Mutya, or Mutyang Baybayin, was designed by E.M. Rentoria as an alternative way to write Filipino. It is a calligraphic version of the Baybayin script for ornamental use. It also has influences from the Thai and Lanna scripts.
While I too have an appreciation for South East Asian scripts, I think this one falls short in presentation. It also seems to randomly borrow from its source scripts leaving the finished product looking more constructed than borrowed. That’s not necessarily a bad thing, but it sort of misses the mark of being “inspired”. The sample is visually appealing, but it also gives away the issues with an overly complex letter design when trying to create a “calligraphic” script.
I give this script 2X3 for aesthetics and functionality.
So I have added a page to list the logograms of Omyatloko. There are currently 350 logograms, with more being added every week. They will always be sorted alphabetically, but with supplemental lists sorting them by topic being added occasionally.
I am currently revising Kala vocabulary and this project is greatly influencing Omyatloko, so, stay tuned for updates,
Dhadakha is a constructed script invented in 2016 by Brian Bourque for his artistic constructed language (artlang), Lortho. It has gone through multiple revisions before it reached the final form in mid-2018. Dhadakha was inspired by Devanagari, Tibetan (uchen), and Tengwar. Currently, the script is solely used to write Lortho.
Originality, linguistical accuracy, and creativity are key components in developing a fully fleshed-out conscript. Dhadakha delivers on all of those fronts. Mr. Bourque’s skill with a pen is apparent and on full display in his Instagram account. The Dhadakha script isn’t just original and unique, but follows linguistic norms the way most neographers only hope to master. Its uniqueness is matched only by its elegance and beauty. Also, a script like Dhadakha has the kind of calligraphic potential that I aspire to in my own scripting.
I give the Dhadakha script a 5×4 for aesthetics and functionality respectively.
Rën is a script (ritë) developed by Justin Mann for a philosophical language of the same name (Lokë Rën). It is designed to be easily learned and written while giving it a beautiful and complex appearance.
I always try to applaud cursive style scripts, if for nothing else than the undertaking itself. However, like many before it Rën suffers from fatigue. While the design of the individual characters is simple and seemingly elegant, the resulting text looks more like apoplectic PhD student hurriedly trying to finish the last lines of her dissertation. There’s also the issue of voiced/unvoiced consonants being distinguished by only a diacritic…not something that I favor, most especially in cursive alphabets.
On to the sounds (orthographic representation). I’m not sure there is a natlang precedent for having [θ~ð] contrast with [ʒ] but not have [z]. And as a note on presentation, the page gives IPA for the diphthongs but not the base vowels. I suppose we could assume /a, e, i, o, u/ but that doesn’t seem accurate based on the diphthongs. Also, the use of the umlaut seems wholly unnecessary and likely ill-informed based on the rest of what phonemic information is available.
Over all, this script gets a 3×1 for aesthetics and functionality.
I’ve been editing a new omyatloko (.pdf) presentation page to go along with the new glyphs and radical system. I would like any and all feedback that any one might have. Thank you.
Laala is constructed language devised by Simon Ager, the creator of Omniglot, who was inspired to try creating a language after attending the Language Creation Conference in Horsham in 2015. The aim was to create a minimalist language with words based on sound symbolism and onomatopoeia as much as possible. The name Laala means ‘sing speak’, and it is intended to be quite a musical language suited to singing.
Simon seems to have a knack for scripts that function perfectly. This script is no exception. However, it does have an ever so slight hint of Tengwar, it still is quite aesthetically pleasing and looks more naturalistic than many of Simon’s other scripts. I do worry that his orthographical choices far exceed his choice in transliteration schemes, though. What would make this script’s presentation striking is some handwritten samples…free hand. I imagine this script has some quite interesting calligraphic possibilities, possibilities that are potentially enhanced by the isolating nature of the grammar.
I rate this script 4×4 for aesthetics and functionality.
Sipingmato was invented by Lesley Kibat as an alternative way to write Kadazandusun (either Central Dusun or Coastal Kadazan). The name Sipingmato comes from a short version of “Sampaping do Pimato” (Alphabet’s sides). This script is adapted from the Hebrew and Arabic scripts. The Sipingmato letters are similar to Hebrew letters, but some are flipped horizontally.
This script has potential, as many do, but there is an issue with presentation. I’m also not sure that it would function well as a handwritten script. There also seems to be some terminology mistakes on the page, but that very well may be because the author is Malaysian. I would be interested to see a handwritten/calligraphic version of this script.
This script gets a 2×3 for aesthetics and functionality.