Kala Phrase

으여 거 자그 이교하터 허우 디부저
uye ke tsaku ikyohatle te heua tipuatse
/uːje kɛ t͡saːku ikʲohat͡ɬɛ te heːwa tipʷaːt͡ʃe/
occasionally O idea inspiring-AUG-REL from sky fall-seem
Sometimes the most inspired ideas seem to just come from out of the blue.

Kala idiom

타 버다휵
tla petahuek
/t͡ɬa pɛtaːɦʷek/
4s map-LOC-NEG
It’s not on the map. = it’s the middle of nowhere

Over the next few months I plan on exploring idioms on this page and how to express them (or, how I would) in Kala.

Faran Ensemble

Listen for a while, let your mind be empty and your heart slow.

Kala Idiom

하 거 미라구 으냐
ha ke milakua unya
/ha kɛ milaːkʷa uːɲa/
3s O word-INCL know
She knows all the words. = to talk someone’s ear off < someone who is verbose, talkative

Over the next few months I plan on exploring idioms on this page and how to express them (or, how I would) in Kala.


the shapes ate the grapes
as they wind down the street alley after the great rally
and the flirty wordy birdie
saw me gnaw on the bone all alone
withering and wandering while slithering and pondering
the hole in the bowl
above the dove
where he struck the muck
under the growling moon and howling his swoon

Tloko brushstroke order

The basic principles for writing Omyatloko are simple, namely that writing characters should be economical, with the fewest hand movements to write the most strokes possible. This promotes writing speed, accuracy, and readability. This idea is particularly important since as learners progress, characters often get more complex. Since stroke order also aids learning and memorization.

General Guidelines:

Write from top to bottom, and left to right.
Horizontal before vertical.
Outside before center (unless otherwise indicated).
Enclosures before exteriors.
Dots and minor strokes last.

A few examples:

Because each glyph uses all nine points in a 3×3 grid, each point is named to define and explain stroke order

In these examples you can see that each point is not pronounced or listed as it may not be a juncture or stopping point for the brush. However, each point is covered by the brushstroke. A colon “:” marks a raise of the pen/brush.

Ch. 12, Path of the Warrior

다나고 거 도 더나다나고 거 도 더나
끼후 다 히가부
다이 냐 므야 인디부 그 아노 냐 어먀딤
머 어먀디북
임보 다 므야허

tanako ke to tena
nkihua ta hikapua
ta’i nya muya intipua ku ano nya emyatim
me emyatipuak
impo ta muyahe

/tanaːko kɛ to teːna
ᵑkiːɦʷa ta ɦikaːpʷa
taːʔi ɲa muːja ɪⁿtiːpʷa ku aːno ɲa emʲaːtim
mɛ emʲatɪːpʷak
iːᵐpo ta mujaːɦɛ/

fight-AG O way obstruct
long.time 2s wait-PFV
2s.REFL for do restrain-PFV CONJ again for occurrence-normal-PL
but occurrence-normal-PFV-NEG
therefore 2s do-NEC

The Warrior Obstructs the Way
It is enough.
You have waited for a long time.
You have restrained yourself from acting, waiting for things to take up their natural course once more.
But they have not done it.
So you must act.

From Path of the Warrior, by Lucas E. Schultz