This is a whole other issue: that of placement. Yes, the way I use them is within the staff, and this raises issues when dealing with chord. For one, I align the accidentals vertically according to two rules:
1) the side with more factors is centered on the note, or (if they have the same number)
2) the side with the higher prime factor is centered on the note
The accidental for the tonic is a special case, as it is vertically symmetrical.
So, for example, the accidental for 6/5 (with the prime factors 3 and 5 respectively) would be aligned with the symbol for 5 next to the note, and extend upwards. But the sign for 9/5 (3*3 / 5), since it has two signs on top, would center those on the note, and extend downwards. I'm attaching a photo from one of my scores to show what they look like in a chord (sorry for the quality; also note it's a hand-drawn score). In the middle of the image near the top you see a chord with circular noteheads. The ratios for the notes in that chord are, from top down, 4/3, 1/1, 8/5, 7/6, 16/9, and 4/3. Note that 7/6 and 4/3 both have the horizontal line at the bottom aligned to the same note; you have to notice the curved sign at the top of the former to know that it's supposed to be anchored to the D above. Accidentals are arranged with the sign for the top note closest to the chord, then moving outwards from there.
Hope this clarifies a bit what I'm talking about.
Cheers,
A
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