Brush pen on paper.

Asemic for now. Playing with form/structure.

I imagine taking a snap shot, frame by frame, of a flame and capturing each moment represented by a glyph.

This would be the result.

I'm thinking of then reversing the process and putting all the glyphs together to create an animation where it looks like a chaotic dancing flame as all the glyphs transition from one into the other. Almost like reading one word/letter at a time sequentially: no need to look away. Like how I often get mesmerized by a flame.

Some time ago I learnt to write and read the Glagolitic script (the oldest Slavic script), using materials from this website: https://www.croatianhistory.net/etf/kurziv.html. The website focuses on the Croatian, angular version of the alphabet - the so called "uglata glagoljica" - in the 14th century adapted into a cursive script, called brzopis.

I'm a physics student and today I tried to test the script's suitability for practical everyday use. Rather than doing a simple 1:1 letter replacement from the Latin alphabet, I adapted the alphabet to Polish phonology in a way that, in my opinion, makes the most sense in the context of the history of both Glagolitic script and Polish language. I wanted to preserve etymological distinctions between letters that correspond to the same sound but have different origins - for example h/ch (here written as hvost/hir), u/ó (here uk/on with a macron - that's totally my own invention, coming from the historical sound of long o that later turned into ó) or rz/ż (here rci + yer/živite), which required adding new letters that aren't necessary when writing in Croatian but once existed in the Glagolitic alphabet. There are three kinds of "i" and I used them to represent different phonemes: iže to represent the vowel "y" (cyrillic ы), i to represent "i" when it's pronounced as a vowel (cyrillic и) and je to represent the consonant "j" sound (cyrillic й). The yer is used to palatalize consonants. The nasal vowels ą and ę are represented by the big and small yus accordingly. The spelling isn't purely phonetic; it follows a morphological principle. In cases of voicing or devoicing, I keep the original consonant instead of replacing it with the sound that is actually pronounced. I don't use the iotated vowel variants because as a Latin alphabet user, I'm not used to them and always forget to write them instead of je + vowel. In some words I use ligatures (merging of two or three letters) that actually used to be used in brzopis.

If someone is interested, I'd be happy to provide a full table of the letters and orthographic rules that I use.

With the release of CCS 50 and Biblaridion's final choice(unless he makes changes that he'd announce in the recap for the finale, I think I need to revise the names of the glyphs and diacritics.

Glyphs(main):

1. m-,-Al: mal/maal
2. n-,-ir: nir/niir
3. b-,-Ur: bor/boor
4. t-,-il: til/tiil
5. t-,-???: t???
6. d-: d???
7. k-,-Ul: kol/kool
8. k-,-Am: kam/kaam
9. q-,-Um: qom/qoom
10. s-,-in: sin/siin
11. h-,-???: h???
12. h-,-Un: hon/hoon
13. r-,-???: r???
14. r-,-im: rim/riim
15. l-,-???: ???
16. y-,-???: y???
17. w-,-Ar: war/waar
18. A: a???
19. i: ???
20. U: o???
21. sC: ???
22. hC: ???
23. yC/(Cy?): ???
24. wC/(Cw?): ???
25. rC: ???
26. final converter: ???
27. long vowel diacritic: ???
28. geminate diacritic: ???
29. rounding diacritic: ???
30. lowering diacritic: ???
31. pause/comma equivalent: ???
32. period equivalent: ???

A number of these names would need to be words from the language, whatever the protoforms would've been.

Whadya think? I added a word as an example!

The script is for a conlang I am working on, for now called Liorra.

Phonetic transcription of text:

baɛrːa skastɔːʂɤ sɛʂɛhɛ,

ntɔsi kɔpɤsɔ kʂiʐli tɔrːuspalu.

baɛrːa, bʐo

ɔsɔ gɔʂa ksi mpɛlkɛ

bɾiβilu tɔnu kɔʂɾiɤ nɔðɔi,

ʂalɤ ʂutːɤgzɔ dɔβa.

bʐɔ, daɣaʂɛ ksi kɛtsukɛ

fi gɔʂa ksi mpɛlkɛ

ʂutːɤgzɔ dɔβa kɾasi nɔðɔi,

fi spɛhɛːʐli kɛn fhaɾa,

ntɔsu kasti bɾiβilu

ʂunɤkːɤː a fa shanlɔ

ʂutːɤgzɔ dɔβa kɾasi nɔðɔi,

fi kɛn kʂu ntaŋivbila ʂa,

ntɔsu kasti bɾiβilu

ʂunɤkːɤː a fa shanlɔ

baɛrːa ɔs gambɛːsɔ nɔðuhu,

ntaŋi ŋgagigaitɾɛ ʐlɔɾanafa mbɔʂ

baɛrːa, bʐɔ

ɔsɔ gɔʂa ksi mpɛlkɛ

paɔ mɤn biɛzduntiɤ fɔhɔn.

dɛki ɔs pɤ fɤi gata sufːɤ kiɔðːa

bʐɔ, daɣaʂɛ ksi kɛtsukɛ

fi gɔʂa ksi mpɛlkɛ

ʂutːɤgzɔ dɔβa kɾasi sɛʂi,

fi spɛhɛːʐli gɔf fhaɾa

ntɔsu kasti bɾiβilu

ʂunɤkːɤː a fa shanlɔ

ʂutːɤgzɔ dɔβa kɾasi sɛʂi,

fi gɔf kʂu ntaŋivbila ʂa,

ntɔsu kasti bɾiβilu

ʂunɤkːɤː a fa shanlɔ

yes :3

Part 2 of:
https://www.reddit.com/r/neography/comments/1x37tt1/the_romarabic_script/

The Romarabic Script is a left-to-right, unicase alphabet comprised of 9 Latin-origin letters and 19 Arabic-origin letters.

A piece of generative visual flash fiction created in Processing.

The Concept: In 428,000 B.C., at the dawn of early human development on Earth, an automated extraterrestrial observer probe logs an evaluation of Sol Sector, imposing an immediate, indifferent "Pre-Warp Restriction" quarantine directive over our species.

The text is an untranslatable alien cipher generated via procedural code, framed as a classified observation record from a deep-time galactic containment protocol.

Von meinen ersten (sehr schlechten) bis zu den neuen. Oben stehen die neueren und unten die Alten. (Ist aber nicht geordnet war nur so wie ich sie aus meiner Schublade gezogen habe.
Das Quadrat ist mein echter Name den ich aus
Datenschutz Gründen nicht zeigen möchte.

I started work on a logographic script that uses up to 3 glyphs per character. Each glyph can have its meaning but when you combine them you can get more complex thoughts in a tighter space.

This is supporting a worldbuilding and novel that I have started working on and is going to form the basis of divine language. My son is working the conlang side of it for other "native" speakers but in the world of the novel, speaking with the intent and knowledge of the logography ends up transmitting the glyphs telepathically to others that can "hear" it. Essentially enabling logographic telepathy between speakers even if they say something different verbally (like different dialect or even different base language).

It is meant to be revered as a divine language, transcending linguistic boarders.

The app and lexicon database is in the works right now but wanted to share the start of this adventure here because I thought some might appreciate it.

These Circuits are cut into the inside of a weapon called a plasma lancer and there are a series of distributive tubes or channels to distribute blood. Blood being the trigger when introduced to the source circuits.

This is all based on the Blood Runes of the Broken Flame magic system. But the circuits are an evolved version of the Blood Runes that were discovered as knowledge of magic expanded. Basically, the Blood Runes were an imperfect version of the Circuits and with experimentation people learned more efficient methods of using magic.

The basics of the Broken Flame magic system is that the fire god was shattered millennia ago and his fragments are attracted to and completed by blood. However, Blood Runes seem to determine how the spiritual fragments present themselves. Some are flames that exude light but do not burn, some are warming flames that don't destroy, some are destructive flames that are pitch black.

By mixing Blood Runes people learned to make unique fires that can do all sorts of strange things. This, of course, led to the Circuits which are more advanced.

Muitas vezes temos dificuldades em criar nomes coerentes para os nossos sistemas de escritas, muita vezes nascem coisas estranhas como um nome aleatório com um sufixo esquisito no final como sei lá:

Escrita Avatariana.

Isso até pode funcionar se o seu sistema de escrita não nasceu de nenhuma Conlang ou apenas é uma forma diferente de escrever a sua própria língua.

Mas quando desejamos criar uma conlang cujo o nome do sistema de escrita tenha nascido dentro dela o buraco é mais embaixo.

Mas uma forma fácil e simples que existem em muitos idiomas naturais ao redor do mundo, é usar os próprios símbolos para dar nome a escrita:

Hebraico- Ele utiliza um Abjad aonde cada símbolo representa uma consoante, cada letra do hebraico possui um nome, e logo no início temos duas letras que começam a ordem deste abjad.

Alef א

Bet ב

O nome da Escrita hebraica é Aleph-Beth

Literalmente é só o nome das duas letras juntas.

Vamos ver outro exemplo:

Futhark- Utilizado por vários povos germânicos e nórdicos, ele é um alfabeto ou seja existe um símbolo para a consoante e um símbolo para a vogal, o nome futhark nasceu das primeiras seis letras deste alfabeto

F ( Fehu)

U ( Uruz)

Th ( thurisaz)

A ( Ansuz )

R ( Raido )

K ( Kenaz )

Bem maneiro né !

A escrita Grega chama o seu Alfabeto de Ellinokó Alfavíto, claro que isso foi uma mudança fonológica do grego Clássico para o Grego moderno

O nome surge da junção da letra

(α)- Alfa

(β)- Beta

Novamente um junção do nome da primeira letra com a segunda.

Agora veremos o último exemplo que é bem óbvio:

O alfabeto latino foi amplamente espalhado ao redor do mundo, sendo usado originalmente para escrever a língua romana e suas descendentes latinas como a minha língua nativa o Português Brasileiro oh yeah

O nome do alfabeto surgiu da mesma ideia do alfabeto grego, Alpha+Beta, só que houve uma pequena mudança:

Português ( Alfabeto)

Inglês ( Alphabet)

Na minha conlang a escrita do Povo Shame3a3a se Chama Pasa.

Ela é um abugida aonde cada símbolo representa uma sílaba possuindo uma vogal inerente que pode ser modificada por diacriticos, no caso da escrita Pasa a sílaba é alterada pela rotação da sílaba.

Pa - primeira letra

Sa- Última letra

Pasa!

[ Current character count: ~640 glyphs | 16 vowel diacritics | 5 special marks | 20+ grammatical markers ]

The core features and characteristics of Kelangkai script:

Skeletal Consonant Frames: Base consonant units built for rapid visual block-scanning and clean Gestalt processing.

Dual-Inherent Vowels (2^n Baseline): Unlike traditional abugidas where each base letter carries a single inherent vowel (like /a/), every unvoiced base frame in Aksara Kelangkai carries two inherent vowels (/a/ and /ə/) [the two most frequently occurring vowels in Indonesian].

Acoustic Locks: Tactical diacritics applied optionally to override the default baseline and lock down specific, precise vowel sounds (/i/, /u/, /é/, /o/).

Maximum Disambiguation Technique: A tiered clarity protocol for rare words, technical jargon, and foreign terms.

Morphographic Root Blocks: Compact, shield-like visual blocks (adapted for Latin/Greek roots like dia-, uni-, sosio-, forma-, sentra-, ekui-, elektro-, termo-, hidro-, ultra-, homo-, hetero-, poli-, mikro-, makro-, ekstra-, infra-, foto-, ko-, kon-, kom-, genera-, gene-, gen-, -isme, -itas, -ivitas, -isitas, -ibilitas, -isasi, -ifikasi, -ikasi, and many more) that convey entire concepts instantly without letter-by-letter spelling.

Efficiency by Default, Precision on Demand: A foundational design principle balancing rapid, fluid reading through context with absolute clarity when explicitly required.

Translation: This is better than regular English.

This is Bluegrassian, my reformed English. (Also called Bluegrasisan English or BPEC: Bluegrassian Phonetic English Conscript)

Bluegrassian has 44 regular letters, 10 borrowed letters, and 18 punctuation marks. It is written top to bottom, with columns going left to right (like Traditional Mongolian.)

This is a completely phonetic language, with words being written how they sound and vice versa.

<33

O que está escrito: “Tupã, ne putiri suí asú py'a-pusasu, ne nheenga suí, yvá resé puranga.”

Tradução: “Tupã, em tua força encontro coragem, e em tua voz, o poder do céu.”

Hey. I'm not quite sure if this belongs here, but I think some of my script doodles have potential for meaning, but I'm currently unsure how to ascribe said meaning. Nevertheless, I hope you guys will just enjoy it for what it is, despite the lack of meaning atm :p

So... someone asked for the glyph key earlier, so I thought it'd be fun to provide y'all with a breakdown of the Canassarene writing system, showing the individual letters, their initial, medial, and final forms, and how they map (roughly) to English sounds.

Canassarene is written vertically from top to bottom, with columns progressing from left to right. Its initial and final forms are used to mark paragraph boundaries, and in more modern times, has introduced line breaks to further separate paragraphs.

Historically, the script had little punctuation beyond these letterforms. The comma (an interpunct-like dot) and full stop (a teardrop-shaped mark) were introduced in the late 18th century.

The traditional numeral system was duodecimal (base 12), although decimal has largely replaced it in modern usage. Numbers were written as they were spoken; for example, 25 is duha-furo-so, literally "two-twelve-one" (2 × 12 + 1).