Currently I am working on doing the stylisation process for the glyphs I’ve already made. The red glyphs above are those that I’ve worked on today and yesterday, and the black ones are from before the hiatus.
Currently I am using a dip ink pen. It took a while to get used to, but I think I’m getting “the hang” of it. Not as handy as a cartridge pen, but still.
Some stuff I’ve been working on.
Earlier work at further abstractions/stylisation of the script for a third was done using ordinary pens, but this stuff has been made by using an actual ink-pen, to get a certain feel to it: restrictions of its use, etc, impose certain forms on it that become a Look for the script, giving it character, in the same way that all the other scripts of the world have been characterised by the material and method they have been inscribed with: cunei-form as an extreme example, and arabic and hebrew as a closer example.
The useage of ink-pen here is that the reed is vertically straight aligned (90 degrees?), as in my first plans for the third generation.
You can compare the above glyphs to their second generation glyphs in this image:
Some further graphical bleaching going on with this style. The fluff for all of this that this is a later generation of the script, and thus all signs are derived from the middle-aged script. This means three levels at the very least. Here, I’ve simplified some of the too-ornate and very common case glyphs, especially the locatives that are compound glyphs.
A quick screenshot of the XML+XSLT > HTML thingie. The actual code for the transformation is pretty short, but the results can be pretty impressive. I had to really give up on using and .svg graphics because even those browsers that have .svg capabilities cannot handle too many of them at the same time. A hundred glyphs is enough to slow things down considerably, and more will just make it hang. and large .pngs instead, though I wish Firefox had better image-resizing and antialising. Oh well. Optimized pngs are damn small, too, a two-bit (with transparency!) black and white pic of about 100×100 pixels is under half a kilobyte.
The past few days and weeks have been relatively productive. At the moment the number of glyphs is at most 180 (depending on how you count), with which you can write a sizeable chunk of all Finnish words. Using a relatively small amount of glyphs, representing lexical roots and derivative suffixes, you can form a huge amount of vocabulary by transparently transliterating Finnish speech. As an example, let’s take a lexical root (not a grammatical or functional root like MI- ‘that, what’ or JO ‘who, who’ which would be too easy), like TEKE. From TEKE-, “to make, do”, you can derive the words TEHDÄ, the verb, TEKO ‘deed’, TEOS ‘art piece’, TEKEMINEN ‘doing’, TEKIJÄ ‘maker, author’, TEOLLISUUS ‘industry’, TEOLLINEN ‘industrial’, TEHTÄVÄ ‘exam question, assignment, mission’, and more. With a script like this you do not even have to worry about etymological purity or certainty, because you can always apply in-character reanalysis to it. Häkkinen gives the etymology of TEHOKAS ‘effective, powerful’ as uncertain, probably from a root like TEHTO- which is probably related to TEKE. An in-character script like this doesn’t have to follow pure etymological paths, and thus can use TEKE as the ultimate root glyph of TEHOKAS. There are many more examples of this kind of reanalysis in the script, partly to make it simpler and partly to make it slightly more realistic.
Today I actually did some glyphs for the FMSSP! Just basic pictograms for words like “tongue/language”, “word” (< TONGUE + something on the tongue), “light” (a sign I originally designed for “day”, except I already had a word for that!), “new” and “speak”. Didn’t have The Book and my new Other Book (Hakulinen’s Suomen Kielen Rakenne ja Kehitys, the Development and Structure of Finnish), so yeah, went for easy ones. But the important bit is that I have something done! I have now around 128 glyphs done (plus allographs), which is, all things considered, quite a lot… yet so little.