designcraft/docs/cjk.md

CJK typesetting plan

Goal: the Chinese, Japanese and Korean typesetting that InDesign offers with its East Asian feature set (the "Japanese/CJK" feature set, Feature Set Locale Setting 257), so that a DesignCraft document can be set to the standard of a Japanese, Chinese or Korean publisher, round-trip through IDML, and export correct PDF and EPUB.

It builds on the CJK import and composition described in cjk-typography.md (composite fonts, kinsoku sets, aki, tsume, jidori, hanging punctuation, em alignment and leading models, kenten characters, tate-chu-yoko offsets, preserved mojikumi tables) and plans what remains.

Sources (clean-room)

Behaviour comes from public specifications, not from InDesign's implementation:

• W3C Requirements for Japanese Text Layout (JLREQ): character classes, line composition, spacing (aki), line breaking (kinsoku), ruby, kenten, warichu, tate-chu-yoko, grids.
• W3C Requirements for Chinese Text Layout (CLREQ) and Korean (KLREQ): punctuation placement for Simplified and Traditional Chinese, Korean word-based line breaking.
• JIS X 4051 (published standard; JLREQ follows it).
• OpenType: vmtx/vhea/VORG, BASE, the vert/vrt2/vkrn/vpal/palt/halt/vhal, locl, ruby, width (fwid/hwid/pwid/qwid/twid) and form (jp78/jp83/jp90/jp04, trad, expt, nlck, hojo) features.
• The published IDML specification for attribute names and values.

InDesign itself is only observed black-box (feature names, which options exist); no wording, presets or tables are copied. Our default mojikumi and kinsoku tables are built from JLREQ.

Where we are (2026-10)

Area	State
Vertical frames, upright CJK, rotated Latin	done (per frame; glyphs turned by transforms)
vert/vrt2 in vertical frames	done (applied to every run, Latin included); Horizontal Kana (hkna) becomes vkna
Kinsoku	named (hard, soft, Chinese, Korean) and custom kinsoku sets, bunri-kinshi, rensuuji, hanging punctuation (regular, force); without a set, fixed no-start / no-end lists and a break anywhere between CJK characters; kinsoku type (push in / push out priorities) kept but not applied
Mojikumi	tables and paragraph references kept through IDML; not applied (Preflight says so)
Aki, tsume, jidori	done (cjk-typography.md)
Character alignment, leading model	em box top / centre / bottom, ICF from ascender and descender, roman baseline; aki above / below, centre (centre down as centre)
Tate-chu-yoko	manual, with offsets; no auto, 3+ digits overflow the em
Ruby	group ruby only, fixed 50 % size, no options, doesn't affect leading
Kenten	the IDML kinds and a custom character, drawn as characters; no position, size, alignment, colour or font
Composite fonts	done: model, style.compositeFont.*, shaping, IDML, font list, replace and Preflight; no dialog
CJK fonts	Japanese faces (Shippori Mincho first) from the optional craft-fonts build input; fallback by language (Japanese: the craft-fonts faces, then system fonts; Simplified and Traditional Chinese, Korean: system fonts); document fonts: a Document Fonts folder beside an opened file loads ahead of installed fonts, and Package copies the fonts used there (licence permitting). They stay loaded for the session (shared by every open document, not unloaded on close) and aren't read on the web
Everything else below	missing

Known bugs to fix first:

• Korean breaks between every syllable (it should break at spaces by default).
• Vertical advances are the horizontal ones and upright glyphs turn about a guessed centre (adv × 0.38), so proportional and non-square glyphs sit wrong in vertical text.
• A justified CJK line has no stretch except Single Word Justification.

Architecture

Character classes

A cjk::class_of(char, &Context) -> Class in designcraft-compose with the JLREQ classes (opening brackets, closing brackets, hyphens, dividing punctuation, middle dots, full stops, commas, inseparable characters, iteration marks, prolonged sound mark, small kana, prefixed and postfixed abbreviations, full-width ideographic space, hiragana, katakana, math symbols and operators, ideographs, Western characters, numerals, ruby bases, warichu brackets, …). Language and the paragraph's punctuation style decide the ambiguous ones (e.g. Chinese full-width punctuation centred vs corner-placed).

Spacing: mojikumi

A mojikumi set is a table indexed by (class before, class after) giving the space between them as a min/optimum/max triple in em fractions, plus line-start and line-end rules. Sets are document resources (Styles::mojikumi_tables, read from and written to IDML with their override rows), referenced by name from the paragraph's mojikumi; what remains is applying them. We ship a few built-in sets derived from JLREQ (no line-start indent, one-em indent, half-width punctuation, full-width punctuation…), all original data, for the IDML built-in names.

Shaping keeps the glyphs' own advances; mojikumi is applied after shaping as aki glue between glyphs: a full-width bracket's empty half becomes negative aki (compression) and the composer can widen or narrow each gap within its range. This keeps palt-style proportional fonts working (tsume removes the side bearings before mojikumi runs).

Line breaking: kinsoku and the Japanese composer

• Kinsoku sets (doc::cjk::Kinsoku: characters not allowed at line start, at line end, that may hang, and inseparable pairs), the paragraph's set, hanging (none / regular / force), bunri-kinshi and rensuuji are in place: they constrain breaks in both breakers. Remaining: the built-in hard and soft sets from JLREQ's classes (today's named sets are common punctuation lists), and the kinsoku type (push in first / push out first / push out only / prioritise the adjustment amount), which needs the Japanese composer's push-in and push-out candidates.
• A Composer::Japanese (paragraph) and Composer::JapaneseSingleLine beside the Western composers. In breaker::items the Japanese composer emits:
  • boxes per glyph,
  • mojikumi glue between glyphs with priority tiers (compress punctuation first, then expand inter-ideograph space, then Western/CJK spacing, then letter-spacing),
  • kinsoku penalties (infinite inside prohibited pairs; push-in candidates scored by compression needed),
  • hanging punctuation as zero-width boxes allowed past the measure. Knuth–Plass already takes tiered stretch (TIER_COST), so this plugs into kp_pass.
• Justification in layout_line distributes by the same tiers; the last line follows the paragraph's last-line alignment; CJK lines justify by default (JLREQ).
• Korean: the Japanese composer with word-based breaking (spaces) by default; per-paragraph option for character-based breaking.

Vertical text, properly

• Read vmtx, vhea, VORG and the ideographic em box (BASE ideo/idtp, else OS/2 typo metrics). FontFace gets v_advance(gid), v_origin(gid) and em_box().
• Shape upright runs with direction TopToBottom so vert, vkrn and vpal apply and the shaper reports vertical advances; rotated (Latin) runs stay horizontal and turn as a whole. vrt2 only for runs that are rotated, never with an extra turn.
• Glyph placement in vertical lines uses the vertical origin, not a guessed centre.
• Story direction per story (IDML StoryOrientation) rather than per frame; frames of one story agree.
• Arrow keys and carets follow the vertical line direction.

Annotations and inline structures

All set after line layout like today's ruby, but able to affect line height:

• Ruby: per-character (mono), group and jukugo ruby; alignment (1-2-1, centre, left/right, equal space, JIS rule), position (above/right, below/left), size, font, colour, x/y scale, offsets, overhang onto neighbours (none / ½ / 1 ruby character / ½ base / unlimited), automatic scaling, spacing to the base, "ruby adjusts leading".
• Kenten: position, size, alignment, colour, font (the kinds and a custom character are there).
• Warichu: an inline run set in 2+ smaller lines inside one line height, with size, line spacing, alignment and breaking rules.
• Tate-chu-yoko: scale-to-fit-em, automatic TCY for runs of N digits (with or without Latin), rensuji (offsets are there).
• Shatai (oblique in the CJK sense: angle and magnification, keeping the em box), character rotation.
• Character alignment and leading model: ICF top and bottom from the font's ideographic character face (BASE icft/icfb) rather than its ascender and descender, and centre down as its own model.

Jidori, tsume, aki before and after, em-box alignment and the other leading models are in place (cjk-typography.md).

Grids

• Layout grid (per page / parent): character size, characters per line, lines per column, columns and gutter, origin; drawn like the baseline grid; snap target.
• Frame grids: text frames that show a character grid (horizontal or vertical), with a character count, named grids as document resources (font, size, scale, aki between characters and lines, alignment, view options), grid alignment of paragraphs (em-box centre, ICF top/bottom, roman baseline, gyoudori: lines spanning N grid lines), grid tracking.
• Frame Grid tools (horizontal and vertical) and Object › Frame Type (text frame ↔ frame grid).

Fonts

• Composite fonts (a named font made of a base font plus fonts for character sets, with size, baseline, x/y scale and centre adjustments) are resolved before shaping, read from and written to IDML and listed, replaced and preflighted by their member fonts; PDF embeds the member fonts. Remaining: the Composite Fonts dialog, and the predefined character classes (kanji, kana, full-width symbols, punctuation, Latin, numerals) beside custom sets.
• Language-aware fallback: Japanese, Simplified Chinese, Traditional Chinese and Korean each have their own fallback chain of system fonts (Japanese: the craft-fonts Japanese faces first); locl follows the character language (IDML language names).
• No CJK fonts in the repo. CJK fonts are large (15–25 MB each even subset) and documents should name the fonts they use. The Japanese UI and document faces come from the optional craft-fonts build input when DesignCraft is built with it (release builds are).
• Document fonts: fonts in a Document Fonts folder beside an opened .designcraft or .idml file are available to that document only, ahead of system fonts, and unloaded when it closes. File › Package copies the document's fonts into the package's Document Fonts folder (font licences permitting: OS/2 fsType restricted-licence fonts are listed, not copied), so a packaged CJK document opens with its fonts on another machine. On the web, the fonts of a dropped or opened package folder load the same way.

Editing and output

• Find/Change: kana-sensitive and width-sensitive matching; full/half-width and hiragana/katakana conversion (Type › Change Case).
• Numbering styles: kanji, full-width, circled, parenthesised.
• Typographer's quotes per language (Simplified/Traditional Chinese, Korean).
• Character count (Info panel) by CJK conventions.
• EPUB/HTML: writing-mode: vertical-rl, <ruby>, text-combine-upright, text-emphasis.
• PDF: correct ActualText for ruby/warichu; vertical glyph placement as above.
• IDML: every attribute below, import and export, round-trip tested.

Feature set (UI)

Preferences › Type gets a Feature Set choice (Western, CJK). CJK shows the East Asian controls in the Character and Paragraph panels, styles dialogs and menus (Kinsoku, Mojikumi, Composite Fonts, Named Grids, Layout Grid), makes the Japanese composer the default for new documents and offers the frame grid tools. Western hides them; documents keep their settings either way (opening a CJK document in Western mode loses nothing). Every feature stays reachable as a command regardless of the feature set (agents, MCP).

IDML attributes to support

Already read and written: KentenKind, KentenCustomCharacter, RubyFlag, RubyString, Tatechuyoko, TatechuyokoXOffset, TatechuyokoYOffset, Jidori, Tsume, LeadingAki, TrailingAki, CharacterAlignment, LeadingModel, GlyphForm, OTFProportionalMetrics, OTFHVKana, OTFRomanItalics; paragraph KinsokuSet, KinsokuType, KinsokuHangType, BunriKinshi, Rensuuji, MojikumiTable, TreatIdeographicSpaceAsSpace; resources KinsokuTable, MojikumiTable, CompositeFont, StoryPreference direction.

Character: KentenFont, KentenFontStyle, KentenSize, KentenPosition, KentenAlignment, KentenCharacterSet, KentenXScale, KentenYScale, KentenFillColor/Tint, RubyType, RubyAlignment, RubyPosition, RubyFont, RubyFontStyle, RubyFontSize, RubyXScale, RubyYScale, RubyXOffset, RubyYOffset, RubyOverhang, RubyParentSpacing, RubyParentOverhangAmount, RubyAutoAlign, RubyAutoScaling, RubyAutoTcyDigits, Rensuji, CharacterRotation, ShataiMagnification, ShataiDegreeAngle, ShataiAdjustRotation, ShataiAdjustTsume, Warichu, WarichuLines, WarichuSize, WarichuLineSpacing, WarichuAlignment, WarichuCharsBeforeBreak, WarichuCharsAfterBreak.

Paragraph: Composer (the Japanese composers), GridAlignment (all values), GridAlignFirstLineOnly, GridGyoudori, ParagraphGyoudori, CjkGridTracking, AutoTcy, AutoTcyIncludeRoman, RotateSingleByteCharacters, ScaleAffectsLineHeight.

Resources: MojikumiTableSet, NamedGrid, layout grid and frame grid preferences, StoryPreference orientation.

Exact names and enumerations are checked against the IDML specification as each phase lands.

Phases

Each phase lands as reviewable commits with tests (compose tests for layout, engine tests for commands, IDML round trips, a rendered sample page) and cargo xtask ci.

#	Phase	Contents	Estimate (agent hours)
1	Foundations	language passed to the shaper (locl); Simplified/Traditional Chinese and Korean languages; language-aware CJK fallback; document fonts folder; Korean word breaking; vmtx/VORG/em box and vertical shaping; story-level direction; vertical caret keys	12–17
2	Japanese composer	character classes; mojikumi applied (built-in sets and the document's tables) as aki glue; JLREQ kinsoku sets and kinsoku types (push in / push out); Japanese paragraph and single-line composers; CJK justification and last line; Chinese punctuation styles; IDML	20–30
3	Inline CJK	full ruby, kenten options, warichu, auto TCY and scale-to-fit, rensuji, shatai, character rotation, ICF alignment from the font; IDML	20–30
4	Grids	layout grid, frame grids and tools, named grids, grid alignment and gyoudori, grid tracking, character count; IDML	20–30
5	Fonts	Composite Fonts dialog and predefined character classes; CJK OpenType features in the OpenType menu	5–8
6	Editing and output	kana/width-sensitive Find/Change, width and kana conversion, CJK numbering, quotes, EPUB/HTML vertical text and ruby	10–15
7	Feature set UI	Preferences › Feature Set, panels and dialogs for every attribute, Japanese defaults for new documents, translations	15–20

Total: roughly 100–150 agent hours.

Phase 1 in detail

1. CharProps.language reaches designcraft_fonts::shape (harfrust buffer language) and the word cache key; tests: a font with locl for JAN vs ZHS draws different glyphs for U+76F4.
2. Language list: "Chinese: Simplified", "Chinese: Traditional", "Korean", "Japanese" (IDML names), with quotes and spelling/hyphenation off for them.
3. Fallback chains by language in FontDb::fallback_for (system fonts per platform; the craft-fonts Japanese faces first for Japanese); tests with stand-in fonts and a fake catalog.
4. Document fonts: opening a document loads the fonts in its Document Fonts folder for that document; Package copies used fonts there (licence permitting) and reports the ones it couldn't copy; tests with a synthetic package folder.
5. Korean: cjk_break_between doesn't break between Hangul syllables unless the paragraph asks for character breaking; test with a Korean sentence.
6. FontFace::v_advance/v_origin/em_box from vmtx/vhea/VORG/BASE; upright glyphs in vertical lines use them; tests against synthetic fonts with and without vmtx (without, the em box), and Shippori Mincho's tables when built with craft-fonts.
7. Upright runs shaped top-to-bottom (vert, vkrn, vpal apply); vrt2 never on turned runs; test that a full-width comma takes its vertical form and position.
8. Story direction at story level (frames of a story agree; IDML maps both ways); arrow keys move along the vertical line.

Decisions

Each follows what an InDesign user expects.

1. Feature set gating. East Asian controls are hidden in the Western feature set and shown in the CJK feature set, as in InDesign. Every feature stays reachable as a command either way.
2. Korean line breaking is word-based by default (KLREQ), with a per-paragraph option to break between syllables.
3. PDF vertical text keeps transformed horizontal glyphs (correct-looking, copyable via ActualText) rather than vertical CID fonts (Identity-V).
4. No CJK fonts in the repo; documents carry theirs in Document Fonts, scoped to the document as in InDesign. DesignCraft embeds Japanese UI and document faces only when built with the optional craft-fonts input (release builds are).
5. Package copies every font that draws text, fallback fonts included, so a package reproduces what is on screen.
6. Korean fallback is serif first (Myungjo), as Chinese and Japanese fall back to Song and Mincho: the serif faces CJK editions of layout software default to.
7. Language names on IDML import accept the common spellings of Simplified and Traditional Chinese, since the exact names InDesign writes are unconfirmed without a sample file.