に

ほ
ん

© The Japan Foundation, Manila

 2
© The Japan Foundation, Manila
 HIRAGANA & ROMAJI CHART
a i u e o ya yu yo
あ い う え お
a i u e o
か き く け こ きゃ きゅ きょ
k ka ki ku ke ko kya kyu kyo
が ぎ ぐ げ ご ぎゃ ぎゅ ぎょ
g ga gi gu ge go gya gyu gyo
さ し す せ そ しゃ しゅ しょ
s sa shi su se so sha shu sho
ざ じ ず ぜ ぞ じゃ じゅ じょ
z za ji zu ze zo ja ju jo
た ち つ て と ちゃ ちゅ ちょ
t ta chi tsu te to cha chu cho
だ ぢ づ で ど ぢゃ ぢゅ ぢょ
d da ji zu de do ja ju jo
な に ぬ ね の にゃ にゅ にょ
n na ni nu ne no nya nyu nyo
は ひ ふ へ ほ ひゃ ひゅ ひょ
h ha hi fu he ho hya hyu hyo
ぱ ぴ ぷ ぺ ぽ ぴゃ ぴゅ ぴょ
p pa pi pu pe po pya pyu pyo
ば び ぶ べ ぼ びゃ びゅ びょ
b ba bi bu be bo bya byu byo
ま み む め も みゃ みゅ みょ
m ma mi mu me mo mya myu myo
や ゆ よ
y ya yu yo
ら り る れ ろ りゃ りゅ りょ
r ra ri ru re ro rya ryu ryo
わ
w wa
を
o
ん
n (n∙)
3
© The Japan Foundation, Manila
 Tome/Harai/Hane

悄 愍愍
戡戡
Tome
(Stop)

愿愿
晰 晰晰
梍梍
Harai
(Fade Out)

惱惱
惶 惶惶
Hane
憔憔
(Hook)

忰忰

4
© The Japan Foundation, Manila
 ☞ Let’s take a close look on each stroke! Stop, fade our or hook?
(□= stop, ○= fade out, △= hook)

あ い う え お
か き く け こ
さ し す せ そ
た ち つ て と
な に ぬ ね の
は ひ ふ へ ほ
ま み む め も
や ゆ よ
ら り る れ ろ
わ を
5
© The Japan Foundation, Manila
 ☞ Did you get it right? Hope you did!

あ い う え お
か き く け こ
さ し す せ そ
た ち つ て と
な に ぬ ね の
は ひ ふ へ ほ
ま み む め も
や ゆ よ
ら り る れ ろ
わ を
ん
6
© The Japan Foundation, Manila
 7
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

あ
How long is the length of the bar on top?
Look at the curved portion - which strokes intersect and how do these strokes intersect? Let’s
take a close look!

い
Do you think the lengths of the 2 strokes differ?
How about the height of their starting points? Are both strokes straight? Or slightly curved?
How big is the ‘hane’ (hook)? Let’s take a close look!

う
Let’s take a close look at the short stroke on top! Is this character shaped like a vertical oval?
Or a horizontal oval?

え
Let’s be careful with the short stroke on top! Around where is it placed? How exactly is the
snaky stroke at the bottom shaped? Let’s take a close look!

お
Look at the round portions at the bottom. Are the sizes of the left and right portions the same?
Lastly, don’t forget to write the short line at the upper right corner!

8
© The Japan Foundation, Manila
悄 悄悄悄
悖
悛
悄悛
悛 悄悛悄
悖
悛
悄悛悖
悄悛悖
悄
悗
悒 悗悗 悗
悗悗
悒 悒悒悗
悋 悧悧悧
悧
悧悧
悋 悋悋悧
惡
悸 惡惡 惡
惡悸
悸 惡悸惡
惠
悴 惠惠惠
惓
惠惓
惓 惠惓惠
惠
惓悴
悴 惓
惠悴惠
惓
9
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

か
Are the 2 lines on the left perpendicular? Or is the vertical stroke a bit slanted? Slanted to the
left or right? How long are the lines?
Let’s take a close look!

き
Are the lines straight? Or do they lean to one side?
Pay attention to the direction that they lean, and the size of the angles that are formed. Let’s
be careful also with the size of the ‘hane’ (hook), and with the lengths of each stroke!

く
This looks like a beak! But how about the angle and the length?

け
This character has a left and right portion... But don’t write them too far apart! Be careful with
the distance between the 2 portions!

こ
This is like a coin, but is this character really shaped as round as a coin? Let’s be careful with
the angles and lengths of the strokes!

10
© The Japan Foundation, Manila
忰 忰忰忰
惆
悽
忰悽
悽 忰悽忰
悽
忰惆
惆 忰惆
悽 悽
忰
悵
愕 悵悵悵
慍
惘
悵悵
惘 惘惘悵
慍
悵悵
惘 惘
慍悵惘
慍
悵
慍
愕
惘惘悵
慍
愕慍悵
惘
愕
愆 愆 愆愆
愀
惷
惶 惶惶惶
惶
惷惷惶惶惷
惷愀
惶
愀 惷
惶愀惶
惷
惴 惴惴惴
惺
惴惺
惺 惴惺惴 11
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

さ
Look at the stroke at the upper portion. In what direction does go and how much does it tilt?
Let’s also be careful with the size of the ‘hane’ (hook), and with the lengths and angles of the
strokes!

し
This is similar to the letter U, but there are differences. How and where are they different?
Let’s take a close look!

す
How much of the bud has come out? Is the seed big or small? Is the root long or short? Is the
root straight? Examine well the balance among the strokes!

せ
Here, 2 people are looking at the sunset. How far apart are they?
They won’t be able to share their feelings well if they are too far apart or too near. Let’s keep
in mind the best distance between the 2 people!

そ
Look closely and you will see that this shaped like a vertical diamond. Let’s be careful with the
lengths of each stroke and the size of the curve as well!

12
© The Japan Foundation, Manila
惻
愃 愃愃愃
愡
愃愡
愡 愃愡愃
愃
惻愡
愡 惻惻
愃愃愡
惱 惱惱惱
愍
愎 愍愍 愍
愎愍
愍 愎愍愎
愨
愾
慇 慇慇 慇
慇愾
愾 慇慇愾
慇愨
愨
愾 慇
愾愨慇
愾
愧 愧愧愧

13
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

た
This character has 2 portions, right? Look carefully as to the position of the 「こ」. There
are 4 strokes, but are they all straight? Isn’t there a stroke which is slightly curved?

ち
On what part does the toothpick pierce the cheeseball?
Look closely at the following points: the length of the first stroke, the angle at the intersection
of the first & second strokes, and the curve of the second stroke.

つ
Is this character shaped like a vertical oval? Or a horizontal oval?

て
The curved portion should not be too round. Be careful also with the length of the straight
portion at the top. Did you get it?

と
Take note of the starting points of the first and second strokes.
Is there a difference in the height of their starting points?
How about the starting and ending points of the second stroke? Let’s take a close look!

14
© The Japan Foundation, Manila
愬
慊
愿
愼 慊慊慊
愿
慊愿慊愿慊
愼愿
慊
愿 愼愿
慊 愼
慊
愬
愼愬
慊
愿 愼愬
慊
愿 愿
愼
慊
愴
愽 愴愴愴
愽
愴愽愴愽愴
慂 慂慂慂

慄 慄慄慄

慳
慷 慳
慷慳慷慳
慷

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

な
This character can be divided into 3 portions, but take note of how far they are from each oth-
er. Also, look at the round portion - is it a vertical oval? Or a horizontal oval?

に
This character has a left and right portion... But don’t write them too far apart! The right por-
tion is written the same way you write 「こ」 and 「た」.

ぬ
This character will come out looking nice if you make it horizontally oblong instead of round.
Also, don’t forget to write the ‘egg’ at the end!

ね
There is a vertical stroke which runs through the character, but comparing the left and right
portions, which one is bigger? Also, what is the shape of the net? Let’s take a close look!

の
Which portion touches each other? Which portion is apart? How about the end of the stroke?
Is it a ‘tome’ (stop)? a ‘hane’ (hook)? or a ‘harai’ (fade out)?

16
© The Japan Foundation, Manila
慘
慚 慘慘慘
慙
慫
慙
慘慙慘慙慘
慘慘
慙
慚 慙慙
慚 慘
慚
慘
慙
慚
慫慚慘
慙
慫慚慘
慙
慫
慥
慴 慴慴慴
慯
慴慯
慯 慴慯慴
慥
慴慥
慯 慴
慯慥慴
慯
慟
慱 慱慱慱
慱
慟慱慟慱慟
慓 慝慝慝
慝
慝
慓慝慓慓慝
慵 慵慵慵
17
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

は
This character has a left and right portion... But don’t write them too far apart! Is it a straight
line? Is the round portion a vertical oval? Or a horizontal oval?

ひ
This is a wide open mouth! How far apart are the left and right moustaches? Look closely at
the angles between the mouth and each moustache.

ふ
This character has 4 strokes, but look closely at the location and distance between the
strokes. How do the strokes end? With a ‘tome’ (stop)? a ‘hane’ (hook)? or a ‘harai’ (fade
out)? Let’s look closely!

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

ほ
Look at the right portion and take a very close look at how the strokes intersect. This is a very
important point! Also, do not write the left and right portions too far apart!

18
© The Japan Foundation, Manila
憖 憙憙 憙
憙
憇
憙憙
憖 憖憖憙
憖
憙憙
憇 憖憇
憇 憖
憙
憬 憬憬憬
憔
憑
憚 憔憔憔
憊
憔
憚憔憚憚憔
憔
憊
憚憊憔
憚憔憊
憚
憔
憚憔
憑
憊 憚憔
憑
憊 憑
憊
憚
憫 憫憫憫
懊
憮
懌 憮憮憮
應
憮
懌懌憮憮懌
憮
懌
懌懌懌
憮
懌 憮
懌
憮
懌
應 憮
懌
應
懌懌懌 憮
懌
應 19
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

ま
For this character, take a close look at how the strokes intersect. This character is similar to
the right portion of 「ほ」. But how is it different? Let’s take a close look!

み
This character will come out looking nice if you imagine drawing a triangle as you write the
first stroke.

む
Look closely at the location of the cow’s nose and mouth. Also look at the size of its body.
Don’t forget to write the tail!

め
Take note of the starting points of the first and second strokes.
Is there a difference in the height of their starting points? How about the size and shape of the
curve? Let’s take a look closely!

も
The first stroke may look like 「し」, but if you look closely, it’s a bit different! How is it dif-
ferent? Let’s take a closer look! Also, notice the length of the horizontal strokes and how they
have a slight curve.

20
© The Japan Foundation, Manila
懈
懷
懃 懷懷懷
懷懷懈
懈懈 懷
懷懃
懈
懃 懈
懷懃懷
懈
憺 懆懆懆
懆
懆
憺懆憺懆憺
罹
懋 懋懋懋
懍
懋罹
罹 懋罹懋
懋
罹懍
懍 懋懍
罹 懋
罹
懦
懣 懦 懦懦
懦
懣懦懣懦懣
懺
懴 懶 懶懶
懶
懶懺
懺 懶懶懺
懶
懺懴
懴 懺
懶懴懶
懺 21
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

や
Look at the nose of the yak. Where does the curve of the nose end? The yak’s horn should be
written at the top of the face!

ゆ
Take note of the vertical portion of the first stroke in relation to the vertical stroke at the mid-
dle. Do you notice the angle between these two vertical lines? Let’s take a look closely!

よ
Look at the horizontal first stroke. If you make it too long, it will lose its balance! Be careful!

22
© The Japan Foundation, Manila
懼
懽
懿 懿懿懿
懽懽
懿 懿懽懿
懽
懿懽
懼 懿懽
懼 懿
懼

懾 懾懾 懾
戀
懾戀
戀 懾戀
懾

戉
戈 戈 戈戈
戈戉
戉 戈
戈戉

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

ら
Take note of the location of the first short stroke in relation to the starting point of the second
stroke. How are they positioned? Also, you must take note of the shape of the curve of the
bottom portion. It tilts a little bit upwards, don’t you think?

り
Look at the 2 strokes - which one is longer? Are they both straight? This character is similar to
「い」, but can you see the difference? Let’s take a look closely!

る
Take note of the upper portion and the lower curved portion, especially the difference in size,
the angles, and the balance. The widest portion of this character is the middle. Don’t forget to
write the ruby!

れ
How do tired people take their rest? Take notice of the angle between the body and the stick!

ろ
This character is similar to 「る」, but if you look closely, it’s a bit different! How is it differ-
ent? It also looks like the number ‘3’, but is it really the same? Do they have the same shape?
How about the size?

24
© The Japan Foundation, Manila
戍
戌 戍戍戍
戍
戌戌戍戍
戌
戔 戔戔戔
戛
戔
戛戔戛戔
戛
戞 戞戞戞

戡
截 戡戡 戡
戡
截戡截戡
截

戮 戮戮戮

25
© The Japan Foundation, Manila
☞ Key to better writing! Let’s observe the following points…

わ
Let us make the right-hand portion large and round. Be careful with the intersection of the first
and second strokes!
This character is similar to 「れ」 and 「ね」, but what are the differences? Let’s take a
closer look!

を
Look at the length of each stroke, the locations of their starting points, and the angles where
they intersect. Which portions are curved? Which portions are straight?

ん
This character looks like the letter ‘n’, but are they really the same? Compare the height and
angle of the straight portion, and also the height and angle of the curved portion. Look closely
at where the curved portion faces, and where it ends!

26
© The Japan Foundation, Manila
戲 戰戰 戰
戰
戲戰
戰 戲戰
戲

扁
戳 戳 戳戳
扎
扁扁
戳 戳戳扁
扁扎
扎
戳 扁
戳扎扁
戳

扞 扞 扞扞

27
© The Japan Foundation, Manila
扠
扨
扼
扣
扛 扨扠
扠
扣
扼
扛 扣
扛
扨扼
扼 扣
扠
扨
扛
抂
抖
抒
抓
抉
找 抓
抂
抖
抒找
抉
找 抓
抖
抂找
抒
抉 抖
抂
抓
抒
抉
抔
拔
抃 拔抃
抔
抃 抔
拔抔拔
抃
拑
拏
拿
抻
拗 拏拑
拑
拿
拗
抻 拿
拗
拏拑
抻 拿
拗
拏
抻
拜
拈
擔
拆 拈
拆擔
拜
擔 拆拆
拜
拈 拈
拜
擔
抛
拇
拌
拂
拊 拊抛
抛
拇
拌
拂 拊抛
拇
拌
拂 拇
拌
拂
拊
拉
挌
拮 拮拉
拉
挌 挌
拮拉挌
拮
挧
挈
拱
挂 挧
挈
拱挧
挂 拱挧
挂
挈 拱
挂
挈
捍
挾
捐
拯
拵 捍
挾
捐
拯拵
拵 捍
挾
捐
拯拵捐
捍
挾
拯
掖
捏
搜 掖搜
捏
搜 掖搜
捏 掖
捏

28
© The Japan Foundation, Manila
捶
掀
掫
掎
掣
掏 捶
掀
掫掎
掎
掣
掏 捶
掫掎
掀
掣
掏 捶
掀
掫
掣
掏
掵
掟
捫
掉 捫掟
掵
掟
掉 掵
捫掟
掉 掵
捫
掉
揩
掾
捩 捩揩
揩
掾 捩揩
掾 掾
捩
揣
揆
揀 揀揣
揣
揆 揀揣
揆 揆
揀
揉
揄
插
揶 揄揉
揉
插
揶 揄揉
插
揶 揄
插
揶
搓
搆
搦
搖
搴 搓
搦搆
搆
搖
搴 搓
搦搆
搖
搴 搓
搦
搖
搴
搗
攝
搶 搗
搶攝
攝 搗
搶攝搗
搶
摶
摎
搨
搏
摯
摧 摶
摎
搨
搏
摯
摧摯摶
摎
搨摯
搏
摧 摶
摎
搨
搏
摧
撕
撓
攪 撓撕
撕
攪 撓撕
攪 撓
攪
撈
據
撩
撼
擒
撥 撈
據
撩
撼
擒
撥據撥據
撈
撩
撼
擒 撈
撩
撼
擒
撥

29
© The Japan Foundation, Manila
擇
擘
撻
擅 擇撻
擘
撻
擅 擇撻
擘
擅 擇
擘
擅
擂
擱 擂
擱擂擱擂擱
抬
搨
搏
摯
摧 抬摯
搨
搏
摯
摧 抬摯
搨
搏
摧 抬
搨
搏
摧
擣
擯 擯擣
擣 擯擣擯
擺
撼
撈
撩
撥 擺
撼
撈
撩
撥撈撥撈
擺
撼
撩 擺
撼
撩
撥

30
© The Japan Foundation, Manila
抂
抒
抉
找懼懿
懽
抂
抒
抉
找懾戀
抂
抒
抉
找戉戈
抂
抖
抒
抓
抉
找懼懿
懽
抂
抖
抒
抓
抉
找懾戀
抂
抖
抒
抓
抉
找戉戈
拉懼懿
懽
拉懾戀
拉戉戈
拉
挌
拮懼懿
懽
拉
挌
拮懾戀
拉
挌
拮戉戈

31
© The Japan Foundation, Manila
愴
愽懼懿
懽
愴
愽懾戀
愴
愽戉戈
慥
慴懼
慯 懿
懽
慥
慴懾
慯 戀
慥
慴戉
慯 戈
憬懼懿
懽
憬懾戀
憬戉戈
搗懼
攝
憬 懿
懽
搗懾
攝
憬 戀
搗戉
攝
憬 戈
32
© The Japan Foundation, Manila
擂
擱懼懿
懽
擂
擱懾戀
擂
擱戉戈
懆
憺懼懿
懽
懆
憺懾戀
懆
憺戉戈
戔
戛懼懿
懽
戛懾
戔戀
戛戉
戔 戈

33
© The Japan Foundation, Manila