Comparison of jan Sonja's handwriting and linja pona

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Decompose the other examples from pu (pilin, ike, telo, lete, kala, lili, toki, pona, ma, kasi, alasa, nasin, awen, telo, a, li, suli) and add them to the table as secondary examples with rowspan

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This is a comparison between sitelen pona glyphs in Toki Pona: The Language of Good (as handwritten by Sonja Lang) and the font linja pona, illustrating the stylistic differences.

Table of comparisons

Word	pu	linja pona	Notes on linja pona
a
akesi
ala
alasa
ale / ali			Significantly taller
anpa			Significantly taller
ante
anu
awen
e
en
esun			More symmetrical design
ijo
ike
ilo			Counters are taller, stem is shorter
insa			Significantly taller
jaki			Neither design should be seen as a default, as the glyph shape is flexible
jan
jelo			Lower stroke of suno radical is omitted
jo			Significantly wider
kala			Significantly taller
kalama
kama
kasi			More symmetrical design (note: The amount of symmetry seems to be in free variation in the pu style. The kasi used in the "ma Kanata li suli" cartouche example is much more symmetrical, and the kasi radical in laso's pu version is fully symmetrical.)
ken			Significantly wider
kepeken			Significantly wider, ilo radical has a significantly shorter stem
kili
kiwen
ko			More symmetrical design; neither design should be seen as a default, as the glyph shape is flexible
kon
kule
kulupu
kute			Significantly wider
la			Significantly wider and more circular
lape			Significantly larger counter, much shorter stem
laso
lawa			Shorter stem
len
lete
li
lili			Significantly larger
linja			Significantly taller
lipu
loje			Components connected
lon
luka
lukin			Significantly taller and rounder
lupa			Significantly wider
ma
mama			More oval-shaped; significantly wider bottom stroke
mani
meli
mi			Significantly larger counter
mije
moku			Components connected
moli
monsi
mu
mun
musi			More circular
mute
nanpa
nasa
nasin			Significantly wider
nena			Significantly wider
ni			Significantly wider
nimi
noka
o
olin			Components connected
ona			Significantly larger counter
open
pakala
pali
palisa			Significantly wider
pan
pana			Significantly wider
pi
pilin
pimeja
pini
pipi			Significantly wider
poka			Significantly taller
poki
pona
pu			More square-shaped
sama
seli
selo			Significantly taller (less apparent distinction with sijelo)
seme			Significantly wider with an exaggerated curve
sewi
sijelo
sike
sin
sina			Significantly larger counter
sinpin
sitelen
sona			More square-shaped
soweli
suli			Curved strokes
suno
supa
suwi
tan			Longer stroke
taso			Significantly wider
tawa
telo
tenpo
toki
tomo
tu
unpa			Significantly wider, and more symmetrical design (no longer looks like pilin and palisa combined)
uta
utala
walo
wan			Significantly wider
waso			Larger angle shape, shorter stem
wawa			Shape in the middle significantly taller and less circular
weka
wile