This is more about "composition" than decomposition, but I thought I would post it for interest's sake...
One thing I noticed in many of the "constructed" alphabets, like Glagolitic, and many of the alphabets invented by missionaries for local languages that didn't have a written script, is that lines and loops are very frequent. Kabbalistic and talismanic signs are like this also.
Here's an example of a sash that is probably designed to look like imported fabric (probably Middle Eastern, since Arabic characters were often woven into textiles as a decorative motif) in BNF NAD 1673 Albucasis (Albucasis was an Andalusian physician, you will recognize the themes in the manuscript as Tacuinum Sanitatus), but it's not actually Arabic (or Syrian, or anything in that region), it's a pseudo-script designed to make the sash look "exotic", and it's full of loops and lines. Whenever there are a lot of loops and lines, at least some of them come out looking like Voynichese gallows characters:
[Rotated so you can see it better]:
One thing I noticed in many of the "constructed" alphabets, like Glagolitic, and many of the alphabets invented by missionaries for local languages that didn't have a written script, is that lines and loops are very frequent. Kabbalistic and talismanic signs are like this also.
Here's an example of a sash that is probably designed to look like imported fabric (probably Middle Eastern, since Arabic characters were often woven into textiles as a decorative motif) in BNF NAD 1673 Albucasis (Albucasis was an Andalusian physician, you will recognize the themes in the manuscript as Tacuinum Sanitatus), but it's not actually Arabic (or Syrian, or anything in that region), it's a pseudo-script designed to make the sash look "exotic", and it's full of loops and lines. Whenever there are a lot of loops and lines, at least some of them come out looking like Voynichese gallows characters:
[Rotated so you can see it better]:

