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.
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.
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.
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.
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.
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.
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.
Matriarc is a linear script of flowing lines orditing central circles. This is used as a standard alphabet with the upper and lowercase vowels having a different distance to the main line to allow aesthetic placement.
Eshaa, the talon language, is conlang formed of sharp points and flowing lines.
This contsins captial, lower case, comma and full stop only.
Each word in the sentence should begin with a capital letter to get the full aesthetic effect.
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.)