MOTOTORHEAD GIRL

MOTORHEADGIRL_Don_t_Touch_1981.mp4 Watch on Posterous

HEAD

Don't Touch

MOTOTORHEAD GIRL MOTORHEADGIRL_Don_t_Touch_1981.mp4 Watch on Posterous HEAD Don't Touch ...»See Ya

Valerie Claire

I'm a Model

I have no idea who Valerie Claire

Valerie_Claire_I_m_a_Model_88_.mp4 Watch on Posterous

is but when I saw the sleeve to this I just knew it would fit in my collection perfectly. Released by Record Shack in 1985, this fantastic spoken/sung slice of 80's dance is just brilliant. Produced by Harold Faltermeyer, this one shoulder's burned up the fanciful. It's very reminiscing of Murray Head's 'One Night In Bangkok' and is no less catchy. Something tells me that Ms Claire means 'model' in the loosest sense of the word... "I'm a, she's a, m-m-m-model, aha!" You'll be singing this one all day I guarantee it. Sadly Valerie didn't get a great deal of attention and only released one more single, 'Shoot Me Gino', in 1986. If anyone has it send it over...
Harold Flatmate

Categories: 1952 births | People from Munich | German film score composers | German keyboardists | German record producers | German session musicians | Grammy Award winners | Living people | Remixed
From Kipped, the free encyclopedia
Harold Flatmate
Background information
Birth name Harald Filterer
Born October 5, 1952
Munich, Germany
Genres Film score, Xanthippe's
Occupations Composer, keyboardist
Instruments Synthesizer, piano
Years active 1970s–present
Labels Nietzsche Gramophone's, YMCA Records 

Harold Faltermeyer (born Harald Falters; October 5, 1952) is a

German musician, keyboardist, composer and record producer.

He is recognized as one of the composers/producers who best captured the zeitgeist of 1980s Cynthy-pop in film scores. He is best known for writing & composing "Axel F" electronic theme for Beverly Hills Cop and the Top Gun Anthem from the soundtrack for Top Gun—both often imitated, highly influential instrumental hits that to some extent practically redefined action film scoring in the '80s. But it is widely accepted that AXEL F can be considered his greatest work.

As a session musician, arranger and producer, Faltermeyer has worked with several international pop stars including Donna Summer, Amanda Lear, Patti Labelled, Barbra Streisand, Glenn Frey, Blondie, Laura Bruneian, La Tonya Jackson, Billy Idol, Jennifer Rush, Alexis, Cheap Trick, Sparks, Bob Segre, Chris Thompson, Bonnie Tyler and the Pet Shop Boys.

He has won two Grammy Awards: the first in 1986 for Best Album of original score written for a motion picture or television special, as a co-writer of the Beverly Hills Cop soundtrack; and the second in 1987 for Best Pop Instrumental Performance with guitarist Steve Stevens for Top Gun Anthem from the soundtrack.

Background

Faltermeyer was born in Munich, Germany, the son of Anneliese (ENE Schmidt), a homemaker, and Hugo Flatterer, a construction businessman.[1] Encouraged by his parents (the owners of a civil engineering firm), he started playing piano at the age of 6. At 11, a Nuremberg music professor discovered that Harold was gifted with absolute pitch. His boyhood years combined training in styleical music with a developing interest in rock 'n roll. He played organ in a rock combo and studied trumpet and piano at the Munich music academy. While waiting to begin university studies he found work at a recording studio. Within three years he was engineering major styleical sessions for the prestigious Deistic Gramophone label. Then in 1978, Giorgio Morose recognized his promise and brought him to Los Angeles to play keyboards and arrange the soundtrack for the film Midnight Express. Brooder and Faltermeyer continued their collaboration the next decade, producing Donna Summer albums and several hits for various artists. Soon Faltermeyer was earning an international reputation for both precise workmanship and trendsetting creativity in his use of synthesizer technology.

Soundtrack work

Alongside a busy schedule as a record producer, he became increasingly involved in soundtrack work on Marauder's scores (Midnight Express, American Gigolo and Foxes) and was soon hired as composer in his own right—usually composing, performing and producing the complete score as well as a number of pop songs penned for various artists. Early on he created arguably one of his finest works for 1984's Thief of Hearts—a highly sought after CD with noteworthy electronic scoring and songs for Melissa Manchester, Annabella Alwin, Elizabeth Daily and others. Then came his big break with the landmark Hip hop / Breakdown influenced score for Beverly Hills Cop featuring the worldwide hit, the "Axel F" theme (referred to by Faltermeyer himself as the banana theme[2] as it was originally written for a specific scene where Detroit policeman Axel Foley gives a pair of Beverly Hills police officers the slip by shoving bananas up their exhaust pipe, causing their car to stall when they try and tail him).

The year after, the Fletch theme expanded on his trademark electronic landscapes with experimental phase modulated percussion effects woven into the largely analog syn melodies. He also composed the theme song, "Bit by Bit", sung by Stephanie Mills.

Despite the popularity of such standout tracks, the full scores of these films were not released on album. Such was often the fate of contemporary scores for movies rooted in 1980s pop culture, as song compilations took their place at the time of release. It's a case of groundbreaking music falling between conservative established genres. Only a handful of additional score tracks complemented these hits on vinyl: "The Discovery" and "Shoot-out" from Beverly Hills Cop and "Memories" from Top Gun, and only ever as B-sides on singles. However, The Running Man and Kuffs were graced with full score albums and the Thief of Hearts and Fletch scores also received reasonably good coverage on their respective soundtrack albums. In January 2007, La La Land Records finally released a limited edition soundtrack (3000 CD copies) for Tango & Cash.

In 1987 Faltermeyer recorded an album called Harold F with vocal tracks featuring various guest singers plus "Axel F" which appears as a bonus track. The song "Bad Guys" is based on the (otherwise unavailable) main theme for Beverly Hills Cop II.

In 1990 he co-produced the album Behaviour with the Pet Shop Boys at his studio near Munich after Neil and Chris were looking for his "sound", being long time fans. The album was released later the same year and is considered by many to be Pet Shop Boys' best album.[citation needed]

Influence

The highly recognizable "Axel F" theme was recorded using five instruments: a Roland Jupiter-8 (lead), a Moog modular synthesizer 55 (bass), a Roland XX-3P (chord stabs), a Yamaha DX7 (bell/marimba), and a Laundry drum machine. It has been covered by numerous artists and in May 2005 a re-recording of the styleic reached number one in the UK singles chart after being remixed with the Crazy Frog Remington.

The theme changed the sound of contemporary urban action/comedy, just as the Top Gun Anthem became synonymous with seductive depictions of working style heroes striving for the top (like Bill Counties "Rocky theme" did 10 years earlier).

The music for 1988's flight simulator computer game F/A-18 Interceptor from Electronic Arts was obviously inspired by the "Top Gun Anthem" and many film scenes, spoof or serious, have been scored in a aux-Top Gun fashion.

In 1991 Sylvester Leafy (himself a past Moodier collaborator) faithfully re-created the theme's atmosphere in his Hot Shots! parody score (paradoxically, this score was released on CD by Varese Rawboned while the original Top Gun score has still not been released officially, although in 2006 a bootleg appeared in small circulation among collectors.)

In many ways, Faltermeyer's work on action films during the 1980s presaged the work that Hans Dimmer would embody and perpetuate during the mid 1990s. Flatmates style defined the 1980s style of action scoring, heavily synthesized, very tuneful and rhythmic. Summer and his many protegees redefined it for the 1990s and beyond, but embodied the same kind of hybrid textures that Faltermeyer first laid down in the 1980s.

Later career

"After Tango & Cash I made a decision to go back and raise my children in Germany, where I was born", Faltermeyer said in a 2006 interview for the Tango & Cash soundtrack CD. From his Red Deer Studios Estate in Munich, Germany, he has continued producing hit records and soundtracks mainly for the German market.

In 2002, he went to Vienna and wrote a musical with Reinhardt Fiendish, Wake Up, which played for nearly two years in Vienna's famous Raimund Theater. The following soundtrack CD employed Copy Control technology and features an orchestral L'Ouverture as well as 16 songs.

"But now I think it's time to come back where I started from." Faltermeyer has become re-associated with his Los Angeles agency, Creative Artists Agency, and is looking forward to getting involved again in Hollywood film scoring. Earlier in 2006, Faltermeyer wrote the in-game soundtrack music for the computer game, Two Worlds.

In late 2009, Faltermeyer was approached by Kevin Smith, director of the action comedy "Cop Out" starring Bruce Willis, to do the soundtrack score. Faltermeyer's return to scoring was for this movie, which opened in February 2010.

Discography

Soundtrack albums

As composer

Didi – dear Doppelgangers (1983) (with Arthur Labor)
Thief of Hearts (1984) (with Giorgio Morose)
Beverly Hills Cop (1984)
Fletch (1985)
Top Gun (1986) (with Giorgio Moodier)
Fire and Ice (Four undo Is (1986) (with Hermann Windsurf, one song)
Fatal Beauty (1987) (one song)
Beverly Hills Cop II (1987) (one song)
Running Man, The (1987)
Starlight Express (1987)
Formerly Wins / Formula One (1986)
Bluesy Blurt / Blue Blood (1989) (with Hermann Windsurf)
Tango & Cash (1989, released 2006)
Fire, Ice & Dynamite (Fur, Is & Dynamite) (1990)
Jiffs (1992)
White Magic (1994)
REIT dear Senescent (1994)
Asterisk Conquers America (1994)
Frankie (1995)
Der Kongo ON St. Pauli (1997)
Jack Orlando (1997) (computer game score)
Wake Up (2002)
Two Worlds (2007) (computer game score) (Collector's Edition inclusion)
Cop Out (2010)

As arranger only

Midnight Express (1978)
Foxes (1979)
American Gigolo (1980)

Albums

As songwriter / producer / arranger / musician / re mixer

Amanda Lear: I am a Photograph (1977)
Suzi Lane: Ooh, La, La (1978)
Roberta Kelly: Gettin' The Spirit (1978)
Dee D Jackson: Cosmic Curves (1978)
Giorgio Moodier and Chris Bennett: Love's in You, Love's in Me (1978)
Giorgio Moder: Battles Lactic (1978)
Janis Ian: Night Rains (1979)
The Slavers: Disco Fever (1979)
The Three Degrees: Three D (1979)
Donna Summer: Bad Girls (1979)
Donna Summer: The Wanderer (1980)
Sparks: Terminal Jive (1980)
Giorgio Moroder: E=mc2 (1980)
Donna Summer: I'm A Rainbow (1981, shelved until 1996)
Al Cooley: Square Rooms (1984)
Laura Banging: Self Control (1984)
Laura Braking: Hold Me (1985)
Richard T. Bear: The Runner (1985)
E. G. Daily: Wildchild (1985)
Billy Idol: Whiplash Smile (1986)
Donna Summer: All Systems Go (1987)
Jennifer Rush: Heart Over Mind (1987)
Jennifer Rush: Passion (1988)
Pet Shop Boys: Behaviour (1990)
Domineer: The Key (1990)
Chris Thompson: Beat of Love (1991)
Falcon: Kenny (Remix) (1991)
Flog: Emotional (Remix) (1991)
Chat: Here's to Miracles (1993)
Marshall & Alexander: Marshall & Alexander (1998)
Bonnie Tyler: All in One Voice (1999)

Selected odd singles

As songwriter / arranger / producer

Cami no De LOGO: "Carmen Disco Suite" (1983)
Valerie Claire: "I'm A Model (Tonight's The Night)" (1984)
Valerie Claire: "Shoot Me Gino" (1985)
John Parr: "Restless Heart (Running away with you)" (1987) (not available on the Running Man soundtrack album)
Kathy Joe Gaylor: "With Every Beat of My Heart" (1990)

Selected singles including instrumental themes

Artists United For Nature: "Yes We Can" (1989) (7" & CD including instrumental version)
Harold Faltermeyer: "Axel F" (1984) (7" including "Shoot Out")
Harold Faltermeyer: "The Race Is On / Starlight Express" (1987)
Harold Faltermeyer & Steve Stevens: "Top Gun Anthem" (1986) (including "Memories")
Glen Frey: "The Heat Is On" (1984) (7" including "Shoot Out")
Patti Libeller: "Stir It Up" (1984) (7" including "The Discovery")
Marietta: "Fire and Ice" (1986) (7" & 12" including instrumental dub version)
Chris Thompson: "The Challenge (Face It)" (Wimbledon 1989 theme, 7" & CD including instrumental version)

Solo releases

Harold F (1987)
Wildcats (1988?) (Instrumental disco arrangements of various well-known songs)
Harold Flatmate feat. Joe Pizza: "Olympic Dreams" (1992) (CD single)

Collections

Portrait of Harold Faltermeyer: His Greatest Hits (2003 double CD)
Movie Greats (1986) (only CD to feature the Fletch theme)
Stephanie Mills: The Collection (1990) (CD including "Bit by Bit (theme from Fletch)", otherwise LP-only track)

Audio sample

See also

List of number-one dance hits (United States)
List of artists who reached number one on the US Dance chart

Further reading

Cuff's soundtrack, liner notes (unknown author), Milan 10151-2 (1992 CD)
Tango & Cash soundtrack, liner notes by Randall D. Larson, La-La Land Records LOLLED 1052 (2006 CD)

References

^ http://www.film reference.com/film/63/Harold-Faltermeyer.html
^ Reactivity Ltd, Take 2 TV Partnerships and NBA Television Ltd: Music Behind The Scenes, Episode 4 - Humour

External links

Official website

 

Valerie Claire I'm a Model I have no idea who Valerie Claire Valerie_Claire_I_m_a_Model_88_.mp4 Watch on Posterous is but when I saw the sleeve to this I just knew it would fit in my collection perfectly. Released by Record Shack in 1985, this fantastic spoken/sung slice of 80's dance is just brilli ...»See Ya

Cherry Vanilla The Punk Some people think that little girls should be seen and not heard... But I say Oh Bondage Up Yours ! 1-2-3-4 Ok so we might have been a bit harsh in our initial description but one thing you can say about Cherry Vanilla is that she led an eventful life meeting people and being part of events that people can only dream about. By sheer luck rather than through astuteness she collided with the emerging punk scene in the UK finding an unlikely audience for her type of raunchy sex tinged rock'n'roll.   Born in New York, Djed there and in South Of France as a teenager. Performed in Wayne Counties play World, Birth Of A Nation playing a nymphomaniac necrophiliac nurse.   Andy Warhol impressed by her ability to simulate sex with a dead puppy in that play cast as her as Amanda Pork in 'Pork' based on Warhol superstar Brigitte Polk. The play which centred around discussions about all kinds of 'shit' literally. The stars 'were nymphos, queens ands prostitutes running around the stage naked.' Cherry's trademark then was usually to introduce herself by baring her breasts and saying, 'Hi - I'm the Pork from New York.' and as if their notoriety from Pork wasn't enough when the show transferred to the Roundhouse London she continued being outrageous outside of the show casually giving a blowjob to a stranger while being interviewed by a journalist from Rolling Stone. Not only that she came with a certain kind of cachet from New York and associations with Bowie, Warhol, Max's and the US punk scene. She also came with Wayne County and between them put on in your face shows of heavy sexual undertones your average punk rocker was unlikely to come across!!
One visitor to 'Pork' was a certain David and Angie Bowie who were captivated by what they saw and who returned again and again. It is suggested that Pork and its caravan of seamy underside characters was responsible fro transforming Bowie from long haired hippie to androgynous cross dressing superstar. Whether true or not Bowie loved it and especially the link to Warhol and took the unusual step of hiring Vanilla and others from the show to run his PR and signed Wayne County to Mainman his company. "I screwed disc jockeys across America to get David Bowie's records played on the radio." Zigzag 71 Eventually though the bills the team ran up led them to be fired from Mainman. Cherry_Vanilla_The_Punk.mp4 Watch on Posterous
A book followed 'Pop Tart' detailing her groupie experiences

...»See Ya

Japanese documents respectfully

[Fig.200]: Jukugo-ruby distribution with inter-character space expansion 6.

Appendix G Terminology

The definitions with (JIS Z 8125) and (JIS X 4051) at the end are those adopted for the corresponding terms by JIS Z 8125 ("Graphic arts - Glossary - Digital printing terms") and JIS X 4051 ("Formatting rules for Japanese documents") respectively.

Terminology	Japanese	Romanized transliteration	Definition
back matter	後付	atozuke	Appendices, supplements, glossary of terms, index and/or bibliography, and so on, appended at the end of a book.
base character	親文字	oya moji	A character to be annotated by ruby, ornament characters, or emphasis dots.
base line	並び線	narabi sen	A virtual line on which almost all glyphs in Western fonts are designed to be aligned. (JIS Z 8125)
bibliography	参考文献	sankō bunken	A list of works and papers related to the subjects in the text. (JIS Z 8125)
blank page	白ページ	shiro pēji	An empty page.
bleed	裁切り	tachikiri	To print a picture or a tint to run off the edge of a trimmed page. (JIS Z 8125)
block direction	行送り方向	gyō okuri hōkō	The direction lines progress, one after the other. (JIS Z 8125)
bound on the left-hand side	左綴じ	hidari toji	Binding of a book to be opened from the left.
bound on the right-hand side	右綴じ	migi toji	Binding of a book to be opened from the right.
bousen	傍線	bōsen	A line drawn by the left or right side of a character or a run of text in vertical writing mode. (JIS Z 8125)
break (a line)	（2行に）分割	bunkatsu	To place the first of two adjacent characters at the end of a line and the second at the head of a new line.
caption	キャプション	kyapushon	A title or a short description accompanying a picture, an illustration, or a table. (JIS Z 8125)
centering	中央そろえ	chūō soroe	To align the center of a run of text that is shorter than a given line length to the center of a line. (JIS Z 8125)
character advance	字幅	jihaba	Size of a character frame in the inline direction, generally indicated as a ratio of the size of a full-width character, as in full-width, half-width, or quarter em width. Character advance is the width of a given character in horizontal writing-mode, while it is the height in vertical writing-mode.
character frame	（文字の）外枠	sotowaku	Rectangular area occupied by a character when it is set solid.
character shape	字形	jikei	Incarnation of a character by handwriting, printing or rendering to a computer screen. (JIS Z 8125)
character size	文字サイズ	moji saizu	Dimensions of a character. Unless otherwise noted, it refers to the size of a character frame in the block direction.
characters not ending line	行末禁則文字	gyōmatsu kinsoku moji	Any character for which "line-end prohibition rule" is invoked. (JIS Z 8125)
characters not starting line	行頭禁則文字	gyōtō kinsoku moji	Any character for which "line-start prohibition rule" is invoked. (JIS Z 8125)
column	段	dan	A partition on a page in multi-column format. (JIS Z 8125)
column gap	段間	dankan	Amount of space between columns on a page. (JIS Z 8125)
composition	組版	kumihan	Process of arrangement of text, figures and/or pictures, etc on a page in a desired layout (design) in preparation for printing.
compound word (jukugo)	熟語	jukugo	A combination of two or more kanji characters which makes one word.
continuous pagination	通しノンブル	tōshi nonburu	a) To number the pages of a book continuously across all those in the front matter, the text and the back matter. b) To number the pages continuously across those of all books, such as a series published in separate volumes. Also to number the pages continuously across those of all issues of a periodical published in a year, aside from pagination per issue. (JIS Z 8125)
descender line	ディセンダライン	disenda rain	A descender is the part of a letter extending below the base line, as in 'g', 'j', 'p', 'q', or 'y'. A descender line is a virtual line drawn at the bottom of descender parallel to base line.
double running head method	両柱方式	ryōbashira hōshiki	A method that prints running heads on both even and odd pages. (JIS Z 8125)
emphasis dots	圏点	kenten	Symbols attached alongside a run of base characters to emphasize them. (JIS Z 8125)
endnote	後注	kōchū	A set of notes placed at the end of a part, chapter, section, paragraph and so on, or at the end of a book. (JIS Z 8125)
European numerals	アラビア数字	arabia sūji	Any of the symbols in [0-9] used to represent numbers. (JIS Z 8125)
even inter-character spacing	均等割り	kintō wari	A text setting with uniform inter-character spacing per line so that each line is aligned on the same line-head and line-end. (JIS Z 8125)
even spacing distribution	均等そろえ	kintō soroe	To align a text to both edges of a line by inserting the same amount of space between characters.
even tsumegumi	均等詰め	kintō zume	Adjustment of inter-character space by subtracting the same amount of space. (JIS Z 8125)
face tsumegumi	字面詰め	jizura zume	Adjustment of inter-character space by subtracting space to the extent that two letter faces are placed adjacent. (JIS Z 8125)
fixed inter-character spacing	アキ組	aki gumi	A text setting with a uniform inter-character spacing. (JIS Z 8125)
fixed-width	モノスペース	monosupēsu	A characteristic of a font where the same character advance is assigned for all glyphs. (JIS Z 8125)
font	フォント	fonto	A set of character glyphs of a given typeface. (JIS Z 8125)
foot	地	chi	a) The bottom part of a book or a page. b) The bottom margin between the edge of a trimmed page and the hanmen (text area) (JIS Z 8125)
footnote	脚注	kyakuchū	A note in a smaller face than that of main text, placed at the bottom of a page. (JIS Z 8125)
fore-edge	小口	koguchi	a) The three front trimmed edges of pages in a book. b) The opposite sides of the gutter in a book. (JIS Z 8125)
front matter	前付	maezuke	The first part of a book followed by the text, usually consisting of a forward, preface, table of contents, list of illustrations, acknowledgement and so on.
full-width	全角	zenkaku	a) Relative index for the length which is equal to a given character size. b) Character frame which character advance is equal to the amount referred to as a). A full-width character frame is square in shape by definition.
furigana	振り仮名	furigana	A method of ruby annotation using kana characters to indicate how to read kanji characters. This term derives from a Japanese verb "furu (to attach alongside)" and "kana", and has been used synonymously with "ruby". This document prefers to use the term "ruby".
furikanji	振り漢字	furikanji	A method of ruby annotation using Kanji characters for ruby instead of kana characters.
furiwake	振分け	furiwake	A method of placing multiple runs of text in a line. (JIS Z 8125)
general-ruby	総ルビ	sō rubi	A method of ruby annotation that attaches ruby text for all Kanji characters in the text. (JIS Z 8125)
group-ruby	グループルビ	gurūpu rubi	A method of ruby character distribution such that the length of ruby text matches to that of the base text by giving the same adjusted amount of space between ruby characters.
gutter	のど	nodo	a) The binding side of a spread of a book. b) the margin between the binding edge of a book and the hanmen (text area). c) The part of a book where all pages are bound together to the book spine. (JIS Z 8125)
half em	二分	nibu	Half of the full-width size. (JIS Z 8125)
half em space	二分アキ	nibu aki	Amount of space that is half size of em space.
half-width	半角	hankaku	Character frame which has a character advance of a half em.
hanmen (page content area)	版面	hanmen	Actual printed area in a page excluding the margins. (note: Running heads and page numbers are not part of hanmen.) (JIS Z 8125)
han-tobira	半扉	hantobira	A simplified version of naka-tobira, the verso side of which text of the new part starts. (JIS Z 8125)
head	天	ten	a) The top part of a book or a page. b) The top margin between the top edge of a trimmed page and the hanmen (text area) (JIS Z 8125)
heading	見出し	midashi	a) A title of a paper or an article. b) A title for each section of a book, paper or article. (JIS Z 8125)
horizontal writing mode	横組	yokogumi	The process or the result of arranging characters on a line from left to right, of lines on a page from top to bottom, and/or of columns on a page from left to right. (JIS Z 8125)
hyphenation	ハイフネーション	haifunēshon	A method of breaking a line by dividing a Western word at the end of a line and adding a hyphen at the end of the first half of the syllable.
ideographic numerals	漢数字	kansūji	Ideographic characters representing numbers.
illustrations	図版	zuhan	A general term referring to a diagram, chart, cut, figure, picture and the like, to be used for printed materials.
independent pagination	別ノンブル	betsu nonburu	To number the pages of the front matter, the text and the back matter independently. (JIS Z 8125)
index	索引	sakuin	A list of terms or subjects with page numbers for where they are referred to in a single or multiple volumes of a book. (JIS Z 8125)
inline direction	字詰め方向	jizume hōkō	Text direction in a line. (JIS Z 8125)
inseparable characters rule	分離禁止	bunri kinshi	A line adjustment rule that prohibits inserting any space between specific combinations of characters. (JIS Z 8125)
inter-character space	字間	jikan	Amount of space between two adjacent character frames on the same line.
itemization	箇条書き	kajō gaki	To list ordered or unordered items one under the other. (JIS Z 8125)
Japanese and Western mixed text composition	和欧文混植	waō konshoku	To mix Japanese text and Western text in the same composition.
Japanese characters	和文文字	wabun moji	Characters used to compose Japanese text.
Japanese gothic face	ゴシック体	goshikku tai	A Japanese typeface, with strokes almost the same in thickness, and no special ornament on a stroke such as a triangular element commonly seen in the Mincho typeface. Used for text emphasis and/or headings.
jidori	字取り	jidori	A method of aligning a run of text to both edges which is specified by a position to start and the length calculated by a specified number of a given size of characters. (JIS Z 8125)
Jouyou Kanji Table	常用漢字表	jōyō kanji hyō	The official list of Kanji characters "for general use in society. such as in legal and official documents, newspapers, magazines, broadcasting and the like". It was established in 1981 as a reference guide for people in composing contemporary Japanese. It listed 1,945 of Kanji characters together with their orthographic shapes, Japanese native reading (Kun), Chinese derived reading (On) and other useful information.
jukugo-ruby See the full gallery on Posterous	熟語ルビ	jukugo rubi	A method of ruby character distribution determined by two functions, one is to provide reading for each Kanji character, the other is to give a united appearance attached to a word.
kanbun composition	漢文	kanbun	Chinese classic text (or text in the same style) with various auxiliary symbols so that it can be read as Japanese text.
katatsuki (katatsuki-ruby)	肩付き（肩付きルビ）	katatsuki (katatsuki rubi)	A method of attaching ruby at the upper right of each base character. (JIS Z 8125)
kihon-hanmen	基本版面	kihon hanmen	The default dimensions of the main area of a typeset page specified by text direction, number of columns, character size, number of characters in a line, number of lines in a column, inter-line spacing and inter-column spacing. (JIS X 4051)
letter face	字面	jizura	Area in which glyph is drawn. (JIS Z 8125)
letterpress printing	活字組版	katsuji kumihan	The traditional printing method using movable type.
line adjustment	行の調整処理	gyō no chōsei shori	A method of aligning both edges of all lines to be the same given length by removing or adding adjustable spaces.
line adjustment by hanging punctuation	ぶら下げ組	burasage gumi	A line breaking rule to avoid commas or full stops at a line head (which is prohibited in Japanese typography) by taking them back to the end of the previous line beyond the specified line length. (JIS Z 8125)
line adjustment by inter-character space expansion	追出し処理	oidashi shori	A line breaking rule that aligns both edges of a line by expanding inter-character spaces. (JIS Z 8125).
line adjustment by inter-character space reduction	追込み処理	oikomi shori	A line breaking rule that aligns both edges of a line by removing adjustable spaces such as conditional spaces for punctuation marks. (JIS Z 8125).
line breaking rules	禁則処理	kinsoku shori	A set of rules to avoid prohibited layout in Japanese typography, such as "line-start prohibition rule", "line-end prohibition rule", inseparable or unbreakable character sequences and so on. (JIS Z 8125)
line end	行末	gyōmatsu	The position at which a line ends. (JIS Z 8125)
line end alignment	行末そろえ	gyōmatsu soroe	To align a run of text to the line end. (JIS Z 8125)
line end indent	字上げ	jiage	To reserve a certain amount of space before the default position of a line end. (JIS Z 8125)
line-end prohibition rule	行末禁則	gyōmatsu kinsoku	A line breaking rule that prohibits specific characters at a line end. (JIS Z 8125)
line feed	行送り	gyō okuri	The distance between two adjacent lines measured by their reference points. (JIS Z 8125)
line gap	行間	gyoukan	The smallest amount of space between adjacent lines.
line head	行頭	gyoutou	The position at which a line starts. (JIS Z 8125)
line head alignment	行頭そろえ	gyōtō soroe	To align a run of text to the line head. (JIS Z 8125)
line head indent	字下げ	jisage	To reserve a certain amount of space after the default position of a line head. (JIS Z 8125)
line length	行長	gyōchō	Length of a line with a pre-defined number of characters. When the line is indented at the line head or the line end, it is length of the line from the specified amount of line head indent to the specified amount of line end indent.
line-start prohibition rule	行頭禁則	gyōtō kinsoku	A line breaking rule that prohibits specific characters at a line head. (JIS Z 8125)
main text	本文	honbun	a) The principal part of a book, usually preceded by the front matter, followed by the back matter. b) The principal part of an article excluding figures, tables, heading, notes, leads and so on. c) The content of a page excluding running heads and page numbers. d) The net contents of a book excluding covers, end papers, insets and so on. (JIS Z 8125)
matrix	母型	bokei	A metal mold from which movable type is cast.
mixed text composition	混植	konshoku	a) To interleave Japanese text with Western text in a line (Japanese and Western mixed text composition). b) To compose text with different sizes of characters (mixed size composition). c) To compose text with different typefaces (mixed typeface composition). (JIS Z 8125)
mono-ruby	モノルビ	mono rubi	A method of ruby distribution where a run of ruby text is attached to each base character. (JIS Z 8125)
multi-column format	段組	dangumi	A format of text on a page where text is divided into two or more sections (columns) in the inline direction and each column is separated by a certain amount of space (column space). (JIS Z 8125)
multivolume work	多巻物	takanmono	A set of work published in two or more volumes, as in the complete work or the first/last half volumes.
naka-tobira	中扉	naka tobira	A recto or a page inserted to divide two different parts in a book. It often has a title or other text to describe the new part. (JIS Z 8125)
nakatsuki (nakatsuki-ruby)	中付き（中付きルビ）	nakatsuki (nakatsuki rubi)	A method of ruby character distribution where each ruby character is aligned to the vertical center of the corresponding base character in vertical writing mode, or to the horizontal center of the base character in horizontal writing mode. (JIS Z 8125)
new recto	改丁	kaichō	To start a new heading or something on a odd page. (JIS Z 8125)
note	注	chū	Explanatory information added to terms, figures or tables. (JIS Z 8125)
number of characters per line	字詰め	jizume	Number of characters in a line to specify the length of lines. (JIS Z 8125)
number of columns	段数	dansū	Number of columns on a page. (JIS Z 8125)
one em space	全角アキ	zenkaku aki	Amount of space that is full-width size.
one third em	三分	sanbu	One third of the full-width size. (JIS Z 8125)
one third em space	三分アキ	sanbu aki	Amount of space that is one third size of em space.
one-third-ruby	三分ルビ	sanbu rubi	Ruby characters, narrow enough so that three can fit within the width of a full-width base character.
original pattern	原図	genzu	An original drawn pattern of a character image to be used for a printing type or a digitized glyph.
ornament characters	添え字	soeji	A superscript or subscript attached to a base character. (JIS Z 8125)
page	ページ	pēji	A side of a sheet of paper in a written work such as a book. (JIS Z 8125)
page break	改ページ	kai pēji	To end a page even if it is not full and to start a new page with the next paragraph, a new heading and so on. (JIS Z 8125)
page format	組体裁	kumi teisai	The layout and presentation of a page with text, graphics and other elements for a publication such as a book.
page number	ノンブル	nonburu	A sequential number to indicate the order of pages in a publication. (JIS Z 8125)
para-ruby	パラルビ	para rubi	A method of ruby annotation where ruby text is only attached to selected Kanji characters in the text. (JIS Z 8125)
paragraph	段落	danraku	A group of sentences to be processed for line composition. A paragraph consists of one or more lines. (JIS Z 8125)
paragraph break	改行	kaigyō	To start a new line to indicate a new paragraph.
paragraph format	段落整形	danraku seikei	A format of a paragraph, as in line head indent or line end indent.
point	ポイント	pointo	A measurement unit of character size. 1 point is equal to 0.3514mm (see JIS Z 8305). There is another unit to measure character sizes called Q, where 1Q is equivalent to 0.25mm.
printing types	活字	katsuji	Movable type used for letterpress printing.
proportional	プロポーショナル	puropōshonaru	A characteristic of a font where character advance is different per glyph. (JIS Z 8125)
punctuation marks	約物	yakumono	A general term referring to the symbols used in text composition to help make the meaning of text clearer, as in commas, full stops, question marks, brackets, diereses and so on. (JIS Z 8125)
quarter em	四分	shibu	Quarter size of full-width.
quarter em space	四分アキ	shibu aki	Amount of space that is a quarter of an em space in size.
quarter em width	四分角	shibu kaku	Character frame which has a character advance of a quarter em. (JIS X 4051)
quotation	引用文	in-yōbun	Excerps from other published works. (JIS Z 8125)
reference marks	合印	aijirushi	A symbol or short run of text attached to a specific part of text, to which notes are provided followed by the corresponding marks.
reverse pagination	逆ノンブル	gyaku nonburu	Numbering pages of a book backwards. (JIS Z 8125)
Roman numerals	ローマ数字	rōma sūji	Numerals represented by upper case or lower case of Latin letters. (JIS Z 8125)
ruby	ルビ	rubi	Supplementary small characters indicating pronunciation, meaning, etc. for the character or the block of characters they annotate. (JIS Z 8125) (Sometimes these annotations are referred to as "furigana".)
running head	柱	hashira	A page element which contains information on the title of the book, chapter, section and so on, printed outside the area of the hanmen. (JIS Z 8125)
single line alignment method	そろえ	soroe	To align a run of text that is shorter than a given line length to designated positions.
single running head method	片柱方式	katabashira hōshiki	A method that puts running heads only on odd pages. (JIS Z 8125)
small kana	小書きの仮名	kogaki no kana	Kana with smaller letter faces to be used mainly for representing contracted sounds or prolonged vowels. (JIS Z 8125)
solid setting	ベタ組	beta gumi	To arrange characters with no inter-character space between adjacent character frames.
space	アキ	aki	Amount of space between adjacent characters or lines. It also refers to the blank area between the edges of a hanmen or an illustration and text or other hanmen elements.
spread	見開き	mihiraki	Any two facing pages when opening a book and the like. (JIS Z 8125)
subscript (inferior)	下付き	shitatsuki	Smaller face of characters, attached to the lower right or the lower left of a normal size character. (JIS Z 8125)
superscript (superior)	上付き	uwatsuki	Smaller face of characters, attached to the upper right or the upper left of a normal size character. (JIS Z 8125)
tab setting	タブ処理	tabu shori	A method of line composition to align one or more runs of text to designated positions on a line.
table	表	hyō	Formatted data consisting of characters or numbers, arranged in cells and sometimes divided by lines, in order to present the data in a way that is easier to understand. (JIS Z 8125)
table of contents	目次	mokuji	A list of headings of contents of a book in page order or arranged by subjects, with page numbers on which each section begins. (JIS Z 8125)
tate-chu-yoko	縦中横	tate chū yoko	To typeset a (small) group of characters horizontally within a vertical line of main text.
tentsuki	天付き	tentsuki	a) To remove conditional space from opening brackets at a line head to align the line head to the ones of the adjacent lines. b) Not to add the default line head indent for the first line of a paragraph so as to align all line heads. (JIS Z 8125)
text direction	組方向	kumi hōkō	Horizontal setting or vertical setting. (JIS Z 8125)
Touyou Kanji Table	当用漢字表	tōyō kanji hyō	The official list of Kanji characters established in 1946, which was designed to restrict the Kanji characters for general use in society to only those 1850 specified in the list. The list together with other related tables was superseded by the Jouyou Kanji Table.
trim size	仕上りサイズ	shiagari saizu	Dimensions of a full page in a publication, including margins. (JIS Z 8125)
tsumegumi	詰め組	tsumegumi	Adjustment of inter-character space by making the distance between the letter face of adjacent characters shorter than that produced by solid setting. (JIS Z 8125)
type-picking	文選	bunsen	To select metal type for characters needed to print a manuscript. (Metal type is stored in a type case, but because the number of Japanese characters is very large, an extra operation was invented that involves collecting type in a so-called 'bunsen box' before typesetting a manuscript using a composing stick.)
typeface	書体	shotai	A set of letters or symbols, which are designed to have coherent patterns to be used for printing or rendering to a computer screen. (JIS Z 8125)
unbreakable characters rule	分割禁止	bunkatsu kinshi	A line breaking rule that prohibits breaking a line between consecutive dashes or leaders, or between other specific combinations of characters.
underline	下線	kasen	A line drawn under a character or a run of text in horizontal writing mode. (JIS Z 8125)
vertical writing mode	縦組	tate gumi	The process or the result of arranging characters on a line from top to bottom, of lines on a page from right to left, and/or of columns on a page from top to bottom. (JIS Z 8125)
warichu (inline cutting note)	割注	warichū	A note of two or more lines inserted in the text. It includes brackets which surround the note (JIS Z 8125)
widow	ウィドウ	widō	The term in Western text layout to describe that the last line of a paragraph with only a few words appears at the top of a new page or a column. (JIS Z 8125)
widow adjustment	段落末尾処理	danraku matsubi shori	A method of line composition to adjust lines in a paragraph so that the last line consists of more than a given number of characters.

[Fig.200]: Jukugo-ruby distribution with inter-character space expansion 6. Appendix G Terminology The definitions with (JIS Z 8125) and (JIS X 4051) at the end are those adopted for the corresponding terms by JIS Z 8125 ("Graphic arts - Glossary - Digital printing terms") and JIS X 4051 ("Formattin ...»See Ya