This is a conlang font based on the SIGIL panel script which can be found on the Omniglot Website. Unlike the inspiration this font is alphabetical.
Note on the script: The script is formed from consonant-vowel pairs. If a pair cannot be made in the order consonant-vowel then an underscore [_] should be used for the consonant or a hyphen [-] for a vowel.
Klanara is the script generated for the conlang of the same name. The inspiration for this comes from a script called Oxidilogi available from Omniglot. The language is made up of consonant vowel pairs throughout and is structured to accommodate this pairing. There are some special characters. the ae and oe pair form a single vowel symbol in Klanara. Also the capital H and L are used to form the consonant pairs sh, ch, wh, th and kl. The lower case h and l are letters in their own right.
Here is the second version of the Unlu script font.
This one has been called Unlu Light as it is significantly smaller than the original with cleaner lines and angles.
In addition to the Unlu v.1 letters and usage this version includes more punctuation and the numbers 0-9.
Evikræyl is the product of a sudden flash of inspiration combined with a love for calligraphy and the aggressive illumination look.
All the basic latin letters are available along with the numbers and a few punctuation marks.
Evikræyl means 'words that stay' in Kallin'Erillian the conlang this script will be used for.
Glyphr is a combination of shapes, design and ideas which I have seen and love. The combination of then creates a very linear chicken scratch script.
Generally you should start every word with an uppercase in order to get the preparatory line, however, the script is equally effective without this.
Vykra is a conlang script based on the concept of a syllabic alphabet and inspired by plants.
The upper case is the plant body, while the lowercase is the root. As such it is necessary to write this script in alternating case (AlTeRnAtInG CaSe) so as to place an upper and lower case letter together.
The full stop symbol is used for words consisting of one letter to provide a root.
This, as the name suggests, is a cubic version of the script helix. This variation removes all curved lines and approached the script with a box look rather than the traditional helix twist effect.
This has the same letter/punctuation as other helix variations.
This is a revision of the original Imrian script (my first fontstruct).
This revision has had some significant tweaks based on what I have learnt from my other designs.
The original script was laced with a strong botanical theme and draw from the Ogham language. All sentences should begin with a ( [open bracket] to create the root symbol. Words are then typed as in english using a - [hyphen] instead of a space. For example:
(The-quick-brown-fox-jumps-over-the-lazy-dog.
Enjoy!
This is a recent experiment on linear design. This includes all 26 letters in both upper and lower case a a small number of punctuation marks.
I wanted to try and create a stark linear script that would be easy and quick to write out in contrast with some of my more ornamental scripts.
http://66.media.tumblr.com/2b8428dcde5be0994bb662bf73b89481/tumblr_nuwgv5DhoK1s0g2deo1_1280.png For use.
This font was created for my roleplaying game. It is intended to be written in vertical columns with the hexagon starting a new paragraphm the large T-shapes start each new line, and the hooked bars are for adding extra information to words.
My take on the Mongolian Horizontal Square script designed by Mongolian spiritual leader Zanabazar to write Mongolian, Tibetan and Sanskrit. It's based on the Tibetan script. The script consists mostly of straight lines and right angles and seemed like a prime candidate for a FontStruct treatment. I've added rounded corners and serifs to make it more visually interesting.
The script has been accepted by the Unicode Technical Committee for inclusion in a future version of the Unicode standard*. This font uses an ad-hoc mapping to Ascii characters: upper case for aspirated plosives, 'f' and 'q' for retroflex plosives and a lot of mappings that make even less sense as I started to run out of Latin letters. The mapping is based on Sanskrit and Tibetan; Mongolian uses some characters differently. However, the font does not do stacked consonants required by the two former.
The script is an abugida: the letter ‹a› is inherent in each consonant letter and the vowel is then modified using diacritics. Initial vowels are written with a special letter, mapped to 'A', that's wider than the rest and has its own set of diacritics, mapped to digits 0–9.
* http://www.unicode.org/L2/L2014/14024-zanabazar-square.pdf
My take on the Tai Le/Tai Nüa/Dehong Dai script which is used mainly in the Dehong region in southwest China. The relative blockiness of the letters made it a prime candidate for a FontStruct treatment.
Tai Le was added to the Unicode standard in version 4.0 in 2003. This font however uses an ad-hoc mapping to Ascii characters. Thanks to the limited number of letters (for a Brahmic script) the mapping mostly makes sense. Aspirated plosives are mapped to upper case and tone markers to shift+digit. The latter have been mapped so that they work on both US and Swedish Mac keyboards (and hopefully many others). Luckily there were no conflict between the two.
The script is an abugida: a syllable-initial consonant letter has an inherent vowel ‹a›. Whether a consonant is initial or final has to be inferred from context, however only ‹p›, ‹t›, ‹k›, ‹m›, ‹n› and ‹ng› can appear in final position.
(The letter pair ‹tone 2› + ‹ka› could really use some kerning.)
My take on the Mongolian 'Phags-pa script designed by the Tibetan monk Phagspa in 1269, based on the Tibetan script, to write Mongolian, Tibetan, Sanskrit and Chinese. This font is based on the Tibetan style which consists almost entirely of straight lines and right angles. It seemed like a prime candidate for a FontStruct treatment. I've added rounded corners and serifs to make it more visually interesting.
The script is written in vertical columns top-to-bottom and left-to-right and thus needs to be rotated 90° clockwise and the columns then reversed.
'Phags-pa was added to the Unicode standard in version 5.0 in 2006. This font however uses an ad-hoc mapping to Ascii characters which admittedly doesn't always make sense. I kind of gave up in the end and started assigning a bunch of letters to digits. Letters are connected into syllable block by a thin line (mapped to '-'), usually on the right-hand side. A straight line clashed wth the serifs so I made it into a small arch.
The script is an abugida: the vowel ‹a› is inherent in each syllable and thus not written.
My first attempt at the Kayah Li script used to write Kayah Li spoken in Burma/Myanmar and also in Thailand. It was created by Htae Bu Phae in 1962. I based my design on the relatively blocky font used over on Omniglot. I'm not that happy about the result though. Letters were made on a 9×11 grid which allowed me to make vertical lines thicker than horizontal. It makes for very blocky letters though. I was hoping to create something similar to my Tai Le font but the letters simply didn't lend themselves to the same level of fluidity.
Kayah Li was added to the Unicode standard in version 5.1 in 2008. This font however uses an ad-hoc mapping to Ascii characters. The only real oddity are the tone markers mapped to 'f', 'j' and 'q'.
The script is a true alphabet with all vowels written out. There are however only four vowel letters: ‹a›, ‹oe›, ‹i› and ‹oo›. The rest are written as ‹a› plus a diacritic.
The Namak script was originally derived from a logographic script and used for the language of Namariehak around 5000 years ago, but has since then spread and has become the most widely used script on Notasami. It is a bicameral, alphabetic script that uses a base-10 number system. This is a sans-serif, simple font along with the four Santieng diacritics.
Marchen is a Brahmic script used in the Tibetan Bon tradition to write the extinct Zhang-zhung language. It can also be used to write Tibetan. It supposedly originated in the Zhang-zhung kingdom prior to the introduction of Tibetan Buddhism in the 7th century, but no texts from that time using the script are known.
Marchen was added to the Unicode standard in version 9 released in June 2016. This font is modelled very closely on the example characters in the Unicode chart which were designed (I think) by Andrew West. Like my other fonts it's not a Unicode font though but uses an ad-hoc ASCII mapping. Marchen, like the Tibetan script, relies heavily on vertically stacked consonants. I could in theory create precomposed compound characters for the most common stacks, but managing that with an ad-hoc encoding would be a nightmare. This makes the font rather useless. :P
My second biggest problem was that I wanted the vowel diacritics to be the same width as the base letters. These come in four widths. Add the medial 'y' which attaches to the right side of a letter and it turns into a huge mess. I solved this by creating extra "bars" that can be used to extend the diacritics.
My second attempt at a font for the Marchen script, a Brahmic script used in the Tibetan Bon tradition to write the extinct Zhang-zhung language. It can also be used to write Tibetan. It supposedly originated in the Zhang-zhung kingdom prior to the introduction of Tibetan Buddhism in the 7th century, but no texts from that time using the script are known.
Marchen was added to the Unicode standard in version 9 released in June 2016. This font uses an ad-hoc ASCII mapping though. It doesn't handle stacked consonants which makes it rather useless. :P
This design uses the same rounded corners and serifs as my 'Phags-pa and Zanabazar Square fonts. The letters come in three widths. Combined with the medial 'y' there's a total of four widths that the vowel diacritics need to accommodate, which is a manageable number.
The Namak script was originally derived from a logographic script and used for the language of Namariehak around 5000 years ago, but has since then spread and has become the most widely used script on Notasami. It is a bicameral, alphabetic script that uses a base-10 number system. This is a serifed version of the script resembling the original, traditional way of writing it, and includes the four Santieng diacritics.