Friday, April 05, 2019

Ey! LoCaNo Font!

A LoCaNo Font! Finally!

A new release. But it's not a new font. I've had this in my "Work In Progress" (WIP) folder for years. My procrastinating lazy ass finally got it all cleaned up.

This font is based on the original 15 character set from Fr. Francisco López's 1621 Ilocano translation of the 1597 book Belarmino. The typeface is from Fr. Andrés Carro's Vocabulario de la lengua Ilocana, 1849. I started working on this font back in 2006, I tried to standardize and make the character elements uniform. Of course I added other features that is standard throughout my modern baybayin fonts.

The font name "LoCaNo" is derived from López Carro Nordenx.
Download this font set from:

If you prefer to use López's limited 15 set and Carro's classic typeface as originally printed, you can feel free to do so. However, the characters are typed the way other Nordenx fonts are assigned on the keyboard.
  • Carro's ᜁ "E/I" is assigned in the "I" key. The "E" key renders a Nordenx special "E" character.
  • Carro's ᜂ "O/U" is assigned in the "O" key. The "U" key renders a Nordenx special "U" character.
  • The "B" key renders Carro's ᜊ "BA" while the "V" and "W" keys renders Nordenx's special "VA" and classic "WA" characters respectively.
  • The "K" key renders a classic "KA". The "C" key renders a "TSA" (cha) shortcut.
  • Carro's disjointed ᜇ "DA" can be found under the "9" key. The uppercase "D" key renders a Nordenx special "JA" character and the classic "DA" is the lowercase "d".
  • The "J" and "j" keys types the "DIYA" and "DYA" (ja) shortcut.
  • Uppercase "G" renders Carro's disjointed ᜄ "GA". The lowercase "g" types the classic "GA".
  • The classic ᜎ "LA" is assigned on the "L" key and the Unicode "RA". :P
  • Carro's ᜋ "MA" is typed using the lowercase "y" key. The lowercase "m" key types a classic "MA" character.
  • Uppercase "N" types ᜅ "NGA", the lowercase "n" renders a ᜈ "NA" as usual.
  • Carro's odd ᜉ "FA/PA" is assigned to the uppercase "F" key, the lowercase "f" key displays a Nordenx special "FA" character.
  • Carro's closed-tailed or looped ᜌ "YA" can be typed using the "P" or "p" keys.
  • Carro's V3 shaped ᜐ "SA" can be typed using the "Z" keys. 
  • The "X" and "x" keys types the "KSA" (xa) shortcut.
  • Nordenx special characters for "RA" is assigned in the "R" keys.  
  • The "h" key types a Nordenx special ᜑ "HA" character.
  • Use the + key for Lopez's + virama, the # key for Carro's ☩ virama, and the = key for Nordenx's x virama. 
I feel like I need to go into further detail and explain more about the decisions I made about this set... maybe later. :P

© All rights reserved, Nordenx Baybayin Modern Fonts are copyright of their typeface designer & creator Norman de los Santos. Free for personal and non-commercial use only. Please contact me at for any inquiries about commercial use and licensing for branding, printing, publications, and/or other electronic applications.

If you have any questions about this odd font set, feel free to email me or message me via facebook. ^_^


Thursday, March 10, 2016

For most of Formosa

13-ICAL Epilogue

The 13th. ICAL (International Conference on Austronesian Linguistics), was held at the Institute of Linguistics in Academia Sinica, Taipei, Taiwan, last July, 18 to 23, 2015.

With the help and support of our fundraising donors, generous people, friends, and family, Mike Pangilinan and I were able to present our papers at ICAL last year. Mike and I greatly appreciate their help.

We and our papers were well received and praised by international linguistic scholars and professionals who were in attendance. Our presentations were on point and they went smoothly. I'm pretty happy with the reception and validation of my work by our peers.

Mike Pangilinan, as our panel leader, introduces me to the audience before my presentation.

I gained a lot of knowledge and experience from this conference. Attending and absorbing most of the presentations that I can catch every day of the event, I've learned much about various studies, methodologies, histories, practices, and projects relating to various Austronesian and Southeast Asian languages. All these knowledge can be applied to further continue our own efforts with Philippine scripts.

I also have met and spent time with the top international Austronesian & SEA language scholars and professionals during the event. Conversations with these great minds were extremely entertaining and enlightening. I got reacquainted with awesome people I've met previously in Tokyo. And I met new and amazing people and made friends with them in this venue.

Gained new important connections and expanded our network, finally met folks from SIL too. There were a couple of acquaintances from social networks whose work on Philippine languages I admire and follow for years; I met them in person for the first time at the conference. It was a bit surreal when we talked as if we've known each other for a long time.

Our papers and presentation slides can be perused at:

An excellent article in by Eunice Barbara Novio gives further details about the overall purpose of our participation:

Mangyan, Kulitan, and Baybayin fonts created for our 13-ICAL fundraising (will be released sometime soon):

Mangyan, Kulitan, and Baybayin fonts created for our 13-ICAL fundraising.



It took me a while to recover from this trip (my health went on a decline the weeks and months following my return from Taiwan) and I was meaning to write about it earlier last year. Now, the time has come for another linguistic conference and I need to continue moving on to the next level.

Next stop, Manila!


Saturday, January 02, 2016

The old and the new.

This has been available for download for a while now but not a lot of people have noticed it:
Download this font set from:
It's my cleaner and more standardized version of the Doctrina Christiana typeface. I released it earlier without any fanfare. But I guess I should stop procrastinating this new year as a resolution (fingers crossed), after all, I still haven't released a report from last year's ICAL conference and another one is soon to be due this year.

Anyway... The Modern Doctrina font set has a few features different from Paul Morrow's Tagalog Doctrina 1593 font:

The main and immediately noticeable difference is the addition of the set of alternative glyphs from my modern set and proposed reform. I added the modern RA and the kawi based JA, Mangyan pamudpod, x-kudlit, anusvāra, visarga, e/o kudlits, pallawa & padalaw-a marks, and other syllable-doubling marks; assigning them to the appropriate keys.

What's not immediately noticeable until you use the font is the different aesthetic feel of the typeface. My many tweaks that resulted on character element's uniformity (while keeping with the basic shapes of the old typeface) gives this font a definite modern feel, a lively touch, and youthful appeal.

Paul Morrow's Tagalog Doctrina font used the typeface from the typesetter's proof at the beginning pages of the Doctrina Christiana. (fig. 1 image above)

For the Modern Doctrina font, I sampled and compared each and every character from the whole Doctrina Christiana and determined the recurring elements, forms, and details of each letter.

I evaluated character rotations, print defects, shape & size anomalies, and numerous features. In the end, I developed a clean and unified standard for this new font version but retained the spirit of the old typeface.

Some of the features of the Modern Doctrina font:
  • standardized rounded entry, ends, & edges (sans serif)
  • standardized height & width
  • even cap height (no ascenders)
  • even base line (no descenders)
  • even strokes & line weights
  • standardized forms & elements
  • alternative characters and modern glyphs
  • Tagalog Unicode range included


Try it and enjoy! :)


[EULA] © All rights reserved, Nordenx Baybayin Modern Fonts are copyright of their typeface designer & creator Norman de los Santos. Free for personal and non-commercial use only. Please contact me at or for any inquiries about commercial use and licensing for branding, printing, publications, and/or other electronic applications.


Sunday, December 20, 2015

The Font Awakens

Old Work In Progress Teaser Image

Now Available! I shown the work in progress (WIP) of this Star Wars inspired font earlier this year, the typeface is styled after the lore's Aurebesh script.

It took watching the new Star Wars: Episode VII "The Force Awakens" movie this weekend to find the boost of morale to actually finish this font set.

There are a couple of tweaks and character revisions since the WIP preview I showed earlier. The images below contains the final letter designs.

You can download the fonts now from the download page or directly from the link below:

Download from:
ASCII font (Keyboard only, CSS embed for web, not extended Unicode)

© All rights reserved, Nordenx Baybayin Modern Fonts are copyright of their typeface designer & creator Norman de los Santos. Free for personal and non-commercial use only. Please contact me at for any inquiries about commercial use and licensing for branding, printing, publications, and/or other electronic applications.

"May the force be with you."

Star Wars is a TM & © of Lucasfilm Ltd.


Wednesday, July 29, 2015

Baybayin on Windows 10

Microsoft's new OS (update) "Windows 10" rolled out today, replacing and improving upon Windows 8+

My desktop's transition to Windows 10 from Win8+ went smoothly. I was expecting a couple of old driver issues (my youngest son had to update his video drivers) but my old machine breezed through the auto installation process. The new OS and its new Internet browser Microsoft Edge has a lot of neat little features.

Edge is simplified, clean, and performs well in most cases, but it’s lacking features you might expect of a modern browser. I noticed that downloads start automatically without giving me a choice of where the files are being stored. A lot of basic stuff feels surprisingly missing. To be fair, Microsoft noted that they started from scratch with Edge. shows.

A neat new feature: you can post little text notes and draw all over webpages and send a copy to friends. It’s useful if you want to quickly share a screenshot of a site with some annotation, but sadly it gets old quick.

But as with most browsers, the one key thing I care about is performance, and Edge mostly delivers. Edge renders most popular websites smoothly, and load times are usually good. However, as I feared, it is not fully Unicode compatible. I can not find any way to change its default font settings and it does not display the Tagalog, Hanunuo, Buhid, and Tagbanwa Unicode range of characters on webpages and the new sticky-note feature has problems displaying stacked/ligatured markers (kudlit, virama, pamudpod). Character & marker combinations like the double-kudlit, possible in Firefox, is not rendered properly in Edge's notes (see image below).

Baybayin deficiencies in Microsoft's new "Edge" Internet browser.

(  ᜀᜁᜂ᜵ᜊᜃᜇᜄᜑᜎᜋᜈᜅᜉᜍᜐᜆᜏᜌ᜶ᜊᜒᜓ ᜊᜒ ᜊᜓ ᜊᜒ ᜒᜊᜓ ᜓᜊ᜔ ᜊ᜴  ᜶᜔ ᜶ᜓ )
The Unicode text (in parentheses) above should match the one in the image.

Another one of my other primary concerns is the default font keyboarding and the custom Baybayin Keyboard Layout. The only trouble I encountered was that I have to re-install the custom Segoe UI font (segoeui.ttf) and reboot my desktop afterwards. Everything else seems to be operating fine right now.

Baybayin fonts and custom keyboard layout works okay in Windows 10.


Thursday, April 16, 2015

Taking it to Taiwan


The International Conference for Austronesian Linguistics (ICAL) is held every 4 years in different places all over the world. It is hosted by the Institute of Linguistics, Academia Sinica. ICAL provides forums for collaborative research and also publishes & archives research papers.

When Siuálâ ding Meángûbié (Voice of the Dead) suggested that we submit a paper and present at this year's ICAL in Taiwan, I was hesitant. I know that Mike Pangilinan (Siuala) has financial limitations and so do I. But this is another opportunity, like the one we had in Tokyo last year; to continue to showcase our work and be heard & reviewed by the  academic community in an international stage. So, after some rumination, I decided that we shouldn't pass this up. We have to find a way to attend ICAL.

So, for the advancement and preservation of Philippine writing systems and our cultural heritage. We decided to do a fundraising campaign to finance our trip to ICAL. Please visit our crowd-source fundraiser at: for more information.


For our donors, I am currently pulling out and working on a few of my unfinished, unnamed, work-in-progress typefaces/fonts (Baybayin, Kulitan, Mangyan, etc.). And at the end of this fund raising campaign, we will select several of our top donor's names and I will name these new typefaces/fonts in their honor. This is the highest act of gratitude that I can offer. Your name, preserved in perpetuity, typed by native script writers (poets, artists, designers, authors, scholars), as long as we strive to keep our heritage alive.

Do you want the next new font named after you?

Mike and I are also sending digital copies of our donor's names in calligraphic kulitan and/or baybayin as thank you notes.

Folks can donate through PayPal and we will add the amount to the gofundme total. You can use the DONATE BUTTON on the side-bar menu on this page. If you use the main PayPal site, my account is under my email.

For other offline modes of sending money, please contact me through email or via my facebook account and I will send you our mailing address and other necessary information. Mike can receive Peso donations from within the Philippines through local Western Union or MoneyGram type services. I can also accept checks & money order through the mail. Offline donations will also be added to our gofundme tally.

We do these as part of our long-term goals to help protect and preserve our cultural heritage. I do hope that you would grace us with your generosity.


Thursday, December 11, 2014

Worth Repeating

Repeating Homophonic Syllables:
"A Baybayin Tradition worth Repeating."

A sample of an occurrence of vowel sign doubling in old Tagalog script. (Excerpted from a 1635 land deed, University of Santo Tomas Archives, reproduced by Villamor in 1922), provided by Christopher Ray Miller, Ph.D., 2014:
From a 1635 land deed. UST Archives.
Earlier this year, we covered this in our papers and presentations at the International Workshop on Endangered Scripts of Island Southeast Asia held in the Tokyo University of Foreign Studies, Japan.

Vowel sign doubling: Tagalog script historically shares with Buginese a spelling convention that can be called “vowel sign doubling”. This consists in marking a consonant letter with two vowel signs, either the same or two different ones, to represent two succeeding syllables beginning with the same consonant.
~ Miller (2011-2014)
In his book on Baybayin, Jean-Paul Potet Ph.D., noted that this same convention occurs in a Bugis script inscription on an old tombstone in Brunei. The inscription shows two i-vowel diacritic marks on top of a "NA" letter/character to be read as néné, meaning "grandfather". (Potet, 2014; Noorduyn, 1993)

Reintroducing Traditions:
Since I introduced the ᜍ "RA" glyph into my fonts a few years ago, it slowly gained acceptance and has become a de facto standard for the "RA" character. Similarly, I there has been an increase of online usage and enthusiasm for Antoon Postma's "pamudpod", from Surat Mangyan, a crescent-shaped virama (for indicating a trailing vowel-less consonant) since I also include the glyph in all my fonts. So, I think that it is about time that we bring back the dual-kudlit for syllable doubling convention. I am confident that the practice will gain acceptance once again, given some time, exposure, and proper education.

There is one hitch though, we need a couple more new markers. Since the /a/ vowel sound inherent to each base baybayin character is obviously not marked, how do we repeat an /a/ ending syllable without doubling a base letter?  ...or repeated compound syllables too for that matter? We have to look into other related South East Asian abugida scripts for answers. Luckily, we didn't have to look too far. I found that the Buginese (Lontara/Bugis) pallawa mark is used to separate rhythmic-intonational groups and also used to denote the doubling of a word or its root. We can borrow the same concept and style/position as the the pallawa mark.

We can actually use the pallawa mark to denote word or root doubling. It would greatly reduce reduplication of words like "halo-halo", "bola-bola", "turo-turo", "Bong-bong", "bato-bato", "sunod-sunod", etc.

Borrowing from the pallawa concept, I introduced the : colon as a padalaw-a mark in my Tokyo paper. The padalaw-a mark also doubles the vowel characters in the same manner prescribed in the book "Ang Wika at ang Baybaying Tagalog" by Tolentino (1937) except that the marker is on the right side instead of being on top or bottom of the ᜁ I and ᜂ U characters. The padalaw-a mark makes it possible to repeat an /a/ ending syllable without doubling a base letter.

Another extended possibility for this type of Kudlit mark is what I call a “pahantig” mark which is a single solid dot • mark on the right side of the a consonantal syllable character; it duplicates the consonant sound at the end of the marked syllable.

Before we could disseminate this, I would have to update all my fonts to include the pallawa mark. Currently only a couple of my commercial license fonts has the updated markers. The pallawa is assigned to the \ backslash key. In the mean time, we can educate baybayin practitioners about this forgotten tradition and updated solution.

Here's a recent chart to explain the dual/doubling/repeating marker system:
Baybayin dual / doubling / repeating marker system chart.

For a larger view of the chart above: CLICK HERE