a a a! pona mute!jan-ante wrote:ni li toki pi tenpo nanpa wan
1. [li]
If you come up with anything you like I'd like to see. With the flexibility there is now with simplifying and elaborating glyphs, it probably wouldn't even break any of the rules I've set up so far.
2.& 5. [tan, lon, la]
Same sentence twice, using la as a container and as a wall. (from jan Ote's Gilgamesh)"
3. [o]
Happily, the old o is right out of the syllabary, so it's still usable as an alternative. I'm thinking now of a dedicated o glyph like this:
in action (again, from jan Ote's Gilgamesh):
6. Just playing around with it for the images above it's clear how much fun jan Ote's Gilgamesh would be to try out. Maybe once the text is stable and with jan Ote's blessing, I'll be up to the challenge. Popol Vuh is a great idea, and one worthy of other's attention. I also have a Tommaso Landolfi short story I'm working on; hopefully I can get some of the text in here soon for criticism.
7. Yes for almost everything. Some would be confusing ( e for example). Most square gylphs don't benefit from this, but the true prepositions do (tawa tan lon). Mirror flipping can be useful for assymetrical glyphs (pali waso palisa, and glyph-block ni).Be careful with the syllable glyphs (m rotates into w, j is similar to p, a would be hard to draw any other way). It is useful to rotate the syllable ni -- but I haven't decided if it might be confused with mi.
8. The block-order-rule images I did in adobe illustrator. All my script drawings are done with felt tip pens or colored pencils and scanned into photoshop. I have a couple actions I've built in photoshop to resize and save-for-web for large batches--is that what you mean by PP macro?
{edit 9/6/11: updated image file links}