Stick to the Script. Orthographies, Fonts and Philosophy. David J. Peterson
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1 Stick to the Script Orthographies, Fonts and Philosophy David J. Peterson 1
2 A, b, c W,Ø, Most of us create languages for fun. Few things are more fun than creating a new writing system (Peterson, 2009). Today: What writing systems exist; how to create them; how to create fonts; other more exciting things. 2
3 Some Definitions Orthography: A language s writing system (includes punctuation, numbers, etc.). Script: The system of characters/marks used in an orthography (e.g. the Roman script is used to write English). Romanization: How one uses the Roman script to write a language whose orthography does not typically use the Roman script. 3
4 More Definitions... Phoneme: A sonic unit utilized by languages, e.g. /x/. Phonetic Symbol: The phonetic value of a given phoneme, e.g. [x]. Grapheme: A symbol used in an orthography, e.g. <x> or x. 4
5 Schedule Types of Writing Systems Orthography Creation Font Creation Final Thoughts 5
6 Writing Systems In English, we learn our A, B, C s. In Chinese, a special secondary script is used to teach children how to use the actual Chinese script. Why doesn t everyone just use the Roman alphabet? 6
7 Alphabetic Systems An alphabetic system assigns glyphs to sounds. In such systems, vowels and consonants are treated equally. Spanish: <A, a> = /a/, <T, t> = /t/ 7
8 Abjads In abjads, consonants are prominent, and vowels have a somewhat inferior role and are often omitted. Arabic: تتكلم or ت ت ك ل م = /tatakalam/ you say 8
9 Alphasyllabaries In alphasyllabaries, consonants have basic forms, and vowel characters are added to them. Hindi: ग /ga/ ग /g / ग /gi:/ ग$ /gu/ 9
10 True Syllabaries A true syllabary uses a separate grapheme for each syllable found in the language. Japanese: /ka ke ki ko ku/ 10
11 Logographic Systems A grapheme in a logographic system stands for a word, part of a word, an affix, a concept, or a phoneme string or a combination of the above. Chinese: village gold 11
12 Complex Systems A combination of previously listed elements. English: lol u r 2 much :) y u eat 7 hot doggz!?!1?!oneone!! lrn2eat n00b (>oo)==d<(><)> 12
13 Non-Natural Systems Why stop there? These are conlangs, after all. Sample: *$ = = = /k/; ** = = /s/; *@ = /z/. Question: * =? $ =? 13
14 Non-Natural Systems 2 Here s a graphic example from Trent Pehrson s Idrani. 14
15 Orthography s Purpose An orthography represents a language graphically, not necessarily a phoneme inventory. An orthography is a separate entity. Orthography:Language::Language:Thought 15
16 Always Remember...no writing system is pure in the sense that its units are interpreted as linguistic units of one type only: words...syllables or phonemes. (Coulmas, 2003) 16
17 Schedule Types of Writing Systems Orthography Creation Font Creation Final Thoughts 17
18 What to Do First 1. Create a language (or have one in mind). 2. Decide on a basic type (alphabetic, syllabic, abjad, etc.). 3. Decide on a writing implement. 4.Obtain said implement. 18
19 What? Why? Written scripts weren t created with computers. The writing utensil and the medium (paper, clay, etc.) will shape the system s creation and its evolution. 19
20 A 1337 Example teh pwn 𒉧!!1!11!!!!oneone!1!!! These examples could never have come to exist without a QWERTY keyboard. 20
21 Natural = Simple, Right? NO! Vietnamese = intolerable. Chinese = insane. Egyptian Hieroglyphic = #@$?%! Scripts are often simplified over time, but that makes them simpler, NOT simple. 21
22 Alphabetic Concerns Some writing systems progressive; some frozen. English: <y> = [i], [I], [j], [ ], [Aj] Spanish: Spellings change with pronunciation. Yet [an] = <an> or <han> (or <án> or <hán>)? 22
23 Decisions Best Alphabet A: one phonetic feature = one element. (Unnatural.) Best Alphabet B: one phonetic sound = one letter. (Unnatural.) Best Alphabet C: one phoneme = one letter. (Unnatural [closer].) 23
24 What to Do? Develop History: More conservative = more English-like alphabet; more innovative = more Spanish-like. Borrow an Alphabet: English, Spanish, etc., took and modified the Roman alphabet. Create A for B, use it for C. 24
25 Abjadic Concerns Words can begin with a vowel in every natural language. Arabic solution: Every V-initial word (with a couple narrow exceptions) ا ا ا stop: begins with a glottal Ta da! 25
26 Impure Abjads A pure abjad has no vowel characters. All abjads used today have a way of disambiguating. Usually a secondary system. The consonants should be the main event. 26
27 Adapting Abjads Abjads have been adapted to languages that don t suit them (cf. Farsi). Clever tricks: Semi-vowel characters, or characters for foreign sounds = vowel characters in adaptation. 27
28 (Alpha)syllabaries Most highly specialized; tailor-made for the language. Most natural syllabaries featural.? /u/ =? Japanese: /ku su tu mu hu ru/??!?! 28
29 Adapting Syllabaries Few languages are actually (C)V maximally (even Hawaiian has long vowels). Syllabaries may need to handle: Codas (Japanese: ) Long Vowels (Tamil: ஒ>ஓ, அ>ஆ) Clusters (Hindi: क +र=') 29
30 Logographic Concerns Natural Logographic Systems: NOT picture = word. Pictures: Can look like things: œ Can look like nothing: ô Can be combinations: 1 30
31 A Typical Evolution Stage 1: Pictures for concrete nouns. Stage 2: Combinations/metaphorical extensions for abstract concepts. Stage 3: Glyphs reanalyzed; glyphs (or parts of them) stand for sounds or sound sequences. Stage 4: No more new glyphs; new words/ concepts all combinations of old ones. Stage 5: A permanent move away from the logographic system. # 31
32 Adapting Logographies Unless stems are limited, impossible to create a glyph for every word. How to handle borrowings? Most have spelling alphabet. Glyphs can be reanalyzed. 32
33 Style? w Good orthography pretty glyphs. m n I l E d f E n s I z f o f I S 33
34 Nota Bene Glyph art less important than the system. If the system is interesting, the orthography will look good. 34
35 Design Concerns Problem with some featural scripts: All characters look alike. Natural language scripts differentiate in specific ways. 35
36 Schreibgefühl Glyphs in a script look/feel like they belong together. How? Line style/width: good; bad Sizing: good; bad Familiar Pieces: good; baδ Example: o Օ ہ ठ Ⴃ ௦ ๐ ᄋ 36
37 Most Important Orthography design glyph design. The system > the glyphs. Remember your writing implement: You re a utilize it! Let it speak to you! punk! 37
38 Schedule Types of Writing Systems Orthography Creation Font Creation Final Thoughts 38
39 Not Easy And not for everyone. Plenty of programs out there: the free, the limited, the ridiculous expensive (cf. FontLab Studio: $649.00!). Some basic advice; generally useful. 39
40 Some Background.ttf = TrueType Font (now fairly universal). Italics and bold are separate associated fonts; not processes. Important: Knowing whether or not one s program supports Unicode. 40
41 Fonts and the West Fonts are created using a Western framework. I.e. all fonts assume a basic, alphabetic script. Glyphs are I S O L A T A B L E. No secret: English > typesetting > typewriters > word processing 41
42 So Just Alphabets? No! The trick: hammering non-linear elements into a linear framework. It can be done! 42
43 Por Ejemplo? Toy orthography. Typed: David David 43
44 How?! Your new friends: Copy Paste Empty Color Resize L/R Margins Ascender/Descender 44
45 Low Tech This all can be done without a lot of font-making knowledge. With a little more, all this gets even easier; more precise. Lot of other technical issues; come see me later for specific project questions. 45
46 Schedule Types of Writing Systems Orthography Creation Font Creation Final Thoughts 46
47 Ideating Misconception: Good scripts come from good artists. Conlangers are experts at creating systems. A good orthography is nothing more than a good system. 47
48 Practice Makes Perfect Practice! (More fun than figuring out relative and subordinate clauses.) ~:D 48
49 References Allen, J.P. (2002) Middle Egyptian: An Introduction to the Language and Culture of Hieroglyphs. Cambridge: Cambridge Univ. Press. Coulmas, F. (2003) Writing Systems: An introduction to their linguistic analysis. Cambridge: Cambridge Univ. Press. Pehrson, T. (2009) Idrani API: ISMS v ( idrani.perastar.com/) Peterson, D. (2009) Stick to the Script: Orthographies, Fonts and Philosophy. Providence: Third Language Creation Conference. Petrov, S. et al. (2007) Type Tool 3 for Macintosh User Manual. ( Snell, R. and S. Weightman. (1989) Teach Yourself Hindi: A Complete Course for Beginners. Chicago: TY Books. Theiling, H. (2009) Theiling Online: Scripts. ( schrift/index.html.en) 49
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