Key on keyboard=>Resulting letter:

Cc=>Țț   Gg=>Ņņ   Qq=>Ꞌꞌ   Xx=>Ķķ

Zz=>Áá   Rr=>Éé   Yy=>Íí   Jj=>Óó   Ww=>Úú

.=>:   ,=>.   “ =>‹   ”=>›   ‘ =>«   ’=>»   "=>¿   '=>·   ?=>?   !=>!

‽=>‽  $=>   &=>ḋ   (=>⟨   )=>⟩   +=>+   -=>-   /=>/    :=>,   ;=>;

<=>|   ==>=   >=>‖   [=>⟨⟨   ]=>⟩⟩   \=>¦   ^=>⸮   `=>¡

https://www.omniglot.com/conscripts/choyuck.htm

This is a font for a new writing system called Qugu.

Qugu is really cool, because the letters go together and the SPACE is different from most fonts.

Currently, it is only compatible with Latin letters, and no accents yet.

My font was inspired by the way pixels have been used by other designers in the late 20th century, in particular, Peter Saville’s Original die-cut sleeve album cover for New Order’s Blue Monday single, Wim Crowel’s new alphabet used by Brett Wickens in Joy Division’s compilation album Substance cover. The font was modeled on digitalized letters. To produce it I have used techniques from traditional calligraphy (drawing, use of pencil and ink on paper) to create an effect usually generate instantaneously by computer coding in order to stress the tension between the finished piece and the production behind it. The tension between the two and the uncertainty are represented in the font by the missing and misplaced pixels in each letter.

Any suggestions?

See more: 

https://www.fontstruct.com/fontstructions/show/1478881/new-dynascript-1

https://fontstruct.com/fontstructions/show/759655/zicrets_eye_fs

https://fontstruct.com/fontstructions/show/127132/the_new_alphabet

https://fontstruct.com/fontstructions/show/522360/alphane

https://fontstruct.com/fontstructions/show/371077/crwel

https://fontstruct.com/fontstructions/show/1463459/joie-de-vivre 

https://fontstruct.com/fontstructions/show/112834/brusselmans_1

https://fontstruct.com/fontstructions/show/1550643/xandra-v2

Muz-TV 2000

https://www.fontstruct.com/fontstructions/show/298451/impossible_2

This is the language of Twbraech. There are certain rules and limitations in the language. Rules include; only use capital letters at the beginning of a name or a sentence, i.e. not always a capital I for myself. There are no spaces after a full stop or a comma. Numbers are written differently...3527 is written as three thousands, five hundreds, two tens, seven, with a backslash instead of commas, represented by a hash in the font (#). 10=$, 100=% and 1000=&. So 3527 is 3&#5%#2$#7. There is no letter j, k, q, v, x or z. There are however other letters; wa, ae, ch, sh and chush... in the font j=wa, k=ae, q=ch, v=sh, x=chush, and z represents nothing. The language is purely fictional, and of course when writing in English you will find almost no use for the additionnal letters, except perhaps for sh and ch. If you want to use the letters that aren't in the language such as j or v, I recommend the following j=gae, k= cae, q=cu, v=we, x=ec and z=sd, and I would put these in apostrophes i.e. j='gae', to make it clear that your not using 'real' letters.

I've noticed that most influential renditions of Wim Crouwel's fonts are incredibly literal in finding solutions to readability.

My influences come from several places and I plan to create "chamfered" and "rounded" iterations of this typeface.

Wim Crowel's "Neue Alphabet" is the primary driver, hence the font name. Crowel's Foundry specimen is reliant on a 5x5 grid with chamfered, 45 degree corners on glyphs.

For this "Classic", bitmap-styled design, I opt out of utilizing any non-rectilinear principle, but keep the 5x5 grid. Characters have been heavily modified with readability in display as the primary driver, and an invented symbol and number system is created to suit the new system.

I'd love to hear what people think of my take!

NEXT=ALPHABET=IS=HERE=FOR=YOU.

Konalkepota revised so that it's spaced more closely together. (IE: Each character is closer to the left-ruled line)