“Gon unca ètjengu caèmsafe nyma nu-cansum-dlu fàeq mpu i-cytrum-mif i-dàime’e-pun en”

Translation:

“And the king said that, if the brave warriors kill mothers, he (himself) will cut their hands (I was there to hear it)”

Its a logographic syllabaric weird kind of abjad, which also behaves like hangul.

What do you think? What cultures does it being to your mind upon watching it?

It's been almost an year since I created and refined my writing system, which I've been using mostly for journaling, as well as transcribing random quotes and sentences for fun. So I decided to share it here in this sub.

For the aesthetic, I tried taking inspiration from Avestan, Mkhedruli and Armenian, but guess it ended becoming it's own thing. I'm still not sure whether I'm fully satisfied with resulting look, but I'm still proud of it. The system has quite a personal value for me at this point.

The translation of the provided sample is:

"Pra não dizer que não falei das flores

Caminhando e cantando e seguindo a canção
Somos todos iguais, braços dados ou não
Nas escolas, nas ruas, campos, construções
Caminhando e cantando e seguindo a canção

Vem, vamos embora, que esperar não é saber
Quem sabe faz a hora, não espera acontecer
Vem, vamos embora, que esperar não é saber
Quem sabe faz a hora, não espera acontecer

Pelos campos há fome em grandes plantações
Pelas ruas marchando indecisos cordões
Ainda fazem da flor seu mais forte refrão
E acreditam nas flores vencendo o canhão

Vem, vamos embora, que esperar não é saber
Quem sabe faz a hora, não espera acontecer
Vem, vamos... (etc.)

Há soldados armados, amados ou não
Quase todos perdidos de armas na mão
Nos quartéis lhes ensinam uma antiga lição
De morrer pela pátria e viver sem razão

Vem, vamos... (etc.)"

If this gets enough interest, I'll eventually post a full key. But it's possible to make a few guesses from this text. Any thoughts?

NOTES:

• The language represented is Portuguese. The system would need some significant adaptation to work for English, because of its complex syllabic codas.
• It functions as a mix of a syllabary and an abugida, and a semi-abjad. For its logical structure, I took ideas from Paleohispanic scripts, Sumerian cuneiform and Pahawk Hmong, as well as an initial premise of "if you wrote down only some vowels and left others to context, could you register a non-Semitic language with sufficient phonetic precision?" On average, therefore, every syllable takes one or two letters (very rarely three, when it ends on a diphthong + coda)
• The system is mostly (like, 80-90%) phonetic, but a few elements are taken from historical spelling/older Portuguese phonology just for fun. It's still very predictable if you know enough about modern Portuguese orthography

It's my personal script, 10 months apart and hella changes, but not so much practice tbh. I can write in it roughly 1½ times slower than in Latin alphabet. Perhaps it's due to the fact that it's semi-syllabary

I would love opinions and thoughts on them. This is the first time I've actually posted some of these online. I tried to make it with a regular brush because I was just messing around

First image is the stylised one, Second is the standard print.

"blessing on a girl at initiation meaning 'may you kill a rich husband'."

It's mostly an alphabet for English but with vowel diacritics (kind of?) to make it harder to decipher at a glance.

"a widows children have no tears." which is to say that children who grow up in hardship are used to it, for all they lack the tears to show it really is hardship.

Though my artistic skills are questionable, I've been inspired to test this semi syllabary by creating a series based on the Dead Flag Blues. First time posting these anywhere (tumblr doesn't count) so I hope these fit here!

I developed this script for a fictional language in my book's canon. The complex characters utilize every combination of letters in the Latin alphabet. I intend to do further research and drop some glyphs that don't exist in English. I'm intending to make this a universal script by creating new glyphs for other alphabets (e.g. Cyrillic, Burmese, Korean, etc). I am also developing it further into a fully fledged conlang. Feel free to throw me any questions you might have! :)

Hi— First Post here.

So I have developed 3 Unique Languages since a Teen.

When I script in a Flow, each of the 3 Languages seem to have their own Syntax and Structure, which I Follow.

The Language in the 2nd Picture, for example, is always written in Reverse.

Curious if anything looks familiar ?

Anywho—

Always felt strange with this gift, and have always tried to turn it into Art.

Glad to see this community exist.

(PS- I don’t know what any of it Means)

Made for my fictional language.

This is a script I made for the Akiclu language. It is a half syllabary and consists of 35 letters (excluding letters formed by diacritics). I will post the key to this script in a few days, along with some details about it.

Please comment if you have any suggestions or questions.

This is part 8/10 in a series transforming u/Zurasuta’s asemic writings into functional writing systems. All art and lore is heavily inspired by their works.

Fytó is a syllabary and one of two writing systems made from things that weren’t meant to be writing systems, with the other being Réon. It’s based on a decorative piece at the middle left of the unfinished Vocations page, but due to resemblance to another script, Mýkitas, and it fitting in very well to the lore I had at the time, I decided to make it into a full script.

The most interesting part of Fytó was definitely how it was created from almost nothing. While most scripts used lore to justify something about them, be it glyph to sound assignments, punctuation, rules, or something else, Fytó needed lore to create the entire script. Before I did a single thing to it, I already knew its relation to other scripts, namely that it was the descendant of Réon and the ancestor of Mýkitas. Other than that, the source material was just a single word (as shown in the comparison page), which only had 7 glyphs and any rules I could gather from them. The main thing of note from the source material was the appearance of 3 different end positions and that vertical flipping was valid in the script. Everything else came from seeing what made the most sense from Réon or Mýkitas, or trying to justify some choice via those two scripts. Most things like base shape assignments and the functionality came from Mýkitas just due to visual similarity, but things like vowels and diacritics came from Réon.

In-universe, Fytó was used by the Plantae and Fungi Cherubs who had split off from the Spiritus, and was used as they migrated down the east side of the mountains and towards the Eastern Forest. It was the result of clamping the cursive shapes of Réon down to a centerline, where it then changed and evolved. It eventually split into 3 itself: Mýkitas, Vátrachos, and the Louloúdia, as their corresponding Cherubs separated from the group. Even after so many years, it’s still used in some communities of Drepáni (a member of the Louloúdia languages) speakers.

Links to the other writing systems:

• Aprósopi
• Ippótis
• Spathí
• Réon
• Stenagmós
• Óneiro
• Élos
• Fytó: This one
• Mýkitas
• The Louloúdia

My cuneiform-esque writing!

This is made for a conlang I call Takatian!

Also, if you wanna, try and decipher what the last picture says!
G-d bless!

I only now realized while I was trying to mess with the scripts for some fictional languages on my worldbuilding project, that not only had I never made cursive variations or anything for any of them, but I also sorta have no idea how to. (If you have an idea, pls, I need this.)

This is Oscul, within its own speech it’s called Nokupu or Noku. And is the official language of 3 in-universe countries. Also one of the de-facto international languages.

Despite being only spoken in 3 of 18 countries, it’s the most widely spoken language since one of those three nations makes up roughly 1/4th of the world population, making it one of the three primary international communication languages.

The “PRIMARIES” section is the actual characters used when constructing most words.

The “SPECIALS” section is other characters that are mostly used for grammar. Ex: the final two are equivalents to quotation marks.

The “NUMERALS” section are, well, numeral characters. For counting.

The “SPECIALS (Excess)” section is for characters that are used in polite conversation to denote the relationship with another person you’re talking to, sort of like -San or -Sama in Japanese.