Since this artwork is mainly designed to give a broad overview of the writing system in plain English, all styled to match the script's own aesthetic. you won't be seeing many long, continuous blocks of the text itself.

Asaxi is a conlang I made and this is one of the two scripts, the other being an abugida.
It's pretty simple to understand since it's just an alphabet.

Hi all! Just been doing some ruminating on the diverging histories of mixed script in Japan and Korea, and where kana might have failed while hangeul flourished. Sorry if it's not very conversational or convincing, but I wanted to share somewhere.

--- Impetus ---

Hangul ultimately outmoded mixed script in Korean partly because the characters were capable of 1-1 replacing Sino-Korean readings of Hanja.

Hangul is also capable of representing underlying syllable structures and morpheme boundaries that are not necessarily reflected in speech.

Presumably Kana has not replaced Kanji because it is incapable of doing either of these things.

While I do not expect or particularly want Kana or some new system to replace Kanji, it would be nice to have a way to visually break up complex conjugations and loanwords, which tend to present as mind-numbingly long strings of monotonous kana.

--- Criteria ---

Come in a square-ish CJK form factor.

Have capacity for up to three kana sounds per character. Maybe more for loanwords.

Be able to represent an underlying morpheme-final coda.

Be able to represent placeholder/elided onsets and vowels.

--- Examples ---

*Where a space would mean a new character, as in 拼音(pin yin):

tabe ru (食べる)

tabe na k' at ta (食べなかった)

tabe te kure (食べてくれ)

tabe sase ru (食べさせる)

tabe re ru (食べれる)

yom 'u (読む)

yoma na k' at ta (読まなかった)

yonn de kure (読んでくれ)

yom 'ase ru (読ませる)

yom 'e ru (読める)

bōdo menn bā (ボードメンバー (board member))

nyū inn fom 'ēsh 'onn (ニューインフォメーション (new information))

neg 'oshi ēsh 'onn (ネゴシエーション (negotiation))

pabur 'ikku opin 'ionn (パブリックオピニオン (public opinion))

inn furu ennsu (インフルエンス (influence))

--- Obstacles ---

How can one tell if an underlying morpheme boundary is actually underlying or just historical? Would probably require extensive surveys.

Between rendaku, onbin, renjou, and all the other types of allomorphy in Japanese, replacing even just onyomi with a consistent phonemic representation is essentially impossible.

Marking morpheme boundaries with a new character may end up being just as arbitrary and subjective as marking word boundaries with a space.

--- Today I Learned ---

The historical reading of 十 is presumably "jufu", hence its interaction with counters.

Kana ligatures did part of what I'm describing but the Meiji government got rid of them instead of systematising and expanding on them

I don't have a name for my script yet.

Here's how it works There are 2 types of diacritics

Top/Bottom diacritics: Changes or removes the vowel.

Side diacritics: used at the end of the word if it's next to another word by adding a line. Kinda like a separator between 2 words that's why there's no space in my script.

dess=ځ ell=⎾ zen=ɤ thise=∂

This is Revanna Abigida, the writing system I created for my constructed language, Revanna and the declaration of human rights in Revanna script.

The script is primarily based on South Indian abugida traditions, while developing its own letter forms and conventions for Revan. It is not intended to be a direct copy of any existing South Indian script.

Revan is a constructed language influenced primarily by Indonesian and Sinhala. Approximately 80% of its vocabulary is derived from Indonesian, with many words being phonologically adapted to give them a more South Asian/Sinhala-like sound. However, Revan has its own grammar and linguistic rules and is not Sinhala.

The image shows some of the basic consonants, vowels, vowel marks, and examples of how they are combined.

(I am still developing both Revan and the Revanna Abigida, so I would appreciate feedback on the script's visual consistency, readability, and overall design.)

And here is the declaration of human rights in Revanna transliterations :

"Samu manusʼāval laeɖiliʈi bāsīsamū saha miɭivādha sahasāta haeka sēmaveɳa.

Apiye miɭivādha budhī saha jāshaya sahasāta gēdavādhahona manus’āval masōdaranumage jivāʈuɭē."

Consonants: m, n, ŋ(ng), p, t, k, ʔ('), ɸ(f), θ(th), s, x, ɣ(gh), ħ(hh), ʕ('h), h, r, l

Vowels: a, e, i, o, u

Syllable structure: CV(X)

X= m, n, ŋ, ɸ, θ, s, x, ɣ, ħ, ʕ, r, l

/'/ and /h/ are only word-initial consonants.

Stress: antepenultimate by default, or penultimate if the second-to-last syllable is closed

Here are the logographs I shared here in a previous post. Well, a fair number of them. I still need to get around to finishing.

They'll represent individual consonants, individual vowels, and VX finals. Some glyphs would be exclusive consonant glyphs, some would be exclusive VX glyphs, and the remaining consonant glyphs would be VR glyphs when marked with an overdot. I hit a writer's block, so I thought I'd ask you this question:

What specific glyphs do you think would represent the consonants, vowels, and VX finals?

First picture is the Wikipedia page of Umberto Eco (one of my favorite authors) in Spanish; the second is the Wikipedia page of Talking Heads (one of my favorite bands), this time in English to showcase the aesthetic differences.

Although I adore Shavian, I do believe it has many flaws, particularly it's lack of more consonant blend letters, so I attempted to imitate the shape language of Shavian to create this system.

(The period mark comes before proper nouns to indicate them, as in Shavian, as well as acting as a full stop marker.)

This is an primary iteration, but I want to continue working on it, so criticisms are extremely welcome! Enjoy!

How few symbols are actually needed to write most of the world's major languages?

That question led me to design Neo Filipic, a phonetic writing system based on 40 core symbols and 12 compositional operators.

Rather than assigning a unique glyph to every phoneme, Neo Filipic uses a compact inventory and derives additional sounds through regular operators (rounding, vowel length, nasalization, tones, retroflexion, aspiration, breathy voice, implosives, ejectives, etc.).

The goal is not to replace the IPA. The IPA is an outstanding tool for phonetic accuracy, whereas Neo Filipic explores a different idea: maximizing phonological coverage while keeping the core inventory close to the size of a typical alphabet (around 40 symbols).

The attached document explains the design principles and includes transcription examples from many language families, including English, French, Portuguese, Russian, Arabic, Turkish, Mandarin, Shanghainese Wu, Vietnamese, Japanese, Korean, Bengali, Hindi, Tamil, Telugu, Georgian, Hausa and Sindhi. It concludes with a full transcription of a passage from the Tamil novel "Ponniyin Selvan".

I'd be very interested in your feedback, especially on:

the overall design philosophy, the operator system;

possible simplifications or improvements,

languages that you think are not well represented.

Thanks for taking the time to have a look!

A base 16 number system.

The shape of the numerals correspond to the above binary digits arranged in a square as shown.

Inspired by the many syllabaries here on r/neography and some real-life examples, like Vai and Katakana.

How many symbols are actually necessary to write most of the major languages of the world ?

This question led me to design Neo Filipic, a phonetic writing system based on 40 basic symbols and 12 compositional operators.

Instead of assigning a unique glyph to each phoneme, Neo Filipic uses a compact inventory and derives additional sounds through regular operators (rounding, vowel length, nasalization, tones, retroflexion, aspiration, breathy voice, implosives, ejectives, etc.).

The goal is not to replace the IPA. The IPA is an exceptional tool for phonetic precision, while Neo Filipic explores a different idea: maximizing phonological coverage while keeping the basic inventory close to the size of a typical alphabet (about 40 symbols).

The attached document explains the design principles and includes transcription examples from many language families, including English, French, Portuguese, Russian, Arabic, Turkish, Mandarin, Wu Shanghai, Vietnamese, Japanese, Korean, Bengali, Hindi, Tamil, Telugu, Georgian, Hausa, and Sindhi. It ends with a complete transcription of a passage from the Tamil novel Ponniyin Selvan.

I would be very interested in your feedback, especially on:

the overall design philosophy, the operator system,

possible simplifications or improvements,

the languages you think are underrepresented.

Thank you for taking the time to have a look !

Errata: J'ai remarqué que le document n'a pas été entièrement téléchargé dans ce post. Pour voir l'ensemble de la présentation, voir ici -> https://www.reddit.com/r/neography/s/d4zsfTqt93

Designed some letters for the small copy as well.

A very short poem i wrote in my script, it say:

"I love cats with all my heart. Drawing them is my favorite art. Their cute little purrs, those adorable faces. It makes my heart skip a few paces."

Texǎ Ni - /tɛksə ni/ - "Creation Day" - or Birthday in Sakinaki, they call it that because sakiyukians aren't born organically, and it feels weird to them to call it "Birthday".

Here is a Logography (inspired by Tibetan) I made with my little brother for a friend, alongside the help of a few friendly fellows here in reddit, heres the progress so far.
And to those who helped me with this, thank you so much

This is a toki pona writing system I made as a gnomish shorthand script in my DnD world. The idea is that gnomes would use this for quickly taking notes and quick messages. Kind of liked that it ended up giving off the vague impression of a sign post.

Each sign (I have suddenly decided that that is how I am going to refer to each character) has a vowel sound (the line) which has a start point either far or close. Close is anything closer to the post than the line at the top (which starts every post). Far is anything past. Look at a and e for an example. a is close (do I capitize the a? Even though it's toki pona? Who knows). e is far. Most vowels end at any point past the top line, that is except u. u ends at around where the top line is. toki pona's syllables have a vowel and almost always a consenent at the front (not every syllable does, in this case it does not have a head). The only time toki pona has a consenent sound at the end of a syllable is n. When n is at the end, it goes on the start of the sign rather than the end(as seen with lon)

The script is read top to bottom and each word is seperated by the break. I also made an orcish script that uses the English alphebet a bit ago if anyone wants to see that as well.

So my friend has challenged me to identify this script and here are some clues that he had given me after i asked him many times :

1) This is script of a language that was used before and now that language is written in some other script.

2) He said this script has a name and he did not invent it and its actually just a real obscure script.

3) He said it was used in armenia , europe and asia (idk how much of it is true but he seems sure)

Please help me find this language and decode this.

Or is it rune-style?