diff --git a/assets/fonts/naYanakamikRegular.otf b/assets/fonts/naYanakamikRegular.otf index b5883e6..0d5383c 100644 Binary files a/assets/fonts/naYanakamikRegular.otf and b/assets/fonts/naYanakamikRegular.otf differ diff --git a/assets/img/alphabets.png b/assets/img/alphabets.png new file mode 100644 index 0000000..26ba350 Binary files /dev/null and b/assets/img/alphabets.png differ diff --git a/assets/img/consonants.png b/assets/img/consonants.png new file mode 100644 index 0000000..debdd5a Binary files /dev/null and b/assets/img/consonants.png differ diff --git a/assets/img/vowels.png b/assets/img/vowels.png new file mode 100644 index 0000000..f26e750 Binary files /dev/null and b/assets/img/vowels.png differ diff --git a/projects/naYana.md b/projects/naYana.md index 7ab9e51..bb4a019 100644 --- a/projects/naYana.md +++ b/projects/naYana.md @@ -29,7 +29,7 @@ A word about celebrating cultural variation. Often we hear arguments that any at ## naYana alphabets - + Figure 1: naYana alphabets. The vowel set followed by the consonants which are grouped into six categories, and the numbers are grouped into 0-9. Most of the shapes used in the design of naYana alphabet are widely available within the very large unicode set of most common fonts. Some of the shapes are created by rotating them, and by doing a union or diffrence operation of the outlines from existing shapes. No distinction between capital and small letters is proposed. The prototype font (naYanakamik is derived from Comik Neue Regular) @@ -38,61 +38,77 @@ Most of the shapes used in the design of naYana alphabet are widely available wi Vowels are produced by free passage of breath through the oral cavity. All vowels are created by a shape that closely resembles the sound, placed above a horizontal line with a gap, representing the free passage of breath. The modifiers placed on top of the horizontal line are chosen intuitively and inspired from existing usage. - + Table 1: vowels chart indicating the IPA mapping, proposed input character for typing on a regular QWERTY keyboard and examples. Additional vowel forms can be created by a combination of the base vowels, e.g. au, oi, ui, ae, ea ou etc. When necessary localized interpretations can be defined for each langauge or dialect. ## Consonants -Sharper contact at the end of the palate genetates /k/, therfore k is chosen. A softer blunter variation of k generates /g/, hence g. Few of the first consonant vocalization generated by infants are various bilabial sounds. Starting with simple p for /p/, f for /f/, b for /b/, and m for /m/ is proposed. Since /b/ and /v/ are closer sounds, while the latter is produced by open lips to leave a little space for the air passing through, we created v by opening b. The /t/ is generated when tongue touches the palate almost at the middle, so t is chosen, and toungue touching the teeth gives us /ɵ/, so we chose T. For /d/ we chose capital delta from the greek letters, because it needs a sharper shape, and for /ð/ a rounded and smoother form of delta, a rounded heart shape d. l shape is chosen for /l/; a crossed R for /r/; s for /s/; Y for /j/; n for /n/ were chosen from the widely used simple shapes. /t̠ʃ/ is produced when tongue flatly touches the palate, hence c. j,z are made with slight variation of j for /d͡ʒ/ and /z/ respectively. The choice of H for /h/ is intuitive, also being at the margin of being a vowel and a consonant, created by linking the roof and the floor. By inserting modifiers to this basic set of consonants, we can create localized versions as and when necessary. As and when necessary, more simple shapes can be inserted into the alphabet, holding to the above design principles. +Sharper contact at the end of the palate generates /k/; therfore, k is chosen. A softer blunter variation of k generates /g/, hence g. Few of the first consonant vocalizations generated by infants are various bilabial sounds. Starting with simple p for /p/, f for /f/, b for /b/, and m for /m/ is proposed. Since /b/ and /v/ are closer sounds, while the latter is produced by open lips to leave a little space for the air passing through, we created v by opening b. The /ʈ/ is generated when the tongue touches the palate almost at the middle, so ʈ is chosen, and the tongue touching the teeth gives us /t/, so we chose t. For /d/, we chose capital delta from the greek letters because it needs a sharper shape, and for /ð/, a rounded and smoother form of the delta, a rounded heart shape ð. l shape is chosen for /l/; a crossed R for /r/; s for /s/; Y for /j/; n for /n/ were chosen from the widely used simple shapes. /t̠ʃ/ is produced when the tongue flatly touches the palate, hence c. j and z are made with a slight variation of j for /d͡ʒ/ and /z/ respectively.The choice of H for /h/ is intuitive, also being at the margin of being a vowel and a consonant, created by linking the roof and the floor. By inserting modifiers into this basic set of consonants, we can create localized versions as and when necessary. As and when necessary, more simple shapes can be inserted into the alphabet, holding to the above design principles. + +- The aspirated versions of /k/ generates /kʰ/ therefore kʰ is chosen. Similarly the aspirated versons of /b/, /g/, /ʈ/, /d/, /ɽ/, /ð/, /ʧ/ geneartes /bʰ/, /gʰ/, /ʈʰ/, /dʰ/, /ɽ̥ʰ/, /ðʰ/, /ʧʰ/ respectively, therefore the symbols with strikes bʰ, gʰ, ʈʰ, dʰ, ɽ̥ʰ, ðʰ, ʧʰ are created. + +- The combination of z and g produces /ŋ/ sound, which is called the “velar nasal,” which means that you curl your tongue up against the back of your mouth, and the air comes out of your nose; therefore, ŋ is created. The /ɲ/ represents a palatal nasal, and therefore, ɲ is chosen. The r̩ is chosen for /r̩/. + +- /d/ and /ɽ/ are the versions of each other, the first being a retroflex stop and the latter one being a retroflex flap, therfore for /ɽ/, ɽ with a dot is chosen. + +- /ʂ/ and /ʃ/ sounds closer but in /ʂ/ the tongue is rolled back and in /ʃ/ the tongue is held straight and stream of air is directed towards closely-held teeth and hence symbols are ʂ, ʃ are chosen respectively. + +- The /z/ and /ʒ/ sounds similar; however, for /z/, the air flows through your front teeth and for /ʒ/ the air flows through your side teeth, so we created ʒ by adding a dot in z. + +- The q is created for /q/; although it is pronounced similar to /k/, in /q/, the tongue touches uvula but touches soft palate in /k/. ## Numbers The number shapes were created keeping semantics of the decimal number system. 6-9 are created by inserting stroke modifer of 1-4. The number 5 is represented as half of 10, hence D. The need to create special symbols for numbers is arising from using some of the number shapes for the consonants, e.g. s, m and T for /s/, /m/ and /ɵ/. - + Table 2: Consonants with the shape, IPA phoneme mapping, proposed input character for typing on a regular QWERTY keyboard, with examples. ## UDHR transcripts Article 1 of Universal Declaration of Human Rights is transcribed in multiple langauges below: -**Standard English Spelling for Universal Declaration of Human Rights** +- **Standard English Spelling for Universal Declaration of Human Rights** + + - *In English* - All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood. (Article 1 of the Universal Declaration of Human Rights) + + - *In IPA* - ɔl hjumən biɪŋz ɑɹ bɔɹn fɹi ænd ikwəl ɪn dɪɡnəʈi ænd ɹajʈs. ðej ɑɹ ɛndawd wɪð ɹizən ænd kɑnʃəns ænd ʃʊd ækʈ ʈəwɔɹdz wʌn ənʌðɹ̩ ɪn ə spɪɹəʈ ʌv bɹʌðɹ̩hʊd. (ɑɹʈəkəl 1 ʌv ðə junəvɹ̩səl dɛklɹ̩ejʃən ʌv hjumən ɹajʈs) -All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood. (Article 1 of the Universal Declaration of Human Rights) + - *In naYana* -