ジ

ャ
パ
ン

1
© The Japan Foundation, Manila
 2
© The Japan Foundation, Manila
 KATAKANA & ROMAJI CHART
a i u e o ya yu yo
ア イ ウ エ オ
a i u e o
カ キ ク ケ コ キャ キュ キョ
k
ka ki ku ke ko kya kyu kyo
ガ ギ グ ゲ ゴ ギャ ギュ ギョ
g
ga gi gu ge go gya gyu gyo
サ シ ス セ ソ シャ シュ ショ
s
sa shi su se so sha shu sho
ザ ジ ズ ゼ ゾ ジャ ジュ ジョ
z
za ji zu ze zo ja ju jo
タ チ ツ テ ト チャ チュ チョ
t
ta chi tsu te to cha chu cho
ダ （ヂ） （ヅ） デ ド
d
da ji zu de do
ナ ニ ヌ ネ ノ ニャ ニュ ニョ
n
na ni nu ne no nya nyu nyo
ハ ヒ フ ヘ ホ ヒャ ヒュ ヒョ
h
ha hi fu he ho hya hyu hyo
パ ピ プ ペ ポ ピャ ピュ ピョ
p
pa pi pu pe po pya pyu pyo
バ ビ ブ ベ ボ ビャ ビュ ビョ
b
ba bi bu be bo bya byu byo
マ ミ ム メ モ ミャ ミュ ミョ
m
ma mi mu me mo mya myu myo
ヤ ユ ヨ
y
ya yu yo
ラ リ ル レ ロ リャ リュ リョ
r
ra ri ru re ro rya ryu ryo
ワ
w
wa
（ヲ）
o
ン
n(n・)
3
© The Japan Foundation, Manila
 a i u e o yu
ウィ ウェ ウォ
w
wi we wo

ヴァ ヴィ ヴ ヴェ ヴォ
v
va vi vu ve vo

シェ
sh
she

ジェ
j
je

チェ
ch
che

ツァ ツィ ツェ ツォ
ts
tsa tsi tse tso

ティ トゥ
t
ti tu

ディ ドゥ デュ
d
di du dyu

ファ フィ フェ フォ フュ
f
fa fi fe fo fyu

4
© The Japan Foundation, Manila
 Tome/Harai/Hane

攷 攷攷
Tome
框框
(Stop)

梃 梃梃
Harai
旱旱
(Fade Out)

收 攷收
攷 收 攷
Hane

畋畋
(Hook)

5
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

ア
Where is the vertical line located?
Is the tongue straight or slightly curved?
Let’s observe them closely.

イ
Do you think these two lines end the same way?
Which one fades out? Which one ends with a stop?
Let’s have a look.

ウ
This is similar to the character “う” in Hiragana, but there are differences. How are
they different? Does the short line on top come in contact with the second stroke? Where
does the final stroke fade out?

エ
Which is longer, the bar at the top or the bar at the bottom?
How about the vertical bar? Does your “エ” look like a capital letter “I”? Pay attention
to the strokes!

オ
Does the bottom of the cross end with a “stop”, a “fade out” or a “hook”? Where does the
third stroke start? Does it come in contact with the cross?

6
© The Japan Foundation, Manila
擽
攀 攀攀攀
攀
擽擽攀擽攀
攘
攜 攘 攘攘
攘攜
攜 攘攘攜
攅 攅攅攅
攣
攤
攅攤
攤 攅攅攤
攅攅
攣
攤 攣
攤攤攅
攣
攴 攫攫攫
攵
攫
攴
攫攫攴攴攫
攵
攴
攫攫攴
攵攴攵
攫
收
攸
攷 攷攷攷
收攷
攷 收攷收
攷攷
收
攸 攸
收收攸
攷 7
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

カ
This is similar to the hiragana character “ か” , but there are differences. How are
they different? Let’s take a closer look.

キ
There are 2 parallel lines. Which one is longer?
How about the other line? Is it upright or slanted? Pay attention to the direction in which
they lean and the size of the angles.

ク
There are 2 lines that fade out. Where do these lines go?
Is the character shaped like a vertical oval or a horizontal oval? Let’s be careful of the balance.
Were you able to write it in two strokes? This character looks like “ワ”, so please be careful in writing
this one.

ケ
This is similar to the character “ク,” but how many strokes does the character “ケ” have? Let’s take
a closer look at the starting point of the horizontal line and its length. Pay attention to where the third stroke
begins.

コ
This character has 2 strokes but the 2 strokes make 3 lines. Look at te length of the 3
lines. Do all the lines have the same length? Let’s take a closer look.

8
© The Japan Foundation, Manila
畋
效 畋畋畋
畋畋
效 效畋效
敖 敖敖 敖
敕
敍
敕
敖敕敖敕敖
敍
敖敍
敕 敖敍
敕 敖
敕
敘 敘敘敘
敞
敞敞
敘 敘敞敘
數 敝敝敝
敝
敲
敝
敲敝敲敲敝
數敝
敝
敲 敲數
數 敝
敲
斂 斂斂 斂
斃
斃斃
斂 斂斃斂
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© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

サ
Observe the size of the 3 sardines. What kind of lines do they use? Do you think they
end in a “stop” or “a fade out”?

シ
This is the ship with 2 sails. Where is the starting point of the ship? Which way does this
line go? Does it fade out upwards or downwards? These are very important points to re-
member.

ス
Where does the second stroke begin? Let’s pay attention to the balance of the character
and the type of strokes used.

セ
When you study the character “せ” in Hiragana, you remember the two people watch-
ing the setting sun. This time, only one person is left. What is he doing? He is hugging
his knees.

ソ
Where is the starting point of the button? What about of the needle? What direction does
the needle go? Is the line of the needle straight?

10
© The Japan Foundation, Manila
變
斛 變變變
斟
變變
斛 斛變斛
斛
變斛
斟 變
斟斟變
斛
斷
斫 斫斫斫
旃
斷
斫斷斫斷斫
旃
斷
斫斷旃旃
斫 斷
斫
旆 旆旆旆
旁
旆
旁旁旆旆旁
旌
旄 旄旄 旄
旌
旄旌旄旌旄
旒
旛 旒旒 旒
旒
旛旒旛旒旛
11
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

タ
There are two strokes that fade out. In what direction do they go? How about their bal-
ance of their length?
Don’t forget the wisdom tooth!

チ
Let’s look at the type and the length of the lines. What is the difference between first 2
strokes?
Don’t forget to observe where the third stroke begins!

ツ
How do the 2 buttons form a line? Pay attention to the starting point of the needle. Which
way does the needle go?
Do you know what character it looks like? Let’s look for the differences between the two!

テ
What can you say about the length of the parallel lines and the type of strokes used?
Where does the third line start? Is it from the first line or the second?

ト
Where does the second stroke begin? How about its length?
Let’s strive to achieve balance!

12
© The Japan Foundation, Manila
旙
旡
无 旙旙 旙
旙无
无 旙无旙
旙
旡
无旡无旡
旙 旙
无
昊
杲
旱 旱旱 旱
杲
旱杲旱杲旱
杲
旱杲
昊 昊昊
旱 杲
旱
杳
旻 昃 昃昃
昃
旻旻
昃 昃昃旻
旻杳
杳
昃 旻杳
昃 旻
昃
昴
昶 昵昵昵
昵
昵
昶昶昵昶昵
昴
昵
昶昴昵昶
昶 昴
昵
昜 昜昜昜
晏
昜
晏昜晏昜晏
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© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

ナ
Is the first line horizontal or slanted? Where do the 2 strokes intersect? Did you pay at-
tention to the type of stroke used? Is it a “stop” or a “fade out”?

ニ
Let’s compare the lengths of the top and the bottom line.
Then, let’s observe the distance between them.
Make sure you don’t write them too close or too far from each other!

ヌ
Where is the noodle? Where does it start and where does it end?

ネ
First, let’s observe which parts come in contact with each other, and which ones don’t.
Let’s take a good look at the character.
At what length do we have to write each stroke to preserve the balance of this character?

ノ
How does the stroke end, is it a “stop,” a “hook,” or a “fade out”?

14
© The Japan Foundation, Manila
晄
晉 晄晄晄
晄晉
晉 晄晉晄
晁 晁 晁晁
晞
晞
晁晞晁晞晁
晤
晝 晝 晝晝
晤
晝晤晝晤晝
晟
晢
晨
晧 晧晧 晧
晨
晧晧晨晨晧
晨
晟
晧晟晧晧
晨 晟
晨
晢
晧晢
晟
晨 晟
晧晢
晨 晧
晟
晨
晰 晰晰晰

15
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

ハ
Which of the strokes is a “stop”? Which one is a “fade out”?
Let’s try to observe how big the hole in the hut is. How big should it be?

ヒ
Pay attention to the arms of the man. Where do they begin? At what angle are they ex-
tended? Let’s look at the balance between the length of his arms and legs.

フ
At what angle do you think the downward part of this character should fade out? Let’s
look at the length of the stroke and the angle at which the horizontal line bends.

ヘ
This character looks like a mountain. But which side is longer?

ホ
What type of stroke do you find at the bottom of the cross? Is it a “stop,” a “hook,” or a
“fade out”?
Where are the people praying? Do they come in contact with the cross or not?

16
© The Japan Foundation, Manila
暃 暃暃暃
暈
暃暃
暈 暈暃
暈
暎 暎 暎暎
暉
暎暎
暉 暉暉
暎
暄 暄暄暄

暘 暘暘暘

暝 暝暝暝
曁
暹
曉
暝曁
曁 暝暝曁
曁
暝暝
暹 曁暹
暹 暝
曁
曁
暝
暹
曉暝曁
暹暝
曉 曁
暹
曉
17
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

マ
Is this character shaped like a vertical oval or a horizontal oval? Let’s take a look at how
balance is achieved in relation to the length of each stroke.

ミ
There are 3 lines. Are they all the same length? In what direction do they go?

ム
How many triangle-shaped snacks did the moose eat?
Let’s take a closer look!

メ
What can you say about the type and length of the 2 intersecting strokes? What should
you do to achieve proper balance between the strokes when writing this character? Let’s
observe closely!

モ
This looks like the character “も” in Hiragana, but they are not entirely alike. Can you
spot the differences? Which is longer, the first stroke or the second? Try to observe where
the third stroke starts and where it ends.

18
© The Japan Foundation, Manila
暼
暾 暾暾暾
暼
暾暼暾暼暾
曖
曄
暸 曄 曄曄
曄
暸暸曄曄暸
曖曖
暸
曄 曄曖
暸 暸
曄
曠
曚 曚 曚曚
曠
曚曚曠曠曚
曦 昿昿昿
昿
曦
昿昿曦曦昿
曰
曵
曩 曩曩曩
曰曰
曩 曩曰曩
曰曵
曵
曩 曰曵
曩 曰
曩
19
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

ヤ
This looks like the character “や” in Hiragana but they are different, aren’t they? Is it
curved or not? Don’t forget to open the yak’s mouth so that it can eat!

ユ
Pay attention to the balance of the length of the lines so you can write this character
beautifully.

ヨ
Is this an upside-down “E”? No, it isn’t!
Let’s take a close look at the direction and length of each stroke.

20
© The Japan Foundation, Manila
曷 曷曷曷
朏
曷
朏朏曷曷
朏
朖 朖朖朖
朞
朖朞
朞 朖朞
朖

朦 朦朦 朦
朧
霸
朧朧
朦 朦朧朦
霸
朧朦
朦 霸
朧朧霸
朦

21
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

ラ
What do you notice about the length of the horizontal lines in the first and second
strokes? What about the distance between them?

リ
Look at the 2 strokes, which one is longer? Are they both straight?
This is similar to the character “り” in Hiragana, but can you see the difference? How
are they different?

ル
Do the first stroke and second stroke start at exactly the same height? In what directions
do they go? How big is the hook in the second stroke?

レ
What angle indicates 10 seconds on an analog stopwatch? Take a good look at this char-
acter and observe the length of its parts.

ロ
Is this a square? Are you sure? Take a closer look!
Can you see the difference in the length of its strokes and their direction? Which is long-
er, the top or the bottom?

22
© The Japan Foundation, Manila
朮
朿 朮朮 朮
朮朿
朿 朮朿
朮
杁 朶朶朶
朶
朶朶
杁 朶
杁杁
朷 朸朸朸
朸
朸
朷朸 朸
朷朷
杆 杆杆 杆

杠 杞杞杞
杙
杞
杞杠
杠 杞杞杠
杞
杠
杙杙杞杠
杠 杙
杞

23
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

ワ
Is the short line in the first stroke upright or slightly slanted?
Take a good look at where the lines end.

ン
There is only 1 sail. Where does the sail begin?
What about the ship? Pay attention to the distance between them. In what direction does
the line of the ship go?
These are key points to remember when writing this character.

24
© The Japan Foundation, Manila
杣
杤 杣杣杣
杣
杤杤杣杤
杣
杼
杪 杼杼杼
杼
杪杼杪杼
杪

25
© The Japan Foundation, Manila
枌
枡
枋
枦 枌
枡
枦枌
枋 枡枌
枋
枦 枡
枋
枦
枴
柬
敕
敖
敍 枴
敍枴
柬
敕
敖 敍枴
柬
敕
敖 柬
敕
敖
敍
枸
柤
敞
敘 枸
柤
敞枸
敘 柤
敞枸
敘 柤
敞
敘
枹
柮
數
敲
敝 枹柮
柮
數
敲
敝 枹
數敝
敲
敝 枹
柮
數
敲
斃
柧
檜
斂 斃
柧
檜斂
斂 斃
柧
檜斂斃
柧
檜
變
斛
斟
桍
桀 變
桍變
斛
斟
桀 桍變
斛
斟
桀 斛
斟
桍
桀
斷
栫
斫
旃
桙 桙斷
斷
栫
斫
旃 栫
斫
旃
桙斷栫
斫
旃
桙
梟
桿
旁
旆 梟旆
桿
旁
旆 梟旆
桿
旁 梟
桿
旁
旌
梔
旄
條 旌
梔
旄
條旌梔
旄
條旌梔
旄
條
檮
梹
旒
旛 檮
梹旒
旒
旛 檮
梹旒
旛 檮
梹
旛

26
© The Japan Foundation, Manila
梺
椏
旙
旡
无 梺
椏
旙
旡
无梺无梺
椏
旙
旡 椏
旙
旡
无
昊
杲
椈
旱
棊 昊
杲
椈
棊昊
旱 杲
椈
棊昊
旱 杲
椈
旱
棊
棡
杳
旻
椌
昃 棡
杳
旻
椌杳
昃 棡
旻
椌杳
昃 棡
旻
椌
昃
椶
昴
棔
棕
昵 椶
棔椶
昴
棕
昵 棔椶
昴
棕
昵 昴
棔
棕
昵
昜
棣
晏
棗 昜棣
棣
棗
晏 昜棣
棗
晏 昜
棗
晏
棯
暃
暈
棠 棯暃
暃
暈
棠 棯暃
暈
棠 棯
暈
棠
椣
椚
暉
暎 椣
椚椣
暉
暎 椚椣
暉
暎 椚
暉
暎
楹
棆
暄 楹
棆棆
暄 楹
暄棆楹
暄
暘
楸
楜 楜暘
暘
楸 楜暘
楸 楸
楜
楴
椹
榿
暝
暹
曉 楴
暝楴
椹
榿
暹
曉 暝楴
椹
榿
暹
曉 椹
榿
暝
暹
曉

27
© The Japan Foundation, Manila
椰
暃
暈 椰暃
暃
暈 椰暃
暈 椰
暈
楝
暉
暎 楝暎
暉
暎 楝暎
暉 楝
暉
暄
楪 暄
楪暄楪暄楪
榮
暘 榮
暘榮暘榮暘
暝
曁
暹
榾
曉 暝
曁
暹
榾曉
曉 暝
曁
暹
榾曉暝
曁
暹
榾

28
© The Japan Foundation, Manila
敖
敕
敍曷朏
敕
敖
敍朖朞
敕
敖
敍朧朦
霸
枴
柬
敕
敖
敍曷朏
枴
柬
敕
敖
敍朖朞
枴
柬
敕
敖
敍朧霸
朦
斷
斫曷
旃 朏
斷
斫朖
旃 朞
斷
斫朧
旃 朦
霸
斷
栫
斫
旃
桙曷朏
斷
栫
斫
旃
桙朖朞
斫
旃
桙
斷
栫朧朦
霸

29
© The Japan Foundation, Manila
昊
杲
旱曷朏
昊
杲朖
旱 朞
昊
杲朧
旱 朦
霸
晞曷
晁 朏
晞朖
晁 朞
晞朧
晁 朦
霸
暉曷
暎 朏
暉朖
暎 朞
暉朧
暎 朦
霸
椣
椚
暉曷
暎 朏
椣
椚朖
暉
暎 朞
椣
椚朧
暉
暎 朦
霸

30
© The Japan Foundation, Manila
楝朏
暎
暉 曷
楝朖
暉
暎 朞
楝朧
暉
暎 朦
霸
曖
曄
暸曷朏
曖
曄
暸朖朞
曖
曄
暸朧朦
霸
朶
杁曷朏
朶
杁朖朞
朶
杁朧朦
霸

31
© The Japan Foundation, Manila
攤
攣
攅攘攜
攤
攣
攅攵攴
攫
攤
攣
攅收攷
攸
柬擽
枴
攤
攣
攅 攀
攤
攣
攅
柬攘
枴 攜
柬攵
枴
攤
攣
攅 攴
攫
柬收
枴
攤
攣
攅 攷
攸
斷
斫攵
旃 攴
攫
斷
柬
枴
斫攵
旃 攴
攫
昊
杲攵
旱 攴
攫

32
© The Japan Foundation, Manila
杳
旻擽
昃 攀
杳
旻攜
昃 攘
杳
旻攵
昃 攴
攫
杳
旻收
昃 攷
攸
昴
昶攜
昵 攘
昴
枡攜
昶
昵
枴 攘
枡
枴
昴
昶朖
昵 朞
昜攅
晏 攤
攣
昜
晏
枡攅
枴 攤
攣
暄擽攀
暄攘攜
暄攵攴
攫
暄收攷
攸 33
© The Japan Foundation, Manila