Another script for morse code. This one is closer to what I use when writing. Still struggling with multiple dashes in central or final positions, which leads to difficulty depicting numerals and punctuation... I'm playing around with other ways of showing this.

This is, in fact, a script for Morse code.  Dots are like a cursive i, and dashes are above or below the line. Multiple dash letters P and J have doubled loops. Still a work in progress, numbers and punctuation to come.

Light weight of Kaiski Akzidenz

This font is made for a special script I created. Readable characters appear, only if you write in the order Ccbv, where the syllables look like Cvc.
C means a uppercase consonant, c means a lowercase consonant, v means a vowel and b is binding ("(/){|}[\]"). Numbers are in base 12, with the digits being "0123456789.,", a comma is written like ' and a full stop like ''.
c=Palatal lateral approximant,
q=Uvular trill,
r=Alveloar trill,
w=Bilabial trill,
x=Velar nasal,
y=Mid central vowel.
<=uppercase glottal stop
>=lowercase glottal stop
If you follow the writing rules, you might be able to write a word, such as
H>}aVs{o = /havos/
or 
F>{oNt|ySt|yR>|aKt}y = /fonytsytrakyt/

https://docs.google.com/spreadsheets/d/1HwjCrQHwI_nhp6PH5J2H3y2veBSlhdMpe5h17L0u0rU/edit?usp=sharing

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.

Eshaa, the talon language, is conlang formed of sharp points and flowing lines.

This contsins captial, lower case, comma and full stop only.

Each word in the sentence should begin with a capital letter to get the full aesthetic effect.

Matriarc is a linear script of flowing lines orditing central circles. This is used as a standard alphabet with the upper and lowercase vowels having a different distance to the main line to allow aesthetic placement.

Heptal is an alternative alphabet for English created by Katie Molnar. The original can be found here: http://www.omniglot.com/conscripts/heptal.htm

The original script uses overlines to identify vowels which join together when next to each other. The extended vowels á (acute) begins the join the à (grave) ends the join and the ä (diaresis) is the middle of a join - each vowel has an equivalent.

The original script also has 3 varieties of s. Use the S for the capital, the s for an s in the middle of the word and a $ for a final s.

Finally, all sentences should be started with an _ (underscore).

This conlang is a full alphabet with a simple arabic feel.

Each word is constructed with a leading capital letter

Solan Vider is a conlang where each letter is built of two parts, a Solan and a Vider (Top and bottom respectively).

For ease of use each character is fully formed in this fontstruct.

The Namak script was originally derived from a logographic script and used for the language of Namariehak around 5000 years ago, but has since then spread and has become the most widely used script on Notasami. It is a bicameral, alphabetic script that uses a base-10 number system. This is a serifed version of the script resembling the original, traditional way of writing it, and includes the four Santieng diacritics.

My second attempt at a font for the Marchen script, a Brahmic script used in the Tibetan Bon tradition to write the extinct Zhang-zhung language. It can also be used to write Tibetan. It supposedly originated in the Zhang-zhung kingdom prior to the introduction of Tibetan Buddhism in the 7th century, but no texts from that time using the script are known.

Marchen was added to the Unicode standard in version 9 released in June 2016. This font uses an ad-hoc ASCII mapping though. It doesn't handle stacked consonants which makes it rather useless. :P

This design uses the same rounded corners and serifs as my 'Phags-pa and Zanabazar Square fonts. The letters come in three widths. Combined with the medial 'y' there's a total of four widths that the vowel diacritics need to accommodate, which is a manageable number.

Marchen is a Brahmic script used in the Tibetan Bon tradition to write the extinct Zhang-zhung language. It can also be used to write Tibetan. It supposedly originated in the Zhang-zhung kingdom prior to the introduction of Tibetan Buddhism in the 7th century, but no texts from that time using the script are known.

Marchen was added to the Unicode standard in version 9 released in June 2016. This font is modelled very closely on the example characters in the Unicode chart which were designed (I think) by Andrew West. Like my other fonts it's not a Unicode font though but uses an ad-hoc ASCII mapping. Marchen, like the Tibetan script, relies heavily on vertically stacked consonants. I could in theory create precomposed compound characters for the most common stacks, but managing that with an ad-hoc encoding would be a nightmare. This makes the font rather useless. :P

My second biggest problem was that I wanted the vowel diacritics to be the same width as the base letters. These come in four widths. Add the medial 'y' which attaches to the right side of a letter and it turns into a huge mess. I solved this by creating extra "bars" that can be used to extend the diacritics.

The Namak script was originally derived from a logographic script and used for the language of Namariehak around 5000 years ago, but has since then spread and has become the most widely used script on Notasami. It is a bicameral, alphabetic script that uses a base-10 number system. This is a sans-serif, simple font along with the four Santieng diacritics.

My first attempt at the Kayah Li script used to write Kayah Li spoken in Burma/Myanmar and also in Thailand. It was created by Htae Bu Phae in 1962. I based my design on the relatively blocky font used over on Omniglot. I'm not that happy about the result though. Letters were made on a 9×11 grid which allowed me to make vertical lines thicker than horizontal. It makes for very blocky letters though. I was hoping to create something similar to my Tai Le font but the letters simply didn't lend themselves to the same level of fluidity.

Kayah Li was added to the Unicode standard in version 5.1 in 2008. This font however uses an ad-hoc mapping to Ascii characters. The only real oddity are the tone markers mapped to 'f', 'j' and 'q'.

The script is a true alphabet with all vowels written out. There are however only four vowel letters: ‹a›, ‹oe›, ‹i› and ‹oo›. The rest are written as ‹a› plus a diacritic.

This was a font created for the purpose of serving the webcomic Ending Worlds, but since that comic's termination this font has had no purpose.

To properly use this font, convert all numbers to base 8, make sure all full stops, question marks and exclamation marks precede sentences instead of following after, and make certain that each word begins with a capital letter, without using spaces inbetween words or sentences. This font should only be used when large, not at incredibly small sizes.

My take on the Mongolian 'Phags-pa script designed by the Tibetan monk Phagspa in 1269, based on the Tibetan script, to write Mongolian, Tibetan, Sanskrit and Chinese. This font is based on the Tibetan style which consists almost entirely of straight lines and right angles. It seemed like a prime candidate for a FontStruct treatment. I've added rounded corners and serifs to make it more visually interesting.

The script is written in vertical columns top-to-bottom and left-to-right and thus needs to be rotated 90° clockwise and the columns then reversed.

'Phags-pa was added to the Unicode standard in version 5.0 in 2006. This font however uses an ad-hoc mapping to Ascii characters which admittedly doesn't always make sense. I kind of gave up in the end and started assigning a bunch of letters to digits. Letters are connected into syllable block by a thin line (mapped to '-'), usually on the right-hand side. A straight line clashed wth the serifs so I made it into a small arch.

The script is an abugida: the vowel ‹a› is inherent in each syllable and thus not written.

My take on the Tai Le/Tai Nüa/Dehong Dai script which is used mainly in the Dehong region in southwest China. The relative blockiness of the letters made it a prime candidate for a FontStruct treatment.

Tai Le was added to the Unicode standard in version 4.0 in 2003. This font however uses an ad-hoc mapping to Ascii characters. Thanks to the limited number of letters (for a Brahmic script) the mapping mostly makes sense. Aspirated plosives are mapped to upper case and tone markers to shift+digit. The latter have been mapped so that they work on both US and Swedish Mac keyboards (and hopefully many others). Luckily there were no conflict between the two.

The script is an abugida: a syllable-initial consonant letter has an inherent vowel ‹a›. Whether a consonant is initial or final has to be inferred from context, however only ‹p›, ‹t›, ‹k›, ‹m›, ‹n› and ‹ng› can appear in final position.

(The letter pair ‹tone 2› + ‹ka› could really use some kerning.)

My take on the Mongolian Horizontal Square script designed by Mongolian spiritual leader Zanabazar to write Mongolian, Tibetan and Sanskrit. It's based on the Tibetan script. The script consists mostly of straight lines and right angles and seemed like a prime candidate for a FontStruct treatment. I've added rounded corners and serifs to make it more visually interesting.

The script has been accepted by the Unicode Technical Committee for inclusion in a future version of the Unicode standard*. This font uses an ad-hoc mapping to Ascii characters: upper case for aspirated plosives, 'f' and 'q' for retroflex plosives and a lot of mappings that make even less sense as I started to run out of Latin letters. The mapping is based on Sanskrit and Tibetan; Mongolian uses some characters differently. However, the font does not do stacked consonants required by the two former.

The script is an abugida: the letter ‹a› is inherent in each consonant letter and the vowel is then modified using diacritics. Initial vowels are written with a special letter, mapped to 'A', that's wider than the rest and has its own set of diacritics, mapped to digits 0–9.

* http://www.unicode.org/L2/L2014/14024-zanabazar-square.pdf

http://66.media.tumblr.com/2b8428dcde5be0994bb662bf73b89481/tumblr_nuwgv5DhoK1s0g2deo1_1280.png For use.

This font was created for my roleplaying game. It is intended to be written in vertical columns with the hexagon starting a new paragraphm the large T-shapes start each new line, and the hooked bars are for adding extra information to words.  

This is a recent experiment on linear design. This includes all 26 letters in both upper and lower case a a small number of punctuation marks.

I wanted to try and create a stark linear script that would be easy and quick to write out in contrast with some of my more ornamental scripts.

This is a calligraphy version of the Evikræyl

script.

It uses significantly softer lines and edges to the original and looses the special character tick in favour of a taller stem.

Enjoy!

This is a revision of the original Imrian script (my first fontstruct).

This revision has had some significant tweaks based on what I have learnt from my other designs.

The original script was laced with a strong botanical theme and draw from the Ogham language. All sentences should begin with a ( [open bracket] to create the root symbol. Words are then typed as in english using a - [hyphen] instead of a space. For example:

(The-quick-brown-fox-jumps-over-the-lazy-dog.

Enjoy!

This, as the name suggests, is a cubic version of the script helix. This variation removes all curved lines and approached the script with a box look rather than the traditional helix twist effect.

This has the same letter/punctuation as other helix variations.

This is a calligraphic version of the Unlu script. It has all the basic latin letters

but only basic punctuation.

It is used as with the previous Unlu scripts. Enjoy!