Comparison of jan Sonja's handwriting and linja pona
Comparison of sitelen pona glyphs
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 Edit
| 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 | 
|
|