\font\keac=kanjiac scaled 1728
+\end{verbatim}
+\end{quote}
+The \JemTeX\ font is referred to by \verb"\keac", which is a convenient short
+name. The number $1728$ comes from $1728 = 1000 \times 1.2^{3.0}$.
+
+The preprocessor scans the input file in a first pass and determines the
+\JemTeX\ fonts needed. It then writes a \LLaTeX\ header to load these fonts,
+and finally appends the translation obtained by a second pass of the input
+file.
+
+There are at most 128~symbols numbered from~0 to~127 in a \JemTeX\ font. A
+japanese symbol can be produced in \TeX\ and in \LaTeX\ with the following
+command:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+\kk{\keac}{65}
+\end{verbatim}
+\end{quote}
+The preprocessor will supply these automatically for you.
+
+\subsection{Hyphenation}
+\label{hyphenation}
+
+In order to produce a right margin which is even, \TeX\ occasionally needs to
+hyphenate some words. Although it is pretty good at this in english, \TeX\ is
+incapable of doing it in japanese. Therefore, the preprocessor must supply
+explicitly all possible hyphenation locations for \TeX. This subsection
+describes the rules governing this process.
+
+\label{hyphen}
+
+Hyphenation is relevant only between two consecutive characters. Hyphenation in
+english is obtained with a \verb"\-" command. In japanese, it is obtained with
+a \verb"\hh" command. The preprocessor will never allow japanese hyphenation
+between two characters when one or both are roman. But if the two characters
+are japanese, it may insert a \verb"\hh" command in between. Contrary to
+english, no - gets appended at the end of a line hyphenated by a \verb"\hh"
+command.
+
+All japanese characters encountered are classified as {\em alphabetical\/} or
+{\em symbolic}. The alphabetical japanese characters are hiraganas, katakanas,
+and kanjis. All other japanese characters found in the JIS~24 dot font are
+symbolic, they include punctuation signs, english, greek, and russian
+characters.
+
+This classification is important because it is difficult for the \JemTeX\
+preprocessor to automatically decide where to allow hyphenation when
+mathematics or foreign languages are concerned. Consequently, the preprocessor
+never allows hyphenation between two japanese characters when both are
+symbolic. But if one or both japanese characters are alphabetical, hyphenation
+may be allowed since one can hyphenate anywhere in japanese, except possibly
+when punctuation signs are involved. This is not too difficult to handle for
+the preprocessor.
+
+More precisely, the preprocessor will not allow hyphenation before the
+following japanese punctuation signs .,!?:;$\cdot)]\}\rfloor\rangle$'\,'' and
+other related closing characters. It will not allow hyphenation either after
+$([\{\lceil\langle$`\,`` and other related opening characters.
+
+\label{preventh}
+
+If you would like to allow japanese hyphenation where the preprocessor would
+not allow it, simply put a \verb"\hh" command at the right place in your
+source file. If the next character is a roman letter, you have to use instead
+\verb"\hh{}" to prevent confusion. If you would like to prevent the
+preprocessor from allowing japanese hyphenation, put a \verb"{}" to separate
+the two consecutive japanese characters in your source file. The preprocessor
+will not realize that the japanese characters are consecutive anymore, and it
+will not allow hyphenation.
+
+\subsection{Spacing}
+\label{spacing}
+
+In addition to explicitly telling \TeX\ where japanese hyphenation is allowed,
+it is also necessary to add space around some japanese characters. For example,
+this occurs around japanese punctuation signs or at transitions from japanese
+to roman. Indeed, when \TeX\ comes across the command \verb"\kk{\kaaa}{3}", it
+has no idea that this is a japanese period. The preprocessor has to give \TeX\
+a hand in these cases. Such space must always be added after any hyphenation
+command \verb"\hh" that may already have been inserted. Otherwise, you risk
+compromising the flush right margin.
+
+\TeX\ normally introduces extra space after a roman period only if a roman
+space follows it. My japanese text editor does not support spaces while in
+japanese mode. After all, there are no spaces between words in japanese. This
+implies that one would have to enter, say, a japanese period, then switch to
+roman mode, enter a space, and finally switch back to japanese mode. I think
+this is too cumbersome. Therefore, the preprocessor handles japanese spacing
+issues without expecting roman spaces anywhere.
+
+\label{bigmedium}
+
+The preprocessor uses three types of space to achieve its goal; a big space
+with a \verb"\eeee" command, a medium space with a \verb"\eee" command, and a
+tiny space with a \verb"\ee" command. Only one space is added at one place. For
+example, if logic calls for a big, a medium, and a medium space between two
+consecutive characters, only a big one will be inserted by the preprocessor.
+
+No space is ever added between two consecutive roman characters, but as soon as
+one or both characters are japanese, space may become necessary. Let us first
+look at the mixed case where one japanese character is involved with a roman
+one. A big space is inserted after all japanese punctuation signs .,!?\
+followed by a roman character. A medium space is inserted after all japanese
+punctuation signs :;$\cdot)]\}\rfloor\rangle$'\,'' followed by a roman
+character. A medium space is also inserted after all roman characters followed
+by any of the japanese punctuation signs $\cdot([\{\lceil\langle$`\,``.
+
+This takes care of the japanese punctuation spaces. Space is also added for
+transitions as follows. A medium space is inserted after all roman letters and
+all roman digits followed by a japanese character, except if that japanese
+character is any of the following punctuation signs
+.,!?:;$)]\}\rfloor\rangle$'\,''. A medium space is also inserted after a
+japanese character followed by a roman letter or a roman digit, except if that
+japanese character is any of the following punctuation signs
+$([\{\lceil\langle$`\,``.
+
+The case of two consecutive japanese characters is more precise since more
+information is known. It is also closely related to the previous mixed case.
+A big space is inserted after all japanese punctuation signs .,!? but not
+before any of the japanese punctuation signs .,!?$)]\}\rfloor\rangle$'\,''.
+A medium space is inserted after all japanese punctuation signs
+:;$\cdot)]\}\rfloor\rangle$'\,'' but not before any of the japanese punctuation
+signs .,!?:;$)]\}\rfloor\rangle$'\,''. A medium space is also inserted before
+all the japanese punctuation signs $\cdot([\{\lceil\langle$`\,`` but not after
+any of the japanese punctuation signs $([\{\lceil\langle$`\,``.
+
+This covers all cases of big and medium spaces. If you would like to add space
+where the preprocessor would not, simply put a \verb"\eeee" command or a
+\verb"\eee" command at the right place in your source file. Remember to do that
+only after any hyphenation \verb"\hh" command that you may already have added.
+If the next character is a roman letter, you have to use instead \verb"\eeee{}"
+and \verb"\eee{}" to prevent confusion.
+
+\label{prevents}
+
+There are cases where it is preferable to have no extra space after a japanese
+punctuation sign. For example, when typesetting music with \MuTeX, one does not
+want extra space if the japanese text is going under the staff. This affects
+adversary its centering under notes. If you would like to prevent the
+preprocessor from adding space, try to put a \verb"{}" at the right place to
+separate the two consecutive japanese characters, or the japanese character
+from the roman letter or the roman digit. In the few remaining cases where this
+cannot work, you have to temporarily disable the preprocessor's ability to add
+spaces. Subsection~\ref{thejem2texpreprocessor} explains how to do this.
+
+Tiny space has to do with line breaking, and it is very important. \TeX\
+creates a flush right margin by adding extra space between words. However,
+\TeX\ does not add extra space between characters making up words. Since words
+in japanese are not separated by spaces, the only opportunity \TeX\ has to add
+extra space is where big and medium spaces have been added by the preprocessor.
+Some long japanese sentence may span several lines without any added space.
+\TeX\ then has no opportunity at all to stretch space in order to generate a
+flush right margin.
+
+To solve this serious problem, a tiny space is added between all consecutive
+japanese characters, unless some big or medium space has already been inserted.
+If you should ever want to disable this feature, proceed as before by inserting
+a \verb"{}" at the right place. This will always work.
+
+\subsection{\LLaTeX\ Comments}
+\label{llatexcomments}
+
+It is quite clear from the previous two subsections that the concept of
+consecutive characters is very important for the preprocessor. This notion is
+closely related to \LLaTeX\ comments and end of lines. Let us first discuss the
+english case before moving on to the japanese one.
+
+\newpage %improve a bad page break
+
+In most circumstances, the character \verb"%" tells \TeX\ to consider the
+remainder of the current line as a comment and to simply ignore it. Consider
+the following example:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+A% Here is a TeX comment.
+% Here is a TeX comment.
+B% Here is a TeX comment.
+\end{verbatim}
+\end{quote}
+Even though \verb"A" and \verb"B" are not at all consecutive in the source file
+because of the comments separating them, they are consecutive as far as \TeX\
+is concerned. One could equally well have entered instead \verb"AB" without any
+comments in between.
+
+Consider now another example:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+A
+B
+\end{verbatim}
+\end{quote}
+The characters \verb"A" and \verb"B" are not consecutive because they are
+separated by an invisible end of line character. \TeX\ treats an end of line
+character just like if a space was present between \verb"A" and \verb"B".
+
+These remarks apply equally well if \verb"A" and \verb"B" were japanese
+characters. To distinguish both types of end of line, I will say that an end of
+line is roman if the last character on that line is a roman character. A
+similar definition holds for japanese end of lines. It is important for the
+preprocessor to determine if japanese characters are consecutive in order to
+allow hyphenation and add space correctly. The remainder of this subsection
+explains how this is achieved.
+
+In english, any given input line usually terminates just after a word. The end
+of line character after that word is replaced by a space by \TeX, which is
+perfectly acceptable since a space should separate english words. In japanese,
+there is no space between words, so this end of line character must be removed
+to prevent \TeX\ from adding space. There are two ways of doing this while
+using \JemTeX.
+
+\label{eol}
+
+First, you can explicitly put a \verb"%" after all japanese end of lines. This
+will always work, but it is also tedious. Second, you can let the preprocessor
+do that for you. However, you should make sure your input lines do end with a
+japanese character, not a roman space character. This can be a problem because
+some text editors insist on putting some space characters at the end of each
+line. You should make sure that your text editor does not do so. Then, the
+\JemTeX\ preprocessor will have no problem in detecting japanese end of lines
+and will add all the \verb"%" characters for you.
+
+It is also important for the preprocessor to detect \TeX\ comments. The
+preprocessor recognizes a comment if it starts in the first column of the input
+file, or if it's a comment that the processor had to insert itself, i.e.\ after
+a japanese end of line. Therefore, when typing the japanese parts of your
+source file, you should always use comments starting in the first column and
+let the preprocessor handle japanese end of lines. This makes it almost certain
+that the preprocessor will handle hyphenation and spacing correctly.
+
+\subsection{\LLaTeX\ Limitations}
+\label{llatexlimitations}
+
+The previous subsections introduced the different operations that the \JemTeX\
+preprocessor must perform in order to produce an acceptable \LLaTeX\ document
+from a japanese one. Each japanese character is replaced by a command like
+\verb"\kk{\kaaa}{109}" potentially followed by an hyphenation command
+\verb"\hh" and potentially followed by a spacing command like \verb"\eeee{}".
+In the worst case, the two characters representing the original japanese one
+are replaced by approximately 25~roman characters.
+
+This expansion of the source file could cause some problems because there is a
+limit to the maximum length of an input line that \TeX\ can accept. Here are
+typical statistics for one big \emTeX\ run:
+\begin{small}%Don't put spaces after the next line!
+\begin{verbatim}
+Here is how much of TeX's memory you used:
+ 181 strings out of 6937
+ 1607 string characters out of 28560
+ 83907 words of memory out of 262142
+ 2145 multiletter control sequences out of 5000
+ 20585 words of font info for 79 fonts, out of 81920 for 254
+ 15 hyphenation exceptions out of 607
+ 13i,8n,21p,321b,309s positions out of 300i,100n,60p,3000b,1000s
+\end{verbatim}
+\end{small}
+
+The last line (\verb"3000b") tells us that big \emTeX\ can accept input lines
+of 3000~roman characters. Therefore, big \emTeX\ can handle lines of
+approximately 120~japanese characters. Most monitors support only~40, 80, or
+132~characters per line, that should be enough. However, some japanese text
+editors display text on separate lines while whole paragraphs are actually kept
+on one single line internally. You should make sure that your japanese text
+editor does split its paragraphs into lines of a reasonable size.
+
+The only potential remaining problem has to do with the \verb".toc" and
+\verb".aux" files. These files are created by \LaTeX\ for its personal use and
+contain such things as chapter names, cross-references, etc. These are always
+formatted one item per line. If you have a chapter name which is longer than
+120~japanese characters, you can split it on several lines in your source file.
+Then, \LaTeX\ will have no problem with the title itself. But in its first
+pass, it will create the \verb".toc" and \verb".aux" files which will have a
+very long line. When \LaTeX\ starts to read the resulting \verb".aux" file on
+its second pass, it will complain that the line is too long and stop. I think
+it is unlikely that you will ever have such a long chapter name. But if you do,
+here is my solution.
+
+Suppose your \verb".aux" file contains one long line of japanese text:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+\@writefile{toc}{Very long japanese text.}
+\end{verbatim}
+\end{quote}
+Edit the \verb".aux" file and replace the troublesome line by:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+\@writefile{toc}{\texta \textb \textc \textd}
+\end{verbatim}
+\end{quote}
+And add the following macros to your \LaTeX\ source file:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+\newcommand{\texta}{Very}
+\newcommand{\textb}{long}
+\newcommand{\textc}{japanese}
+\newcommand{\textd}{text.}
+\end{verbatim}
+\end{quote}
+Having done all that, you may now successfully run \LaTeX\ once.
+
+Unfortunately, this run will modify your \verb".aux" file again. There are two
+ways around this. First, you could use the \LaTeX\ command \verb"\nofiles".
+Secondly, you could edit your \verb".aux" once again. As I already mentioned,
+it is unlikely that you will ever need to resort to this trick since the
+current limit of 120~japanese characters is quite reasonable. But if you are
+curious, that's how you can avoid the problem.
+
+\subsection{The {\tt JEM2TEX} Preprocessor}
+\label{thejem2texpreprocessor}
+
+Given a japanese source file, my program \verb"JEM2TEX" can generate an
+equivalent \LLaTeX\ source file. You have been supplied with the source and the
+compressed compiled version of this C program. The only information necessary
+is the source file name and some parameters. \verb"JEM2TEX" will try the file
+name extensions \verb".jem", \verb".jpn", and \verb".jap" for you so you do not
+need to specify them.
+
+If you simply start \verb"JEM2TEX" without any command line information, it
+will run in manual mode where you must answer questions interactively
+throughout the operation. If you specify any command line information, the
+preprocessor then runs in automatic mode. In addition to specifying the source
+file name on the command line, you can also supply command line parameters on
+it. These always begin with a \verb"/" or a \verb"-", and any combination of
+small and capital letters is acceptable.
+
+In automatic mode, a \LaTeX\ document \verb"japanese.jem" with japanese
+extended EUC characters at magstep~$3.0$, and with spaces to add, and with
+\verb"%" to add at japanese end of lines is assumed as default. However, you
+may override or confirm any of these default values with the appropriate
+command line parameters. The recognized ones are listed in
+Tables~\ref{spaceparameters}, \ref{japaneseeolparameters},
+\ref{encodingparameters}, \ref{fontsizeparameters}, and~\ref{headerparameters}.
+
+\begin{table}[htb]
+ \begin{center}
+ \begin{tabular}{ll}
+ \mbox{$\left.\parbox{3cm}{%
+ \verb"/Space" \\
+ \verb"/Extra" \\
+ \verb"/ExtraSpace"}\right\}$} & Spaces added. \\[5.5mm]
+ \mbox{$\left.\parbox{3cm}{%
+ \verb"/NoSpace" \\
+ \verb"/NoExtra" \\
+ \verb"/NoExtraSpace"}\right\}$} & No spaces added.
+ \end{tabular}
+ \end{center}
+ \caption{Space Parameters.}
+ \label{spaceparameters}
+ \begin{center}
+ \begin{tabular}{ll}
+ \mbox{$\left.\parbox{2.3cm}{%
+ \verb"/EOL" \\
+ \verb"/Percent" \\
+ \verb"/Comment"}\right\}$} & \verb"%" added. \\[6.5mm]
+ \mbox{$\left.\parbox{2.3cm}{%
+ \verb"/NoEOL" \\
+ \verb"/NoPercent" \\
+ \verb"/NoComment"}\right\}$} & No \verb"%" added.
+ \end{tabular}
+ \end{center}
+ \caption{Japanese EOL Parameters.}
+ \label{japaneseeolparameters}
+\end{table}
+
+\newpage %improve a bad page break
+
+\begin{table}[htb]
+ \begin{center}
+ \begin{tabular}{ll}
+ \parbox{2.2cm}{\verb"/EUC"} & Extended UNIX code. \\[1.5mm]
+ \mbox{$\left.\parbox{2.2cm}{%
+ \verb"/MSkanji" \\
+ \verb"/ShiftJIS"}\right\}$} & MS-kanji code. \\[2.5mm]
+ \parbox{2.2cm}{\verb"/Extended"} & Extended characters. \\
+ \parbox{2.2cm}{\verb"/Standard"} & Standard characters.
+ \end{tabular}
+ \end{center}
+ \caption{Encoding Parameters.}
+ \label{encodingparameters}
+ \begin{center}
+ \begin{tabular}{ll}
+ \mbox{$\left.\parbox{3cm}{%
+ \verb"/1000 /0.0 /0" \\
+ \verb"/1095 /0.5" \\
+ \verb"/1200 /1.0 /1" \\
+ \verb"/1440 /2.0 /2" \\
+ \verb"/1728 /3.0 /3" \\
+ \verb"/2074 /4.0 /4" \\
+ \verb"/2488 /5.0 /5"}\right\}$} & Initial japanese font size.
+ \end{tabular}
+ \end{center}
+ \caption{Font Size Parameters.}
+ \label{fontsizeparameters}
+ \begin{center}
+ \begin{tabular}{ll}
+ \parbox{1.5cm}{\verb"/LaTeX"} & \LaTeX\ header. \\[1mm]
+ \mbox{$\left.\parbox{1.5cm}{%
+ \verb"/TeX" \\
+ \verb"/MuTeX"}\right\}$} & \TeX\ header.
+ \end{tabular}
+ \end{center}
+ \caption{Header Parameters.}
+ \label{headerparameters}
+\end{table}
+
+For music, I usually use only hiraganas and katakanas. The following is
+appropriate since these japanese characters are simple:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+jem2tex anri /MuTeX /NoEOL /NoSpace /Standard /EUC /0.5
+\end{verbatim}
+\end{quote}
+For a letter with complicated kanjis, I would rather use:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+jem2tex yuka /LaTeX /EOL /Space /Extended /EUC /2
+\end{verbatim}
+\end{quote}
+It is also possible to change these parameters at run-time with \TeX\ comments.
+Here is an example:
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+% jem2tex /LaTeX /Space /EOL /MSkanji /1440
+\end{verbatim}
+\end{quote}
+
+The preprocessor expects the \verb"%" to be the first character of the line as
+explained in Subsection~\ref{llatexcomments}. Then one of the keywords
+\verb"jem2tex", \verb"jpn2tex", or~\verb"jap2tex" must follow immediately, or
+after some spaces. Valid parameters are then scanned. The preprocessor will
+produce comments in the \LLaTeX\ file as its status is changed. An invalid
+parameter stops the current scan for parameters, but does not terminate the
+preprocessor's operation.
+
+\label{nospaces}
+\label{fonts}
+
+Run-time parameters can be used to change japanese font sizes according to
+environments and to temporarily disable space insertion. I also always put in
+the first line of my \verb".jem" files the initial parameters. Here is an
+example:
+\begin{quote}
+\verb"%JEM2TEX /Space /EOL /Extended /EUC /LaTeX" \\
+\verb"\documentstyle[12pt]{tegami}" \\
+\verb"\begin{document}" \\
+\verb"\begin{large}" \\
+\verb"%JEM2TEX /1440" \\
+$\vdots$ \\
+\verb"Here is some japanese text" \\
+\verb"%JEM2TEX /1000" \\
+\verb"\footnote{Japanese footnote.}%" \\
+\verb"%JEM2TEX /1440" \\
+\verb"with a footnote showing the font size change." \\
+$\vdots$ \\
+\verb"\end{large}" \\
+\verb"\end{document}"
+\end{quote}
+
+\label{12points}
+
+As mentioned in the \LaTeX\ book about loading fonts, using a japanese font
+doesn't change style parameters like \verb"\baselineskip". Make sure the
+appropriate size changing command is active when a japanese font is used. In
+the previous example, the \verb"/1440" indicates that magstep~$2.0$ is desired
+for the japanese fonts. The command \verb"large" insures that \LaTeX\ is aware
+of the proper line spacing needed while processing these japanese characters.
+The command \verb"large" also tells \LaTeX\ to use roman characters of a size
+comparable to the japanese ones. I usually use \verb"12pt" document styles and
+Table~\ref{12ptfontsizes} shows the appropriate font sizes for them.
+
+\begin{table}[htb]
+ \begin{center}
+ \begin{tabular}{l|l}
+ \verb"\footnotesize" & \verb"/1000" \\
+ \verb"\small" & \verb"/1095" \\
+ \verb"\normalsize" & \verb"/1200" \\
+ \verb"\large" & \verb"/1440" \\
+ \verb"\Large" & \verb"/1728" \\
+ \verb"\LARGE" & \verb"/2074" \\
+ \verb"\huge" & \verb"/2488"
+ \end{tabular}
+ \end{center}
+ \caption{{\tt 12pt} Font Sizes.}
+ \label{12ptfontsizes}
+\end{table}
+
+Finally, note the \verb"%" at the end of the \verb"\footnote" line in the last
+example. The filter will not append it for you since this is a roman end of the
+line. But this \verb"%" is essential to prevent \LLaTeX\ from inserting some
+inter-word space between the footnote number and the following japanese
+character.
+
+\subsection{Font Tables}
+\label{fonttables}
+
+I occasionally come across a japanese character that my japanese text editor
+cannot insert in the text for me. This is usually the result of an incomplete
+kanji lookup dictionary or a consequence of wanting to use extended JIS~24
+characters. In such cases, one has to enter the character by hand. There are a
+number of ways to do that.
+
+Your japanese text editor may support character entry by \mbox{MS-kanji} or EUC
+numbers. That is certainly the most preferable solution. If not, you could use
+\mbox{Alt-Combinations} under a word processor to enter the arbitrary
+characters in your text. Modifying the source file in these fashions is the
+best approach.
+
+You could also choose to leave a few blank spaces at the right places in the
+source file, process it with \verb"JEM2TEX", and then insert a few \verb"\kk"
+macros with the proper kanji fonts and symbol numbers. Unfortunately, such a
+patch must be performed every time the original source file is modified and
+processed by \verb"JEM2TEX". This is why I never proceed this way.
+
+Because of this foreseeable occasional need, I thought it would be useful to
+create font tables like the ones found in Appendix~F of the {\TeX}book. They
+would have to mention the JIS~24 dot font numbers along with the EUC number
+pairs. I designed such tables at magstep~$3.0$ and managed to squeeze three
+\JemTeX\ fonts per page.
+
+My Pascal program \verb"FONTABLE" creates a 60~Kb japanese file
+\verb"fontable.jem" for you in the current directory. Then, simply process
+that file with \verb"JEM2TEX" in automatic mode to eventually obtain
+\verb"fontable.tex". Finally, complete the process with big \LaTeX\, which
+should yield a twenty page document ready for previewing and printing.
+
+You may have to divide and process this document in smaller pieces for several
+reasons. Perhaps you only have a small version of \TeX. Perhaps your printer
+driver has difficulty processing it. This can be caused by your computer
+lacking memory, but is more likely nowadays to be caused by a primitive printer
+driver lacking a decent memory management system. Perhaps you are using a laser
+printer with only 1~Mb of memory. Note that dot matrix printers do not suffer
+from such lack of memory problems since they have very little memory. Their
+language is very verbose since the fonts are explicitly supplied each time they
+are used.
+
+If needed, you should divide the file \verb"fontable.jem", but not the file
+\verb"fontable.tex" unless you also modify the individual headers to avoid
+loading a lot of fonts for nothing. I think the former approach is easier and
+less error prone. If splitting \verb"fontable.jem" still does not work for you,
+talk to me!
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\section{\JemTeX\ Quick Reference}
+\typeout{4 JemTeX Quick Reference}
+\label{jemtexquickreference}
+\vspace{1cm}
+\begin{quote}%Don't put spaces after the next line!
+\begin{verbatim}
+MF &cm kanjiaa >NUL:
+\end{verbatim}
+\end{quote}
+\begin{center}
+ METAFONT Proof Mode (page~\pageref{mftproof})
+\end{center}
+\vspace{1cm}
+\begin{quote}
+\begin{small}%Don't put spaces after the next line!
+\begin{verbatim}
+MF &cm \mode:=epsonfx; \mag:=magstep(0.0); \input kanjiaa.mf
+\end{verbatim}
+\end{small}
+\end{quote}
+\begin{center}
+ METAFONT Standard Mode (page~\pageref{mftstandard})
+\end{center}
+\vspace{1cm}
+\begin{center}
+ \begin{tabular}{l|ccccccc}
+ Font Size & 1000 & 1095 & 1200 & 1440 & 1728 & 2074 & 2488 \\ \hline
+ Disk Space & 558 & 622 & 680 & 819 & 1008 & 1228 & 1530
+ \end{tabular}
+\end{center}
+\begin{center}
+ Space Requirements (240DPI)
+\end{center}
+\newpage
+\vspace*{\fill}
+\begin{center}
+ \begin{tabular}{ll}
+ \mbox{$\left.\parbox{4.6cm}{%
+ \verb"/FixedWidth" \\
+ \verb"/FixedX" \\
+ \verb"/NoProportionalWidth" \\
+ \verb"/NoProportionalX"}\right\}$} &
+ Fixed width (page~\pageref{widthheight}). \\[8mm]
+ \mbox{$\left.\parbox{4.6cm}{%
+ \verb"/NoFixedWidth" \\
+ \verb"/NoFixedX" \\
+ \verb"/ProportionalWidth" \\
+ \verb"/ProportionalX"}\right\}$} &
+ Minimized width (page~\pageref{widthheight}). \\[8mm]
+ \mbox{$\left.\parbox{4.6cm}{%
+ \verb"/FixedHeight" \\
+ \verb"/FixedY" \\
+ \verb"/NoProportionalHeight" \\
+ \verb"/NoProportionalY"}\right\}$} &
+ Fixed height (page~\pageref{widthheight}). \\[8mm]
+ \mbox{$\left.\parbox{4.6cm}{%
+ \verb"/NoFixedHeight" \\
+ \verb"/NoFixedY" \\
+ \verb"/ProportionalHeight" \\
+ \verb"/ProportionalY"}\right\}$} &
+ Minimized height (page~\pageref{widthheight}). \\[8mm]
+ \parbox{4.6cm}{\verb"/Standard"} &
+ Standard positioning (page~\pageref{positioning}). \\
+ \parbox{4.6cm}{\verb"/Dictionary"} &
+ Dictionary positioning (page~\pageref{positioning}). \\
+ \parbox{4.6cm}{\verb"/Batch"} &
+ Batch mode (page~\pageref{batch}).
+ \end{tabular}
+\end{center}
+\vspace{3mm}
+\begin{center}
+ \verb"JIS2MF" Parameters
+\end{center}
+\vspace*{\fill}
+\newpage
+\vspace*{\fill}
+\begin{center}
+ \begin{tabular}{ll}
+ \parbox{3cm}{\verb"/EUC"} &
+ Extended UNIX code (page~\pageref{euc}). \\[1mm]
+ \mbox{$\left.\parbox{3cm}{%
+ \verb"/MSkanji" \\
+ \verb"/ShiftJIS"}\right\}$} &
+ MS-kanji code (page~\pageref{mskanji}). \\[3mm]
+ \parbox{3cm}{\verb"/Extended"} &
+ Extended characters (page~\pageref{extended}). \\
+ \parbox{3cm}{\verb"/Standard"} &
+ Standard characters (page~\pageref{standard}). \\
+ \parbox{3cm}{\verb"/LaTeX"} &
+ \LaTeX\ header (page~\pageref{header}). \\[1.5mm]
+ \mbox{$\left.\parbox{3cm}{%
+ \verb"/TeX" \\
+ \verb"/MuTeX"}\right\}$} &
+ \TeX\ header (page~\pageref{header}). \\[4mm]
+ \mbox{$\left.\parbox{3cm}{%
+ \verb"/Space" \\
+ \verb"/Extra" \\
+ \verb"/ExtraSpace"}\right\}$} &
+ Spaces added (page~\pageref{spacing}). \\[6mm]
+ \mbox{$\left.\parbox{3cm}{%
+ \verb"/NoSpace" \\
+ \verb"/NoExtra" \\
+ \verb"/NoExtraSpace"}\right\}$} &
+ No spaces added (page~\pageref{nospaces}). \\[6mm]
+ \mbox{$\left.\parbox{3cm}{%
+ \verb"/EOL" \\
+ \verb"/Percent" \\
+ \verb"/Comment"}\right\}$} &
+ \verb"%" added (page~\pageref{eol}). \\[6mm]
+ \mbox{$\left.\parbox{3cm}{%
+ \verb"/NoEOL" \\
+ \verb"/NoPercent" \\
+ \verb"/NoComment"}\right\}$} &
+ No \verb"%" added (page~\pageref{eol}). \\[6mm]
+ \mbox{$\left.\parbox{3cm}{%
+ \verb"/1000 /0.0 /0" \\
+ \verb"/1095 /0.5" \\
+ \verb"/1200 /1.0 /1" \\
+ \verb"/1440 /2.0 /2" \\
+ \verb"/1728 /3.0 /3" \\
+ \verb"/2074 /4.0 /4" \\
+ \verb"/2488 /5.0 /5"}\right\}$} &
+ Initial japanese font size (page~\pageref{fonts}).
+ \end{tabular}
+\end{center}
+\vspace{3mm}
+\begin{center}
+ \verb"JEM2TEX" Parameters
+\end{center}
+\vspace*{\fill}
+\newpage
+\vspace*{\fill}
+\begin{center}
+ \begin{tabular}{l|l}
+ \verb"\hh" & Allow japanese hyphenation (page~\pageref{hyphen}). \\
+ \verb"\eeee" & Insert big space (page~\pageref{bigmedium}). \\
+ \verb"\eee" & Insert medium space (page~\pageref{bigmedium}). \\
+ \verb"{}" & Prevent hyphenation (page~\pageref{preventh}) and space
+ insertion (page~\pageref{prevents}).
+ \end{tabular}
+\end{center}
+\begin{center}
+ Quick Fixes
+\end{center}
+\vspace{1cm}
+\begin{center}
+ \begin{tabular}{l|l}
+ \verb"\footnotesize" & \verb"/1000" \\
+ \verb"\small" & \verb"/1095" \\
+ \verb"\normalsize" & \verb"/1200" \\
+ \verb"\large" & \verb"/1440" \\
+ \verb"\Large" & \verb"/1728" \\
+ \verb"\LARGE" & \verb"/2074" \\
+ \verb"\huge" & \verb"/2488"
+ \end{tabular}
+\end{center}
+\begin{center}
+ \verb"12pt" Font Sizes (page~\pageref{12points})
+\end{center}
+\vspace*{\fill}
+\end{document}