Regular

Lava Variable

Latin

ᓄᑖᑦ ᓄᓇᕗᒻᒥ ᐅᖃᐅᓯᓕᕆᓂᕐᒧᑦ ᐱᖁᔭᕐᔪᐊᖅ ᐃᓕᓴᖅᓯᓯᒪᕗᖅ ᐃᓄᐃᑦ ᐅᖃᐅᓯᖓᓂᒃ (ᐃᓄᒃᑎᑐᑦ ᐊᒻᒪᓗ ᐃᓄᐃᓐᓇᖅᑐᓐ), ᖃᓪᓗᓈᑦ ᐅᐃᕖᓪᓗ ᐅᖃᐅᓯᖏᓐᓂᒃ, ᓄᓇᕗᑦ ᐃᓗᐊᓂ ᐃᓕᓴᕆᔭᐅᓯᒪᓪᓗᑎᒃ ᐅᖃᐅᓯᕆᔭᐅᓪᓗᑎᒃ. ᐃᓄᐃᑦ ᐅᖃᐅᓯᖓᑦ ᐃᓄᐃᑦ ᐅᖃᐅᓯᖓᑦ ᑕᒪᒃᑮᖑᕗᑦ ᐃᓄᐃᓐᓇᖅᑐᑦ ᐊᒻᒪᓗ ᐃᓄᒃᑎᑐᑦ. ᓄᓇᕗᒻᒥ ᐃᓄᐃᑦ ᒪᕐᕈᐃᖕᓂᒃ ᐃᓄᒃᑎᑐᑦ ᑎᑎᕋᐅᓰᖕᓂᑦ ᐊᑐᖅᐳᑦ: ᖃᓕᐅᔮᖅᐸᐃᑦ (ᖃᓪᓗᓈᑦ ᑎᑎᕋᐅᓯᖏᓐᓂᒃ ᐊᑐᖅᑐᑦ) ᐊᒻᒪᓗ ᖃᓂᐅᔮᖅᐸᐃᑦ (ᐃᓄᐃᑦ ᑎᑎᕋᐅᓯᖏᓐᓂᒃ ᐊᑐᖅᑐᑦ). ᐊᒥᓱᑦ ᓄᓇᕗᒻᒥ ᐃᓄᒃᑎᑐᑦ ᐅᖃᓪᓚᓲᑦ ᓇᖕᒥᓂᖅ ᐅᖃᐅᓯᕐᒥᓂᒃ ᑎᑎᕋᓕᕌᖓᒥᒃ ᖃᓂᐅᔮᖅᐸᐃᑦ ᑎᑎᕋᐅᓯᖏᓐᓂᒃ ᐊᑐᖃᑦᑕᖅᑐᑦ. ᐃᓄᐃᑦ ᑎᑎᕋᐅᓯᖏᑦᑕ ᑎᑎᕋᑯᓗᖏᑦ 60-ᖏᓐᓃᑉᐳᑦ, ᐅᓄᖅᑐᓪᓗ ᐊᑕᐅᓯᐅᓐᖏᑦᑐᓂᒃ ᖃᓂᐅᑉ ᐅᖃᖅᐸᓪᓕᐊᔭᖏᓐᓂᒃ ᐊᑕᐅᓯᕐᒥᒃ ᓇᓗᓇᐃᒃᑯᑕᕐᒥᒃ ᐊᑐᖅᖢᑎᒃ. ᑕᐃᒪᐃᓐᓂᖓᓄᑦ “NU” ᖃᓕᐅᔮᖅᐸᐃᑦ ᑎᑎᕋᐅᓯᖏᑦ ᐊᑐᕐᓗᒋᑦ ᑕᐃᒪᓐᓇ ᑎᑎᕋᖅᓯᒪᓇᔭᖅᐳᖅ, ᐃᓄᒃᑎᑐᑦ ᖑᑐᐃᓐᓇᖅᑎᓪᓗᒍ. ᖃᓂᐅᔮᖅᐸᐃᑦ ᑎᑎᕋᐅᓯᖏᑦ ᐊᑐᖅᐳᑦ ᖃᓪᓗᓈᑦ ᐅᕝᕙᓘᓐᓃᑦ ᑎᑎᖅᑲᖏᓐᓂᒃ. ᐊᒥᓱᑦ ᖃᓂᐅᔮᖅᐸᐃᓂᒃ ᐊᑐᓲᑦ ᑎᑎᕋᕈᓐᓇᕆᕗᑦ ᖃᓕᐅᔮᖅᐸᐃᑎᑐᑦ, ᐱᓗᐊᕐᓗᒋᑦ ᑎᑎᕋᓕᕌᖓᒥᒃ ᖃᕆᓴᐅᔭᒃᑯᑦ ᐅᕝᕙᓘᓐᓃᑦ ᐊᓯᖏᓐᓂᒃ ᐱᓕᕆᐊᖃᓕᕌᖓᒥᒃ ᖃᕆᓴᐅᔭᒃᑰᖅᑐᓂᒃ. ᓄᓇᕗᑦ ᒐᕙᒪᒃᑯᑦ ᖃᕆᓴᐅᔭᖁᑎᖏᑦ ᐋᖅᑭᒃᑕᐅᓯᒪᕗᑦ ᖃᓂᐅᔮᖅᐸᐃᑎᑐᑦ ᑎᑎᕋᕈᑕᐅᔪᓐᓇᕐᓂᐊᕐᒪᑕ. ᐃᓄᐃᓐᓇᖅᑐᑦ ᐅᖃᐅᓯᓖᑦ ᑎᑎᕋᐅᓯᖃᖅᐳᑦ ᖃᓪᓗᓈᑦ ᑎᑎᕋᕈᓯᖏᓐᓂᒃ ᒪᓕᒃᖢᑎᒃ. 2006-ᒥ ᑐᑭᓯᓇᓱᖕᓂᖃᖅᖢᑎᒃ ᐊᐱᖅᓱᑲᑕᖕᓂᖃᖅᑎᓪᓗᒋᑦ, 64 ᐳᓴᓐᑎᖏᓐᓃᑦᑐᑦ ᑭᐅᔪᑦ ᐅᖃᓚᐅᖅᓯᒪᔪᑦ ᐃᓄᐃᑦ ᐅᖃᐅᓯᖏᓐᓂᒃ ᐊᑐᖃᑦᑕᕐᓂᕋᖅᖢᑎᒃ ᐊᖏᕐᕋᒥ, ᐅᖃᐅᓯᕐᖓᐅᑎᖃᖅᑐᑦ ᓄᓇᕗᓕᒫᒥ 83 ᐳᓴᓐᑎᖏᓐᓃᒃᑲᓗᐊᖅᑎᓪᓗᒋᑦ. ᑕᐃᒪᐃᓕᖓᑎᓪᓗᒍ ᐊᕐᕌᒍᑦ ᖁᓕᑦ ᐃᓗᐊᓂ 12 ᐳᓴᓐᑎᒦᑦᑐᑦ ᐅᖃᐅᓯᕐᖓᐅᑎᒥᖕᓂᒃ ᐊᑐᖃᑦᑕᕈᓐᓃᖅᑐᑦ. ᑕᐃᒪᐃᓕᖓᔾᔪᑎᖃᖅᐳᑦ ᒪᒃᑯᒃᑐᑦ ᐅᕝᕙᓘᓐᓃᑦ ᐅᑭᐅᑭᑦᑐᑦ ᐅᓄᕐᓂᖅᐹᖑᖕᒪᑕ, 2006-ᒥ ᐊᕐᕌᒎᖃᖅᑐᑦ 23.1-ᓂᒃ ᐅᓄᕐᓂᖅᐹᖑᓚᐅᖅᖢᑎᒃ, ᑲᓇᑕᒥᓗ ᐅᓄᕐᓂᖅᐹᑦ 39.5-ᓄᑦ ᐊᕐᕌᒍᖏᑦ ᐋᖅᑭᒃᑕᐅᓯᒪᓪᓗᑎᒃ. 2006-ᒥ ᑐᑭᓯᓇᓱᖕᓂᖃᖅᖢᑎᒃ ᐊᐱᖅᓱᑲᑕᖕᓂᖃᖅᑎᓪᓗᒋᑦ, 420-ᐅᓚᐅᖅᐳᑦ ᐅᐃᕖᑦ ᐅᖃᐅᓯᖓᓐᓂᒃ ᐅᖃᐅᓯᕐᖓᐅᑎᓖᑦ, ᐊᒻᒪᓗ 1,200-ᖑᓂᕋᖅᑕᐅᓪᓗᑎᒃ ᐅᐃᕖᑦ ᐅᖃᐅᓯᖓᓐᓂᒃ ᐊᑐᖃᑦᑕᖅᑐᑦ. ᓄᓇᕗᒻᒥ ᒐᕙᒪᒃᑯᑦ ᑐᑦᑕᕐᕕᖓᓐᓂ ᐃᖃᓗᖕᓂ, ᐅᐃᕖᑦ ᐅᓄᖅᑐᕐᔪᐊᒻᒪᕆᐊᓗᐃᑦ ᐅᖃᐅᓯᕐᒥᖕᓂᒃ ᐊᑐᖅᑐᑦ. ᐃᖃᓗᖕᓂ, ᑕᒫᓂ 800-ᖏᓐᓃᑦᑐᑦ ᐅᐃᕖᑎᑐᑦ ᐅᖃᕈᓐᓇᕐᓂᖃᓚᐅᖅᑐᑦ, ᐊᒻᒪᓗ ᐊᒥᓲᓪᓗᑎᒃ ᐅᐃᕖᑦ ᐃᓄᖕᓂᒃ ᓄᓕᐊᖅᑖᖅᓯᒪᔪᑦ ᐅᐃᑖᖅᓯᒪᔪᓪᓘᓐᓃᑦ. ᐅᐃᕖᑎᑐᑦ ᐅᖃᐅᓯᕐᒥᒃ ᐊᑐᖅᑐᑦ ᓇᖕᒥᓂᖅ ᐃᓕᓐᓂᐊᕐᕕᓖᑦ, ᐸᐃᕆᕕᓖᑦ, ᓈᓚᐅᑎᖃᕐᕕᓖᑦ, ᐊᒻᒪᓗ ᐃᓕᖅᑯᓯᓕᕆᕕᖃᖅᖢᑎᒃ ᖃᐅᑕᒫᖅ ᒪᑐᐃᖏᓐᓇᖃᑦᑕᖅᑐᒥᒃ ᐊᒻᒪᓗ ᖃᓄᐃᓕᐅᖅᑎᑦᑎᕈᓅᔭᖃᑦᑕᖅᖢᑎᒃ ᐊᕐᕌᒎ ᐃᓗᐊᓂ. ᖃᓪᓗᓈᑦ ᐅᖃᐅᓯᖓᑦ ᐊᒃᓱᐊᓗᒃ ᐊᑐᖅᑕᐅᔪᖅ ᐊᕕᒃᑐᖅᓯᒪᔪᓂ ᑐᑦᑕᕐᕕᒋᔭᐅᔪᓂ ᐊᒻᒪᓗ ᓄᓇᓕᖕᓂ ᐊᖏᓂᖅᓴᓂ ᐊᒻᒪᓗ ᒪᓕᒐᖅᑎᒍᑦ ᐅᖃᖅᓯᒪᔪᖅᑕᖃᓐᖏᒃᑲᓗᐊᖅᖢᓂ ᐊᑐᖅᑕᐅᓂᖅᐹᖑᓪᓗᓂ ᒐᕙᒪᐃᑦ ᐊᒻᒪᓗ ᓴᓇᕖᑦ ᐃᓗᐊᓂ.

The ideal proportions for Syllabics forms within a type system pairing with Latin result in the Syllabics being ideally 10-15% shorter than the Latin cap height. Additionally, the wide, open counter proportions inherent in Syllabics character forms result in the need for a significantly wider word space than that of the Latin script. To accommodate these inherent qualities of the Syllabics, Lava Syllabics (ᓛᕙ  ᖃᓂᐅᔮᖅᐸᐃᑦ) fonts provide Syllabics-specific word space, punctuation and special character, as well as numeral variants that a tailored to best suit the Syllabics. For more information about this, and other features specific to the Syllabics script, please <a href="https://www.typotheque.com/articles/syllabics-typographic-guidelines">read this in-depth article on Syllabics typographic guidelines.</a>

Lava Syllabics and Latin specific word space, punctuation, and numeral variants

Syllabics Space, Punctuation, and Numeral Variants

In Syllabics typography, there are two notable style traditions: the Round Form styles, which is traditionally used by Inuktut, Nêhiyaw (Cree), and Anishinaabe (Ojibway) Syllabics-using communities, and the Square Form style, which is the form that users of the Dene Syllabics identify with. These systems differ typographically in their proportional relationships, particularly in the contrast of full and medium height syllabic characters and uni-height letters, and width proportions. Lava fonts come in both versions.

Lava Syllabics family, with round and square form styles

Square Form and Round Form Syllabics Styles

There is a local preference in Nunavik communities for the <em>angma</em> (ᖕ) finals character, which takes the graphical representation of a combination of ᓐ + ᒃ. This is in contrast to the local preference for this same character in Nunavut Inuktut communities who use Syllabics, who prefer the sequence ᓐ + ᒡ = ᖕ, which is the default representation of this character in Unicode.This is the same character with the same phonetic value across all communities, only that users from each community identify with their locally-preferred form. Lava fonts provide both form preferences.

Lava Syllabics Nunavut versus Nunavik angma local preference

Nunavik Local angma (ᖕ)

In conjunction with providing comprehensive support for all Syllabics-using Indigenous communities in North America, the Typotheque Lava typeface expands the Syllabics typographic palette by offering a secondary cursive style. <a href="https://www.typotheque.com/articles/on-developing-a-secondary-style-for-the-canadian-syllabics">Read this essay</a> outlining the research and development of a secondary style for Syllabics typefaces.

Lava Syllabics secondary style

Syllabics Secondary Style

Heavy

Cyrillic

Abaza

Adyghe

Altai

Avar

Azeri (Cyrillic)

Azeri (Latin)

Balkar

Bashkir

Belarusian

Bosnian

Bulgarian

Buryat

Chechen

Chuvash

Crimean Tatar

Dargin

Dungan

Evenki

Gagauz

Ingush

Kabardian

Kalmyk

Karakalpak

Kazakh

Khakas

Kirghyz

Komi

Koryak

Kumyk

Lezgian

Macedonian

Manci

Mansi

Mari

Mongolian

Montenegrin

Mordvin (Erzya)

Mordvin (Moksha)

Muslim Tat, Latin

Nanai

Nenets

Nogai

Ossetic

Romanian

Russian

Rusyn 

Selkup

Serbian

Shor

Tabasaran

Tajik (Cyrillic)

Talysh, Latin

Tatar

Tsakhur

Turkmen

Tuva

Tuvan

Udmurt

Uighur

Ukrainian

Uzbek

Western Mari

Yakut

Devanagari

Awadhi

Bhojpuri

Bodo

Dogri

Dotyali

Eastern Tamang

Goan Konkani

Hindi

Kangri

Konkani

Magahi

Maithili

Marathi

Nepali

Sindhi

Georgian

Greek

Greek (classical)

Greek (modern)

Kannada

Abidji

Abron

Abua

Achinese

Achuar-Shiwiar

Acoli

Adangme

Adara

Adele

Adioukrou

Afar

Afrikaans

Agatu

Aghem

Ahanta

Ahtna

Akan

Akoose

Alago

Albanian

Alekano

Aleut

Anaang

Anufo

Anyin

Ao Naga

Arabic, Chadian Spoken

Aragonese

Aromanian

Ashe

Asturian

Awak

Awing

Aymara

Baatonum

Bafia

Baga Sitemu

Baka

Balinese

Banda, West Central

Bandi

Bangwinji

Baoulé

Bapuku

Basa

Basque

Batak Toba

Bedawiyet

Bekwarra

Bemba

Bena

Bench

Beng

Benga

Berom

Bete-Bendi

Bété, Daloa

Bété, Guiberoua

Bhele

Bikol

Bilen

Bimoba

Bini

Birifor, Southern

Bisã

Bislama

Blackfoot

Bokobaru

Breton

Buginese

Bulu

C’Lela

Cahungwarya

Carib

Catalan

Cebuano

Central Atlas Tamazight

Central Yupik

Cerma

Chamorro

Cheyenne

Chichewa

Chickasaw

Chiduruma

Chiga

Chimborazo Highland Quichua

Chipewyan

Chokwe

Chumburung

Chuukese

Colognian

Comorian, Latin

Comox

Cornish

Corsican

Croatian

Syllabics

Telugu

Design

Lava was designed for magazine use, but far transcends its original application. It handles large quantities of text with ease; it is extremely legible and harmonious at small sizes, yet also sophisticated and elegant at large ones.

Lava

Lava

Irma Boom thesis

www.26bestfriends.nl

Works That Work No.3

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