Thanks, Marco!
I attach the folios I started from (taken from Takahashi). I selected these folios randomly, but from the same "language" to have some consistency.
It's basically EVA, but I made some changes to test digraphs and trigraphs. I came up with a way to represent "o+gallow" as a single glyph. It's always the voiced version of that gallow. So oT = D, oP = B, oK = G. Once again, this is not a proposed translation, just a way to test digraphs.
If you represent o+gallow as a consonant, eva q looks like it has to be a vowel.
I also replaced:
EVA in = n
EVA iin = m
EVA n = l
EVA l = s
EVA ee = u
The most interpretative part is that I developed the benches depending on their surroundings (though as consistently as possible). This can surely be done better, or at least differently. It would be interesting if we had a way to test how "optimal" a certain transcription is (with entropy?).
I attach the folios I started from (taken from Takahashi). I selected these folios randomly, but from the same "language" to have some consistency.
It's basically EVA, but I made some changes to test digraphs and trigraphs. I came up with a way to represent "o+gallow" as a single glyph. It's always the voiced version of that gallow. So oT = D, oP = B, oK = G. Once again, this is not a proposed translation, just a way to test digraphs.
If you represent o+gallow as a consonant, eva q looks like it has to be a vowel.
I also replaced:
EVA in = n
EVA iin = m
EVA n = l
EVA l = s
EVA ee = u
The most interpretative part is that I developed the benches depending on their surroundings (though as consistently as possible). This can surely be done better, or at least differently. It would be interesting if we had a way to test how "optimal" a certain transcription is (with entropy?).


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